859produced by trauma are inhibited as well as those originating from chemical stimuli( 2 2 ) . There is much evidence emphasizing that the substances released by the antigen-antibody reaction elicit the responses of the effector organs. tissues and cells. The influence of cortisone upon the release, transfer, distribution or action of these mediator substances will be of primary importance for future investigations designed to ascertain the mechanism of the antiphlogistic action of this hormone.Suw.2-1l.tzury. By investigation of experimentally induced allergic and traumatic inflammation in (a) adrenalectomized and (b) adrenalectomized and cortisone-treated animals, the role of the adrenals and of exogenous cortical hormone in the regulation of the cellular changes of the inflammatory process was evaluated. Adrenal cortical secretions and exogenous cortisone were demonstrated to inhibit allergic inflammation through an antiphlogistic action sui geizeris, rather than by interfering with the antigen-antibody union. I t is suggested that this antiphlogistic action of cortisone accounts for the capacity of this hormone to miinimize the consequences of a wide variety of unrelated inflammation producing stimuli.

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This article looks at the history of methods of display at the National Gallery, London, since the appointment of Kenneth Clark in 1934 and traces the changing philosophies and attitudes to the collection through an examination of the surviving documentation. In describing the different approaches to the display, it is possible to deduce an archaeology of changing ideas as to how works of art should be viewed: either in isolation from their surroundings, as was the orthodoxy during the 1960s or surrounded by richly opulent, neo‐Victorian interiors, the orthodoxy of the 1980s, or with supplementary information on the contents of individual galleries, as introduced in 2004.

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