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to cover the walls of the Conference Room. This would make it possible to continue to hang, as at present, attractive smaller miscellaneous groups of drawings in other parts of the Library.

2. That there should gradually be formed as complete as possible a record, in microfilms or small photographs, of the most important hand-painted florilegia and collections of original flower paintings scattered in various museums and libraries throughout the world. This is something that has never been attempted for botanical drawings and would, in my opinion, add great prestige to the Hunt Library and be of enormous value to the student of botanical art.

It is hardly necessary for me to mention the kind of work that I have in mind, but the following are one or two obvious examples: the hundred or more volumes of velins at the Museum of the Jardin des Plantes, Paris; the Walther florilegium at the Victoria and Albert Museum, London; the volume of Rabel drawings in the Bibliothèque Nationale, Paris; the collection of Ehret drawings at Kew and in the Victoria and Albert Museums; the Rinio herbal, Venice, etc. etc. etc.

Arrangement and cataloguing of the collection of prints and drawings

In my opinion there is much to be said in favour of keeping original drawings and engraved work (at all events, engraved plates from printed books) separate. Anyone visiting the Library to study, say, Redouté, will be able to consult Les Roses, Choix des plus belles fleurs, etc. etc., for the engraved work; he will not want,