Studio: international art (6.1896)

Interview with George Frampton, A.R.A'.

tuition. During that time I worked with Dagnan- even the design of the pedestal or the framework
Bouveret and Courtois, and while at Paris in 1888 was a matter that he left apparently to the
I modelled the Angel of Death, which gained an tradesman or architect. Mr. Frampton has an
honourable mention at the Salon and was shown entirely opposite conception of his duties. For
later at Burlington House. Previously to this him no detail is unimportant, and he is quite
being exhibited I had shown at the Academy, in willing (as his own drawing-room shows you)
1884, Socrates Teaching the People in the Agora, a to carry out with his own hands the most simple
composition in low relief. In 1885 I showed three features of masonry or metal-work, infusing all
heads, one being in bronze. In 1888, An Act of with a fine sense of style, and imparting dignity
Mercy, which took the R.A. gold medal and ^200 ; to the meanest materials by the treatment he
but I need not recapitulate a list of my later
work."

" Are these medals also yours ? " I asked,
as my eye was attracted by two models show-
ing the obverse and reverse, which were
framed and hung on the wall of the studio.

" Yes," said Mr. Frampton, " they represent
the medal to commemorate the 500th anni-
versary of Winchester College. The medal
itself was in smaller size. The obverse and
reverse are illustrated here. Here is another
work of the same class, a medal for Glasgow
University. The idea represents Truth and
Literature, with certain details that have local
significance. I am particularly interested in
medalling—it seems to me a branch of art
we have neglected in recent years. Look at
our ordinary coinage, for instance ; how mean
and poor most of it is by the side of any other
work, whether you take mediaeval or classic
examples for comparison."

" You believe very strongly, I think, in
the importance of the right placing of the
lettering and the decorative effect of inscrip-
tions, in clear, well-designed alphabets ? " I
said.

"Certainly I do," Mr. Frampton replied;
"it is a matter of the highest importance;" " mary." a bas-relief by george frampton, a.r.a
and he went on to explain those principles of

decoration which he illustrates so finely in his own bestows on them. To notice the importance
work. To hear Mr. Frampton explain his views— Mr. Frampton attaches to the setting of his work,
as modestly and simply as if they were merely per- one has but to refer to his well-known head,
sonal opinions, well thought-out it is true, but not Mysteriarch, exhibited at the Royal Academy in
inflexible laws—is singularly convincing. It is rare 1893. Here the head itself is set in front of a
to meet with an artist capable, as he has proved over gilded disc, supported on an architecturally treated
and over again, of creating sculpture of the noblest screen rising from the base to some little distance
type complete in itself, who is at the same time so above the figure, which is cut off, Florentine fashion,
ready to subordinate his own work to the effect of the just below the shoulders, and set firmly upon a
whole structure on which he happens to be engaged, base following the main lines of its composition.
For many years past the sculptor did his share The exquisite serenity of this noble head is thus
without regard for its ultimate position. It was assured of its environment wherever it may be
self-contained—bust, statue, panel, whatever form it placed. More than this, it is a decorative feature
happened to be—one could see that the interest of completely fulfilling its purpose; whereas the ordi-
the carver never went beyond the actual object ; nary bust stuck upon a turned foot, like a chess-

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