DOI Page / Citation link:
https://doi.org/10.11588/diglit.1399#0212
PLATE 269.
CHIMNEY-PIECE AND WALL-DECORATION,
BY J. THOMAS, SCULPTOR; THE ENAMELLED GEATE BY MESSES. STUAET & SMITH, SHEFFIELD.
WE have already had occasion to speak of the late J. Thomas as a versatile and accomplished
artist (see Plate 230), and our estimate of his ability is, we think, confirmed by the
accompanying subject, a carved marble chimney-piece, with room and cornice decoration, executed
for her Majesty the Queen, of which we have given the lower portion only. The chimney-piece
was formed of the finest Carrara marble, and was adorned with bas-reliefs representing scenes
from the episode of Oberon and Titania, in "A Midsummer Night's Dream," as well as the
busts of two children, and a figure of Little Red Riding Hood.
The diapered silk wall-covering placed over the centre of the composition was in excellent
taste, and the bracketed-out cornice very effective, fully justifying the medal awarded by the
International Jury of Class 10c to the designer for "graceful composition and admirable execution ;"
who state, moreover, in their Report, that " the chimney-piece by the late Mr. John Thomas, chief
carver of the monumental and historical statues of the Houses of Parliament, merits notice on
account of the elegance of its design and delicacy of execution."
The enamelled steel grate, which forms a striking feature in the composition, is enriched
with a star pattern and flowers, amongst which harebells and primroses are conspicuous. The
mouldings are finely chased and gilt, and the moon's beams radiating from the dark ground of
the inner surface of the arched opening are very poetically imagined and effective. This enamelled
grate was manufactured by the eminent firm of Messrs. Stuart & Smith, Sheffield, who were
awarded a prize medal by the International Jury of Class 31 in the present Exhibition, and who
obtained the exceptional honour of a Council medal in 1851, the Jury remarking at the same time
on " the peculiar beauty of workmanship and general brilliancy of effect for which the productions
of this firm are distinguished."
As we have given some details concerning the late Mr. Thomas in the letter-press accompanying
Plate 230, condensed from a notice of the artist by Mr. Wyatt in 1851, we will add some additional
information, abridged from a life of the sculptor which appeared, together with his portrait, in
the Illustrated London News, August 30, 1862. We find from this, that besides Somerleyton Hall,
for Sir Morton Peto, Bart., and Preston Hall, for E. L. Betts, Esq., Mr. Thomas was the architect
of Headington-Hill House, Oxford, for James Morrell, Esq.; the Regent's Park Chapel, and the
village of Somerleyton; besides a great number of dwelling-houses, &c. Some years before his death
he became known to the late Prince Consort, and from that time was constantly engaged in work
for him either at Windsor, Buckingham Palace, or Balmoral. The Prince highly esteemed him,
and appreciated the simplicity of his character; he found in the plain-spoken Gloucestershire
artist a man of consummate ability, utterly without conceit or arrogance, and consequently well
suited for work in which the Prince himself could give suggestions without fear of restraint.
Among the principal works designed by Mr. Thomas for the Prince were the Queen's audience-
closet and the print-room at Windsor, and the royal dairy at Frogmore. In sculpture his principal
productions were the large marble group of Boadicea, executed for Sir Morton Peto, Bart.; "Una
and the Lion," a fine electro-bronze cast of which, by Mr. Potter of London, was to be seen in the
east transept of the Exhibition; Lady Godiva; Undine; Musidora; a Naiad, executed for her
Majesty the Queen; Ariel, in bronze; a marble statue of Thomas Allwood, Esq.; a marble bust
of the Prince Consort for the Birmingham and Midland Institute; busts of D. Maclise, R.A.,
J. P. Phillip, R.A., and W. P. Frith, R.A.; the monument to Sir Hugh Middleton at Islington;
and the colossal Shakspeare monument placed near the entrance to the Horticultural Gardens
in the Exhibition. Among his sculptural decorations, besides the Houses of Parliament and
Birmingham Grammar-School, may be especially mentioned those for the Sultan's palace at
Constantinople; the colossal lions on the Britannia Bridge; the entrance-gate of Buckingham
Palace; bas-reliefs at Euston Square; life-size statues in oak for the New Hall, Lincoln's Inn;
statues for the Law Courts, Bristol; the Bank and Exchange, Glasgow; monument of Dr. Arnold
at Rugby; Imperial Fire-Office, London; and other important works, which are all characterized
by great boldness of execution and fertile fancy. His last work, the Shakspeare Monument, was
one on which he had worked assiduously and eon amore for a lengthened period; and the difficulties
which beset him in obtaining its admission to the Fine Art Gallery at the Exhibition, and the worry
and anxiety consequent thereon, combined with an overtasked brain, cut off in mid career one
of our worthiest and most versatile artists.
