International studio — 55.1915

Page: XLVI
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1 cm
Clement J. Barnhorn

truthfully said that the influence of the Italian
Renaissance is more observable in most of his work
than is that of the French masters with whom he
studied. And the classic spirit of these great ones
lives again in the sixty or more reliefs and figures
recently displayed at the Cincinnati Art Museum.
They remind one of Della Robbia and Donatello,
yet hold their own. From them he has learned
the effectiveness of simplicity, and, like Della Rob-
bia, Barnhorn
has made use of
the glazed terra¬
cotta. The Dol¬
phin and Boy, a
fountain for the
Prince George
Hotel in New
York; the
Holmes Foun¬
tain in Cincin¬
nati; a lunette
for the Sailors’
Institute in New
York; the Four
Seasons Foun¬
tain in Pitts¬
burgh, and the
Lord & Taylor
Fountain in New
York are all of
Rookwood fa¬
ience. These
sculptured foun¬
tains and deco¬
rations made of
terra-cotta are
covered with an
opaque glaze, in
which the col¬
ours are mixed
as in enamel.
There is neither
that crudity nor sameness that is so often found
in the colouring of the sixteenth-century glazes,
but a variety of tone that is a surprise and
delight. This method of reproduction should
prove of great value to sculptors and decorators
in suggesting the great variety of uses to which
terra-cotta may be put. More economical than
either bronze or marble, it can be used not only
for architectural purposes, but for altar-pieces,
fountains and statues. While frequently in deco¬

rations the use of glazed low relief is more effective
than painting, as in the lunette for the Sailors’
Institute, there is no limit to the variety of colour
nor does this detract from the dignity of the sculp-
tured surface. The Four Seasons Fountain
reaches a height of no less than twenty feet, fine in
quality and dignity; it suggests Della Robbia, yet
The durability of
withstands sun-
shine and rain,
while the hard
enamel surface
retains the col-
our and form for
Mcenads, a
bronze relief for
the Queen City
Club, Cincin-
nati, is a Greek
dance in sculp-
ture, full of
movement and
allurement. Not
a bacchanal but
a dance of the
fairies, “who
hear the winds
laugh and mur-
mur, and sing of
the land where
even the old are
fair and even
the wise are
merry of
tongue.” This
half- boyish
tendency, this
of the child and
his belief in
fairies, has
Licking, singing,
dancing children among his most successful com-
missions. The Dolphin and Boy is not an effort
drenched with the aroma of a perspiring sculp-
tor. Not that, but radiant with buoyant boy-
hood, it breathes the exuberance of youth, with
no pretty sentimentality, either.
And still a widely different but none the less
dominant note is expressed in the almost pathetic
expression on the face of the Christ Child in the



placed Barnhorn figures of

breathes a spirit of modernity,
this work is also remarkable;


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