IN THE absence of adequate documentation, the r6le of photography in Pre-Raphaelite art has been a matter for considerable conjecture - not least in the case of the pioneer of many of the Pre-Raphaelites' ideals, William Dyce. Already in 1860, four years before Dyce died, the Art Journal recorded that 'The picture of "Pegwell Bay" was spoken of by many critical writers as having been painted from a photograph', but went on to maintain that despite 'its wonderful elaborated detail ... we happen to know that it was done from memory, aided by a slight and hasty sketch, in pencil, of the locality'.

ON his death in 1934, Roger Fry left to the gallery named fior his fricnd, the collector Samuel Courtauld, a selection of the art he had accumulated through his career as a
painter and critic. Although it is refierred to as the Fry Collection, this grouping of objects is not really the work of a serious collector Fry's interests were too diverse and his purse was too small for that. The Fry Collection is, rather, the incidental residue of a lifie devoted to the visual arts. That this life became one of' the most important influences on the development of' modernist aesthetics, however, renders the Collection a valuable art-historical record, one which until recently has never been studied in its entirety.' What follows is a descriptive introduction to the categories of objects that comprise the Fry Collection, with attention drawn to certain of its implications for our understanding of the man whose taste and energies lie behind it. It is hoped this introduction, not intended as
definitive, will encourage those interested in Roger Fry to make greater use
of" this Collcetion as a record of his remarkable intelligence, all the more suggestive for its lack of self-consciousness.

THE Festival of Britain in 1951 gave a much needed impetus to the emergence of avant-garde art and architecture in the country's gloomy post-war years. Several earlier events can be seen as significant landmarks in attempts to reintroduce the Modern Movement in Britain after the war, such as the Picasso and Matisse exhibition at the Victoria & Albert Museum in December 1945, the exhibition of Forty rears of Modern Art, 1907-1947 organised by the newly formed Institute of Contemporary Arts early in 1948, and the award to Henry Moore, later that year, of the International Prize for Sculpture at the Venice Biennale. But 1951 saw stronger efforts than before, from both state-funded institutions and private individuals, to expose the British public to modern art and architecture.

MONDRIAN arrived in London on 21st September 1938, in response to the perceived imminence of war. He stayed for almost exactly two years. He had been encouraged in his resolve by Ben Nicholson, and accompanied on the journey from Paris by Winifred Nicholson.1 On 7th September, Mondrian had written to Ben Nicholson asking for his advice: 'Je voudrais tdcher d'aller en Amerique. Mais tout est tres chere la bas, et c'est loin. Je pense aussi d Londres, bienque il y aura aussi des bombes. Je pourrais me fixer pour quelque temps a Londres et penser apres d'aller de la d New-York.' Nicholson
responded with alacrity, sending a formal letter of invitation, setting Mondrian's mind at rest about the cost of renting a room, and offering to lend him a bed. Mondrian's reply is full of his preparations for departure.