DOI issue:
Nr. 44 (November 1896)
DOI article:The Arts and Crafts Exhibition, 1896 (second notice)
DOI Page / Citation link:https://doi.org/10.11588/diglit.17298#0142
The Arts and Crafts
any undue straining for
novelty, and a perception
of the beauty of natural
growth — as a Japanese
master of lacquer loved
to depict it—which rarely
finds favour among exhi-
bitors here. A case(179)
in the West Gallery con-
tains two Altar Crosses, a
Chalice in silver and
bronze, and a Wafer Box,
designed by the same
artist, which prove that he
can employ sumptuous
colour with as much mas-
tery as when he works in
the monotone of wood:
although, even in the
silver 1 > 1 sit designed by c. r. ashbee Chancel Stalls, the con-
trast between the light
framing and the darker
which are shown in a corner of the North Gallery, panels shows that colour no less than form has
The two illustrations supply a very fair impression been relied upon to secure the desired effect of
of the main lines of their design. But the ex- variety, coupled with severe restraint,
quisite delicacy of the carving can hardly be A Door of Beaten Brass is also illustrated here
appreciated in the originals owing to the grain of (page 133); and the reproduction, although it over-
the wood, and is still less apparent in the illustra- accentuates somewhat the inequality of surface
tions. Indeed, the whole question of the wisdom which gives so much charm to the original, at the
of employing subtle planes of relief in any variegated same time shows very plainly how much richness of
material, whether marble, stone, or wood, is raised effect Mr. Wilson has gained by ornament that
once again. But if the design of the whole is open occupies a comparatively small proportion of the
to] difference of opinion, there can be but one re- surface of the door. One has but to compare the
garding its details. Mr. H. Wilson, whose memor- richness of this treatment of a space, with a four-
able work for Welbeck
Abbey formed one of the
most noticeable features
of the previous exhibition,
is peculiarly happy in his
use of floral forms. One
has but to notice these
bench ends, or the arms
of the great Lectern in
the Central Hall, to be
conscious of highly indi-
vidual treatment of semi-
conventionalised foliage
and blossom. The casts
for Bronze Gates (84 and
85), in which, as in the
Lectern (554), Mr. Wilson
has been associated with
Mr. F. W. Pomeroy, show
much freshness without pierced bowl designed by c. r. ashbee
130
any undue straining for
novelty, and a perception
of the beauty of natural
growth — as a Japanese
master of lacquer loved
to depict it—which rarely
finds favour among exhi-
bitors here. A case(179)
in the West Gallery con-
tains two Altar Crosses, a
Chalice in silver and
bronze, and a Wafer Box,
designed by the same
artist, which prove that he
can employ sumptuous
colour with as much mas-
tery as when he works in
the monotone of wood:
although, even in the
silver 1 > 1 sit designed by c. r. ashbee Chancel Stalls, the con-
trast between the light
framing and the darker
which are shown in a corner of the North Gallery, panels shows that colour no less than form has
The two illustrations supply a very fair impression been relied upon to secure the desired effect of
of the main lines of their design. But the ex- variety, coupled with severe restraint,
quisite delicacy of the carving can hardly be A Door of Beaten Brass is also illustrated here
appreciated in the originals owing to the grain of (page 133); and the reproduction, although it over-
the wood, and is still less apparent in the illustra- accentuates somewhat the inequality of surface
tions. Indeed, the whole question of the wisdom which gives so much charm to the original, at the
of employing subtle planes of relief in any variegated same time shows very plainly how much richness of
material, whether marble, stone, or wood, is raised effect Mr. Wilson has gained by ornament that
once again. But if the design of the whole is open occupies a comparatively small proportion of the
to] difference of opinion, there can be but one re- surface of the door. One has but to compare the
garding its details. Mr. H. Wilson, whose memor- richness of this treatment of a space, with a four-
able work for Welbeck
Abbey formed one of the
most noticeable features
of the previous exhibition,
is peculiarly happy in his
use of floral forms. One
has but to notice these
bench ends, or the arms
of the great Lectern in
the Central Hall, to be
conscious of highly indi-
vidual treatment of semi-
conventionalised foliage
and blossom. The casts
for Bronze Gates (84 and
85), in which, as in the
Lectern (554), Mr. Wilson
has been associated with
Mr. F. W. Pomeroy, show
much freshness without pierced bowl designed by c. r. ashbee
130