DOI Artikel:
The craft section at the New Gallery
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20778#0080
Crafts at the New Gallery
SILVER BOWL
of these great decorators of the recent past, the
tapestry in itself is as fine an example of nine-
teenth-century decoration as can be found, and is
a worthy conclusion to the famous series of Arras
tapestries designed by Burne-Jones. The idealistic
ladies and the realistic lilies and daisies are typical
of the special phase of art which bloomed for a
period, like an imported exotic, reminiscent of a
time long past when Siena was queen among the
cities of great painters.
With the exception of this tapestry and two
cases of exhibits by Lalique
and Gaillard, the applied art
collection is shown in the
balcony around the central
hall, on the walls and in cases.
As jewellery and exhibits of
personal adornment predomi-
nate, they may be reviewed
first. Of Lalique it is not
necessary to speak, seeing that
his work is more than well
known, but it is a great satis-
faction to have him represented
here if only as holding out an
example of technique carried
to its highest point—an ex-
ample that is sadly needful for
the art work of this country.
No doubt it is an idea in the
mind of all craftsmen that to
be original is to be clever; but
with them, as with all other
artists, the desire to be original
militates strongly against the
56
upholding of the true canons
of art. The laws which hold
good in the creation of a master-
piece of sculpture or painting
are the same for the inventing
and carrying out of a silver
chain or a brass candlestick.
The artist who is “ original ”
is he who is least conscious of
being so, and the best work is
at all times done by those
who are true to their own per-
sonality and do not struggle to
be original.
In looking at the twelve or
more cases of jewellery, chiefly
exhibited by women, it is in-
tensely satisfactory to notice
that these workers have over-
come the mania for enamel which of recent years
has done so much to cheapen and make vulgar a
beautiful material and a beautiful craft. Some ten
years or so ago a number of ladies discovered that
with very little difficulty, involving very little study,
lovely bits of coloured enamel, applied on metal,
might be made to masquerade as “jewelry.” Jewels
were used, but as supplemental to the enamel, and
not vice-versa, as the case should be. In the course of
a very few years enamelling reached the low standard
which we can now all recognise for ourselves.
DESIGNED BY FLORENCE H. STEELE
PANEL FOR ALTAR RAIL, IN
BRASS AND WROUGHT IRON,
FOR LEEDS CATHEDRAL
DESIGNED AND EXECUTED BY
EDWARD SPENCER OF THE
ARTIFICERS’ GUILD
SILVER BOWL
of these great decorators of the recent past, the
tapestry in itself is as fine an example of nine-
teenth-century decoration as can be found, and is
a worthy conclusion to the famous series of Arras
tapestries designed by Burne-Jones. The idealistic
ladies and the realistic lilies and daisies are typical
of the special phase of art which bloomed for a
period, like an imported exotic, reminiscent of a
time long past when Siena was queen among the
cities of great painters.
With the exception of this tapestry and two
cases of exhibits by Lalique
and Gaillard, the applied art
collection is shown in the
balcony around the central
hall, on the walls and in cases.
As jewellery and exhibits of
personal adornment predomi-
nate, they may be reviewed
first. Of Lalique it is not
necessary to speak, seeing that
his work is more than well
known, but it is a great satis-
faction to have him represented
here if only as holding out an
example of technique carried
to its highest point—an ex-
ample that is sadly needful for
the art work of this country.
No doubt it is an idea in the
mind of all craftsmen that to
be original is to be clever; but
with them, as with all other
artists, the desire to be original
militates strongly against the
56
upholding of the true canons
of art. The laws which hold
good in the creation of a master-
piece of sculpture or painting
are the same for the inventing
and carrying out of a silver
chain or a brass candlestick.
The artist who is “ original ”
is he who is least conscious of
being so, and the best work is
at all times done by those
who are true to their own per-
sonality and do not struggle to
be original.
In looking at the twelve or
more cases of jewellery, chiefly
exhibited by women, it is in-
tensely satisfactory to notice
that these workers have over-
come the mania for enamel which of recent years
has done so much to cheapen and make vulgar a
beautiful material and a beautiful craft. Some ten
years or so ago a number of ladies discovered that
with very little difficulty, involving very little study,
lovely bits of coloured enamel, applied on metal,
might be made to masquerade as “jewelry.” Jewels
were used, but as supplemental to the enamel, and
not vice-versa, as the case should be. In the course of
a very few years enamelling reached the low standard
which we can now all recognise for ourselves.
DESIGNED BY FLORENCE H. STEELE
PANEL FOR ALTAR RAIL, IN
BRASS AND WROUGHT IRON,
FOR LEEDS CATHEDRAL
DESIGNED AND EXECUTED BY
EDWARD SPENCER OF THE
ARTIFICERS’ GUILD