Page 215 - Bulletin 8 2004

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clairvoyant and clairaudient and was able to journey into other planes of existence and, in
particular, to visibly see spirit forms in nature - but he was unable to draw them. In his own

words:

‘….. although I had tried my very best to describe the angelic kingdom lucidly
and accurately, I always felt that mere words could not do justice to the
splendour and beauty, the wonder of the more advanced members of these
hosts. An artist was needed – someone who could collaborate with me in
depicting these great beings on canvas. And then another kind of miracle took
place – Ethelwynne Quail, the artist, offered collaboration.’

They agreed that when circumstances permitted they would commence work. This occurred
during 1935 when the Hodsons spent six weeks at St. James engaged on the task, and

during a second visit in 1937. The following is an extract from Wynne’s lengthy

description of the way they worked and how she produced her paintings:

Our method of work was entirely pleasurable. On free days we packed a
hamper, and armed with pads and pencils went forth to explore the visible and
invisible beauties of the Cape.

Cape Point proved to be a very magnetic centre, and we selected a spot high
up among the splendid rocks, facing the open sea. Very soon G. H. was in
touch with a great nature force, and dictated to Mrs H. while I attempted to
catch the fleeting vision.

Several such excursions were made, to Kirstenbosch and Table Mountain,
each time resulting in a store of matter to be worked up later. I made
diagrams of the forms with colours and sizes clearly marked, and generally
one or two pencil sketches, or different phases or positions to catch the spirit.
These combined with the detailed descriptions and explanations taken down
by Mrs H. provided us with days of working up.

The choice of paper is important. I tried many both white and tinted and found
a smooth white paper best for nearly all. Each form had to be carefully
studied and experiments in style and materials made.

In the case of the Landscape Deva of Hottentots Holland, I tried out five
methods. One in water colour on Whatman rough, one hot-pressed, a third on
wet paper beginning at the edges and working to the centre, as they always