International studio (19.1903)

71%^

omament, the individuahty of the designer is hardiy
so well revealed in it as in the beautiful triptych,
"-7?g/Mi?, y ,f/a72/f 7^ <fw7* <%72!7<r<%," or the
siiver pyx and cross, or the two enamelled chalices,
alt of which must rank among his very best work.
The triptych, which stands in a frame of oxydised
siiver, centres in the singie figure of the waiting
Christ, in an attitude that mingles pieading with
benediction, and in the side paneis are the forms
of angels bowed over the cities of earth. AU else
in the technique is subordinated to its delicate
but luminous and iridescent colouring, and the frame
is surmounted by a crystal cross. The chalice,
in amber and silver, is decorated with the
symbolic vine and set with topaz stones, and small
enamelled panels representing the Nativity, Last
Supper, Crucihxion, and Resurrection. Mr. Fisher
also exhibits a massive tankard in enamelled silver,
in which the vine design reappears, and a hne

piece of decorative carving in silver, gilt-bronze,
and gold, forming a Gothic overmantel intended
for a room in which armour is hung. The subject
is the C<7227-7 ^/Z<?z<<?, whose ruler is depicted as the
calm and victorious angel, treading under foot the
skull and the snake—emblems of death and dis-
ruption.
To revert to some more homely and prosaic
kinds of metal-work, we hnd that excellent designer,
Mr. F. W. Troup, still pursuing his scholarly labours
towards the right use of lead in house-building.
Mr. George Wragge also illustrates this in his rain-
water-head of cast-lead ; a metal in every way more
suitable for water-courses and their hnials than the
iron used in some neighbouring exhibits. The dis-
play of leaded glass is greatly restricted by the
practical impossibility of showing it at the New
Gallery; but we should have been glad to see
something more from the hand of that promising


COPFER AND ENAMEL JEWEL CASKET

BY ALEX-FtSHER