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hitherto hindered and arrested the enlistment of the art in the service of culture. Instead of an artist working now and then as he may happen to get an order, which he seldom does except in absolutely urgent cases, you have one bound to devote the whole of his time to earning a moderate fixed salary, and, if he is the right sort of man, making it his pride and pleasure to do so. Instead of an institution doing comparatively little work, and supported by the reluctant contributions of comparatively few customers, you have one supported on a large scale at a cost individually imperceptible. Instead of heads of departments considering how little they can manage to spend, you will have them encouraged to tax their new auxiliary's resources to the utmost by the consideration that, the prime elements of expense being eliminated, it will, in fact, hardly be possible to spend anything. Here I may be met by an objection which deserves a reply. "Granting," it may be said, "the propriety of employing the photographer for strictly national purposes, why tax the entire community, however lightly, for the benefit of the small portion of it which may happen to want photographs? Is it right to take a farthing out of Brown's pocket to save Jones five guineas?" I scarcely expect that any among us will raise that objection, because, pursued to its logical consequences, it would abolish every museum and library supported out of rates or taxes. But, to anticipate it in the quarters where it may be urged, I shall prove that the benefits of cheap photography,