Vera Southby, has two paintings hung, one a most striking scene of rice folds in 'Szechuen. Just above a Cotswold landscape by Charles Cundail. 'The contrast tolls, us all the history of the two peoples—the bare, stern, serrated mountains hind' the tice fields, the: sense immensity and of fierce never-ending struggle for life in China; and against it the rounded leafy" Cots-wolds, the pleasant sense of security and leisurely well-being.
On their own ground, no one can touch the English landscape painters. One might mention any number this year's Academy—solt symphonies in green and grey by Sir William Llewellyn; lovely studies of farm lite by Frederick Elwell and Douglas Bireh's radiant scapes and meadows, rocky headlands and wide plough land—not one but would give unending delight on one's walls. "I literature we can depict high tragedy, though never with that bitterness of wild despair that appears in Continental tragedies. But art, to show our best we must remain true to the placid easy-going. temper df a people wito have not Known invasion for nine conturies—Tet us touch wood as we think of it and the soft, unrulfled spirit of the English countryside.
It is, perhaps, for this reason that by far the best designs our modern architects can show are those of, public houses. In recent years, re-spending to the needs of the weckend motorists, there has been a Reneral rebuilding of country inns, which the Architectural Room. contains many admirable types, They accept that demand for mass and simplicity, which in its worst revelation is defacing our towns with so many monstrosities; but under the {nsensible influence of the country, these snew inns are warmed and sortened, ind being built of beautiful brickwork (not reinforced conerete) have just that alluring, cosy look which a country" hosielery" should have,
Text read from the printed page and cleaned; old type leaves the occasional error.