Page:The Cornwall coast.djvu/183

modernising, restoring, destroying — is opposed to their sense of fitness; they are champions of the picturesque and sworn foes of the jerry-builder. Newlyn remains quaint and fishy, though it has its little Art Gallery and its Rue des Beaux Arts. There are artistic industries also — copper repoussé and enamel jewellery; a new Renaissance has come to this Cornish fishing-village — its youths and maidens are learning mysteries of beautiful craft which may save them from the deadly inanities of the average British workman. When we speak of early Newlyn days, of course we mean the days of the first artistic settlement, some thirty years since; older Newlyn has little to tell, except that it was burnt by the Spanish, and that its life has always been bound up with the fortunes of the fishery. Mr. Stanhope Forbes has told us something of the place as he first knew it. "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." But he bewails that Newlyn is not what it was; there has been some spoliation, some pulling down of old cottages, some unsightly intrusion of the ugly and modern, though certainly less than might have been feared. It was here that Frank Bramley painted his "Hopeless Dawn" and "After Fifty Years"; here Walter Langley painted "Among the Missing," and Mr. Forbes "The Health of the Bride." It would be hopeless to attempt to name all the pictures that have carried different aspects of Newlyn life to the London exhibitions — the