In spite of the misfortunes which it brought about, the Senate House is one of those buildings which gave Cambridge its greatest dignity. One may hesitate to compare it with the Radcliffe Library at Oxford, which was finished about twenty-five years later, but it is largely due to the same architect and is certainly an addition to his credit. Gibbs had, however, only a small share in the work, for Burrough is its real designer. It is an oblong building, with entrances on the east and on the middle of the south sides. It has a double range of windows throughout, save on the west side, where they are blank. Those in the upper storey are round-headed, those in the lower are square-headed and are surmounted by plain architraves, alternately round and pointed. The whole building is surrounded by an order of composite pilasters, cut square save near the doors, where they are round and fluted. Above the cornice is a balustrade, broken judiciously by the pediments of the entrances, which give the building its distinctive feature. The whole is one of the best specimens of early Georgian architecture in England, and the interior is perfectly consonant with the simple grandeur of the outside. The oak galleries suit the building admirably. At the east end, near the door, are the statues of the Duke of Somerset, Chancellor at the Revolution, and of William Pitt: the first by Rysbrack, the second by Nollekens. After the Senate House, geographically and in point of time, comes the Pitt Press in Trumpington Street, a very glorious achievement of the early Gothic revivalists. Mr Bowes’ list, published a year or two ago, is the monumental record of Cambridge printing, but, when the Pitt Press was founded, the traditions of John Siborch, who had set up a press in the University about 1521, had been almost forgotten. Even since then, the Pitt Press, although the parent of Professor Jebb’s edition of Sophocles and other masterpieces of erudition, has scarcely proved itself the rival of the Clarendon. Its origin is curious. After the Great Commoner’s death, a subscription fund was started to commemorate him, the immediate results of which were the statues in Westminster Abbey and Hanover Square. The rest of the money was employed in building the Pitt Press. In the chronological order of works of the date, it stands just after Wilkins’ screen at King’s, and just before Rickman’s court at St John’s. Its architect was Edward Blore, and it was finished in 1833. It is not uglier than most buildings of the period, and the gateway tower looks well at a sufficient distance. This tower, by the way, has often given rise to the impression that it is an ecclesiastical building of some kind, and it is known generally as the “freshman’s church.” The hoax used at one time to be practised on unsuspecting young gentlemen during their early days of residence, but the epithet is now too well known to be misleading.