More mature experience removed something of the mystery, but the charm never entirely vanished. It came, however, to be exercised in different ways. Perhaps it was necessary during vacations to supplement college reading by the use of the historical society's library, then installed in the delightful quarters that had been the first home of the Watkinson collection. In many ways it seems a pity that this old library, with its oak bookshelves, arranged in alcoves, its galleries and delightful little staircases, has been abandoned for modern, but less atmospheric quarters. It was a charming room and the only place of its kind in the state, except the old library at Yale, the proposed alteration of which recently created such a storm of opposition. It was discovered, however, that the newer and larger Watkinson Library also offered a quiet refuge when one wanted to study or read without interruption. Here, too, were and still are alcoves, galleries and staircases, but loftier, more imposing and triumphant than in the intimate and friendly and older library. The main room of the Watkinson is, however, an alluring spot where one may escape from the financial implications of the immediate environment into a world with which money and business have little to do. Increasing years brought an interest in the old portraits. Our childhood acquaintance with the pictorial features of the Atheneum was chiefly confined to Trumbull's paintings of the Revolutionary battles. These seemed to us at the time perfect representations of what really happened at Bunker Hill, Princeton and Quebec. But the inevitable development of a more catholic artistic sense led us to dwell with a growing interest on the work of some of the great masters displayed in the art gallery. With these the portraits of state and local worthies in the historical society's rooms could not compete very successfully from the standpoint of workmanship, but these local portraits acquired a new importance as the story of the state and the old town took its place in our enlarging appreciation of relative values. At least we could gather from them some idea of what the people looked like who had walked the streets where we had played as children and who had taken their parts in the building of the city, the state and the nation. We heard the story of Elizabeth Whitman and the portraits of her father and mother became something more than merely faded old pictures. Oliver Ellsworth was no longer only a name--there he was, sitting at a table with his wife, his familiar house visible in the distance. And when curiosity grew as to Daniel Wadsworth, the founder of the Atheneum, we were able to satisfy this in some degree by hunting up the two portraits of him--one as a boy, leaning on his father's shoulder, the other Ingham's painting of him in middle life. [Illustration: THE WATKINSON LIBRARY] ii