Archbishops of Canterbury. The massive red-brick entrance gateway to the palace, which is known as Morton's Tower, was erected in 1490 by Cardinal Morton – the adviser of Henry VII, who achieved such notoriety with his device for extracting extortionate taxes from rich and poor. On the right is the gateway of the parish church of St Mary, which although rebuilt in 1851, still retains its beautiful fifteenth-century tower. Behind these buildings is St Thomas' Hospital while, facing it on the other side of the river and, dominating the whole scene, are the Houses of Parliament and Westminster Abbey – those stately piles that epitomise the dignity and grace of London's architecture. Beyond, almost on the skyline, are some of the modern concrete edifices that of recent years have risen between Charing Cross and old Waterloo Bridge".The Sphere, 11 May 1935. In 1936, Cooper submitted his Paddock at the Pony Races – A Summer Meeting at Northolt Park, to the Royal Academy Summer Exhibition. It was reproduced in The Sphere, which captioned it: "The gay colours of the jockeys and the impression of bright sunshine give the picture a pleasing air of gaiety and vitality. Mr Cooper's work is well known to readers of The Sphere".The Sphere, 2 May 1936. The same picture was also reproduced as a two-page spread, under the title, Get Up Please! The Paddock at Northolt Park, in the Illustrated Sporting and Dramatic News, which said, "Mr Egerton Cooper's masterly studies of Epsom and other courses are as well known as his portraits, and his exhibitions at the Leger Gallery are always well patronised".Illustrated Sporting and Dramatic News, 15 May 1936. In 1942, Cooper exhibited his portrait The Australian at the Royal Academy United Artists Exhibition at Worthing's Art Gallery. The West Sussex Gazette said it was a "noble study ... by A. Egerton Cooper, virile in both composition and colouring".West Sussex Gazette, 1 October 1942. In 1943, The Scotsman included the following in an article about the Royal Academy Summer Exhibition of that year: "Portrait of the Prime Minister. It is difficult not to call Mr Egerton Cooper's portrait of the Prime Minister the picture of the year. The man of the hour seems to claim that distinction almost automatically; but looked at dispassionately it is merely one of a number of excellent portraits. Mr Churchill is seen in profile possibly because the artist thought