in the art of the early Italian Renaissance. While no capital piece can be said to be wanting to this collection there remain many pieces to be added which are needed for fullness of knowledge, but every year sees important acquisitions, and there can be no doubt, judging from the past history of the Museum, that if the wished for addition to the building could be made, the missing gaps in the sculpture would speedily be filled up by gift. But before leaving the antique rooms we must mention the two sarcophagi from Vulci, now deposited in the Museum, and which, it is earnestly to be hoped, will become its property, since they are not only deeply interesting in themselves, but have an added value from their great rarity. They represent the bodies of two married pair reposing upon the lids of the two sarcophagi, as on the marriage-bed. The finer of the two groups is carved in alabaster, the other is in travertine; the one in alabaster has a monumental beauty and sweet dignity that is surpassed by nothing of the kind that exists, and considering its great beauty and rarity it is said there is only one other example of this treatment of the subject, and that is in the Vatican. Crossing the Hall of Entrance, to which we have returned, we find ourselves in the last of the antique sculpture rooms, where are placed some of the most interesting of the Roman works just enumerated. Nothing would be gained by an attempt to catalogue the rooms at present, as their contents are likely to be changed at any time when the projected enlargement of the Museum is carried out. The space in this portion of the building, the addition built in 1879, answering to that occupied in the older portion by the first and second Greek Rooms, is here thrown into one large apartment filled with the CASTS OF ARCHITECTURAL ORNAMENTS.