DOI Heft:
No. 105 (December, 1901)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.19874#0224
Studio-Talk
ture. Domestic architecture received a large
share of attention, and many beautiful residences
showed a greater attention to colour in roofing,
as well as in wall structure, and increased attention
to verandahs and porticos. The interior designing
displayed a more marked attempt at a harmonious
whole—attention to special features, such as halls,
windows, and archways. Several good mural
decorations for friezes and panels and ceilings,
chiefly by Gustave Hahn, showed the increased
need for this form of interior decoration in private
houses. The designs for domestic glass also
showed less harshness, coldness and crudity of
design. Many good examples of carving for the
exterior of buildings and for capitals were also
on view.
The most noticeable design for a part of a
municipal building was that of the main entrance
of the new City Hall, by E. J. Lennox. A dental
college, by D. B. Dick, and a hospital for children
were commendable designs. The Library exten-
sion of Osgoode Hall, by E. Burke and J. C. B.
Horwood ; a design for a ceiling, by F. S. Challener,
R.C.A.; one for a Parliament building, by Frank
Darling and John A. Pearson ; a cartoon for
decorative glass, by R. M. McCausland; the
main saloon and staircase of the steamer Toronto,
by C. H. Acton Bond : a private residence,
by Eden Smith, and one by Henry Sproatt
and E. R. Rolph, also showed many good
qualities.
J. G.
OUTH AUSTRALIA.—
Several things of artistic in-
terest are associated with the
memorable visit paid to South
Australia by their Royal Highnesses
the Prince and Princess of Wales.
Thus the Princess received from the
ladies of Adelaide a fine portiere,
which, thought out and skilfully worked
at the Adelaide School of Design, is
well fitted by some of its emblems to
commemorate a very important time in
the early making of the Commonwealth.
The emblems, to be sure, are not all
intelligible at a glance, and it is also
certain that the official description is
not as helpful as it might be to anyone
who feels perplexed. For example,
after saying that " the whole of the
foliage in the design suggests movement
from right to left, from east to west,"
it concludes thus : — l:The wind cometh
with the breaking of the new day—the
morning of our life in Union : the
leaves may be tossed, but the Oneness
of the interwoven life remains." This,
perhaps, may be all very well, but is it
the kind of symbolism that a true
Anglo-Saxon would expect to find in
the needlework of a portierel It is
too fine-spun to tell its own tale; it
needs a glossary of explanations. But
the real emblems that have an abiding
significance are the Australian plants
and flowers, the Eucalyptus blossoms
and leaves, and the young gum tree, with
its six main branches, typical of those six
211
PORTIERE IN NEEDLEWORK EXECUTED BY THE
ADELAIDE SCHOOL OF DESIGN
(Presented to H.R H. the Princess of Wales,
by some ladies of Adelaide, South Australia J
ture. Domestic architecture received a large
share of attention, and many beautiful residences
showed a greater attention to colour in roofing,
as well as in wall structure, and increased attention
to verandahs and porticos. The interior designing
displayed a more marked attempt at a harmonious
whole—attention to special features, such as halls,
windows, and archways. Several good mural
decorations for friezes and panels and ceilings,
chiefly by Gustave Hahn, showed the increased
need for this form of interior decoration in private
houses. The designs for domestic glass also
showed less harshness, coldness and crudity of
design. Many good examples of carving for the
exterior of buildings and for capitals were also
on view.
The most noticeable design for a part of a
municipal building was that of the main entrance
of the new City Hall, by E. J. Lennox. A dental
college, by D. B. Dick, and a hospital for children
were commendable designs. The Library exten-
sion of Osgoode Hall, by E. Burke and J. C. B.
Horwood ; a design for a ceiling, by F. S. Challener,
R.C.A.; one for a Parliament building, by Frank
Darling and John A. Pearson ; a cartoon for
decorative glass, by R. M. McCausland; the
main saloon and staircase of the steamer Toronto,
by C. H. Acton Bond : a private residence,
by Eden Smith, and one by Henry Sproatt
and E. R. Rolph, also showed many good
qualities.
J. G.
OUTH AUSTRALIA.—
Several things of artistic in-
terest are associated with the
memorable visit paid to South
Australia by their Royal Highnesses
the Prince and Princess of Wales.
Thus the Princess received from the
ladies of Adelaide a fine portiere,
which, thought out and skilfully worked
at the Adelaide School of Design, is
well fitted by some of its emblems to
commemorate a very important time in
the early making of the Commonwealth.
The emblems, to be sure, are not all
intelligible at a glance, and it is also
certain that the official description is
not as helpful as it might be to anyone
who feels perplexed. For example,
after saying that " the whole of the
foliage in the design suggests movement
from right to left, from east to west,"
it concludes thus : — l:The wind cometh
with the breaking of the new day—the
morning of our life in Union : the
leaves may be tossed, but the Oneness
of the interwoven life remains." This,
perhaps, may be all very well, but is it
the kind of symbolism that a true
Anglo-Saxon would expect to find in
the needlework of a portierel It is
too fine-spun to tell its own tale; it
needs a glossary of explanations. But
the real emblems that have an abiding
significance are the Australian plants
and flowers, the Eucalyptus blossoms
and leaves, and the young gum tree, with
its six main branches, typical of those six
211
PORTIERE IN NEEDLEWORK EXECUTED BY THE
ADELAIDE SCHOOL OF DESIGN
(Presented to H.R H. the Princess of Wales,
by some ladies of Adelaide, South Australia J