Birkbeck Continuing Education History of Art Society

ULEMHAS REVIEW

2008 2 ULEMHAS Review

EDITORIAL CONTENTS n reading Caroline Brooke's excellent article on Renaissance drawings, I was struck by the way Renaissance Faces Odrawing has been neglected as a discipline in - Elena Greer 3 recent times in our colleges of art. It is apparently no longer considered absolutely fundamental to the training of an The Embellishment of the Crystal Palace artist as it used to be, even up to and including the two - Mike Davies 6 world wars, when war artists were used to record events ULEMHAS Noticeboard 8 around them (as in the Tonks article). It would take another whole article to discuss why this situation has arisen, not A Little-known Drawing from the wholly explained by the advent of audio-visual materials Workshop of Vittore Carpaccio and computer graphics. - Caroline Brooke 9 Drawing has always played a subservient role to her two big, but not ugly, sisters, Painting and Sculpture, often Henry Tonks: Artist and Surgeon being regarded as a mere preliminary study or exercise - Mike Smith 11 before the artist creates a fully finished work, when a quick sketch often has an immediacy and freshness lost in a more Paint and its use laboured work. Yet there has been no lack of interest in in the Restoration of Buildings drawing, judging by attendances at several recent exhibitions, notably the Leonardo da Vinci one at the V&A - Catherine Hassall 13 with its working models (packed throughout its run), the small but exciting display of Guercino drawings at the Book Reviews 15 Courtauld Institute, and the vast collection of Windsor Castle drawings shown at the Queen's Gallery. ULEMHAS Programme 2008/09 16 During the Renaissance artists and patrons argued over This edition contains a loose-leaf list of forthcoming the relative merits of painting and sculpture in what is exhibitions, compiled by Liz Newlands. known as the paragone. The painters thought their art was superior because it did not involve dirt, noise and sweat, as sculpture did, and the sculptors thought that their extra ULEMHAS website: www.ulemhas.org.uk dimension gave them the advantage. Drawing did not even come into the equation, although both painters and sculptors used it. The argument was never resolved, indeed it never could be resolved, since each art form has its own, entirely separate merits. Now, of course, the distinction between all three arts has become blurred, since 'installation' art often incorporates mixed elements of The ULEMHAS Review editorial panel drawing, painting and sculpture. Ann Halliday (Co-ordinating Editor), Claire Andrews, Erna We thank all our contributors for their generous Karton, Elizabeth Lowry-Corry, Bill Measure, Liz Newlands, contributions, which are sure to be of interest to ULEMHAS Robin Rhind, Susan Richards, Anne Scott. members. Ann Halliday ULEMHAS Committee MEMBERS' FORUM Bill Measure (Chair), John Dunlop (Hon. Treasurer), Robin We welcome comments and suggestions from ULEMHAS Rhind (Hon. Secretary), Lois Gamier (Membership Secretary), members on any aspect of the society's activities. Your Malcolm Armstrong (Bookings Administrator), Rosemary letters will be printed in our autumn supplement if space Clarke, Robert Gwynne, Jacqueline Leigh, Elizabeth Lowry- allows. Please send them to Bill Measure, 90 Richmond Corry, Anne Scott, Daphne Taylor, John McNeill (Lecturer Road, Leytonstone, London E11 4BU or email him at [email protected] by 30th September 2008. Member), Dr Andrew Gray (Webmaster).

ULEMHAS Review: No reproduction or transmission without prior consent. Views expressed are not necessarily those of the editors. We cannot accept Enquiries about membership should be addressed to: liability for loss or damage of material which is submitted at owner's risk. Lois Garnier, 9 Fernside Court, Holders Hill Road, London, NW4 1JT (Tel: 020 8346 8254). Other correspondence to Bill FRONT COVER: Lorenzo Lotto (about 1480-1556/7): Measure, 90 Richmond Road, Leytonstone, London E11 4BU Messr Marsilio and his Wife, 1513 (Tel: 020 8558 5491) or Robin Rhind, 33 The Crescent, London © Museo Nacional del Prado, Madrid (P 240) SW19 8AW ULEMHAS Review 3

RENAISSANCE FACES: VAN EYCK TO TITIAN

by Elena Greer

National Gallery, London: Sainsbury Wing - 15th October 2008 - 18th January 2009

Curator: Susan Foister

Catalogue by Lorne Campbell, Miguel Falomir, Jennifer Fletcher and Luke Syson

Fig. 1: Piero di Cosimo: Giuliano and Francesco Giamberti da Sangallo, architect and musician, about 1485. © Rijksmuseum, Amsterdam (SK-C-1368 with SK-C-1367)

his Autumn a number of famous Renaissance names across Europe and America. The exhibition will provide a and faces will be brought together at the National unique opportunity to examine the relationship between a TGallery for a major exhibition of Renaissance variety of media used to create portrait likenesses, and will Portraiture. Renaissance Faces: van Eyck to Titian will trace include medals, sculpture, drawings and manuscripts, the development of portrait painting from the early 15th alongside approximately 70 paintings. The show will be century through to the late 16th century. Organized in accompanied by a substantial, fully-illustrated catalogue collaboration with the Museo del Prado, Madrid, the featuring essays by experts on the subject including Lome exhibition will combine the strengths of both collections to Campbell, the author of Renaissance Portraits (1990), explore a geographical and chronological breadth never which remains the standard reference book on the subject. before treated in an exhibition of this type. As the title The exhibition and its accompanying catalogue will suggests, the exhibition will feature portraits made in explore fundamental questions of likeness, memory and both Northern and Southern Europe, examining the artistic identity, as well as examining portraits commissioned in exchange between the two regions and the subsequent connection with courtship, friendship, family and marriage. impact on the development of portraiture. The evolution of the state portrait will be a highlight of the The show will feature all the great names of the Italian exhibition, and will focus on issues of power and the and Northern Renaissance from Bellini to Dürer, van Eyck to presentation of dynastic ambition. In addition to the display Titian, including some outstanding loans from the Prado as and exploration of this wide variety of portrait types, the well as major loans from public and private collections exhibition will also examine the artistic processes involved 4 ULEMHAS Review

