International studio (20.1903)

77*7^. C.

work by Mr. Bankart, but the art will seem better
worth reviving when the extent to which lead
was used in the past is realised, and when we have
said once more that among the artistic crafts there
is none of higher rank than the lead-worker's.
Mr. F. W. Troup, instructor in the Central School
of Arts and Crafts, London, contributed a paper to
the Journal of the Architectural Institute which
should be read by all who desire to be better
acquainted with the technical side of the matter.
There is a scarcely perceptible point at which every
craft that deserves the name passes into the region
of art, but before beginning to talk of its achieve-
ments in that domain, it would be as well to know
what the potentialities of the lead-worker's materials




LKADWORK AT DEAN COLLETT'S
SCHOOL FOR GtRLS, HAMMER-
SMITH
BY G. P. BANKART


PORTION OF LEAD PARAPETTING
are. While much, very much, may be learned from
Mr. Troup's paper, and nothing he has to say can
well be spared at the moment, Mr. Lethaby's book
is more for the public at large, and his pages glow
with his own delight in the subject matter.
Nearly all roofs, as we
know, were lead-covered of
old, but roofs must be
"finished." A very familiar
finish was a figure of a
Patron Saint, beaten out
in lead, and Mr. Troup
mentions a payment made
in 1514 to "John Pothyn,
sculptor (of Rouen), for-
having carved a prophet
in walnut-wood to serve
as a mould and model
for the work in hand."
." all, then, the
sculptor had to do was

to hammer sheets of lead over
the wood statue until they fitted
the shape." In all such cases as
this the leadwork is subsidiary, but there are
unnumbered examples of sculpture in lead direct.
Where casting has been resorted to, it no more
deprives the work of its originality than it does in
the parallel case of bronzes originating in the clay

P. BANKART

BY G. P. BANKART

LEAD TANEL MODELLED IN LOW RELIEF