CHIMNEY-PIECE AND WALL-DECORATION,
BY J. THOMAS, SCULPTOR; THE ENAMELLED GEATE BY MESSES. STUAET & SMITH, SHEFFIELD.
WE have already had occasion to speak of the late J. Thomas as a versatile and accomplished
artist (see Plate 230), and our estimate of his ability is, we think, confirmed by the
accompanying subject, a carved marble chimney-piece, with room and cornice decoration, executed
for her Majesty the Queen, of which we have given the lower portion only. The chimney-piece
was formed of the finest Carrara marble, and was adorned with bas-reliefs representing scenes
from the episode of Oberon and Titania, in "A Midsummer Night's Dream," as well as the
busts of two children, and a figure of Little Red Riding Hood.
The diapered silk wall-covering placed over the centre of the composition was in excellent
taste, and the bracketed-out cornice very effective, fully justifying the medal awarded by the
International Jury of Class 10c to the designer for "graceful composition and admirable execution ;"
who state, moreover, in their Report, that " the chimney-piece by the late Mr. John Thomas, chief
carver of the monumental and historical statues of the Houses of Parliament, merits notice on
account of the elegance of its design and delicacy of execution."
The enamelled steel grate, which forms a striking feature in the composition, is enriched
with a star pattern and flowers, amongst which harebells and primroses are conspicuous. The
mouldings are finely chased and gilt, and the moon's beams radiating from the dark ground of
the inner surface of the arched opening are very poetically imagined and effective. This enamelled
grate was manufactured by the eminent firm of Messrs. Stuart & Smith, Sheffield, who were
awarded a prize medal by the International Jury of Class 31 in the present Exhibition, and who
obtained the exceptional honour of a Council medal in 1851, the Jury remarking at the same time
on " the peculiar beauty of workmanship and general brilliancy of effect for which the productions
of this firm are distinguished."
As we have given some details concerning the late Mr. Thomas in the letter-press accompanying
Plate 230, condensed from a notice of the artist by Mr. Wyatt in 1851, we will add some additional
information, abridged from a life of the sculptor which appeared, together with his portrait, in
the Illustrated London News, August 30, 1862. We find from this, that besides Somerleyton Hall,
for Sir Morton Peto, Bart., and Preston Hall, for E. L. Betts, Esq., Mr. Thomas was the architect
of Headington-Hill House, Oxford, for James Morrell, Esq.; the Regent's Park Chapel, and the
village of Somerleyton; besides a great number of dwelling-houses, &c. Some years before his death
he became known to the late Prince Consort, and from that time was constantly engaged in work
for him either at Windsor, Buckingham Palace, or Balmoral. The Prince highly esteemed him,
and appreciated the simplicity of his character; he found in the plain-spoken Gloucestershire
artist a man of consummate ability, utterly without conceit or arrogance, and consequently well
suited for work in which the Prince himself could give suggestions without fear of restraint.
Among the principal works designed by Mr. Thomas for the Prince were the Queen's audience-
closet and the print-room at Windsor, and the royal dairy at Frogmore. In sculpture his principal
productions were the large marble group of Boadicea, executed for Sir Morton Peto, Bart.; "Una
and the Lion," a fine electro-bronze cast of which, by Mr. Potter of London, was to be seen in the
east transept of the Exhibition; Lady Godiva; Undine; Musidora; a Naiad, executed for her
Majesty the Queen; Ariel, in bronze; a marble statue of Thomas Allwood, Esq.; a marble bust
of the Prince Consort for the Birmingham and Midland Institute; busts of D. Maclise, R.A.,
J. P. Phillip, R.A., and W. P. Frith, R.A.; the monument to Sir Hugh Middleton at Islington;
and the colossal Shakspeare monument placed near the entrance to the Horticultural Gardens
in the Exhibition. Among his sculptural decorations, besides the Houses of Parliament and
Birmingham Grammar-School, may be especially mentioned those for the Sultan's palace at
Constantinople; the colossal lions on the Britannia Bridge; the entrance-gate of Buckingham
Palace; bas-reliefs at Euston Square; life-size statues in oak for the New Hall, Lincoln's Inn;
statues for the Law Courts, Bristol; the Bank and Exchange, Glasgow; monument of Dr. Arnold
at Rugby; Imperial Fire-Office, London; and other important works, which are all characterized
by great boldness of execution and fertile fancy. His last work, the Shakspeare Monument, was
one on which he had worked assiduously and eon amore for a lengthened period; and the difficulties
which beset him in obtaining its admission to the Fine Art Gallery at the Exhibition, and the worry
and anxiety consequent thereon, combined with an overtasked brain, cut off in mid career one
of our worthiest and most versatile artists.