of Emperors on ancient coins, with their associations of power, on Renaissance patrons and artists who took up the format. Likewise, the juxtaposition of sculpted busts, including the highly individualized sculpture of NiccolòStrozz i by Mino da Fiesole on loan from the Bode Museum, Berlin, and painted portraits, will demonstrate the impact of antique sculpted busts on Renaissance sculptors and painters. Simultaneously, the room will introduce another key theme of the exhibition, namely the artistic exchange between artists from Northern and Southern Europe. Exceptional works by artists like Memling and Dürer will hang alongside works by Bellini and Antonello da Messina to illustrate the technical and compositional impact of these artists on their Southern European counterparts. While the first room is devoted to issues of likeness and commemoration, the second room will examine exactly how, and with what motives, sitters were represented, whether with a coat of arms, an inscription, an attribute or sometimes even a disguise. Attributes were included in portraits to strengthen the identity of the sitter and the manner in which they wished to present themselves. For example, Martin van Heemskerck's compelling Portrait of a Lady with Spindle and Distaff (Museo Thyssen-Bornemisza, Madrid) reinforces the virtue of his subject by portraying her with these traditionally worthy domestic objects, which are mentioned in the Old Testament Proverb praising the virtuous wife. Picking up the theme of the revival of the antique, Fig. 2: Jacopo da Pontormo (1494-1557): Self Portrait, 1523-5 the room will also feature images of collectors of © The Trustees of The British Museum, London (1936, antiquities who were able to show off their 1010.10) purchases and their intellectual identities as learned humanists. The exhibition will provide a fascinating context for understanding Holbein's Ambassadors, in preparing a portrait commission. the centrepiece of the room. An alternative mode of The first room will examine the origins of portraiture representation was to portray the sitter in the guise of one's when it first began to flourish as an independent genre in favourite saint, or even as the Virgin Mary, and examples of the early 15th century and will introduce key themes that this rather curious blend of piety and portraiture will be will be revisited throughout the exhibition. One fundamental considered, including Savoldo's sumptuous portrait of a lady theme will be the commemorative function of portraiture in the guise of Saint Margaret who is identified through the both in terms of the recording of likeness and status, but also surprising attribute of a dragon (Pinacoteca Capitolina, Rome). the notion of the portrait as a means by which to The third room is devoted to the function and use of memorialize the subject after death. In this respect, the portraits within personal relationships as love tokens or gifts, portrait became more than just a painted likeness of an or in commemoration of a significant event in the life of a individual, but also a representation of the soul. The study of relationship. Portraits commissioned to commemorate antique artefacts such as portrait busts and ancient coins and friendships were extremely popular within humanist circles, classical texts, such as those by Pliny, renewed interest in the and the loan of Massys' Portrait of Peter Gillis from a private function and format of portraiture in antiquity for collection will represent one of the most famous of these Renaissance scholars. The aim of the opening room of the exchanges of portraits of friends: the portraits of the great exhibition is to illuminate the manner in which Renaissance humanists Peter Gillis and Erasmus which were painted as a patrons and artists interpreted this ancient tradition. gift (possibly in the form of a diptych) for their friend Fifteenth-century profile portraits such as the recently Thomas More. Italian counterparts of this type will include restored portrait of Leonello d'Este by Pisanello, on loan double portraits by Raphael and Pontormo. Romantic from the Accademia Carrara, Bergamo, will be displayed with relationships were also commemorated through portraiture Pisanello's medallic portrait of Leonello (British Museum, in the form of betrothal portraits, and this type will be London), in order to illustrate the influence of profile images represented by both Northern and Southern European - ULEMHAS Review 5

Nazionale delle Marche, Urbino), which publicly displays Federico's military might and learned nature while suggesting a tender relationship with his young heir. Ideal beauty is the subject of the fifth section of the exhibition. The room will include images of women and men portrayed to conform to typical conventions of beauty derived from poetry, particularly Petrarch's sonnets in praise of Simone Martini's lost, or imaginary, portrait of his beloved Laura. Inspired by this famous prototype of beauty in portraiture, Renaissance artists strove to rival poetry through their art. Patrons too, of course, were eager to be associated with such fashionable poetic ideals. As well as portraits of idealized individuals, the room will also include Palma Vecchio's La Bella from the Museo Thyssen-Bornemisza, a striking example of the artist's celebration of female beauty. Massys' Grotesque Old Woman from the National Gallery's own collection will be reunited in this room with its pendant the Portrait of an Old Man from a private collection, in order to present the antithesis of this type in the form of satirical portraits which mock vanity. The penultimate section of the exhibition will invite close inspection through the display of a variety of drawings and sketches, some alongside related paintings, which will examine artists' creative processes in the preparation of a portrait. Ranging from costume studies to intimate sketches Fig. 3: Domenico Ghirlandaio (1449-1494): to highly finished drawings, the works will offer an insight An Old Man and his Grandson, about 1490 into the working practices of artists such as Holbein, Dürer Musée du Louvre, Paris (RF 266) © RMN, Paris. and Domenico Ghirlandaio. The most personal of portrait Photo: Hervé Lewandowski types, the self-portrait, will feature in two self-portraits by Pontormo (Fig. 2) and Dürer who literally laid themselves bare to self-scrutiny. Once again the portrait's memorial function will be examined here through its origins in the examples including Lorenzo Lotto's symbolically rich image death mask in the display of posthumous drawings including of Messr Marsilio and his Wife from the Prado (front cover)) Ghirlandaio's extraordinary drawing of an old man in which the couple are yoked by Cupid. Another highlight (Nationalmuseum, Stockholm) which will be hung alongside of this room will be Hilliard's ambiguous but extraordinarily the painted double portrait of the Old Man and his refined and delicate miniature of A Young Man among Grandson (Musée du Louvre, Paris) (Fig. 3). Roses (Victoria and Albert Museum, London). The elegance The final section of the exhibition will be devoted to the of the youth's pose and the romantic setting suggest the subject of the court portrait and will feature paintings of key image is a love token while the unusual inscription adds an figures from both the Hapsburg and Tudor courts as well as intriguing layer of complexity to the portrait, illustrating the Papal portraiture. Elaborating the theme of the relationship personal nature of such miniatures. between Northern and Southern European artists, the Following on from this section, an intimate space at the section will include paintings by Titian, Raphael and Mor, heart of the exhibition will be devoted to the practice of and full-length and sculpted busts by Pompeo and Leone recording familial relationships through portraiture. Van Leoni and Jacques Jonghelinck. The confidence and grandeur Eyck's candid and personal portrayal of his wife, Margaret of these works reflect the demands of courtly patronage and van Eyck (Groeningemuseum, Bruges) will be displayed the skill of the artists, and as such epitomize the climax of alongside the National Gallery's Man in a Red Turban, often Renaissance portraiture in the mid-16th century. called a self-portrait. A generous loan from the Rijksmuseum, Renaissance Faces: van Eyck to Titian will offer the Amsterdam, of the father and son portraits of the architect visitor the opportunity to see an unprecedented number of Francesco Giamberti and his son, the musician Giuliano da masterpieces of Renaissance portraiture by the greatest Sangallo (Fig. 1) depicted with the tools of their trade, artists of the period. This extraordinary array of faces tells namely architects' instruments and sheet music, is a lively the story of the Renaissance, whether commissioned to and accomplished example of the type. The room will also reinforce dynastic power, display personal wealth, learning, feature intergenerational double portraits that were virtue or devotion, or to celebrate family, friendship or love. commissioned to affirm visually the power of a ruling dynasty, such as Justus of Ghent's grand double portrait of Elena Greer is Harry E. Weinrebe Curatorial Assistant at Federico da Montefeltro and his son Guidobaldo (Galleria the National Gallery, London 6 ULEMHAS Review

