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number of large hangings and other pieces of quite modern character. Her enthusiasm and knowledge trained a large following of pupils. Mrs. Archibald Christie's bed spreads, curtains, and household linens of various kinds, ranging from heavy applique work to things of gossamer-like substance, showed a break in yet another direction. They had an attractive touch of the past, springing from a new use of half-forgotten technical methods, rather than from archaic turns of design. The collection of very original samplers and other specimens, by Mrs. Christie and her pupils, illustrating a wide range of stitches, was a novel feature of the Royal Academy exhibition. Mary J. Newill, another distinguished embroiderer, carried out at the Birmingham School of Art some interesting experiments in directly stitched embroidery, that, for its effect, relies more upon interest of subject and colour scheme, than upon diversity of texture. Louisa F. Pesel followed Eastern models, in the intricate workings of which she is an expert exponent.

Metal Work. Amongst metal workers Henry Wilson occupied a most prominent place. Equally successful in a great door of bronze, a silver cup or a minute piece of enamelled'jewellery, his many-sided genius recalled the versatile masters of the greatest ages of crafts- manship. His bracelets, tiaras, brooches, and other beautiful jewellery, with their delicately modelled figures and rich ornaments, chased, or enamelled in glowing colours, had wonderful brilliance and character. His ecclesiastical work broke entirely with hack- neyed fashions, but maintained the great spirit of significant mag- nificence. The collection of Wilson's work shown in Paris will long be remembered. R. Catterson Smith, another metal worker, silversmith and jeweller, with a wide range of other activities, was an inspiring teacher; he made famous the Birmingham School of Art, of which he was principal. Amongst other silversmiths and jewellers whose work combined sound craftsmanship and distinctive design, J. Paul Cooper and Arthur Gaskin claim special attention. W. Bainbridge Reynolds's varied work showed great individuality and skill. As a designer and maker of fine serviceable things for domestic use W. A. S. Benson became well known. Amongst the remarkable metal work shown in Paris in 1914, the crown, sceptre, ring and sword worn by H. R. H. the Prince of Wales at his investi- ture at Carnarvon in 1911, had a romantic interest. These, designed and modelled by Sir W. Goscombe John, were made by Messrs. Garrard & Co. The death of Henry Longden (1831-1920) removed a master metal worker of sound taste and wide knowledge, who was one of the pioneers of the arts and crafts movement.

Stained Glass and Mosaic Work, The stained glass of Christopher W. Whall showed a perfect combination of artist and master crafts- man. Beautiful drawing, mastery of colour and design, united with sure technical knowledge in work of the highest rank. His rare capacity in training others surrounded him with a group of brilliant pupils, amongst whom Karl Parsons was prominent. Louis Davis was another glass painter who was a thorough master of his craft. Prof. Selwyn Image's glass was dignified in design and fine in draw- ing. In mosaic the most impressive modern work decorates the vault of the chapel of St. Andrew, designed by Robert W. S. Weir, in the cathedral at Westminster. This chapel, opened in 1915, is remark- able for the skilful arrangement of the rich marbles of its wall decoration, the slender dignity of its exquisite metal screen, its inlaid choir stalls (the work of the late Ernest W. Gimson), and the glitter of its romantic mosaics. It is the most perfect expression of the particular style of decoration adopted in the cathedral that has yet been achieved. The excellence of the mosaics is due to the technical knowledge of Gaetano Meo, and the fine decorative sense of their designer, George Jack.

