Opens directly from the Egyptian Room, and contains casts of archaic and early Greek sculpture. Here will be found the Lions from the gate of Mycenæ, the funeral slabs of Orchomenos, of Aristion, and of the soldier of Marathon, the Dresden Pallas, the relief of Demeter, Persephone, and Triptolemus, from Athens, and the so-called Leucothea, and the infant Bacchus from the Villa Albani, with several interesting archaic reliefs from the same collection. There have lately been added to the Museum a number of the funeral slabs or _stele_ discovered at Athens and preserved in the museum there, objects of great beauty and interest, properly belonging, either in this room or in immediate connection with it, but placed for temporary convenience, in the Roman and Renaissance Room. The most important objects in this First Greek Room are the casts from the sculptures of the eastern and western Pediments of the Temple of Minerva at Egina, consisting of five figures from the eastern pediment and ten from the western, arranged as they are believed to have been originally. Passing from this room to THE SECOND GREEK ROOM We find ourselves in the midst of a group of statues, most of them of the Praxitelean type and making too sharp a contrast by their grace and sensuous refinement to the hardness and severity of the contents of the room just left. It must be remembered, however, that owing to the small space at the command of the Museum authorities it has not been possible to follow a strict chronological order, and we must therefore be content for the present to follow the arrangement of the separate rooms. We have, therefore, here, the casts from the Parthenon frieze, the Theseus and the Fates from the eastern and the Ilissus from the western Pediment of the same building, with the Torso of the Victory, also from the eastern Pediment, together with several figures from the temple of the Wingless Victory (Nikè Apteros) on the acropolis. But space fails us to enumerate all the casts contained in the rooms devoted to antique sculpture; and why attempt a mere catalogue? The Venus of Milo is here, and the lately discovered Hermes with the infant Dionysus, the Niobe and her daughter, the Ludovisi Mars, the Diana of the Louvre, the Apollo Belvidere, the Eirene and Plutus, the Faun of Praxiteles, and the glorious mask of the Ludovisi Juno. Indeed, we miss few works of prime importance, and there are many casts here that can not be found elsewhere in America, and which are yet essential to even a superficial study of the rise and progress of Greek sculpture. Passing on, we come to the other rooms where are the Laocoön, the Dying Gladiator, the younger Agrippina, the Sophocles, the Demosthenes, the Menander, the Æsculapius, the Discobulus, the Silenus and the infant Bacchus, and the Boy taking a Thorn from his Foot (the Spinario), with many another famous and less famous work, enabling us to carry on the study until the stream dies away to rise again in new beauty