THE EMBELLISHMENT OF THE CRYSTAL PALACE: SCULPTURE AT THE 1851 GREAT EXHIBITION

by Mike Davies

Fig. 1: Transept of the Crystal Palace, from Tallis's 'History and Description of the Crystal Palace'

n the evening of Monday 12th May 1851, eleven days after the opening of the Great Exhibition, a Odinner was held at Willis's Rooms in St James's Street in London for sculptors who had contributed works to the Exhibition. The Times reported the following day that the event had been a jovial affair at which 'the proposing, the drinking, and the acknowledgment of toasts were carried forward with great spirit and energy'. The evening had been organized to allow British sculptors to 'welcome their brethren - the foreign sculptors, who have contributed so largely to the embellishment of the Crystal Palace'. The use of the word 'embellishment' suggested that sculptures, both British and foreign, had been displayed not only as works of art for their own sake, but also as adornments creating an ornamental or decorative effect inside the Crystal Palace. The organizers acknowledged as much when the Exhibition opened, conceding that 'the admission, however, of objects included under the definition "plastic art," has greatly tended to relieve the general aspect of the Exhibition; and their happy and judicious arrangement in the great structure forms one of its most interesting features'. The idea of introducing British sculpture to enhance the decorative effect of the Exhibition had not, however, been a conscious part of the organizers' original plans, only becoming a possibility shortly before the Fig. 2: Augustus Kiss: Amazon Attacked by a Lion, Exhibition was due to open. from Illustrated London News, 21st June 1851 ULEMHAS Review 7

There's Statues bright Of marble white, Of silver and of copper, And some of zinc, And some, I think That isn't over proper.

This was typical of the generally good-humoured reaction of visitors to the nakedness of many of the sculptures, but T.S.R. Boase has suggested that there was a darker side to what the Jury in one of its reports considered to be such 'pure sources of enjoyment'. Boase singled out three of the foreign sculptures, Kiss's Amazon (Fig. 2), Hiram Powers' Greek Slave (Fig. 3) and Monti's Veiled Vestal as being 'three of the most popular exhibits, all of them representing a damsel in serious distress, a subject in which Victorian chivalry and sadism, or some confusion of the two, took a remarkably uninhibited interest'. Christopher Hobhouse went further, pointing out that many of the damsels in distress were chained, including, for example, Monti's Veiled Slave (Fig. 4). He also drew attention to the catalogue entry for Powers' Greek Slave: 'The chains on her wrists are not historical, but have been added as necessary accessories'. Pevsner, in High Victorian Design, concluded that this 'concept appealed to the Victorian mind' and stirred up 'pleasurable if vicarious emotions', which in turn presumably contributed to the popularity of the sculptures. Beside the 'beauty and originality' of the sculptures, it was their techniques of production and relevance to manufacturing which differentiated them from paintings and justified their being included in the Great Exhibition. There was, of course, a well-established process involved in the production of sculpture. This began with the creation by the sculptor of a small-scale model in clay or wax, progressing to a full-size plaster model, and finally to the finished piece in Fig. 3: Hiram Powers: Greek Slave, from Tallis's marble or cast metal. During the last two stages the sculptor 'History and Description of the Crystal Palace' increasingly relied on the help of assistants. As Pevsner pointed out 'in the 19th century very little large stone work 'Fine Arts' at the Great Exhibition did not include was actually executed by the artist himself. He usually only paintings. It had been decided that 'the Exhibition having made a model, and assistants then transferred it by relations far more extensive with the industrial mechanical means to the large block of stone'. Carlo occupations and products of mankind than with the Fine Marochetti, whose monumental plaster model for an Arts, the limits ... have been defined with considerable equestrian statue of Richard Coeur de Lion was exhibited strictness', and Henry Cole, in his introduction to the outside the western end of the Crystal Palace, had a large Official Catalogue made it clear that oil paintings and team of assistants. Queen Victoria visited his studio in 1853, watercolour paintings, frescoes, drawings, and engravings reporting afterwards that he had nearly 20 workmen were not to be admitted. working for him. Marochetti was in effect running a small Sculpture would be included, but only within clearly manufacturing business, similar to those he saw in 1854 on a defined limits: 'in the department of SCULPTURE, MODELS, visit to Rome where 'art means only knowing who is best at and the PLASTIC ART, the rewards will have reference to the doing calves, backs etc., etc. In a word, it is no more than a beauty and originality of the specimens exhibited, to trade, and what a trade! Everything is for sale'. improvements in the processes of production, [and] to the The trade associated with sculpture had, by 1851, application of art to manufactures'. expanded substantially with the invention of the Cheverton It was to be expected that the main attraction of the Reducing machine, patented in 1844, which made it possible sculptures would be their 'beauty and originality', but many to reproduce sculptures at a reduced size. From these visitors were taken aback by the sight of so much nudity on reduced models, copies could then be mass-produced display. Thackeray's Mr Molony, for example, famously took usually in parian, an unglazed porcelain, like fine white the view that: marble, used extensively by Minton and Copeland. 8 ULEMHAS Review

