Studio: international art (78.1919)

STUDIO-TALK

“THE BLACK LION OF FLANDERS ”
(YELLOW GROUND)

THE GOLDEN CROWNS OF SWEDEN
(YELLOW ON BLUE GROUND)

perhaps that does not count for a great deal
in these democratic days. Thus in Miss
Hall's patchwork quilt showing the arms of
the allied families of Beauchamp the his-
tory of that ancient house is, as it were,
epitomized in the numerous u differences "
displayed in conjunction with the golden
fesse common to them all. And her por-
tiere has a border which is a veritable
museum of heraldic devices, the thirty-four
badges represented being those worn by the
retainers of several of the kings and many
of the nobles of ancient England. One
notes among them the white greyhound of
34

THE ARMS OF PORTUGAL

(BLUE AND YELLOW ON WHITE AND RED GROUND)

“THE LIONS OF ENGLAND”
(YELLOW AND BLUE ON RED GROUND)

“NATIONAL” HANDKERCHIEF WALLETS
WORKED IN SILK BY HELENA HALL

Richmond (Henry VII) ; the three white
feathers as worn by Henry Vllth's son,
Arthur Tudor; the u sunburst" of Edward
III; the white hart of Richard II; the
u Red Dragon dreadful " of Cadwalader ;
the blue fleur-de-lys of Edward III; the red
and white “ rose-en-soleil " of Edward IV.

The two pictures by the late John
Hancock here reproduced represent two
phases of his work—the decorative (A
Japanese Fantasy) and the symbolic {Grass),
They are among a few of his pictures that
remain in the possession of his family, the
rest having passed into other hands, and