The visit, organised again by Edward Beddington Behrens, was to Zermatt. During it, Stanley took photos of Patricia, using her camera. One showed her in an alpine field among young sunflowers (the visit was in May.) The sunflower being long significant in Stanley's art as a combined sexual/spiritual emblem, its association here with a posed Patricia so took his fancy that he used it as the basis of his painting of that year, Patricia at Cockmarsh Hill, done at the time he still had hopes of recruiting her as an emblem of new Cookham-feelings.

In the photo Patricia is in profile facing right. She had just had her hair permed by a local girl who had made a mess of  it, leaving a curl dangling, about which she was furious. Stanley reproduces it in the painting with his customary precision. But he has changed the setting to that same Cookham hill whose association meant so much to him when he first arrived in Salonika (see the webpage on Travoys.)

Comparison between photo and painting offers invaluable lessons in one aspect of Stanley's technique. Firstly he has reversed the photo so that Patricia faces left in the painting. This was his normal procedure when working from photos or illustrations, suggesting a reversal from his down-to-earth to his up-in-heaven and indicating that the picture is a 'visionary' studio composite. Secondly, he has transferred Patricia among the sunflowers in the photo to a wild-flowered spot in Cookham which had profound boyhood meaning for him and of which he made a number of paintings, thus signalling that he is seeing her as a Cookham-feeling element. Thirdly he draws attention to characteristics which stimulated his erotic interest in her - her blonde stylishness, her long, ringed fingers and her love of jewellery (the necklace was a gift from him and although now missing a pendant, is still valued at many thousands of pounds.) 

                                                        

                                                                                                           
Stanley's description of his painting betrays the feelings which promoted it : Then I went along by the big nut trees below the gravel pit before you get to Cockmarsh Hill, and there I wanted to do a landscape that was to be a mixture of those deserted spots where there are one or two straggly bushes and harebells and purple thistles inhabited by rabbits, only this time [compared with his previous versions] I wanted this place to be as unobtrusively inhabited by Patricia whose hair was to join in the expression of the hot sultry summer sun as also I wished the necklet of diamonds and amethysts to mix and look as natural as the purple thistles.

In the picture Patricia has become an imagined incarnation of the new Cookham-feelings Stanley longs for. It is little wonder that he wanted access to her -  or at least to his dream of her - so urgently.