DOI Heft:
No. 175 (October, 1907)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20776#0078
Studio-Talk
Majesty." The surround of the reredos, with its
flanking piers for standing lights, is plated with
sheets of brass riveted on; the border and
blocks of same having acanthus and scroll orna-
ment in low relief. The retable is of white marble
with narrow vertical panels of pale-green marble
carrying a plain brass cross, the two altar lights
being placed on the altar itself, and the seven
sanctuary lamps suspended from the roof in two
horizontal tiers. The altar is to be of the same
material as the reredos, but lacquered in silver-
grey. The altar rails have the emblems of the
evangelists repoussed in metal. The nave is sub-
divided into five bays by stone arches springing
from the floor across the nave. The roof following
the curve of these cross arches is divided into
eighteen panels in each bay, the lower three panels
throughout being filled with winged and vested
figures of the hierarchy of Heaven, the first bay
of the roof being shown in the view of the interior
with an important cross in metal suspended beneath.
On page 58 we reproduce Mr. Muirhead Bone's
pencil drawing of the demolition of St. James's
Hall, to which we briefly referred in our notes last
month. Mr. Bone's acknowledged rank as a
draughtsman and etcher of street architecture is a
very high one. His art has been mentioned with
Meryon's. Meryon was a dreamer; the streets of
his Paris are haunted, the windows eloquent of
tragedy. Mr. Bone creates the ordinariness of the
London suburb with as rare an art, in his way, as
Dickens. He has his romantic moments, chiefly
before the spectacle of labour. When in this mood
he is akin to Mr. Brangwyn and Mr. Kipling, in
certain aspects of their art; but his concern is less
than theirs with the splendour of modern invention,
his theme being the significance of building—of
great places dismantled, stripped of glory, and the
fairy bridges of scaffolding by which we pass to
newer things.
It was gratifying to note that the work of the
Junior Art Workers' Guild, as seen at its recent
annual exhibition at Clifford's Inn, still maintains
its excellence in design and workmanship. The
work of the jewellers and metal-workers of the
Guild more especially bore evidence of fresh
thought, expressed in lively and exuberant fancies,
with great variety of colour and wealth of detail.
"IN CASTOR CHURCH, NORTHAMPTONSHIRE" BY T. L. SHOOSMITH
56
Majesty." The surround of the reredos, with its
flanking piers for standing lights, is plated with
sheets of brass riveted on; the border and
blocks of same having acanthus and scroll orna-
ment in low relief. The retable is of white marble
with narrow vertical panels of pale-green marble
carrying a plain brass cross, the two altar lights
being placed on the altar itself, and the seven
sanctuary lamps suspended from the roof in two
horizontal tiers. The altar is to be of the same
material as the reredos, but lacquered in silver-
grey. The altar rails have the emblems of the
evangelists repoussed in metal. The nave is sub-
divided into five bays by stone arches springing
from the floor across the nave. The roof following
the curve of these cross arches is divided into
eighteen panels in each bay, the lower three panels
throughout being filled with winged and vested
figures of the hierarchy of Heaven, the first bay
of the roof being shown in the view of the interior
with an important cross in metal suspended beneath.
On page 58 we reproduce Mr. Muirhead Bone's
pencil drawing of the demolition of St. James's
Hall, to which we briefly referred in our notes last
month. Mr. Bone's acknowledged rank as a
draughtsman and etcher of street architecture is a
very high one. His art has been mentioned with
Meryon's. Meryon was a dreamer; the streets of
his Paris are haunted, the windows eloquent of
tragedy. Mr. Bone creates the ordinariness of the
London suburb with as rare an art, in his way, as
Dickens. He has his romantic moments, chiefly
before the spectacle of labour. When in this mood
he is akin to Mr. Brangwyn and Mr. Kipling, in
certain aspects of their art; but his concern is less
than theirs with the splendour of modern invention,
his theme being the significance of building—of
great places dismantled, stripped of glory, and the
fairy bridges of scaffolding by which we pass to
newer things.
It was gratifying to note that the work of the
Junior Art Workers' Guild, as seen at its recent
annual exhibition at Clifford's Inn, still maintains
its excellence in design and workmanship. The
work of the jewellers and metal-workers of the
Guild more especially bore evidence of fresh
thought, expressed in lively and exuberant fancies,
with great variety of colour and wealth of detail.
"IN CASTOR CHURCH, NORTHAMPTONSHIRE" BY T. L. SHOOSMITH
56