In the spring of 1864 I had the chance of spending many days in the Uffizj on the study of its several collections. Statues and pictures I found ranged and classed, as all the world knows they are, with full care and excellent sense; but one precious division of the treasury was then, and I believe is still, unregistered in catalogue or manual. The huge mass of original designs, in pencil or ink or chalk, swept together by Vasari and others, had then been but recently unearthed and partially assorted. Under former Tuscan governments this sacred deposit had Jain unseen and unclassed in the lower chambers of the palace, heaped and huddled in portfolios by the loose stackful. A change of rule had put the matter at length into the hands of official men gifted with something more of human reason and eyesight. Three rooms were filled with the select flower of the collection acquired and neglected by past Florentine governors. Each design is framed, glazed, labelled legibly outside with the designer's name: the arrangement is not too far from perfect for convenience of study. As there can be no collection of the kind more rich, more various, more singular in interest, I supplied for myself the want of a