DOI Heft:
No. 7 (October, 1893)
DOI Artikel:Vallance, Aymer: The Arts and Crafts Exhibition Society at the New Gallery, 1893
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17189#0020
The Arts and Crafts Exhibition, 1893
ordered beauty. Vulgarity is self-asserting in a with that vital beauty which is the secret of handi-
moment, but good conduct reveals itself more craft is not revealed; the circle is not squared by
after a lengthy interview; so here one is less the Arts and Crafts any more than by Curtain
impressed by " art " than by utility ; the effect Road itself. One essential of beauty is its distinc-
reached by apparently simple means provokes no tion from monotony. Who could tolerate a row of
outburst of applause, but gradually and irresistibly a hundred replicas of the Venus of Milo ? So
long as no two skies, or
waves, or leaves are exact
facsimiles of each other,
one impress of the hand,
one accident of human
imperfection, will impart a
charm which reiterated
perfection —were it pos-
sible—would never yield.
No one would care that
the face of his beloved
should be seen on a hun-
dred other human beings,
and as long as humanity
recognises the joy of
unique possession, so long
will handicraft hold its
own against the products
of machinery, be they
never so cunningly con-
trived.
The Central Hall of the
New Gallery never pre-
sented a better ensemble
than it does at this the
fourth show of the Arts
and Crafts. The exhibits
are not dotted about like
so many chessmen on a
board, but have been cun-
ningly arranged to play
their part in the adorn-
ment of the room. That
this is good both for the
sketch design in coloured plaster, for chancel ceiling, effect and the individual
st. Clement's church, Bradford, by george frampton rr . ■ , ,
effort is unquestionable.
proves its worth. Not that the Gallery holds To the left, against the balcony, rises a huge cartoon
nothing below the level of its best, still less that it for the decoration of St. Paul's, by W. B. Richmond,
represents all the bests possible ; but a careful A.R.A., which looks harmonious enough in its pre-
study of the various objects therein leaves sin- sent place and witnesses the scholarship of its author,
gularly little to condemn, and a great deal to One cannot help wondering if the elaborate detail,
praise unreservedly. Mere novelty, that cheap which is a trifle confused at its present elevation,
originality which is only an inversion of accepted will not be totally lost when in its destined place,
tradition, is in the minority. Chairs no one could The glitter of mosaic may heighten its brilliancy,
sit in, fireplaces that repel by their discomfort, but would not that very fact help still further to
fabrics that are too gorgeous for daily life, things confuse the detail? The panels for the Birmingham
undustable and uncleanable, are not to the fore. Town Hall, which were illustrated in last month's
True, the -power to imbue machine-made goods Studio, hang also outside the railings of the
8
ordered beauty. Vulgarity is self-asserting in a with that vital beauty which is the secret of handi-
moment, but good conduct reveals itself more craft is not revealed; the circle is not squared by
after a lengthy interview; so here one is less the Arts and Crafts any more than by Curtain
impressed by " art " than by utility ; the effect Road itself. One essential of beauty is its distinc-
reached by apparently simple means provokes no tion from monotony. Who could tolerate a row of
outburst of applause, but gradually and irresistibly a hundred replicas of the Venus of Milo ? So
long as no two skies, or
waves, or leaves are exact
facsimiles of each other,
one impress of the hand,
one accident of human
imperfection, will impart a
charm which reiterated
perfection —were it pos-
sible—would never yield.
No one would care that
the face of his beloved
should be seen on a hun-
dred other human beings,
and as long as humanity
recognises the joy of
unique possession, so long
will handicraft hold its
own against the products
of machinery, be they
never so cunningly con-
trived.
The Central Hall of the
New Gallery never pre-
sented a better ensemble
than it does at this the
fourth show of the Arts
and Crafts. The exhibits
are not dotted about like
so many chessmen on a
board, but have been cun-
ningly arranged to play
their part in the adorn-
ment of the room. That
this is good both for the
sketch design in coloured plaster, for chancel ceiling, effect and the individual
st. Clement's church, Bradford, by george frampton rr . ■ , ,
effort is unquestionable.
proves its worth. Not that the Gallery holds To the left, against the balcony, rises a huge cartoon
nothing below the level of its best, still less that it for the decoration of St. Paul's, by W. B. Richmond,
represents all the bests possible ; but a careful A.R.A., which looks harmonious enough in its pre-
study of the various objects therein leaves sin- sent place and witnesses the scholarship of its author,
gularly little to condemn, and a great deal to One cannot help wondering if the elaborate detail,
praise unreservedly. Mere novelty, that cheap which is a trifle confused at its present elevation,
originality which is only an inversion of accepted will not be totally lost when in its destined place,
tradition, is in the minority. Chairs no one could The glitter of mosaic may heighten its brilliancy,
sit in, fireplaces that repel by their discomfort, but would not that very fact help still further to
fabrics that are too gorgeous for daily life, things confuse the detail? The panels for the Birmingham
undustable and uncleanable, are not to the fore. Town Hall, which were illustrated in last month's
True, the -power to imbue machine-made goods Studio, hang also outside the railings of the
8