EDITORIAL

RECENT BRITISH SCULPTURE. This exhibition, organised by the British Council, was held here in June-July for three weeks. There was an attendance of 10,000 and 4,476 catalogues were sold.

STAFF. Mr Lloyd, our Conservator, has returned from his four months tour in Europe and America. The conservation course he attended in London was extremely thorough and valuable. He also had the rare opportunity of meeting many of his professional colleagues. Mrs Brenda Gamble, who has been with the Gallery so long, has had to resign on medical grounds. This is a matter of infinite regret, but as she will still be secretary for the Gallery Associates we will not be losing her entirely.

LUCAS VAN LEYDEN (1494-1533) Dutch
LOT AND HIS DAUGHTERS (cover)
Engraving on copper B.I6 
Signed: monogram L 1530 Acquired 1962
Reproduced on the cover of the present Quarterly is one of three prints recently acquired, by two great Northern artists of the German renaissance. Lucas van Leyden's artistic lineage is a great deal more obscure than that of Durer, or of Marcantonio: no engraver preceding him in Leyden is known — and Fifteenth

Century engravers active in the Netherlands but vaguely. His works of the fifteen-tens already show an assimilation of certain characteristics of Diirer; but they have, none the less, the marks of a genius quite his own. Contact with the master probably served to intensify his influence in plates from about 1520. The pervading influence of classicism worked a transformation in the spirit of Lucas's mature works from his earlier pronounced naturalism. Lot and his Daughters (1530) embodies, in its simplification of style, this greater submission to the ideals of Italy. It is, however, one of his most highly finished works.

ALBRECHT DURER (1471-1528) German
THE BATH HOUSE
Woodcut B 128
Purchased 1962

FOUR NAKED WOMEN (The Four Witches)
1497
Engraving B 75
Acquired 1962

The Men's bath was one of the earliest — if not the earliest — of the 'whole sheets' produced after Durer's return from Italy. Management of the surface texture seems still to derive its character from Wolgemut's 'illusionism', a fact especially noticeable in the buildings, upper left. The textural qualities of weathered wood, stonework, latticed windows