tion,
a subsidiary institution of this famous old hall of education that is
now, although pro_ gressing in its acquisition of valuable exhibits, of
incalculable value to the arts and industries of America; the
usefulness of this institution is however restricted,
because it is not well known. It is probably a safe assumption to say
that not one person in many thousands of the inhabitants of the
metropolis is cognisant of the existence of such a treasure-house,
which is available to all earnest seekers after ideas, information, and
material for the betterment of art, and under conditions impossible to
excel in providing the greatest opportunity and freedom to all who will
avail themselves of it. The contents of this museum would astonish
thousands who are familiar with the broadly advertised contents of the
Metropolitan Museum of Art, and the feeling of regret that comes over
the appreciative visitor to the Cooper Union Museum suggests the
reflection that a little adept yet dignified promotion of publicity
would be beneficial to the efficiency of this institution. A strong
feature of this working museum is a collection of encyclopedic
scrap-books, open, like all else here, to all applicants for permission
to use them; the scrap-book covering jewelry shows
