Catalogue of Casts
Parts I, II and III, Ancient Sculpture (Classic Reprint)

Excerpt from Catalogue of Casts: Parts I, II and III, Ancient Sculpture<br><br>The Museum of Fine Arts was incorporated by an act of the Massachusetts Legislature in February, 1870. Its cradle was the Boston Athenaeum, the trustees of which generously gave it a portion of their valuable space during the first six years of its existence. On July 3, 1876, the first section of the present building was opened, and the life of the Museum as an independent institution begun. Its collection of casts at that time consisted of twenty-five loaned by the Athenaeum, a larger number purchased with the proceeds of a sale of pictures bequeathed by Charles Sumner, and a few gifts. The first catalogue contained 117 numbers from Greek and Roman subjects, and the amount of floor-space devoted to casts of all epochs was 3,448 square feet, divided among four rooms. Three years later the liberality of the friends of the Museum enabled the Trustees to complete a second instalment of the building, thus finishing the faade on Copley Square. By this enlargement the classical department was nearly doubled, the floor-space given to casts and originals in that department amounting to about 6,500 square feet. The collection of casts was increased in proportion, and additions were subsequently made to it from time to time until the rooms became too crowded to admit more objects.<br><br>About the Publisher<br><br>Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com<br><br>This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.