Studio: international art — 46.1909

Page: 45
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The Artistic Treatment of Architectural Drawings—Pen Drawing

Tea Ceremony, tried to lure back to the true path
the erring pilgrims.

Of their righteous efforts, but little remains.
The Tea Ceremony is almost a thing of the past.
The charming reunions in the cause of high thought
and simple manners linger alone among a very few
devotees and lovers of ancient custom. It may be
that in the period of its decadence the spirit of its
founders was veiled and the precepts of its teachers
relaxed and subordinated to less admirable
ends. But the good work done under its protect-
ing wing still animates the creations of certain
craftsmen, and even the ceramic productions
of modern Europe are not without signs of its

The pottery of the Cha-no-yu is among things
Japanese the most to be cherished, because it
affords supreme evidence that the pure Spirit of
Art may enter into and render precious the most
humble of man’s creations.


It is surprising what a number of archi-
tectural drawings—especially perspectives
—are spoiled for want of artistic treat-
ment, by bad judgment in the manage-
ment of light and shade, figures drawn
badly and out of scale, impossible trees
and general accessories all wrong. Some
architects, whose work is otherwise splen-
did, will put in absurd little figures, ap-
parently with an idea to enhance the
height of their buildings. And when the
building is completed, one often notices
a chance natural effect of light and shade,
whereas, had the perspective been drawn
by an artist familiar with these effects, a
fine result would have been obtained as
well as a drawing worth keeping as a
work of art.

Special “ features ” of a building often
require prominence, and this can only be
done by keeping the surroundings quiet;
but only an artist will understand how to
do this. One has only to see the exhibi-
tion of architectural drawings at the
Academy any year to see how insipid
and wanting in artistic treatment most of
the perspectives appear. The general
average is “ stodgy,” with what is known

as the “ Academy treatment.” There are a few
architects who treat drawings very finely, but
they are the rare exceptions. It seems a pity that
many excellent designs are spoiled or fail to have
justice done to them for want of artistic manage-
ment. Architects generally suppose that an artist
would spoil their details, but this is not so where
proper judgment is considered and an artist of
proved ability given the work to do.

A. Henry Fullwood.


Among the modes of technical expression which
are available for the artist’s use, a place of much
distinction has always been given to drawing with
the pen—and deservedly given, because in the
right management of pure pen line there are

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