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Then Winston Churchill, the aging battler,*lifted everyone's eyes from domestic affairs to the mushroom-shaped cloud overhanging mankind. "I cannot help coming back," he said in Edinburgh, "to this idea of another talk with Soviet Russia on the highest level. It is not easy to see how things could be worsened by a parley at the summit...
...many an observer, Conservative chances seemed to have been made brighter by Churchill's Edinburgh speech-though not yet quite so bright as Labor's. Churchill had once more reminded Britons of their lack of leadership in world crisis. Worried one Laborite: "If Joe Stalin were to come out now and say, 'Fine, let's have a talk,' we'd be sunk...
Older Ages. From On the Hill, the first volume of new Masefield poems to appear since the war, the laureate's publishers have mercifully excluded their author's dutiful little odes to George VI, Franklin Roosevelt, Princess Elizabeth and young Prince Charles of Edinburgh. The 24 poems that make up the volume are echoes of a sturdier Masefield who can still spin a tale of a country prizefight, drop a tear for the rifled tomb of an old king and enjoy the sense of friendly ghosts in Hilcote Manor. They are only echoes of the Masefield of Reynard...
Woven pictures, designed by some of Britain's best modern artists, went on display in a London gallery last week. They were new products of an Edinburgh tapestry-weaving studio founded 40 years ago by the fourth Marquess of Bute. The Marquess' sole purpose in going into the tapestry business: to provide the kind of wall coverings he fancied for his own estates. To keep the company going in spite of death & taxes, the Marquess' descendants were now doing their best to make...
...whole, the Edinburgh tapestries did not compare with the modern ones being made across the Channel at Aubusson (TIME. March 8,1948). Among the fine few, Sutherland's gawky Birds were abstract enough to look all right in wool. Stanley Spencer's cabbage-laden Gardener was both earthy and pretty, but The Garden of Fools., a soup-thin parody of medieval tapestry design by Surrealist Cecil Collins, was neither. "The fool," explained Collins brightly, "is the symbol of creative innocence embattled with the modern machine . . . The saint, the artist, the poet and the fool are one; they...