Fig. 4: Raffaelle On 18 April 1851, less than two weeks before the opening Monti: Veiled Slave, of the Great Exhibition, the Morning Chronicle reported that from Cassel's there had been a dispute between the organizers and British 'Great Exhibition' sculptors who were setting up their exhibits in the sculpture room. Apparently, the organizers had planned 'to place the whole of the articles of sculpture, without regard to the nature of the subjects, upon counters of a uniform height; the artists, on the other hand, wished to place their productions upon pedestals adapted to the size and character of the subjects'. As a result 'the greater proportion of the articles have been withdrawn by the exhibitors' and 'have emerged from what the artists termed the "condemned cell" to the liberty of the transept and nave' where 'places have been obtained for them from Mr Owen Jones'. Owen Jones was in overall charge of the decorative effect of the Exhibition, and this last-minute move by British sculptors Benjamin Cheverton, who had invented the reducing gave him the unexpected opportunity to move many machine, as well as Minton and Copeland, all exhibited at the important pieces of sculpture from the relative obscurity of Great Exhibition and were awarded prizes. The Reports by one of the side courts to centre stage of the Exhibition, the Juries were enthusiastic about the potential for widening particularly to the Transept (Fig. 1) where they were placed the civilizing influence of art, reporting that 'by the novel prominently on display. Hence, the works of both the British and successful adaptation of cheap materials and of and the foreign sculptors contributed substantially to the economical processes to the multiplication of works of art embellishment of the Crystal Palace, and were praised in the ...[n]ew and pure sources of enjoyment, hitherto the Reports by the Juries for having 'lent to the scene its peculiar privilege of the few, are thus opened to all the members of grace and charm'. A sense of shared achievement between civilized society'. them must, in turn, have contributed greatly to what The organizers' aim from the outset had been that The Times described as the 'great spirit and energy' of sculptures should demonstrate 'beauty and originality' the celebrations at their dinner in Willis's Rooms in and 'improvements in the processes of production'. That early May 1851. sculptures might make a major contribution to the embellish• Mike Davies is a Doctoral Candidate at the School of ment of the Crystal Palace only became a possibility at a very History of Art, Film and Visual Media, Birkbeck College, late stage of preparations for the Exhibition. University of London ULEMHAS NOTICEBOARD

The 2008-2009 Birkbeck certificates and short course a change of server or their writing on their membership prospectus shows a great leap in the cost of courses application/renewal form was not legible enough for their (generally £300 for a 22-meeting course, £150 for an 11- details to be entered accurately. To those who wish to be meeting course). This is a reflection of the policy of the included in the scheme, the solution is in your hands. government in the funding of adult continuing and further Please tell fellow students and friends about our education. ULEMHAS members who are in contact with website at www.ulemhas.org.uk. The website has infor• Members of Parliament may care to remind them, gently mation about the ULEMHAS programme and a membership or otherwise, that adults who spend time and money on form that can be downloaded. adult education courses are also likely to exercise their The ULEMHAS website used to carry a link to the right to vote. Birkbeck History of Art Society but it has proved The ULEMHAS email address book continues to exist impossible to contact them lately. It is no secret that the to remind members who have email to be advised of HOAS were finding it difficult to find people to take office changes to the programme at short notice and of possible and run the Society - are there any ULEMHAS members items of interest. who can shed any light? If you wish to be added to the email list please send The officers and committee would be interested in your email address to me at [email protected]. suggestions for lectures, study day themes, study visits and Your details are never passed to third parties. Messages study tour venues. We do not guarantee to implement are sent by blind copy, which means that your e-mail every suggestion but we do promise to give each one address is not disclosed to other recipients. However, consideration. there are a number of messages that bounce back. This is usually because either the member has not advised me of Bill Measure, Chairman ULEMHAS Review 9

A LITTLE-KNOWN DRAWING FROM THE WORKSHOP OF VITTORE CARPACCIO, AND THE RETURN OF THE AMBASSADORS TO THE ENGLISH COURT'

by Caroline Brooke

istorically, Renaissance drawings have received less attention than paintings in art historical study, being Hrelegated to the specialist domain of the connoisseur primarily concerned with issues of attribution and quality of draughtsmanship. Over the course of recent years a shift in approach has become evident; art historians now increasingly turn their attention to drawings as important evidence of working practices in order to gain an understanding of the underlying creative processes governing works of art. Major museums and galleries have also taken a more 'all-inclusive' approach by including drawings in major exhibitions focusing on the work of individual artists. The results have been illuminating to say the least - Raphael: From Urbino to Rome at the National Gallery, London, in 2004 demonstrated the importance of drawing for Raphael in an unprecedented way. Similarly, Bellini, Giorgione, Titian and the Renaissance of Venetian Painting at the National Gallery, Washington and Kunsthistorisches Museum, Vienna in 2006/07, and Tintoretto at the Prado, 2007, revealed new and fascinating Fig. 1. Workshop of Vittore Carpaccio: Three Venetian insights regarding the graphic practices of Venetian artists Patricians, one of them reading a letter. Private which, until recent years, have been so poorly understood. Collection As exhibitions such as these have illustrated, the study of drawings is crucial in any attempt to understand the and ink over faint black chalk, with white heightening, on working practices of individual artists and how works of art blue paper, are common amongst the surviving drawings were actually made. As this article seeks to illustrate, even associated with the Venetian artist, Vittore Carpaccio drawings of apparently inferior quality produced by the (1460/66-1525/26) and his workshop. Such drawings are hands of workshop assistants reveal much about the for• classed as simile drawings - a term used to describe gotten practices of the Italian Renaissance artist's workshop. detailed studies of figure types that were retained in the Highly-finished figure studies executed in pen or brush workshop for reuse in paintings. This practice evolved out of the earlier use of model-books and provided an expedient means towards artistic production in late Quattrocento Venetian artists' workshops. An unpublished drawing titled Three Venetian Patricians, one of them reading a letter (Fig. 1) sold on behalf of the Woodner Collection by Christie's, New York in 1994, seems to be of a comparable type. The drawing shows a group of three male figures each dressed in the vesta (toga) and beretta (cap) worn by Venetian patricians and cittadini alike during the 1490s. The same figures can be seen in the mid-ground of The Return of the Fig. 2. Vittore Carpaccio: The Return of the Ambassadors to the English Court, Accademia, Venice Ambassadors to the English Court, oil on canvas, (Figs. 2 and 3). This is one of a series of canvases 297 x 526 cm. Accademia Gallery, Venice representing scenes from the life of St Ursula, painted by 10 ULEMHAS Review

