Whilst the greatest effort has been made to ensure the quality of this text, due to the historical nature of this content, in some rare cases there may be minor issues with legibility. The locality selected for an exhibition of art, if convenient and. Suitable for the purpose, Rinay not be considered. But a collection of Old Wedgwood will at least harmonise with the city's renowned architecture, - a city endowed by Nature with every charm of hill, dale, and prospect, enriched by man with all the resources of art. No City in Europe, not even imperial Rome, can Show its visitors the beauty and power of classic architecture as it is viewed in the modern capital of Scotland. Munich has classic buildings copied from original Athenian temples, but the effect of classic Edinburgh is somehow want ing. The solitary ruined temple in the Sicilian desert, romantic as it is, may not impress the beholder as does the harmony of a living city where classic art is visible in every leading, thorough fare. A city not only remarkable for its grand perspectives, but also for its traditions, its historical connection with the history of the country, 'and the celebrated men of every pro fession and calling who claim It as their city by birth or residence. The Old Wedgwood now exhibited is mainly selected from celebrated and well-known collections, some pieces being unique of their kind either for colour, quality, or rarity. The object inview has been to illustrate the evolution of Josiah Wedgwood's artistic work as distinguished from his better-known useful 'ware.' This had not hitherto been attempted upon any systematic plan - only possible, as in this instance, when an enthusiastic collector encourages and commends. The owner was anxious that all the collection Should be gathered together for comparison. A public exhibition was suggested, - the authorities of the Edinburgh Museum of Science and Art kindly granting the necessary space, material, and assistance.

The locality selected for an exhibition of art, if convenient and. Suitable for the purpose, Rinay not be considered. But a collection of Old Wedgwood will at least harmonise with the city's renowned architecture, — a city endowed by Nature with every charm of hill, dale, and prospect, enriched by man with all the resources of art. No City in Europe, not even imperial Rome, can Show its visitors the beauty and power of classic architecture as it is viewed in the modern capital of Scotland. Munich has classic buildings copied from original Athenian temples, but the effect of classic Edinburgh is somehow want ing. The solitary ruined temple in the Sicilian desert, romantic as it is, may not impress the beholder as does the harmony of a living city where classic art is visible in every leading, thorough fare. A city not only remarkable for its grand perspectives, but also for its traditions, its historical connection with the history of the country, 'and the celebrated men of every pro fession and calling who claim It as their city by birth or residence. The Old Wedgwood now exhibited is mainly selected from celebrated and well-known collections, some pieces being unique of their kind either for colour, quality, or rarity. The object inview has been to illustrate the evolution of Josiah Wedgwood's artistic work as distinguished from his better-known useful 'ware.' This had not hitherto been attempted upon any systematic plan — only possible, as in this instance, when an enthusiastic collector encourages and commends. The owner was anxious that all the collection Should be gathered together for comparison. A public exhibition was suggested, — the authorities of the Edinburgh Museum of Science and Art kindly granting the necessary space, material, and assistance.