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The Von Zedlitz Portrait

own into the musty cave of our library now peer the shrewd and penetrating eyes of an old friend and good counsellor. Christopher Perkins' fine portrait of Professor von Zedlitz now hangs amid the galaxy of the foundation professors. The portrait is an anonymous donor's splendidly appropriate gift to the College. It at once symbolises and honours "Von's" fruitful association with the College, and vividly makes graphic his personality. Long after the distressing war-time incident that culminated in 'Von's" resignation from the staff of the College, it is satisfying to know that this permanent tribute has been paid him. It is, too, a fitting thing that the gift should have been made to the College by a former student of "Von's." And, from the point of view of the present and future generations of library-dwellers, it is a strangely heartening thing to have this portrait to appeal to, to feel our groping and tedious labours overlooked by such a kindly friend and sympathetic counsellor.

The formal ceremony of presentation, held in the Library, in early June, afforded past and present students together, friends, disciples and admirers of "Von's" to do him concerted homage. It was a good ceremonial, as ceremonials go. It was an academic occasion, yet not a musty one, dignified, yet not stiff, sincere, yet not mawkish. The atmosphere enabled friends to pay their warm and spontaneous tributes, and the recipient of these to acknowledge them sincerely.

The ceremonial, indeed, was worthy of the gift; it might certainly have pleased the donor. One felt, as one rarely feels on these occasions, that the ceremony constituted a necessary and harmonious portion of the event.

Mr. Siegfried Eichelbaum made the presentation on behalf of the donor. It was appropriate that he should do so—the former student and old and intimate friend of "Von's," the knowing representative, friend, and, as he admitted, contemporary of the donor, the member of the College Council—Mr. Eichelbaum spoke in a pleasantly informal way, simply and effectively and warmly

Professor Brown, on behalf of the Professorial Board, accorded to "Von" the admiration of a colleague. In eulogising his scholarship and stimulating personality, Professor Brown sketched in interesting details of "Von's" career, that were perhaps unknown to the audience. His concluding tribute to "Von" was what would seem to be after all the final and most fitting that a University man could receive: "Whether or not you agreed with everything that Professor von Zedlitz said, in every case he caused you furiously to think."

"Von" replied in a characteristically casual and bantering way. He gracefully thanked the speakers, and remarked how much it pleased him that his portrait should face Professor Brown's in the Libra. Praising Christopher Perkins' work, he acknowledged that it was "a good likeness," although it represented him in a mood, of which he himself was rarely aware. "Von" reminisced delightfully of his teaching days at 'Varsity, and stated that the donor of the portrait was one of the two or three outstanding students whom he had had at the College. He concluded with the remark that he had been most fortunate to be painted by Christopher Perkins, whose charming personality and artistic and other accomplishments he much admired.

And so the formal ceremony was efficiently over with. The mixed, interested audience left the Library with renewed admiration for "Von" and pleasure at the gift.

The portrait itself is memorable. Simple and harmonious in design, straightforwardly and admirably painted, its effect is primarily an intellectual one—it gives a penetrating, psychologically true impression of a personality. All the elements that we know as "Von" are there—the rugged head, cleverly painted before a map of Europe which symbolises "Von's" cultural background, the eyes deep-set under a strong brow, the hands large and a little rough, yet sensitive, the mouth tensed in amused expectancy, focussing to a slightly mocking yet tender comprehension—the face of a temperament-free Voltaire ("the simian sensuous" as "Von" himself has nicknamed it) has been amazingly recreated on canvas. Artist has proven worthy of his subject.