in this painting, as in many others of the next decade, the scale is undecidable. Stanton, again speaking of "Winter's End", writes: "One is given no indication of the size of the scene; the way through which winter passes could be either a mountain gorge or a minute water course". Plenty of cues are there that this is some sort of landscape, and Frank herself avows it: "The beginning of my efforts to make my own statement, I would trace to my first visit to the Phillips Gallery.... Landscape was a natural metaphor, and so it is still for me today, in my three-dimensional double canvases". Summing up the ambiguous position of Jane Frank's work on canvas with respect to both landscape art and pure abstraction, a reviewer for The Art Gallery magazine wrote of her 1971 solo show at London's Alwin Gallery: "Her richly textured canvases evoke a world of crags and forests, rivers and plains, in terms which are entirely non-representational." The catalogue of the 1963 Bodley Gallery show contains a long essay by the artist, and the following three quoted passages capture many of the concerns described here: (1) On constructing her metaphorical landscape vocabulary: "I prefer to create my own landscapes or vocabulary of shapes and patterns. However, it is rock and mineral substances, their veins and surfaces, projections and infinite hollows, which spark my particular fantasy - also beach wood, well worn with time, that is to be found on the water's edge. Issues of space have always been one of my prime concerns, and these substances seem to relate most closely to this concern. These then are the metaphor..." (2) On the quality of interiority in her works: "It is also an attempt to penetrate the surface of an object, presenting not only the outside but what occurs within - the essence or core." (3) On the essential aloneness of her vision: "The artist must create his own space, of his own time and personal vision. The result is not a unique image for the sake of 'newness', but rather for the sake of the artist, who must be concerned with it daily. These days are spent quite alone." These pieces of the late 1950s and 1960s never lapse into the complaisantly decorative: there is a certain deliberate instability, often even violence, that prevents that. This quality comes through in another remark from Dr.