direction of the gaze of the figure on the right has been altered in the drawing. In the painting he looks out towards the viewer, while in the drawing he engages with the figure seen on the left, perhaps in what might be seen as an attempt to gain a greater sense of cohesion amongst the figure group. The obvious difficulty encountered in articulating the left foot of the figure seen on the left in the drawing is most likely a consequence of the fact that the corresponding section of the figure in the painting is obscured by a figure in the foreground. The practice of copying is in keeping with the advice given by Cennino Cennini in The Craftsman's Handbook, 'Il Libro dell'Arte', written almost a century earlier, where he advises the young apprentice to, 'Take pains and pleasure in Fig. 3. The Return of the Ambassadors - detail constantly copying the best things which you can find done by the hand of great masters'. Cennini goes on to recommend that the apprentice refrain from copying the Carpaccio for the devotional lay-confraternity of St Ursula, works of too many artists because, 'If you undertake to copy the Scuola di Sant'Orsola in Venice, between 1490 and after one master today and after another one tomorrow, you 1500. will not acquire the style of either one or the other, and you The rather poor quality of the draftsmanship of the ex- will inevitably, through your enthusiasm, become capricious, Woodner drawing indicates that it is most likely to be a because each style will be distracting to your mind ... if you product of the workshop rather than the master himself. follow the course of one man through constant practice, The frequency of attributions of figure studies to workshop your intelligence would have to be crude indeed for you not assistants indicates that drawing played an important role in to get some nourishment from it. Then you will find, if Carpaccio's workshop beyond a preparatory function. nature has granted you any imagination at all, that you will Drawings were probably made by apprentices for the eventually acquire a style individual to yourself, and it purposes of practice or study, and would appear to have cannot help being good been executed after drawings or paintings by the master, or In Carpaccio's workshop, drawing provided an even woodcut prints. important means of honing a coherent workshop style that Similarities between the ex-Woodner sheet and the enabled assistants to partake in the production of large-scale corresponding figures in The Return of the Ambassadors to narrative paintings, in what was an efficient and economic the English Court (Figs.1 and 3) suggest that the drawing is working method. The ex-Woodner sheet is one of a group of rare evidence of the practice of copying from paintings. The drawings attributed to the workshop of Carpaccio that relationship between the centre and right-hand figures in the demonstrates how a generic style developed through the drawing corresponds precisely to that of the paired figures discipline of the technique employed in the execution of seen in the painting (one of whom is reading a letter). The figure drawings. A sheet of Three figure studies (Oxford, Ashmolean Museum) (Fig.4), is of a comparable type, and demonstrates a similar approach in terms of handling. Fine strokes of white heightening have been applied in both drawings in a comparable manner to the cheeks, nose and hair of both figures; the taut, rounded torsos have been similarly modelled by the laborious and rather rigid application of fine, parallel lines. It has been proposed that the execution of simile figure drawings by Carpaccio was a practice that the artist adopted through contact with the workshop of Gentile Bellini. The Return of the Ambassadors contains evidence of close contact with Gentile's workshop. It has been noted that the figure wearing a wide-brimmed hat, seen on the extreme left of the figure group just beyond the king's pavilion, is based on a drawing attributed to the workshop of Gentile, now in Washington. This implies that simile drawings were Fig. 4. Workshop of Vittore Carpaccio: Three figure accessible to more than one artist and may have been passed studies (recto); Two figure studies (verso), brush and from workshop to workshop. pen with brown ink and grey wash heightened with white, on bluish-grey paper, 218 x 268 mm. Oxford, Ashmolean Museum Continued on page 14 > ULEMHAS Review 11

HENRY TONKS: ARTIST AND SURGEON by Mike Smith

When Isabelle Dinoire, the first person to undergo a full face transplant, was enabled to view her face reflected in a mirror in her Amiens hospital ward after the operation, her immediate response was to say, 'This face is not me. Part of my identity has disappeared ... this face is not me, it never will be me'. She did, however, express the belief that the 15-hour operation, the first of its kind in history, had given her 'a face that can smile, speak well and communicate expression'. It had allowed her 'to re-enter the human race', but she reiterated her conviction that, 'the person bearing this face is not now, nor ever could be me'. Many of the newspaper reports at the time commented on the fact that Mme Dinoire's responses, indeed her whole situation, were unique, and could never have been experienced before. On the contrary, virtually identical circumstances were experienced by countless numbers of World War I wounded troops almost a century before. The treatment of these individuals involved revolutionary surgery, and later, collaboration with Sir Henry Tonks, one of the most unusual and individual artists of the day. Fig. 1: Henry Tonks: Period study Nowadays, if he is remembered at all, Henry Tonks is thought of as the eponymous originator of 'Tonking'. This is he made contact with many of the leading painters of the the procedure in oil painting whereby an excess of oil (or period, including Wilson Steer, Singer Sargent and Whistler. fat) is blotted off the painted surface by the application of a The had been established in porous material such as newsprint. The process is often 1871 as a consequence of the generous bequest of Felix carried out at the end of a day's painting, ensuring that the Slade, and when Fred Brown was appointed Slade Professor work has a dry, or virtually dry, surface ready for the next in Fine Art in 1892, Tonks, who had by then left his medical day. studies, was appointed as Assistant Professor. Tonks was to Tonks, however, was an infinitely more complex and remain at the Slade until his retirement in 1930, having multilayered individual than that description implies. Born been appointed Professor in succession to Brown in 1918. in 1862 in Solihull, near Birmingham, he began studying He never married or had a family, and all his time not spent medicine in 1880 at the Royal Sussex County Hospital in at the Slade was spent travelling throughout Europe with Brighton. He then transferred to the London Hospital to colleagues and fellow painters. study surgery, where, significantly, he later spent a year as Even at the early stage in the Slade's existence it was houseman to Sir Frederick Treves (now best-known as the generally regarded as the finest art school in Europe. Tonks, rescuer of 'The Elephant Man'), It may not be too fanciful to although not as charismatic or glamorous as some of his make a connection with Tonks' work under Treves and his colleagues, had without question become the backbone of later concern with facial disfigurement. the Slade. He makes a 'walk-on' appearance in Pat Barker's In 1892 Tonks was appointed Demonstrator in Anatomy recent novel, Life Class. Her description of him, however, at the London Hospital Medical School. Some time before does him no justice. He had acquired a deserved reputation this he had joined an evening life-class at the Westminster as a serious and disciplined tutor who held strong beliefs, Art School with the intention of improving the drawing but who was genuinely sensitive to the individual needs of skills he felt necessary for his anatomical demonstrations. his students. This sensitivity is demonstrated by the wide Tonks' abilities and skills developed rapidly at the classes, range of his successful students, who include Stanley which were taught by Fred Brown, and with his tutor's Spencer, Augustus and , Vanessa Bell, Mark encouragement he began to exhibit paintings and drawings, Gertler, , Ben Nicholson, Percy notably with the New Club. Through the NEAC Wyndham-Lewis, Nevinson, Wadsworth and many others. 12 ULEMHAS Review

