Studio: international art (2.1894)

Concerning Repousse Metal IVork

scribed and practised by Theophilus. We also are
doing it to-day, for this is among the few things
of the world that change not. " By Hammer and
Hand all thinges doe stand," runs the old legend;
neither hammer nor hand alter — they remain
always—only the brain that guides the hand
(which in turn guides the hammer) changes. The
succeeding generations of workers have different
things to say, that is all. The matter changes, but
not the manner.

Our ancient friend, the monk—how useful a
member the Art Workers' Guild has lost, by his
having been born at so early a date '—seems to
have depended on the help of a boy in hammering
his design on the metal. It is worth mentioning,
because a desire for statistics as to the compara-
tive merit of boys then and now arises in one's
mind. It is also worth mentioning that the modern
repousse worker usually beds his metal in the pitch
bed, the human article having in the lapse of ages
been dispensed with in favour of the more useful
and quieter one.

Anyway, boy or no boy, it matters little how one
does the work so long as it is done, and well; and
if the worker has preference for any process or
fashion which he is satisfied gives good results, he
should be strongly upheld in using such means.
This special method, doubtless, has relation to his
own ideas of design, and will help to give person-
ality to his work, always a high quality in art. So
whether the metal is wrought by laying it on pitch,
on lead, on wood (all these are used), is not of much
consequence, only as each gives its own peculiar
effect to the work, the worker will use it accordingly.
The metal being bedded on one of these materials,
the design is beaten on to it by hammer and punch
—in reverse, of course—working as we must upon
the back.

The technique, one sees, is simplicity itself, all
can be learnt in thirty seconds, though it takes
many years to become a good craftsman. In
these days of " handbooks " and cheap instruction
at Polytechnics, one can obtain all the communi-
cable information with the greatest ease ; and at the
latter class, what is still more useful to the art-
worker, the advice of a man practised in the art
that he professes to teach.

He will save you trouble in showing you how to
secure your copper or silver to the pitch—how to
get certain effects with certain tools, how to take
the work off again, clean it, and finally how to
chase it more or less upon the front side and make
it beautiful. So much of this can be learnt and
assimilated, as the worker finds to suit his artistic
196

constitution ; the rest he will reject. One cannot
help saying, by-the-by, that the ease with which
this information can be obtained is by no means
an unmixed blessing, for it encourages the exist-
ence of the " amateur."

Once that word was a pleasant one, when it was
newly formed, and signified " a worker for love ;"
once "a lover of sacred things;" now apt to
imply "one who dabbles and trifles with them."
" Art" is a fashion nowadays. In consequence the
amateur must needs set up a studio with the usual
paraphernalia. Truly is a little knowledge a dan-
gerous thing ; but the ill must be borne with until
the blessed boon of a fuller knowledge forces
every one to see that if he would breathe the same
atmosphere with workers he must needs be himself
one. Alas! this is not yet. Meanwhile, gentle
amateur, a word in thine ear. Turn not thy thoughts
to this art. It is dirty, it will soil thy fingers, the
pitch will defile thee; pass thou by on the other
side, O amateur, leaving this to those who are in
earnest !

If all this be so easy that any one can do it,
wherein lies the art? One might as well argue
that as writing is easy nowadays when all have
learned it, that all might write poetry.

The truth is simple, and applies to poetry,
repousse work, or any other art—it is because there
is nothing to say. The pump-handle may work
well enough, but no water comes if the well be
dry. That's just it—nothing to say, so it remains
unsaid. An intelligent young fellow, who had
been working in a class at hammered copper for a
year or so, said, " What's the good of this ? I have
been learning for twelve months ; I have hammered
two ash-trays, a finger-plate for a door, and a dish,
and there's nothing else to do." He had nothing to
say, and not knowing the complaint he suffered
from put it down to the work.

From which one comes to the conclusion that
design bears a most important part in repousse.
Very little practical experience will teach the
ambitious metal-worker that the design must be
the outgrowth of the treatment of the metal. He
will find certain tools or shaped hammers will give
a pleasing result, then must he design so that these
points are brought out. In working in copper, for
instance, he finds that big bosses look sumptuous
and rich, that they take a high polish in cleaning,
and sparkle in golden light. He finds that a fine
small pattern sharply chased and lined on the
front side looks insignificant, and that such waste
of labour must be avoided. He who would speak
French well must think in French, and he who