n is still, and
always will be, a magic word in art circles, for here such painters as
Stanhope Forbes, Frank Bramley, J. A. Gotch, Walter Langley, Sydney
Grier, Chevalier Tayler, to mention but a few, introduced a new if
somewhat exotic phase into the traditions of British art. Mr. A.
Stanhope Forbes, A.R.A., writes: "I had come from France, where I had
been studying, and wandering down into Cornwall, came one spring morning
along that dusty road by which Newlyn is approached from Penzance.
Little did I think that the cluster of grey-roofed houses which I saw
before me against the hillside would be my home for so many years. What
lodestone of artistic metal the place contains I know not, but its
effects were strongly felt, in the studios of Paris and Antwerp
particularly, by a number of young English painters studying there, who
just about then, by some common impulse, seemed drawn towards this
corner of their native land.... It was part of our creed to paint our
pictures directly from nature, and not merely to rely upon sketches and
studies which we could afterwards amplify in the comfort of a studio."

The road from Penzance to Land's End being rather dull and devoid of
interest, the best way to reach the outlying promontory is by one of the
G.W.R. motors that make the regular journey. A stay of a short time is
usually made at the Logan Rock, perched on the summit of a pile of
crags. To reach it involves rather a breakneck scramble down and stiff
climb up, and it is doubtful if the satisfaction of having done the feat
is equal to the amount of fatigue involved. The stone rocks to a
considerable degree, but less than it did before it was upset in 1824 by
Lieutenant Goldsmith, who was commanded to replace it by the Admiralty.
St. Buryan Church and Cross are both worth inspection. The former has a
tower ninety feet in height, while the latter has been attributed to the
Romano-British period. It is a plain little erection of stone standing
on a base of five steps. On one side is carved in low relief a fully
clothed figure of the Saviour with hands extended horizontally.

The first aspect of Land's End, with its covering of turf, worn smooth
by the feet of many trippers, is disappointing; and it is only when we
begin to wander about the lesser used trackways that it is possible to
realize that this is no ordinary promontory, but a lonely headland
broken into a hundred beetling crags, with huge granite boulders piled
one