Monthly Archives: March 2017

Widmerpool’s unease with the artistic throughout Dance is bracketed by angular drawings, first his mocking pictograph in the cabinet de toilette at La Grenadière and now at the end of the novel by reappearance of the Modigliani drawing. On the … Continue reading →

Powell mentions the chairs three times, so they caught our attention. In Barnabas Henderson’s art gallery, Jenkins sits down in the small cluttered basement office. “I chose an armchair of somewhat exotic design of which there were two [HSH 238-239/257].”  Soon … Continue reading →

Henderson tells Jenkins: “Far the best of the Victorian marine painters show come from the Duport collection.” [HSH 233/252] Of course, Jenkins had seen these paintings years before and disdained them. Now we have a few more clues to their appearance. … Continue reading →

Watching Murtlock approach alone, Jenkins recalls a childhood memory that he shared with Moreland, a fear that a lone approaching figure was Apollyon, the fiend from The Pilgrim’s Progress; “a lively portrayal of the fiend in an illustration, realistically depicting … Continue reading →

Talking about the Devil’s Fingers, Mr. Goldney, of the archeological society, says, “It’s an interesting little site. Not up to the The Whispering Knights, where I was last month. That’s an altogether grander affair. Still, we have to be grateful … Continue reading →

In a pile of old newspapers, about to be burned, Jenkins spies a review of the Bosworth Deacon Centenary Exhibition being mounted at the Barnabas Henderson Gallery. ‘… albeit his roots lie in Continental Symbolism, Deacon’s art remains unique in … Continue reading →

Barnby died, at age 39, in 1941 when his plane was shot down [SA 231/228], but Jenkins reminisces about him in HSH [ 191/206, 229 /247].  Wandering the passages of Stourwater, Jenkins passes through the room where Barnby’s portrait of the waitress from Casanova’s … Continue reading →

When Jenkins first visited Stourwater in the late 1920s, a portrait by Hans Holbein, famous for his portrait of King Henry VIII, hung in the long gallery. Now, when Jenkins returns to Stourwater for his nephew’s wedding in early 1971, he leaves … Continue reading →

Jenkins encounters Widmerpool “more or less entangled” with Murtlock’s cult. “The spectacle of him wearing a blue robe was nevertheless a startling one. … The image immediately brought to mind was one not thought of for years; the picture, reproduced … Continue reading →

Near the Devil’s Fingers, Jenkins sees; “The elder thicket was flowering, blossom like hoar frost, a faint sprinkling of browonish red, powdered over the green and white ivy-strangled tree-trunks, gnarled and twisted, as in an Arthur Rackham goblin-haunted illustration.” [HSH 150/ … Continue reading →