International studio (51.1913/1914)

The CTood Carvings of I. Kirchmayer

edge of the shelf have the quality
and relief of mere bits of decoration
breaking the molding. They are,
however, intended to be seen close
to, by one who will take a minute
interest in them. Their detail is
therefore finely cut and perfectly
clear.
In the mantel sculpture of soldiers
and barbarians from one of the man-
telpieces at West Point, one is able
to glimpse the quaint and the whim-
sical nature of the artist. The work
is grotesque yet decorative. One is
equally conscious of the directness
and the naivete of the Queen of
Sheba.
I. Kirchmayer’s handling of the
carving tools is marvelous in its
dexterity, its swiftness and its force.
All his work is crisp and pliant to a
degree and shows up well even at a
long distance. A little pair of bas-
reliefs in classical style and the fig-
ures labeled Motherhood, easily reveal
the tenderness of his touch and the
comprehensiveness of his genius. He
is equally careful in his handling of
Grinling-Gibbons foliage. This frieze,
executed for a house in Chicago, es-
pecially displays the individuality of
the man and the quality of the artist.
I. Kirchmayer is a man of enor-
mous personality and vital force.
His father was a republican revolu-
tionist in Germany. He himself has
the loftiest standards of professional
ethics and general principles of right
and wrong. He is what might be
called <!a character,” and his devo-
tion to those who sympathize with
him and see what he is trying to do
is quite touching. He takes a great
pride in everything he does and is


BRONZE DOOR OF THE ROGERS

MEMORIAL CHURCH, FAIRHAVEN

BY I. KIRCHMAYER

devoid of the slightest element of commercialism, in Germany over thirty years ago. The Langs,
He came to this country from Oberammergau kinsmen of the wood-carver, from whom came the


FROM A MANTELPIECE AT WEST POINT

BY I. KIRCHMAYER

XCI