Those who live among beautiful surroundings and in constant touch with works of art are often apt to take their privileges for granted. Members of Trinity are proud of the buildings of the College and the grounds in which they are placed, and most of us know something of their history and characteristic features. But with our art treasures there is less general acquaintance, and so perhaps it may not be out of place to jot down a few notes on some of them--chiefly pictures and plate--in which I take pleasure. Of the contents of the library I say nothing, for a volume would be needed to describe them even briefly. The illuminated manuscripts and the early printed books attract most attention, but there are numerous other subjects in which the library must be ranked among the most important in Great Britain. I have often been told by undergraduates that they have never been in the building except once when they signed the Admission Book. That is true enough of some men, but those who are interested in rare and famous books and yet never visit the Library neglect exceptional opportunities. Of oil portraits--in all nearly two hundred--of former members of the College, we own a valuable collection, and they illustrate in a remarkable way how many distinguished men have been educated here. Identification is easy as labels are placed on most of the pictures. Unfortunately we have no gallery in which they can be shown. Some are put in the hall, some in the master's lodge, some in the combination room, and some in the library, lecture-rooms, etc. Those in the lodge are set off well, but the others are not hung to advantage. About twenty-five years ago a proposal was made to raise subscriptions for an art gallery to be built along the edge of the river starting from the present north end of the library and extending over the land now occupied by the master's stables and the end of his garden. At that time the proposal did not receive much favour, but now I sometimes wonder if we were wise in putting the plan on one side. Certainly we have more canvasses than we can exhibit satisfactorily. The hall, too, would look a more dignified apartment if the pictures, except for one or two on the dais, were taken away: recently their temporary removal was necessitated by repairs to the woodwork, and the improvement in the appearance of the room was noticeable. The general effect of such a clearance may be judged by a visit to the hall of the Middle Temple in London. The dimensions of the body of that hall are the same as ours, but instead of pictures on the side walls, each small oak panel bears an armorial shield: these harmonise well with the architectural lines of the building. Where, as is the case with our neighbours at St John's, the panelling is low and there is above it a big stretch of stone or painted wall, pictures add to the effect, but this is not the case where the panelling is high.