Studio: international art (13.1898)

The Work of Heywood Sumner

_the decoration of All Saints', Ennismore Gardens Mr. Heywood Sumner while championing sgraffito

_the scheme shows a singular unity of concep- does not press its claim unduly. He confesses that

tion and a most ingenious disposition of available it has no beauty of material like glass—no mystery
space, so that the scale of the ornament is preserved of surface like mosaic—no pre-eminence of subtly
throughout. As our illustration shows, the decora- woven tone and colour like tapestry; yet it gives
tion over the chancel arch is arranged with a vesica- freer play to line than any of these. So a cartoon
shaped panel in the centre, containing a Crucifixion for it may be translated with no deviation, such as
in mosaic, surrounded by two bands of mother-of- leading, tessera, or warp and woof impose. The
pearl, and medallions containing the symbols of the decoration becomes an integral part of the structure
four Evangelists, all knitted into one design by the it adorns; " the inner surface of the actual wall
mystical vine. The bay and a half of the nave, com- changes colour in puzzling but orderly sequence, as
pleted so far, include figures of St. Columba, the the upper surface passes into expressive lines and
Venerable Bede, St. Anselm, St. Augustine, St. spaces, delivers its simple message, and then re-
Oswald, and St. Edmund. lapses into silence. But whether incised with intri-
The effect of the work is entirely satisfying, and cate design, or left in plain relieving spaces, the wall
fulfils all that the firmest believer in the value of receives no further treatment: the marks of the
sgraffito for internal decoration could possibly wish, float, trowel, and scraper remain, and combine to
It is bright without being garish, full of light, and, make a natural surface." Finally he points out that
moreover, it in no way conflicts with the planes of " the limitations of sgraffito as a method of expres-
the architecture. It is only fair to add that its sion are the same as those of all incised or line
effect is greatly helped by the woodwork and other work. By it you can express ideas and suggest life,
fittings designed by Mr. C. Harrison Townsend. but you cannot realise, cannot imitate the natural

objects on which your

^^^^^^^^BJ" 8raPnic language

.^jj^jk f %^^0gJ^tl^ |)H spaces relieved against and

J hfju/m^ jjH slightly raised on a coloured

^MS JL |P*V ground; coloured lines and

spaces slightly sunk on a

^<jjr> *6BP VI-- Tm* tit white surface ; intricacy re-

J^^Hm % wBm lieved by simplicity of line,

^H^8PSb.';"^ and again either relieved by

t^tffin ^jfjllhii plain spaces of coloured

yg|l ground or white surface.

Indeed they are simple
& means. Yet line still re-

mains the readiest manner

WM Ifi^L of graphic expression ; and

if in the strength of limita-
tion our past masters of the

T Jff*^. j|^^HHk.\:u ' ;•• qj |P^!% arts and crafts have had

IwL ^^mmmai power to 1 free,

V" " jv^fl WtL dilate/ by their simple

I JBI E^. record of hand and soul,

B Jm jJMl^HI we also should he able to

mS '-•• bring forth new achieve

ment from old method,
llflbag and to suggest the life and

Uj[ express the ideas which

sway the latter years of
our own century."

(See "Anders Zornn) from a painting ry andkks zorn gleeson white.

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