It is dreadful to lose a colleague, especially when she is at the height of her career. When that colleague has been 'around’ since student days in the 1970’s it sharpens one’s appreciation of life and health. I miss Caroline Villers, not only for the cheerful, stimulating conversations we had in corridors and halls, but as a reminder of the magic of student days at Portman Square in the 1970’s, when we all rattled round the rabbit warrens of Home House, and Caroline spent her time in the Conservation laboratories across the garden.

A measure of the esteem in which she was held at the Institute was her election by the staff to the committee, which was charged with steering the Courtauld’s path to eventual independence. Again, when a new director was sought after Jim Cuno’s departure, she was elected by the staff to the selection panel.

She and her husband, Robert McNab were students together at the Institute, and it was a touching coincidence that McNab should have organized his stimulating Artists on Film series at the Institute this Spring term (see p.8).

Recently the Courtauld Institute of Art Gallery has publicised its missing Japanese print in the art press. Our report on p.12 is for the alumni, friends and supporters who may not have seen the articles. We hope that the result of this hunt will be as successful as the recovery of Christ and the Woman Taken in Adultery, by Pieter Bruegel the Elder, once stolen from the Gallery.

After two very successful summer parties which, due to the kind sponsorship of a group of former students attracted record numbers, CAFS is offering a two part event this year. At 5.30pm on Thursday 16 June former students will be entertained by a narrator, a singer and accompanist (Robin Simon, Alison Pierce and Paul Wynne Griffiths), to an account of the remarkable life of the 18th century watercolourist Thomas Jones. Tickets are £20.

This performance was highly acclaimed at the Swansea Festival in 2003. The party afterwards in the Courtauld Institute of Art Gallery will be free.

Jane Ferguson, Editor