Seite - 208 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

bilize and consolidate. The energy he expended in the collecting and display of busts and paint- ed portraits is a register of this approach as well as an expression of the college’s collective iden- tity as he conceived it. But Smith did not appar- ently act alone. A significant role was also ap- parently played by Trinity’s Vice-Master, Richard Walker. Like Smith, Walker was a supporter of Bentley and a long-standing member of the Col- lege, serving as Vice-Master between 1734 and his death in 1764. While Smith’s interests were in mathematics and optics, Walker’s were above all botanical and in this he followed on from Ray and Willoughby. Best known for his donation of the University’s Botanic Gardens in 1760, it may well have been Walker who championed the inclusion of the busts of Ray and Willoughby. Here, then, we see an ambitious scheme – one which we may assume was devised by Smith – being realised by him and Walker. It is not sur- prising that by the mid-1770s, the revised edition of Cantabrigia Depicta could state: These portraits of learned members are such and so many as no college can equal. Indeed had Locke happened to have had his education here, this group might have made head against any university on any subject of literature.20 How were these various images displayed and how meaningful were any of the groupings and juxtapositions? Although the busts placed at the end of each book press now line the sides of the Wren library, so repeating at floor level the series Fig. 12: The Hall, Trinity College, Cambridge, 1815, aquatint. From R. Ackermann, A History of the University of Cam- bridge. malcolm baker208 20 Cantabrigia Depicta, Cambridge 1763. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR