All those who were too lazy to get up here in time for the momentous Tercentenary celebrations, had better go see the official recording of them at the Institute of Geographical Exploration, today or tomorrow at 4:30 or 8:30 o'clock. Even those who were here for the assorted events will find an added pleasure in looking at the pictures. For inside the Institute the rain and the cold are an illusion, and more intimate, revealing views of the sundry dignitaries are to be had, than were ever available to the pushed-around undergraduates.

In the short space of an hour and a quarter there is, of course, no attempt made to catch the continuity or the integrity of the speeches. But every major address is represented by an excerpt and the scraps are in general judiciously chosen. The flavor of each man's remarks is fairly well indicated. The diverting little skirmish between the President of the University and the Governor of the Commonwealth, though not reproduced with all its spice, is indeed there. Mr. Curley is not shown thrusting out his pugnacious jaw, but Mr. Conant is happily depicted connecting with it.

The record is complete, in its sketchy way, except for the final afternoon. At that time the gallant braving of the rain was abandoned, and the camera men did not follow the lucky few who were admitted into Memorial Hall. It is unfortunate that there is no commemoration of the disarming jocularity of that other President, Mr. Roosevelt, or of what was the highlight of the occasion for many Harvard men in spite of themselves, the delicate hilarity and profound good sense of President Angell.

The recording of President Eliot's speech in praise of Dr. Asa Grey is one of those things like a woman's being clever or a dog's standing on its hind legs: it isn't done well, but you're surprised and gratified to see it done at all. And then the glimpses of Harvard scenery, in the Tercentenary film itself and also in a short tribute by Pathe, are a revelation and a delight. Some of the vistas are so artistic that you won't be able to recognize them, and they all go to show what a frame will do for a scene that was never thought worth noticing before.