Studio: international art (80.1920)

in recent years to enshrine the nude statue
of Shelley. 00000

Queen's College,wholly rebuilt since Log-
gan's time, is shown from a totally different
aspect, the principal buildings of the exist-
ing college facing south instead of east. 0

In respect of the view of Oriel College,
the " Oriel Record" for March 1920
remarks : " We regret that Mr. New has
been beguiled into giving currency to a
historical error in ascribing the foundation
of the college to Adam de Brome." The
college regards Edward II as founder ; a
claim to which the facts that the sovereign
for the time being is Visitor, and that the
college arms are the royal arms, the three
leopards, only differenced within a bordure,
certainly give warrant. Mr. New's view,
taken from the steeple of St. Mary's
Church, necessarily gives great prominence
to the Cecil Rhodes frontage upon High
Street as the northern extremity of the
college. 00000

Mr. New's prospect of Christ Church is
taken, like Loggan's in 1673, from the
west, but shows, of course, the later addi-
tions, viz. Wren's superstructure with its
cupolas over the main gateway, the modern
Meadow buildings, built under John Rus-
kin's Venetian-Gothic influence, and Bod-
ley's handsome tower over the hall stair-
case. 0 0 0 0 0 0

Lastly, Mr. New has produced a splendid
panorama of the City and Port of Lond©n,
so large that it has to be printed on two
sheets, the range of view stretching from
the Temple on the west, or left, to the
Tower Bridge on the east. Having the top
of the tower of St. Mary Overie, now called
St. Saviour's, Southwark, in the fore-
ground, the drawing includes five, or parts
of five, bridges. In this connexion it is
interesting to recall that, until the eigh-
teenth century, London Bridge was the
only bridge to span the Thames below
Kingston, a fact which immensely enhanced
the importance of London Bridge itself.
The latter—old London Bridge, that is—
figures conspicuously in the views respec-
tively by Wijngaerde (c. 1550), Visscher
(1616), and Wenceslas Hollar (1647), with
which the present view deserves to be
compared, as also indeed it is well worthy
to be accorded a place. 000
Aymer Vallance

STUDIO-TALK.
(From our own Correspondents.)

LONDON.—We reproduce on this page
an attractive example of illuminated
lettering by Mr. Ernest F. Beckett, an ac-
complished practitioner in this branch of
art. 000000
The recent exhibition of British Art,
1830-1850, at the Whitechapel Art Gallery,
was unfortunately marred by the sudden
illness and death of Mr. C. Campbell Ross,
who had been associated with this institu-
tion almost from its beginning nineteen
years ago, and since the death of Mr. H.
E. Teed on the field of battle in 1917 had
been in sole charge of it. Mr. Ross was
over seventy years of age and his sudden
demise appears to have been in some

ILLUMINATED TEXT; BY
ERNEST F* BECKETT
67