Studio: international art (13.1898)

Some Glasgow Designers

PART OF A SCREEN IN OPALESCENT AND CLEAR
GLASS BY HARRY THOMSON

_................... ____ _ To be able to take

^J^^^^^^^^^^B lightly,

(\ with all seriousness,

"■"Ns/N. M I is the most happy at

"^O^xTV^^mi 1 tribute of any crafts

\ I 8 man; it leads to the

/ I nil feeling which has

jy I It I been said to be the

!/ cause of all worthy

jf^\ ornamentation,

yj| namely, " the joy of

^~~TihTB^r^'^ .....8 the workman in his

work." When he has
mastered its tech-
nique and overcome
its difficulties, then and not until then can he
venture to experiment and to dare, certain that
whatever be the result of the new departure in
ways of established precedent, he has already done
well, and can do well again, if the new path prove
not worth following up. Thus he can play with

not actually transparent, are always manipulated
with distinct recognition of these facts. Next, that
without any conflict with these two essentials, all
precedents are followed or abandoned as the whim
of the moment prompts each designer. Perhaps
for "the whim of the moment," it would be more window in opalescent and lemon timed

dignified to say the inspiration of his theme; but class by harry Thomson

as personal intercourse with Mr. Paterson reveals

him to be not a " soulful" theorist, but a working his craft as a poet plays with words, and if the
craftsman with abundant ideas and well-balanced fancy be on him, can expend his art on a trifle
self-criticism, the more colloquial phrase may be with no less pleasure than in more sober mood he
employed without offence. can strain every nerve to surpass his best record.

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