Cheng Chen-tuo has an important status in the development of the New Cultural Movement in China, and his cultural activities and contributions are many and various. Being a famous collector of books ferreting out rare and precious old books for the nation, he also made outstanding contributions in the fields of editions of books, art of block prints, evaluation of artifacts, historical archeology, classical literature and drama and music, as well as in modern literature. Moreover, he reserved no efforts in the restoration and publication of national cultural heritage. In 1919, when he wrote his "The Meaning of New Thought", Hu Shih listed 'restoration of national heritage' as one of the four programs of the New Cultural Movement, to which his colleagues at National Peking University responded with enthusiasm, and the 'restoration of national heritage' soon become a new academic slogan. Within just a few years, this had assumed a new form of academic cultural 'movement' enveloping the whole nation. In response to Hu Shih, Cheng Chen-tuo also held that in the high tides of the new literary movement, there should be an action to restore national heritage, and a reevaluation or rediscovery of the value of Chinese literature. After the War of Resistance against Japan, he put this view into practice. and gradually shifted his cultural devotion to such aspects as editing history of literature, restoring national heritage, looking for and buying old books as well as academic writing. With respect to restoring national heritage and literary research, Cheng Chentuo adopted a two-pronged attitude that "there should be no dislike of the present nor a fondness of the old" and "the middle age is to be devoted to written materials". He firstly snapped up for the nation a precious cultural heritage entitled Classical and Contemporary Miscella/leous Dramatic Scores as copied and edited by the Mai-wang House, and then in the most difficult years of the War of Resistance, together with other members. of the Documents Preservation Federation, he succeeded in purchasing for the nation large number of precious classical books, which now form part of the precious collection of old and well-preserved classical books at the National Central Library. Besides, on the basis of his rich editing experience gained at the Commercial Press, his strong sense of cultural mission, and his diligent working spirit, he was able to execute a large number of undertakings---and many of which were almost single-handedly by himself alone---for editing and publishing old books. These include Compendium of Letter Formats of Peking, Compendium of Letter Formats of the Ten Bamboos Studio, Pictorial Record of China's Block Printing History, TheYun-hui Studio's Collection of Famous Pictures since the Tang and Sung Dynasties, Collection of Old Chinese Pictures kept in Foreign Counties, First Collection of Miscellaneous Dramatic Scores by Ch'ing People, Second Collection of Miscellaneous Dramas by Ch'ing People, First Collection of Romance as compiled and printed by the Chengs of Chang-le, The Deciphering Reading Hall's Series, the Collection of World Famous Works, Series. of Late-Ming Historical Materials, Pictorial Reference for Chinese History, Literary Selections from Late-Ch'ing, etc., all of these undertakings were not easy tasks. Those that most capable of illustrating his caliber as a collector of books lay in his editing and writing of introductions to, and discussions of collections, books and bibliographies, as found in Si-ti's Bibliography of Well-preserved Texts of Dramatic Scores, Siti's Bibliography of Exant Verses, Account of Acquiring Books under Threats of Disasters, Dairy on Looking for Books, Si-ti's Bibilography, Si-ti's Talks about Books, etc., all these are concerned with findings about looking for and purchasing as well as reading of books. He once used the pen name 'the owner of the Zen-chiu Mount' in his preface to Series of Late-Ming Historical Materials, in which he put forward the view that "as long as history does not perish, a nation will after all not vanish" At the publication of Pictorial Reference for Chinese History, Kuo Mojo praised it with the following words: "This is a task that the nation should do, but Mr. Cheng himself is determined to have it carried out alone. Every Chinese having any capacity should help do this undertaking:' From this it may be glimpsed Cheng Chen-tuo's utmost diligence in, and distinguished contribution to restoring national heritage and publishing old books.