It seems to me that in the case of the growing collection of pictures known as "The National Portrait Gallery," this treatment would not only avoid the necessity of constantly providing new galleries for new acquisitions--but would enable the Trustees to separate those portraits, which are of more general interest and suitable for permanent exhibition in a good position, from less important portraits, which nevertheless must be acquired and preserved as public records. From time to time special groups of the reserved or unexhibited portraits might be put for six months in one of the public rooms--thus providing a change and variety of interest for the general public. The same plan might be adopted with regard to the pictures in the National Gallery--though no doubt a large number of splendid pictures would be permanently placed in the exhibition rooms. Three things should be remembered in regard to the disposal of these pictures: Firstly, that not one in a hundred among them was intended by the painter to be hung in a gallery closely side by side with other pictures; secondly, that no picture should be exhibited in a public gallery unless it is worthy of the best lighting and surroundings; thirdly, that it is reasonable that the expert and the student should be asked to take some special trouble in order to see special pictures not on public exhibition, and that "the man in the street" who says that he likes to walk in and see all his pictures at any time and without any trouble, will value his collection more when he can only see some of it on special occasions. The heavy and sometimes fragile character of the "frames" affixed to large pictures has been made an objection to the proposal that they should be fixed to screens moved by electric gear. I cannot venture to discuss the subject of picture frames here. I am aware that it is a very serious and important subject, and that a great deal of the effect of a picture depends on its being bordered by a frame of sufficient size and dignity and one which is really and artistically fitted to allow the finer qualities of the picture to become apparent. How often is such a frame seen? Who is there who has an adequate understanding of picture-frames as adjuncts to, or necessary accompaniments of, great pictures? The splendid carved and gilded wooden frames of some great pictures have a value of their own as examples of design. But how many of them are really suited to the picture which they surround? How much attention has been given by art experts to the question of the best possible "exhibitional" surroundings--nearer and more distant--for this, that and the other, among the great pictures of Europe? CHAPTER XX THE SECRET OF A TERRIBLE DISEASE