DOI Heft:
No. 203 (February, 1910)
DOI Artikel:Architectural gardening, [8]: with illustrations by C. E. Mallows, F. R. I. B. A., and F. L. Griggs
DOI Artikel:Wood, T. Martin: Some paintings and sketches H. S. Hopwood, R. W. S.
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.20969#0050
H. S. Hopwood, R.IV.S.
•what unusual feature in English gardens placed
•on the axial line of the garden entrance. This
■consists of a rectangular central pool or lily-
pond. Around the pool, which is 10 feet wide
and 30 feet long, an enclosing pergola is placed,
the centre division of which would be kept as
open as possible to admit the necessary light and
air, whilst the climbers would be allowed to grow
•closer and thicker together on each side. It is
suggested that the effect of the play of light and
■shade on the water from the sunlight penetrating
through the foliage would be an attractive and
desirable one, and one quite capable of being
accomplished even in our grey and often gloomy
English climate.
1 he sketch opposite shows a portion of a
terrace, with a garden entrance at the end of an old
yew walk. The terrace is finished on the east side
by an open loggia communicating with the dining-
room, which has also an eastern aspect.
SOME PAINTINGS AND
SKETCHES BY H. S. HOP-
WOOD, R.W.S.
An artist’s method, whether learnt in the schools
or an original one, re-acts upon his vision. First
there is his endeavour to completely discipline his
hand to the instructions of his eye, until there
comes facility and with it style and the pre-deter-
mined view an artist will then take of any subject.
And it is just then—when handling, in becoming
perfect, becomes unconscious—that an artist reveals
the stuff of which he is made, and shows us
whether all his mastery has been acquired as a
game and for show, or for further ends of which
virtuosity is only the very beginning. It seems to
the writer that we arrest Mr. Hopwood’s art still
near this beginning, and that we might write of it
in either of two ways—pronounce an encomium
of his brilliant virtuosity, or give recognition to
•what unusual feature in English gardens placed
•on the axial line of the garden entrance. This
■consists of a rectangular central pool or lily-
pond. Around the pool, which is 10 feet wide
and 30 feet long, an enclosing pergola is placed,
the centre division of which would be kept as
open as possible to admit the necessary light and
air, whilst the climbers would be allowed to grow
•closer and thicker together on each side. It is
suggested that the effect of the play of light and
■shade on the water from the sunlight penetrating
through the foliage would be an attractive and
desirable one, and one quite capable of being
accomplished even in our grey and often gloomy
English climate.
1 he sketch opposite shows a portion of a
terrace, with a garden entrance at the end of an old
yew walk. The terrace is finished on the east side
by an open loggia communicating with the dining-
room, which has also an eastern aspect.
SOME PAINTINGS AND
SKETCHES BY H. S. HOP-
WOOD, R.W.S.
An artist’s method, whether learnt in the schools
or an original one, re-acts upon his vision. First
there is his endeavour to completely discipline his
hand to the instructions of his eye, until there
comes facility and with it style and the pre-deter-
mined view an artist will then take of any subject.
And it is just then—when handling, in becoming
perfect, becomes unconscious—that an artist reveals
the stuff of which he is made, and shows us
whether all his mastery has been acquired as a
game and for show, or for further ends of which
virtuosity is only the very beginning. It seems to
the writer that we arrest Mr. Hopwood’s art still
near this beginning, and that we might write of it
in either of two ways—pronounce an encomium
of his brilliant virtuosity, or give recognition to