aesthetic, which no birth or breeding can secure, and threw
himself into that common ground where art and religion meet--the
literature of Christian medieval art. Things must, however, have greatly
changed among our brethren since the days of Cotton Mather, or even of
Jonathan Edwards, when a person in Dr Magoon's position could embellish
his private sanctuary in this fashion.

"The chief characteristic of the collection is its numerous works on
the history, literature, and theory of art in general, and of Christian
architecture in particular. There is scarcely a church, abbey,
monastery, college, or cathedral; or picture, statue, or illumination,
prominent in Christian art, extant in Italy, Germany, France, or the
British Islands, that is not represented either by original drawings or
in some other graphic form.

"In addition to these works, having especial reference to Christian art,
are many full sets of folios depicting the leading galleries of ancient,
medieval, and modern art in general. Some of these, as the six elephant
folios on the Louvre, are in superb bindings; while many others, among
which are the Dresden Gallery and Retzsch's Outlines, derive an
additional value from once having formed a part of the elegant
collection of William Reginald Courtenay.

"But what renders this collection particularly valuable, is its large
number of original drawings by eminent masters which accompany the
written and engraved works. Amongst these are two large sepia drawings,
by Amici, of the Pantheon and St Peter's at Rome. These drawings were
engraved and published with several others by Ackermann. Both the
originals, and the engravings executed from them, are in the collection.
The original view near the Basilica of St Marco, by Samuel Prout, the
engraving of which is in Finden's Byron, and the interior of St Marco,
by Luke Price, the engraving of which is in Price's Venice Illustrated,
grace the collection. There is likewise a superb general view of Venice,
by Wyld; a fine exterior view of Rheims Cathedral, by Buckley; an
exterior view of St Peter's at Caen, by Charles Vacher; and the interior
of St Germain des Pres at Paris, by Duval."

The early history of the American settlements is naturally the object
around which many of these collections cluster; but the scraps of this
kind of literature which have been secured have a sadly impoverished
aspect in comparison with the luxurious stores which American money has
attr