Fig. 2: Henry Tonks: Portrait of a Figs. 3 & 4: Henry Tonks: portrait of a wounded soldier before and after wounded soldier before treatment treatment

In person he was tall, lean and undemonstrative, yet wound that even his own mother would not recognize him, prone to occasional outbursts of acerbic sarcasm. the surgeons made their repairs, but had no way of knowing Tonks is considered by many the finest drawing master what the patient would have looked like in his former life. in British art schools' history (John Ruskin notwithstanding), Having nothing on which to base their reconstruction of his even though his methods seem to owe more to the face, they were frustrated in their work until someone in the Quattrocento than to the late 19th and early 20th centuries. medical establishment came up with the idea of enlisting a His painting, however, is a different matter altogether, and professional artist who might compose a theoretical likeness one that seems to derive from a former epoch. 'I don't of the patient. Henry Tonks was their man: with his medical believe I really like any modern development', was his and surgical experience combined with his brilliant artistic typical and oft-repeated self-appraisal. Apart from his war knowledge of anatomy he fulfilled all the necessary work his canvases exude a frivolity and a decorative requirements. lightness (Fig. 1) (occasionally but misguidedly compared to Tonks, working at Aldershot with Henry Gillies and his Watteau), which was summed up disparagingly by William team, made what developed into a breath takingly powerful Rothenstein as 'sheer prettiness', and which could series of life-sized, pastel portraits of the patients awaiting occasionally cross over the line into vulgarity. surgery in their wounded state before treatment (Fig. 2). When war broke out in 1914, Tonks returned to Pastel is often considered a 'lightweight' medium, but it is medicine, initially combining work at a hospital for thought Tonks deliberately selected the medium (rather than wounded soldiers with duties at a prison hospital in oil, for example) because it has a softness and delicacy that Dorchester. Meanwhile, across the Channel, the horrors of can superbly evoke the texture of skin and flesh, and can be trench warfare were making themselves felt; through a applied rapidly. He supplemented these portraits with pernicious combination of modern weaponry, advanced interim sketches in a variety of mediums during the military strategy and the sheer numbers of personnel treatment, and, using his combined artistic and medical involved, hospitals and field clinics were being over• experience, produced predictive portraits of what he whelmed by an unprecedented number of horrific facial calculated the patients would have looked like in their pre• injuries. Entire faces were shattered, jaws blown off, and war lives. Through these folios of before-and-after images cheeks stripped away or pierced by shrapnel. In some (Figs. 2, 3 and 4) he thus provided the surgeons with the French hospitals, sculptors were employed to produce required target to aim at to achieve some degree of lightweight masks of thin metal that were designed to cover recognition. Unlike the aforementioned Isabelle Dinoire, the missing or shattered features, and could be tied behind these patients were enabled to re-enter society and view the head like a party mask. Make-up artists were trained to themselves without feeling that their identities had paint the surface in such a way that from a few yards away disappeared. they blended with the intact parts of the face. The result For these disturbing but profoundly moving portraits was an immobile, expressionless face that at a distance gave alone (now held at the Royal College of Surgeons, London), an appearance of normality, and allowed the soldier to enter Tonks' reputation deserves a re-examination and a greater society without arousing shocked stares or the avoidance of level of respect than contemporary art criticism has hitherto eye contact. However, by 1916, in England, the surgeon accorded him. was beginning to carry out reconstructive procedures on even the most extreme cases. Confronted by Mike Smith is a sculptor and a freelance lecturer in the the situation of a young Tommy who had such a severe facial History of Art ULEMHAS Review 13

PAINT AND ITS USE IN THE RESTORATION OF BUILDINGS

by Catherine Hassall

he way buildings are coloured hugely affects the way the walls, and mounted in blocks of quick-setting resin, like they impress us, which is why conservation projects flies in amber. The block is then sliced through vertically, so Tusually stipulate the recovery of the original paint that the paint layers are neatly revealed: the earliest at the scheme. Since the mid-19th century there has been an bottom, the most recent on the top and the complete interest in returning some historic houses to their earliest colour history of the room in between. By comparing a decoration, but whereas it was once enough to scratch the cross-section from, say, the door, with one from the skirting, wall with the car keys, to find out that the colour was the window, the ceiling, and the bookshelves, we can see green, much more is now required: the precise shade of the which elements are original, and which have been added. green, the type and texture of paint finish, the actual To interpret cross-sections it helps to have at least one pigments used, whether these have changed over time, and known date. If we know that the fireplace was added in how they behave in different lighting conditions. A whole 1852 and there was a major fire in 1910 covering all discipline has evolved, with its own set of procedures. surfaces with soot, key layers can be easily identified in the The procedures were first developed in the world of section, and a chronology can be worked out. fine art conservation, where it has always been critical to Pigments also are useful for dating, because the menu of know what a painter used, and where, in the mid-20th the ones available to painters has changed over the years; century, scientists were first invited to join the game. In however as the changes were only slowly implemented, this England, Joyce Plesters, working in the conservation kind of dating is quite general. For instance, Prussian blue department of the London National Gallery, was among the was invented in 1704, so its presence in a blue layer means first to adapt standard chemical analysis to tiny fragments of that the paint certainly cannot be 17th-century, but it could paint, refining ways of making cross-sections, and working be either 18th- or 19th-century. The ground layers, the size out a set of basic lab-top tests to identify pigments and of the pigment particles, the other pigments, and the way binders. These methods were published in Conservation they were mixed, could all help pin down the date more News in 1956. Since then the field has become huge; at closely. The simplest way of identifying pigments is by one end of the scale one can analyze trace elements in paint optical microscopy and basic chemical test, both of which using complex scientific instruments, up to and including can be done on the kitchen table, but, particularly with nuclear reactors, and at the other end one can carry out 20th-century materials, it is often necessary to buy time on routine tasks requiring little more than a scalpel and a instruments found only in large science laboratories. For microscope. Fifty years on we have acquired a wealth of years, Birkbeck's Geology Department has been carrying information on painting materials which has gradually crept out elemental analysis of tiny samples, sent there by people into the mainstream; in exhibition catalogues there is often working in the field of historic paint. an appendix on painting technique, and we have all The methods have been used recently at Strawberry become familiar with X-rays of brushwork, infra-red Hill, a house which Horace Walpole started to build in photographs of under-drawing and cross-sections showing 1753. It is currently undergoing a major campaign of the layers of paint. conservation, and is being studied from every possible The techniques developed for fine art have been angle, including the paint. There is nothing particularly transferred to whatever has a painted surface: furniture, distinctive about the colours that Walpole used, as they wall paintings, artefacts, buildings, forgeries and even that were mostly shades of grey, but like any other closely Fiat Uno in the Paris Alma tunnel. With buildings, the studied group, certain characteristics have emerged, that reason for examining the paint is usually to find out how are as clear a signature of Walpole's paintwork, as is an X-ray the room looked when it was first constructed, but it can of a Rembrandt portrait. also help determine which elements are original, and which The house was built by Walpole over a 20-year period, were added at a later date. Photographs, contemporary and he lived in it for nearly 50 years, leaving some rooms descriptions and building accounts all provide vital untouched, but repainting others right up to his death. The information, but they rarely give the whole story, and subsequent owners of Strawberry Hill made alterations and studying the paint layers is a vital step. embellished the decoration, usually in the same style as the The principal technique is the paint cross-section. Small original, so the building kept changing, but one look at a pieces of paint on wood, or paint on plaster, are cut from paint cross-section is enough to confirm which bits are 14 ULEMHAS Review

