DOI Heft:
No. 6 (September, 1893)
DOI Artikel:Gibson, J. S.: Artistic houses
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17188#0239
Artistic Houses
cerning certain tendencies in the art work of this forth their silent song with such engaging divinity of
our perverse and stiff-necked generation. Neither childhood had it not been for the men of the Italian
inclination nor capacity have I to preach at length Renascence. The song indeed may owe its being to
anent either Mr. Voysey's
'"W. (
house in " Hans Place," or
Mr. George Frampton's
" Music Gallery," in No. 2
Kensington Court. To do
this would be not only
superfluous but obtrusive. I
may, however, be allowed to
point out wherein both these
subtle artists afford sugges-
tion to those by whom sug-
gestion is sought. Few de-
corators or architects of our
generation have less ob-
viously borrowed from the
antique than Mr. Voysey,
and yet running through the
almost studied simplicity of
his work, with its insistent
absence not only of such or-
nament as might be deemed
meretricious, but of all mere
ornamentation, I can dis-
cern a note which differs
scarcely at all from that which
pervades the great symphony
of the Acropolis.
In his reliance for effect
on the simplicity of propor-
tion, in his avoidance of all
mouldings, save those which
are absolutely forced upon
him j in his delight in broad
unrelieved surfaces; in all
these qualities, negative
though they be, I discern a
positive Hellenism. Doubly
interesting is this to one who
conceives, as I do, that the
fount of inspiration for the
coming generation of artistic
craftsmen will be that pure
and unsullied one which
bubbled forth two thousand
years ago in Greece. If the
Hellenism of Mr. Voysey
seems to be innate and tem- a ^^stibule at stanmore hall. Messrs. w. morris and co.
peramential, that of Mr. (»*P*W by Jfesm. Baford, Umm &. Co.)
Frampton appears to reach him by way of the a Greek composer, but they sing it in the neo-
Cinque Cento. Frankly Pagan as his singing Latin tongue. If these two examples of the work
urchins are, they would, I think, never have poured of two clever men finally teach us anything at all,
cerning certain tendencies in the art work of this forth their silent song with such engaging divinity of
our perverse and stiff-necked generation. Neither childhood had it not been for the men of the Italian
inclination nor capacity have I to preach at length Renascence. The song indeed may owe its being to
anent either Mr. Voysey's
'"W. (
house in " Hans Place," or
Mr. George Frampton's
" Music Gallery," in No. 2
Kensington Court. To do
this would be not only
superfluous but obtrusive. I
may, however, be allowed to
point out wherein both these
subtle artists afford sugges-
tion to those by whom sug-
gestion is sought. Few de-
corators or architects of our
generation have less ob-
viously borrowed from the
antique than Mr. Voysey,
and yet running through the
almost studied simplicity of
his work, with its insistent
absence not only of such or-
nament as might be deemed
meretricious, but of all mere
ornamentation, I can dis-
cern a note which differs
scarcely at all from that which
pervades the great symphony
of the Acropolis.
In his reliance for effect
on the simplicity of propor-
tion, in his avoidance of all
mouldings, save those which
are absolutely forced upon
him j in his delight in broad
unrelieved surfaces; in all
these qualities, negative
though they be, I discern a
positive Hellenism. Doubly
interesting is this to one who
conceives, as I do, that the
fount of inspiration for the
coming generation of artistic
craftsmen will be that pure
and unsullied one which
bubbled forth two thousand
years ago in Greece. If the
Hellenism of Mr. Voysey
seems to be innate and tem- a ^^stibule at stanmore hall. Messrs. w. morris and co.
peramential, that of Mr. (»*P*W by Jfesm. Baford, Umm &. Co.)
Frampton appears to reach him by way of the a Greek composer, but they sing it in the neo-
Cinque Cento. Frankly Pagan as his singing Latin tongue. If these two examples of the work
urchins are, they would, I think, never have poured of two clever men finally teach us anything at all,