as a portrait of Sir Rice Mansel (1487-1559)-quite erroneously as he has now discovered! The earliest and possibly most interesting portrait of all, if the identification could be accepted, is one at Llanfair Court, said to be of that stern and ascetic poet-Puritan of the Middle Ages, Sion Cent (c.1367-1430). In the main, of course, it is the landed families of Wales who are here represented. Houses like Gwernyfed and Penpont, Nanteos and Gogerddan, Dynevor and Derwydd, Edwinsford and Golden Grove, Fonmon and Penrice, Picton and Stackpole, have maintained over centuries the rule of a landed aristocracy in the Welsh countryside. Interestingly enough, however, their ranks have been swollen since the eighteenth century by families of industrialists turned gentry who are well represented in this survey: the Baileys at Crickhowell, the Crawshays at Llanfair Court, the Dillwyns at Llysdinam, the Vivians at Clyne, and the Watts (descendants of the great James Watt) at Doldowlod, to mention only some. More illustrious figures than the local notabilities have found their way into these Welsh picture galleries. The traditional adherence of the Welsh to the royalist cause is amply confirmed by the prominence of Stuart portraits among those of royalty. Strafford, too, appears no fewer than four times. More unexpected are portraits of European rulers like those of Maria Theresa, Frederick the Great, and Maria Carolina. Leading political figures are not infrequent. Walpole appears three times- a tribute, possibly, to his skill as a political manager of gentry? Illustrious commanders by sea and land are not wanting: among them Anson and Wellington, Sir John Moore, and Admiral Forbes, together with Wales's own General Picton and Sir Thomas Button. An occasional bishop or divine strays in, among them Archbishop Laud and Cardinal Consalvi, whose portrait commemorates the close connection with Roman society which one generation of the Harford family enjoyed between 1815 and 1830. Occasionally there are some very odd companions, as when the actor David Garrick appears almost cheek by jowl with David Rees, the Llanelly minister-journalist. Undoubtedly the most interesting single collection is that in Sir Hugo Boothby's possession at Fonmon in Glamorgan. Not only has it a large number of family portraits of the Jones and Boothby families from the Tudor period onwards. It also shows, with splendid broadmindedness, Oliver Cromwell and Henry Ireton, from whom Philip Jones, founder of the Jones of Fonmon, benefited so much, along with Charles II and James II, under whom Colonel Philip managed to retain his position; and it throws in a portrait of the Old Pretender and the Hanoverian Duke of York for good measure as well. In addition, a surprisingly large proportion of all the works of the front rank, artistically speaking, are to be found in this one collection. The Museum and its Keepers of Art have done us a great service in compiling this survey. May it inspire someone who is qualified to do so