DOI Heft:
No. 90 (September, 1900)
DOI Artikel:Lees, Frederic: Round the exhibition, [2] - A palace of dress
DOI Artikel:Henwood Blamey, J.: A few notes on bench-ends
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19785#0269
Bench-ends
worn by Mme. Sarah
Bernhardt in Theodora
was his, as also the princi-
pal costumes worn in La
To sea, Les Danickeff,
Michel Strogoff, Les Mille
et une Nuit, Patrie ! and
La Haine — all master-
pieces of their kind.
The Palace of Dress
may or may not—opinions
differ—be calculated to
have the effect of improv-
ing public taste in matters
of dress. Personally I am
inclined to believe that it
will, that the millions who
visit it will—unconsciously
perhaps — be influenced
for good by what is best,
deterred from copying
those fashions which
when they were invented
seemed so becoming, but
upon which now we look
"le theatre du marais in 1636" from the original drawing with horror. There is a
by t. thomas tendency at present,
especially in America, to
go back to the Empire for
piece than the Veille du Sacre side by side with it; our inspiration. Certainly no better period could
yet its cost must have been much less than half if it is have been chosen. It is to be hoped that in
correct, as I am given to understand, that the gold these days, when so much improvement is pos-
embroidery on Josephine's train alone cost more than sible, that this tendency will not be found to
p^6oo. The figure of Napoleon standing with his be one of those vagaries of which the history
elbow on the mantelpiece watching the fitting on of fashion can show so many examples,
of the Empress's robe is not altogether successful Frederic Lees.
to my mind. " Le Petit Caporal" cuts a much
better figure in M. Thomas' preliminary sketch.
Finally, let me mention the two domestic scenes A few notes on bench-ends,
entitled Le Fiance and Un Bqptime, the former /\ written and illustrated
an interior of 1820, the latter a scene of /—^ by j. henwood blamey.
1830 outside a church at the conclusion of a
christening. The object of these few notes and drawings
Whilst mentioning M. Thomas it would be well is t0 call attention to the artistic excellence of
to take the opportunity of drawing attention to the ^ bench_ends in many of the country churches
in West Somerset.
work of this excellent black-and-white artist, whose
drawings for the Palais du Costume are here repro
j,,„ a € 1 r ■ rr^i * 11 1 In spite or the ravages of fare, and destruction
auced for the first time. They include several . fa
Hpci'mic ,„i,;„k r • 1 • ^ ■ by fanatical zealots and the modern " restorer," few
designs which are of special interest, since it was ' '
decided for various reasons not to carry them out. have ^ idea of the amount of fine old carvings
It is to this master in the art of mise en scene hidden away in our country churches, which are
that we owe some of the finest dramatic creations deserving of far greater attention from the student
of the modern French stage, that is, from the than they receive. The Somerset churches have
point of view of dress. The marvellous dress been justly famed for the beauty of their carved
236
worn by Mme. Sarah
Bernhardt in Theodora
was his, as also the princi-
pal costumes worn in La
To sea, Les Danickeff,
Michel Strogoff, Les Mille
et une Nuit, Patrie ! and
La Haine — all master-
pieces of their kind.
The Palace of Dress
may or may not—opinions
differ—be calculated to
have the effect of improv-
ing public taste in matters
of dress. Personally I am
inclined to believe that it
will, that the millions who
visit it will—unconsciously
perhaps — be influenced
for good by what is best,
deterred from copying
those fashions which
when they were invented
seemed so becoming, but
upon which now we look
"le theatre du marais in 1636" from the original drawing with horror. There is a
by t. thomas tendency at present,
especially in America, to
go back to the Empire for
piece than the Veille du Sacre side by side with it; our inspiration. Certainly no better period could
yet its cost must have been much less than half if it is have been chosen. It is to be hoped that in
correct, as I am given to understand, that the gold these days, when so much improvement is pos-
embroidery on Josephine's train alone cost more than sible, that this tendency will not be found to
p^6oo. The figure of Napoleon standing with his be one of those vagaries of which the history
elbow on the mantelpiece watching the fitting on of fashion can show so many examples,
of the Empress's robe is not altogether successful Frederic Lees.
to my mind. " Le Petit Caporal" cuts a much
better figure in M. Thomas' preliminary sketch.
Finally, let me mention the two domestic scenes A few notes on bench-ends,
entitled Le Fiance and Un Bqptime, the former /\ written and illustrated
an interior of 1820, the latter a scene of /—^ by j. henwood blamey.
1830 outside a church at the conclusion of a
christening. The object of these few notes and drawings
Whilst mentioning M. Thomas it would be well is t0 call attention to the artistic excellence of
to take the opportunity of drawing attention to the ^ bench_ends in many of the country churches
in West Somerset.
work of this excellent black-and-white artist, whose
drawings for the Palais du Costume are here repro
j,,„ a € 1 r ■ rr^i * 11 1 In spite or the ravages of fare, and destruction
auced for the first time. They include several . fa
Hpci'mic ,„i,;„k r • 1 • ^ ■ by fanatical zealots and the modern " restorer," few
designs which are of special interest, since it was ' '
decided for various reasons not to carry them out. have ^ idea of the amount of fine old carvings
It is to this master in the art of mise en scene hidden away in our country churches, which are
that we owe some of the finest dramatic creations deserving of far greater attention from the student
of the modern French stage, that is, from the than they receive. The Somerset churches have
point of view of dress. The marvellous dress been justly famed for the beauty of their carved
236