Studio: international art (34.1905)

The Birmingham School for Jewellers

FIRST EXERCISE IN RAISING AND TOOLING IN COPPER

is simple. In his own often halting and crude classes, some simpler form, and are then required
fashion the student is encouraged to try and add to draw it from the recollection of the very brief
life to the outline he has learned to express ; to space allowed for its observation. They are ex-
suggest, as well as he can, the sense of surface and pected, as they progress, not only to remember
modelling that he gathers from his observation of accurately its outline, but its structure, and texture;
the model Here progress may be slow and false in fact, to have imaged it completely within the
steps more easily made, but, with the same assist- memory. This exercise is not only excellent, but
ance from his master and, possibly, little technical it possesses in abundant measure that quality of
hints as to the methods to be used, there arrives personal interest which is so distinguishing a feature
again the result, not of someone else's interpreta- of the whole course of the training,
tion of the model, slavishly copied and lacking In the metalwork school, for which, of course,
imagination and expression, but the first—possibly all this training is a preliminary, the same uncon-
crude, and certainly immature, but still the first— ventional methods hold sway. The orthodox plan,
development of the student's own perception and whereby the student had first to submit a care-
analysis. How much this individual interpreta- fully and minutely executed design and working
tion counts may be judged by noting the striking drawing of a piece of metalwork or jewellery before
differences in the treatment in work from a common attempting its production, is dispensed with,
model which is yet all of equal merit and interest. The student is not encouraged to commence
The progress from inanimate to animate nature is work in these classes too soon, but when he ex-
rapid, and the spectacle of rows of first - year presses a desire to begin he is permitted to do so.
students busily engaged in arresting the move- If he is a very elementary pupil, only simple routine
ments of a live bird or animal and recording them work is permitted, to familiarise him with his tools,
vividly on paper, though common enough in Japan, His graver and punches must come to his hand as
is somewhat of a novelty here. The results are readily and as surely as his pencil, and insensibly
such as to amaze one. he will learn not only their use but their limitations.

The innate capacity of quite rough and untutored There is no undue striving after results as yet.

lads to appreciate the grace and movement of their Here no arbitrary examination looms ahead,

subjects, and to record their impressions with the menacing teacher and student alike, and he is

only recently handled pencil, is in many cases quite allowed to gradually absorb first principles. After

marvellous. Now comes one of the most vital . some little time so spent he would perhaps express

parts of their training—to prove the sum of their the wish to raise a bowl, in copper—some simple

observation, and show that it is really developed. shape, naturally. What is his idea ? Very well,

The class in memory drawing is a fairly good test. let him try it. If it fails, its failure is proved by

The students are allowed a few minutes' study of his own verdict; there is no criticism in terms he

either a plant, animal, or perhaps, in the elementary cannot understand. Show him a good bowl, and
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