The reference to E.K. Waterhouse in the Comments section has reminded me that I have been meaning to find out more about his time at the Barber Institute. He was a Marlburian, a contemporary of John Betjeman and a year above Anthony Blunt. I don’t think there was much love lost between them. When I was at school, I was asked to look up a poem by John Betjeman in the school magazine which was said to have the acrostic EKWATERHOUSEISASHIT, but it didn’t exist (at least the additional ISASHIT was a false memory). After New College, Oxford, he went on a Harkness Fellowship to Princeton, where he studied El Greco, which was fairly pioneering for the time, and then returned to work, but rather briefly, for the National Gallery, which he apparently regarded as hopelessly amateurish (it was before the days of the Courtauld Institute). After the war, he was – all rather briefly – Editor of the Burlington Magazine, a Reader in Manchester and Director of the National Galleries of Scotland, before settling as Director of the Barber Institute in 1952. The quality of his acquisitions must have derived from an ample acquisitions fund, a detailed knowledge of the art market and independence of taste, partly derived from his time as Librarian of the British School of Rome in the 1930s, writing his book on Baroque Painting in Rome (1937). He also, which I didn’t know, worked on the British Art section for the Royal Academy’s big survey exhibition of seventeenth-century art, held in 1938, which led to his scholarly study of British painting.