DOI Artikel:
Wall tablets and memorials by British sculptors
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21214#0194
Wall Tablets and Memorials
BRONZE MEMORIAL LUNETTE FIXED OVER AN ENTRANCE DOOR AT LUCKNOW
BY F. LYNN JENKINS
Always, however, the instinct persisted to call
upon the artist to put into a visible and tangible
form the sentiment of the people. It was the
architect, the designer, the craftsman, who acted
as the interpreter of the personal or national
feeling, and by whom the ideas of the people
themselves were realised and made intelligible.
Buildings were erected and adorned with paintings
and sculpture by workers of specialised capacity
who understood what was expected of them and
knew how to meet and satisfy these expectations.
Monuments were created
by artists whose especial
gift it was to perceive how
by the aid of their craft
the world could be in-
formed of the thoughts
and convictions by which
the community was
swayed. Through its art
the nation became elo-
quent ; through art the
family affection was mani-
fested or the regard of
some section of the people
for one of its great ones
was made apparent.
Therefore, to the his-
torical interest of the
memorial must be added
the even greater interest
it possesses as an evidence
of the artistic conditions
which prevailed in the
country where and at the
time when it was produced.
188
All oVer the world there
are in existence monu-
ments which are even more
significant aesthetically than
they are as records of popular
sentiment—indeed, in many
cases the reasons why these
monuments were set up and
the achievements they com-
memorate have been forgotten,
but the works themselves have
lost none of their power to stir
the human pulse by their
beauty and their fitness as
illustrations of the artist’s in-
tention. The memorial, even
when the cause for its existence
is no longer remembered, can
still be of vital importance as one of the links in the
chain of art by which the world is bound together.
What would it matter, indeed, if we did not
know why the Assyrian bas-reliefs were produced,
or whom the choragic monument of Lysicrates
commemorated ? Who, except the archaeologist,
would care if it had been forgotten that Michael
Angelo executed the Medici tomb to glorify the
representative of one of the greatest of the Italian
princely families ? Whom would it concern if
there were no historical record to account for the
BRONZE APPLIQUfc TABLET (LIFE-SIZE FIGURES) IN THE MEMORIAL READING-
ROOM AT BROCKHAMPTON PARK, GLOS., TO THE MEMORY OF THE I.ATE LIEUT.
FAIRFAX RHODES. BY F. LYNN JENKINS
BRONZE MEMORIAL LUNETTE FIXED OVER AN ENTRANCE DOOR AT LUCKNOW
BY F. LYNN JENKINS
Always, however, the instinct persisted to call
upon the artist to put into a visible and tangible
form the sentiment of the people. It was the
architect, the designer, the craftsman, who acted
as the interpreter of the personal or national
feeling, and by whom the ideas of the people
themselves were realised and made intelligible.
Buildings were erected and adorned with paintings
and sculpture by workers of specialised capacity
who understood what was expected of them and
knew how to meet and satisfy these expectations.
Monuments were created
by artists whose especial
gift it was to perceive how
by the aid of their craft
the world could be in-
formed of the thoughts
and convictions by which
the community was
swayed. Through its art
the nation became elo-
quent ; through art the
family affection was mani-
fested or the regard of
some section of the people
for one of its great ones
was made apparent.
Therefore, to the his-
torical interest of the
memorial must be added
the even greater interest
it possesses as an evidence
of the artistic conditions
which prevailed in the
country where and at the
time when it was produced.
188
All oVer the world there
are in existence monu-
ments which are even more
significant aesthetically than
they are as records of popular
sentiment—indeed, in many
cases the reasons why these
monuments were set up and
the achievements they com-
memorate have been forgotten,
but the works themselves have
lost none of their power to stir
the human pulse by their
beauty and their fitness as
illustrations of the artist’s in-
tention. The memorial, even
when the cause for its existence
is no longer remembered, can
still be of vital importance as one of the links in the
chain of art by which the world is bound together.
What would it matter, indeed, if we did not
know why the Assyrian bas-reliefs were produced,
or whom the choragic monument of Lysicrates
commemorated ? Who, except the archaeologist,
would care if it had been forgotten that Michael
Angelo executed the Medici tomb to glorify the
representative of one of the greatest of the Italian
princely families ? Whom would it concern if
there were no historical record to account for the
BRONZE APPLIQUfc TABLET (LIFE-SIZE FIGURES) IN THE MEMORIAL READING-
ROOM AT BROCKHAMPTON PARK, GLOS., TO THE MEMORY OF THE I.ATE LIEUT.
FAIRFAX RHODES. BY F. LYNN JENKINS