Cotmania. Vol. III. 1928-9

From the Trinity College Cambridge Annual Record, 1926-1927
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Mr Sidney Kitson presented to the College five water-colour paintings by members of the College:
A Bazaar, Cairo H. B. Brababzon (1841-4)
Ratisbon Cathedral H. M. Marshall (1860-4)
Martigues Martin Hardie (1895-8)
Dartmoor Cecil A. Hunt (1892-6)
El Djem, Tunisia R. H. Kitson (1892-5)

This collection is at present hung in the Guest Room, Great Court.

Lord Ullswater presented a water-colour painting by himself.

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TESTS FROM OLD MASTERS
To the Editor of the Times.
Sir, I think that Dr. A. P. Laurie overstates his case for the scientific detection of forgeries of works of art, at any rate, in regard to pictures. There have been no recent cases of forgers deceiving experts. By experts I mean those who, by consensus of opinion, are best able to judge. This is a very different thing from deceiving the numerous people who consider themselves experts by reason of their biographical and historical knowledge of art and artists. Authorities on art can be divided thus: those who study pictures and those who study the history of pictures. It generally happens that each is helpless in the other's chosen field. A man may write ever so beautifully on pictures and be absolutely innocent of what constitutes a fine picture or a genuine one; whole the lover of pictures is seldom interested in compiling derivative books and articles on the old masters, or in research work. Good judges of pictures usually have a technical knowledge of painting.
To one who has devoted his life to the study of pictures these scientific aids are worse than useless. He knows the date of a picture without resorting to the chemical analysis of pigment, just as he can detect repaintings without the aid of x-rays, ultra-violet rays, or the microscope. When Dr Laurie states that he can detect Hobbema's touch by photographic enlargements of lots of foliage in his pictures, I suggest that no test could be more absurd. If he will compare touches in different examples of Hobbema's work he will find that they all vary according to size, type, and shape of brush, and the degree to which the brush is worn. Any painter will bear this out, he knows how a new brush varies from an old one.
The eye requires a lifelong training, and no scientific knowledge or apparatus will help the student in any way whatsoever. He goes far deeper, and probes into the mind, training, technique, influences, character, mentality, and psychology of the artists. He gets to know their works by an accumulation of visual experience , and, in his view, nothing else can be of value in determining the question of their authenticity.
I am, &c.,
Hugh Blaker.
Old Islesworth.