GUIDE TO THE QUARTERLY [ 89 ] Assembly to swear allegiance to the House of Hanover and to renounce the House of Stuart. The "Oath of Abjuration" is printed here, along with the names of those w^Stook it in New York City. Williams, Caroline Ransom, "The New Installation of Figures of Egyptian Gods" pp. 41-51. Description of pieces in the Abbott Collection. The author makes the point that such pieces come comparatively late in Egyptian history (after the humanization of the gods) and categorizes * this group as votive statuettes, amulets, and receptacles for mummies and papyri. Continued, with brief notes on iconography, in the following number. "Earliest Mention of Portrait Painting in the Colony of New York" p. 62. Reference on June 12,1663, to Hendrick Coutrie's painting of Governor Peter Stuyvesant. Volume 3, Number 3—October 1919 Bolton, Reginald Pelham, "The 'Old Fort' and Camp-Site at Richmond, Staten Island" pp. 82-88. Archaeological evidence concerning British regiments that camped on Staten Island during the Revolution. "Articles of Convention: Burgoyne's Surrender to Gates" pp. 89-93. The text of the document signed at Saratoga in 1777 with a brief introduction. Volume 3, Number 4—January 1920 "The Liberty Pole on the Commons" pp. 109-27. The first Liberty Pole, erected June 4, 1766, in celebration of the repeal of the Stamp Act, was cut down by British soldiers. Four more were erected by patriots, only to be destroyed by soldiers or loyalists. The last was removed by order of Governor William Tryon in October of 1776. This article shows how the Liberty Pole became a focus of contending factions during a critical decade of American history. Volume 4, Number 1—April 1920 Williams, Caroline Ransom, "The Place of The New York Historical Society in the Growth of American Interest in Egyptology" pp. 3-20. The Society's interest in Egyptian antiquities, stimulated by George R. Glid- don's lecture in 1847, culminated in the acquisition of Henry Abbott's collection in i860. The Abbott Collection was, for years, considered the best in the United States. It was transferred to the Brooklyn Museum in 1937.