Studio: international art (10.1897)

Studio- Talk

and detail. Beyond a suggestion of Japan in the taken from Wagner's operas in the following
treatment of the curved feet on which it rests, the order: On the top fold of the girdle in the photo-
whole growth of the ornament is obedient to the graph here reproduced we find, beginning at the
traditions of a fine period of Gothic art, in which left, the Death of Tristan—" Tristan and Isolde,"
we find the poppy-heads and the ball-flowers of the "Lohengrin," " Siegmund and Siegbinde." Der
period of its noblest achievement. The vigorous Walkiire—" The Rheingolcl; Fafner the Dragon—
crisp growth of the foliage is evident in the illustra- " Siegfried," " Tannhauser ; " and The Love Draught
tion ; but the discs in the lid contrast more harshly in —" Tristan and Isolde." On the sloping part on the
the photograph than in the original work, which ranks left side are " Parsifal " and " The Meistersingers ;"
perhaps more highly as an example of fine carving on the right Romulus and Remus—" Rienzi," and
than as a perfectly satisfactory mass, for the legs, "The Flying Dutchman." The clasp is naturally
which are in no way essential to its utility, are rather occupied by the heroine of "Der Ring des
too prominent, and give a feeling of instability to Nibelungen "—Brunhilde, who may be taken also as
the work, despite their size. Yet so much is of representing " Die Gotterdammerung," and so com-
pleting the representation
of every one of the master's
great works.

When analysing the spirit
of decoration which con-
trols modern art to-day, it
is curious how the influence
of the great tone-poet of
Bayreuth is almost invari-
ably found present. Whether
the craftsman makes illus-
trations, carves, fashions
mosaics or stained glass,
weaves tapestries, or works
cunningly in metals and
enamels, he is almost cer-
tain sooner or later to pay
the debt he owes Wagner
as a source of inspiration.
Wagner and Fitzgerald's
" Omar Khayyam, " these

carved wood tea-cADnY by frank g. wAT.Lis are the indirect influences

which the modern designer

first-rate excellence that this fault—and it is a fault responds to most readily. Indeed, it will be
—need not be insisted upon. possible perhaps for some ingenious critic of the

- future to separate the original design of the late

One of the most beautiful objects the new nineteenth century from that (Morris's work for in-
revival in enamelled jewellery has produced is stance) based wholly on precedent. The late Vie-
unquestionably the girdle by Mr. Alexander Fisher, torian period found in the music of Wagner and
here illustrated, which has been exhibited at the the quatrains of old Khayyam, new motives
Royal Academy and also at the New Gallery. which had been hitherto untouched. In place of
The girdle is of enamel and steel, mounted upon the oft-repeated " Una and the Lion," " King
grey suede leather. The enamels are transparent Arthur," or scenes from sacred writ, a new field of
on gold and silver, the links and mounts in carved, imaginative poetry was opened up ; and as each
chased, and damascened steel, set with opals, artist fashions in his own way the impressions of
moonstones, coral, chrysoprase, carnelian, sap- beauty he drinks in by sight, by hearing, and by
phires and topaz—a sumptuous scheme of colour passionate emotion, it is not too fantastic to credit
that is singularly harmonious and devoid of any the true source of many a pattern and many a
barbaric display. The subjects of the enamels are device no less surely than many a picture or

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