Studio: international art (71.1917)

Mr. Nelson Dawson s Commemorative Panels and Etchings

enamelling, they were a revelation of what might
be done by an artist of original gift to meet the
present-day demand for memorials treated in a
living spirit, and dealing with various modern
motives in their design. The illustrations accom-
panying this article will give some idea of what
Mr. Dawson has already accomplished in this
new and invaluable essay of his. But obviously
the full fascination and importance of his work
cannot be appreciated except through sight of
actual specimens of it. How is this to be got at ?
I think I am right in saying that there is no more
difficulty in the way than is involved in a journey
to Staithe House, The Mall, Chiswick, where in
Mr. Dawson's studio many such specimens may
be seen. There certainly any of us interested
in the matter will be assured of a welcome, as
well as of an interesting conversation with the
artist himself on all that pertains to this so
practical and needed a revival of craftsman
The little trouble demanded by such a visit
should not be allowed to stand in the way
of any one seriousty thinking of what im-
provement may be brought about in this
particular matter of memorials, a matter
very specially to-day of widespread, or
rather indeed, one would say, of quite
national concern.

The mediaeval stall-plates at Windsor,
upon which Mr. Dawson has wisely based
his work, are all, as I have said, in that
special form of- enamel known as champ-
leve. It is not the purpose of this article
to go into any explanation of the various
methods in which enamel-work may be
executed, and insist upon their several
respective virtues. But it may be well to
state precisely what is meant by the dis-
tinctive term champleve, and why this
style of enamelling is the best suited for
the purpose now in hand.

In champleve work, then, the metal
plate, which is ordinarily of copper, is cut
away to the required depth for those parts
of the design which are to appear as
coloured. Into these parts are put the
various enamels to be presently fired in a
kiln. As soon as the right time has come
these are next rubbed down until their
surface is accurately on a level with that
of the upstanding metal. They are then
finally polished, and wherever the metal
appears it is substantially gilt.

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Three obvious merits will be readily appre-
ciated as attaching to this form of enamel-work.
First, the design being cut, or, as one might
almost say, engraved or etched, out of the metal
plate, the artist finds himself at great freedom in
his invention of it. Secondly, the metal itself
may clearly vary at will as to the width of its
lines ; while even broad spaces of it can be left
upon which for further enrichment delicate
patterns may be engraved. Lastly, the walls
enclosing the enamels being substantial parts of
the metal plate there is no fear of their shifting
in the furnace. The whole work, when finished,
is practically indestructible—nay, it is quite
indestructible unless real violence is used on it.

The enamels employed in the St. George's
stall-plates, like those in the early Limoges
reliquaries, are not translucent, but opaque.
Here again, advisedly, Mr. Dawson has followed
their example. Translucent enamel gives us, of

COMMEMORATIVE TABLET WITH ARMS OF HARROW SCHOOL
BY NELSON DAWSON, R.E.