Walpole's, and which were added. The most distinctive The restoration of Strawberry Hill is still a long way from feature of his decorators' paintwork was the priming, being finished, but in London alone there are scores of consisting of a very thin layer of oil tinted with just a few buildings that have been returned to their original colours, particles of coloured pigment, that soaked right into the and look amazing. The best could well be St Pancras station, wood. This identifies original features, but as the pigments built in the 1870s, and repainted last year under the that the decorators added to the priming mixture varied guidance of English Heritage. The great arches of the interior from batch to batch, it is possible to trace the order in ironwork, which for so many years were black or off-white, which all the bits of panelling were assembled. have been repainted with the wonderful original pale blue. The way the undercoats and top coats were applied was The scheme has been adapted slightly, leaving out some also distinctive. We can tell from the cross-sections that half• bright red touches, but the blue, based on the pigment way through the construction of the larger rooms, the French ultramarine, is an exact replica of the Victorian paint. carpenters downed tools and the painters were sent in to The ultramarine blue was used for iron all around the paint it from floor to ceiling, even though the work was far station, but on the St Pancras Hotel at the front, the iron from complete. This is not mentioned in the accounts or balconies were painted a rich red/brown, a fashionable Walpole's letters, but we know that he supervised the colour for ironwork between circa 1870 and the First building work closely, and this curious intermediate painting World War. was presumably done to show how the room would The same rich brown can be seen today, newly painted eventually look. The preview appears to have influenced the on railings and gates around the Foreign Office and final choice of colour, because the last coat, applied when Burlington House, all installed in the later 19th century. It is the room was finally finished, was often darker or lighter in probably because we have become so used to the idea of tone. This was important, as one of the objectives was to painting urban ironwork black, that these gates and railings interweave a series of dark and gloomy rooms with suddenly stand out, but for the time that it takes us to get occasional onesfilled with light. used to them, they demonstrate the powerful effect of a Part of the paint-matching process involves cleaning off small change of colour. later layers to reveal the original, then exposing this to sunlight for at least two weeks, so that the UV can bleach Catherine Hassall trained at the Courtauld Institute, and out the yellowing that occurs in oil paint that has been worked initially as a restorer of easel paintings. She then protected from the light. When pictures are taken off a taught painting methods and materials at the History of white wall, one can often see a yellowish square where they Art Department, University College London. She now once were hanging. Failing to carry out the bleaching can works freelance analyzing historic paints and other lead to disastrous mistakes, particularly with blues which decorative finishes. can look green if mixed with yellow.

A LITTLE-KNOWN DRAWING FROM THE WORKSHOP OF VITTORE CARPACCIO Continued from page 10 In conclusion, one final and intriguing aspect of The was not unusual, and may have been driven by financial Return of the Ambassadors to the English Court is worth requirements. It has been suggested that members of the noting. An x-ray examination of the painting carried out by confraternity may have been included in return for the Accademia Gallery reveals that the figures in the donations made towards the costs of refurbishment of painting corresponding to those in the ex-Woodner scuola buildings, or the painted decorations of meeting drawing, together with two similarly dressed figures in black halls. What is unusual however, is their rather prominent togas seen to their right, were not part of the original position in the centre middle-ground of the painting. compositional design. The space they occupy had already Positioned in this way, the figures seem to mirror the viewer been painted prior to their insertion. The addition of who stands before the painting in the scuola's meeting hall; figures at a late stage in the execution of the painting may their static poses and frontal orientation increases this sense have been driven in part by aesthetic concerns. By inserting of reflection and indicates that they, just like the viewer, are the additional figures into the gaps created between the witnesses to the events taking place. In this way, figures situated in the foreground, Carpaccio may have Carpaccio's skill of illusionism not only creates the effect of sought to discourage our view into distant space in order to a view through an open window in The Return of the concentrate our attention on the narrative action taking Ambassadors, as prescribed by Leon Battista Alberti in his place in the foreground. However, the conspicuous treatise On Painting. It also renders the world of St Ursula a placement of contemporary figures in what is a historical credible, albeit fictive, extension of the contemporary late narrative may also have been motivated by the personal 15th-century Venetian world. aspirations of the individual represented. The particularized features and contemporary dress indicates that these figures Caroline Brooke is an Associate Lecturer in the Department are likely to be portraits of scuola members. The late of History of Art, Film & Visual Media, Birkbeck College, insertion of such portraits into scuola narrative paintings London ULEMHAS Review 15

