DOI Heft:
Nr. 143 (February 1905)
DOI Artikel:A notable decorative achievement by W. Reynolds Stephens
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20711#0020
A Notable Decorative Achievement
DETAIL OF CHANCEL SCREEN DESIGNED AND EXECUTED
BY W. REYNOLDS-STEPHENS
TREES IN BRASS WITH MOTHER-o'-PEARL FLOWERS
FIGURES IN OXIDISED SILVER
(Copyright reserz'ed by the artist)
those forms of decorative art which are not so
susceptible of being controlled by hard and fast
rules. For one thing he does not learn how to
prepare his own design so as to give the decorator
legitimate chances, or how and when to make the
necessary concessions to the decorative scheme by
which his structural devisings are to be enhanced
and completed. For another, a knowledge of the
use of colour is not expected of him by his teachers,
and he is not trained to understand what an
9
important part colour can be made to play in the
perfecting of an architectural arrangement. It would
be easy to multiply instances of the failure of the
architect to realise what would be the effect of adding
ornamental details to a building which he has
constructed, and of what may almost be called his
selfishness in so narrowing the scope of the artist
who has to apply the finishing touches to the work
that the difficulty in arriving at a harmonious result
has been practically insurmountable. In these
instances the fault obviously lies with the architect,
because, misunderstanding as he does the capabili-
ties of the decorator, and unconsciously resenting
the implication that his own original design can be
improved by anyone else, he has carried his part
of the undertaking further than was either prudent
or Eesthetically correct.
But that these disadvantages can be avoided by
more intelligent and efficient collaboration between
the architect and the designer is evident enough.
An admirable proof ot this is afforded by a church
which has just been erected at Great Warley, in
Essex, by Mr. W Reynolds-Stephens and Mr. C.
Harrison Townsend. This church, as the joint
production of two men of exceptional ability, shows
most significantly what can be accomplished by
agreement at the outset as to the parts which the
designer of the main facts of a building and the
decorator who supplies the many necessary adorn-
ments by which these facts are made fully effective
should play in the whole undertaking. Here, at
all events, it is not possible to feel that there has
been any conflict between the people concerned,
or any attempt on the part of either of them to
score an advantage over the other. The architec-
tural and decorative features are correctly adjusted,
the construction of the building is neither concealed
nor stultified by added ornamentation, and there is
no sign of rebellion on the part of an earnest and
enthusiastic decorative artist against limitations
needlessly imposed upon his freedom of action by
an unsympathetic or antagonistic architect. The
whole achievement is, indeed, in its happy welding
together of many interesting details, well worthy to
4
DETAIL OF CHANCEL SCREEN DESIGNED AND EXECUTED
BY W. REYNOLDS-STEPHENS
TREES IN BRASS WITH MOTHER-o'-PEARL FLOWERS
FIGURES IN OXIDISED SILVER
(Copyright reserz'ed by the artist)
those forms of decorative art which are not so
susceptible of being controlled by hard and fast
rules. For one thing he does not learn how to
prepare his own design so as to give the decorator
legitimate chances, or how and when to make the
necessary concessions to the decorative scheme by
which his structural devisings are to be enhanced
and completed. For another, a knowledge of the
use of colour is not expected of him by his teachers,
and he is not trained to understand what an
9
important part colour can be made to play in the
perfecting of an architectural arrangement. It would
be easy to multiply instances of the failure of the
architect to realise what would be the effect of adding
ornamental details to a building which he has
constructed, and of what may almost be called his
selfishness in so narrowing the scope of the artist
who has to apply the finishing touches to the work
that the difficulty in arriving at a harmonious result
has been practically insurmountable. In these
instances the fault obviously lies with the architect,
because, misunderstanding as he does the capabili-
ties of the decorator, and unconsciously resenting
the implication that his own original design can be
improved by anyone else, he has carried his part
of the undertaking further than was either prudent
or Eesthetically correct.
But that these disadvantages can be avoided by
more intelligent and efficient collaboration between
the architect and the designer is evident enough.
An admirable proof ot this is afforded by a church
which has just been erected at Great Warley, in
Essex, by Mr. W Reynolds-Stephens and Mr. C.
Harrison Townsend. This church, as the joint
production of two men of exceptional ability, shows
most significantly what can be accomplished by
agreement at the outset as to the parts which the
designer of the main facts of a building and the
decorator who supplies the many necessary adorn-
ments by which these facts are made fully effective
should play in the whole undertaking. Here, at
all events, it is not possible to feel that there has
been any conflict between the people concerned,
or any attempt on the part of either of them to
score an advantage over the other. The architec-
tural and decorative features are correctly adjusted,
the construction of the building is neither concealed
nor stultified by added ornamentation, and there is
no sign of rebellion on the part of an earnest and
enthusiastic decorative artist against limitations
needlessly imposed upon his freedom of action by
an unsympathetic or antagonistic architect. The
whole achievement is, indeed, in its happy welding
together of many interesting details, well worthy to
4