BOOK REVIEWS Mirror of the World Edvard Munch: behind 'The Scream' A New History of Art by Sue Prideaux by Julian Bell Yale University Press, 2005 (£25.00) Thames & Hudson, 2007 (£24.95) ISBN 978-0-300-11024-1 hardback ISBN 978-0-500-23837-0 hardback Published in 2007 in paperback at £15.00 ISBN 978-0-300-12401-9 paperback

his book sets out to be a history of the visual arts ue Prideaux is a novelist as well as an art historian and from aboriginal art to the present, and virtually in her biography of Edvard Munch it shows. His long Tincluding the whole of the globe. Julian Bell has Slife was certainly gloomy and the book, which is also made a brave, and in many ways, a successful stab at an lengthy at nearly 400 pages, could have been a rather brain- almost impossible task. Where it excels is as an introduction numbing catalogue of disastrous events. What stops it being to art for the young - and not so young - and as a wide- so are the author's asides to us and the little nuggets of ranging view of the arts through the ages, showing how information which bring the central figure to life. In a they developed with the passing of time, in relation to touching paragraph she describes the elderly Munch going different cultures, touching on the legacies of classicism in to collect his post from the local station, putting it all in a Europe, for instance, and cross-fertilization between Europe big box, and then dipping into it at random 'like a seagull'. and other parts of the world through the centuries. She is excellent with word pictures. The author looks at the power of patronage in the past As an Anglo-Norwegian and fluent in both languages, - the Church, the State, the wealthy and the powerful - and Prideaux understands the Norwegian psyche, and has been the readiness of artists (including the greatest) to accede to able to use new sources of information to shed more light their demands, contrasted with the modern artist's concern on Munch's life. When she does go 'behind' the picture of for his own ideas and discoveries and his vision of the The Scream, she refers to Munch's own description of the world, which, in the hand of Ceruti, for instance, could hill near Oslo where the slaughterhouse and insane asylum demonstrate bitter criticism of the status quo. were located, and where Munch's sister, Laura, was an Art's relationship to the intellectual climate is explored, inmate. Munch had a lifetime fear of insanity and returned and the use artists made of scientific knowledge: the again and again to the family tragedies, recreating the approach to light and shade probably had roots in classical scenes of family deaths and illnesses. Athens, and proportion and geometrical order were There is probably more here about the life than about guidelines for Ibn-al-Bawwab's ornamental page from the the art, but the two are so entwined that the art emerges Qu'aran. Leonardo's science worked in terms of shifts of from the life. Munch's physical treatment of himself is energy. With Kepler and Galileo and the age of optics the echoed in his treatment of his paintings. They were camera oscura led to new pictorial experiments. In due subjected to what he called the 'horse cure'; they had to course technology was bent to the service of art, whether fend for themselves, outside in all weathers. He believed or not to its benefit, who can say? that paintings were meant to share our ailments and But what makes Mirror of the World a delight - it is not catastrophes. The etchings and woodcuts which formed a an easy read, being long and weighing nearly four-and-a-half huge part of his artistic output were produced by violent pounds, but it has 372 illustrations, 267 in colour - is that it cutting into surfaces. moves over such a wide and varied field, and describes the The book gives us a picture of many unexpected works cited with such flair and insight. It is not a scholarly aspects of Munch's life and art. Not always rejected, he had work, but is rather like being guided round a gallery looking a staunch band of supporters throughout his life. The at what it displays, accompanied by lively comment, National Gallery of Oslo bought one of his pictures very pointing out comparisons, relationships with other works early in his career. Prideaux, when describing his and their unexpected connections, together with commission to paint the sons of Dr Max Linde, points out suggestions about their original motive, the effect they had that his pictures of children are 'never sentimental or doom- on their contemporaries, and how differently, perhaps, they charged', as we might expect from one whose childhood appear to us. Julian Bell is a painter and he sees with a experiences so influenced his artistic life. In her opinion he painter's eye, affectionate and engaged. I suggest a reader can 'be rated with Goya and Velasquez as one of the should mine his book's riches piecemeal and, as well as greatest painters of children'. making new discoveries, be reminded of half-forgotten favourites that once were loved.

Elizabeth Lowry-Corry Susan Richards 16 ULEMHAS Review

ULEMHAS LECTURE PROGRAMME

2008 Monday 6 October Catherine Parry-Wingfield The Royal Face: icon or individual. The history of English royal portraiture from the 15th century to the present day. Catherine Parry-Wingfleld has taught many courses on the fine and decorative arts, including those at Birkbeck's Faculty of Continuing Education, the Open University and the Victoria & Albert Museum. She specializes in the visual arts of 18th-century Europe and Britain.

Wednesday 12 November Dr Lucy Donkin Medieval Pavement Decoration and the Power of Place. Lucy Donkin carried out her doctoral work at the Courtauld Institute, focusing on the medieval ecclesiastical pavement mosaics of northern Italy. She currently holds a British Academy Postdoctoral Fellowship at University College, Oxford, where her research project explores attitudes to holy ground in the Middle Ages.

Monday 1 December Dr Alixe Bovey Monsters in the Margins of English Gothic Manuscripts. Dr Alixe Bovey lectures in Medieval History at the University of Kent, where she specializes in the visual culture of the later Middle Ages. Her main research focus is Gothic illuminated manuscripts, and she recently presented the BBC4 series In Search of Medieval Britain, part of the channel's Medieval Season.

2009 Saturday 24 January After the AGM at 2pm Charles Hind FSA An Immigrant Community: European Designers and Craftsmen in Czarist Russia. Charles Hind is Associate Director and H J Heinz Curator of Drawings at the RIBA British Architectural Library. He has led many tours to St Petersburg, focusing principally on the imperial and aristocratic palaces of the city and the summer residences nearby.

Wednesday 18 February Dr Mariam Rosser-Owen Art and Architecture in Umayyad Spain from 711 to 1031. Mariam Rosser-Owen is a Curator in the Middle Eastern Section of the Victoria and Albert Museum, looking after the Middle Eastern collections which date before 1500. Her research interests include the Islamic Mediterranean, and she is currently preparing a book, Islamic Arts from Spain: 9th to 19th Centuries, to be published by the Museum in 2010.

Monday 2 March Peter Cormack FSA Stained Glass, the Cinderella of the Arts and Crafts Movement. Peter Cormack is a freelance art historian, writer and lecturer. He was Keeper of the William Morris Gallery, London, where he curated many exhibitions of Morris and his circle and on aspects of the Arts and Crafts Movement, in particular stained glass. He is the Honorary Curator of Kelmscott Manor, William Morris's Oxfordshire home.

All lectures are at the Courtauld Institute, Somerset House, Strand and, except that on 24 January, are at 6pm. Wine is served after evening lectures.

STUDY DAYS AND OTHER EVENTS

Saturday 22 November 2008 Michael Douglas-Scott Rule and Licence: The Classical Orders from Bramante to Palladio Saturday 14 March 2009 Clare Ford-Wille Bosch and Breugel Reviewed 20-26 April 2009 Study tour to Toulouse and Languedoc John McNeill

Saturday 9 May Study visit to 's Cookham and Burghclere (Sandham Memorial Chapel)

A short tour based in Cologne is planned for Autumn 2009

Design by FREDD, Twickenham - www.fredd.co.uk