Other Crafts that claim attention include the art of the poster, which may be deemed a temporary form of mural decoration. This became, at the hands of F. Ernest Jackson and his collaborators, a thing of such interest that its evanescent nature is a matter of regret, rather than of satisfaction, as is too often the case. George Kruger Gray designed heraldic work of many kinds, in the finest tradition of an art in which tradition is an essential quality. Cecil Thomas's engraved and sculptured gems and seals were worthy examples of an ancient craft. The modelled plaster work of Ernest W. Gimson, Laurence Turner, Norman Jewson and others was a lively rebirth of what had become a mechanical form of ornament. Several workers in architectural leadwork rainwater pipe heads, sundials and other things, derived inspiration from Prof. W. R. Lethaby, and technical knowledge from the researches of Francis W. Troup. Prof. Thomas Okey added to his many claims to fame the distinction of being the best modern basket-maker. The beauti- ful table glass designed by Philip Webb for William Morris in 1869 and made by James Powell & Sons, which was exhibited in Paris in 1914, showed modern design and workmanship, equalling, if not excelling, anything of the kind produced in the past. The death of Philip Webb, than whom none was more distinguished amongst that small band of great architects that made the latter half of the 1 9th century a period so remarkable in the annals of domestic architecture, was also a loss to the many lesser crafts in which his commanding genius found expression. Everything he touched, church or mansion, table glass or embroidery, showed the completeness of his knowledge and the stamp of his individuality.

Art Workers' Guild. From its foundation, in 1884, the Art Workers' Guild has been the inspiring and directing force of the

arts and crafts movement in England. At the meetings of this close, but eminently hospitable body, the far-reaching activities of the world of art have been discussed, with the insight peculiar to practical minds, by the most notable workers of the past 30 years, and influenced in a remarkable way. Perhaps the most striking quality of craftsmen is their versatility. They turn readily from one kind of work to another with an ease and certainty bewildering to the spectator. Norman Shaw (1831-1912) and Philip Webb, typical giants of the last generation, were great in several arts, any one of which might have occupied an individual for the whole term of life, and they added to these preeminence in arehitecture. William Morris himself was not only master of a score of arts, but preeminent in all.

Bibliography. J. W. Mackail, The Life of William Morris; Arts and Crafts Essays by Members of the Arts and Crafts Exhibition Society; Arts Decoratifs de Grande Bretagne et d'Irlande Exposition, Palais du Louvre (1914); Edward Johnston, Writing and Illuminat- ing, and Lettering; Charles T. Jacobi, Printing; Douglas Cockerel!, Bookbinding and the Care of Books; Herbert P. Home, The Binding of Books; George Jack, Wood Carving; Luther Hooper, Hand-loom Weaving; William Morris, Some Hints on Pattern Designing; Mrs. Archibald Christie, Embroidery and Tapestry Weaving; Mrs. Archi- bald Christie, Samplers and Stitches. A Handbook of Embroidery; Henry Wilson, Silverwork and Jewellery; J. Starkie Gardner, Iron- work; W. R. Lethaby, Leadwork; Christopher W. Whall, Stained Glass. (A. H. C.*)

UNITED STATES

The first American arts and crafts society was instituted in 1897 at Hull House, Chicago. The Boston Society of Arts and Crafts was formed a few months later. Following these, societies multiplied rapidly until there was no large city and scarcely a town or village which had not its local group. New York's society dates from 1904, and was for some years affiliated with the National Arts Club and called the National Society of Craftsmen, numbering shortly after its found- ing between four and five hundred members. Later, end- ing this affiliation, it took the name of the New York Society of Craftsmen. At Philadelphia a house was fitted up, with individual studios in connexion with the salesroom. Detroit and Milwaukee early developed active art centres, each with its own building, exhibition rooms and classes. Besides these regular arts and crafts societies there grew up many so-called " gift-shops," with or without tea-rooms.

Industries like those of England were instituted from time to time, but did not flourish as well as the cooperative groups. That of the Abnake Rug, at Pequaket, N.H., one of the early and most successful, was conducted by Mrs. Albee who originated the pat- terns from Indian designs, the name being that of a tribe of Indians formerly inhabiting the region. These rugs, made as were the old hooked rugs, were worked by the country women of the neighbour- hood in their own homes and paid for by the square foot. As they suited well the " craftsman " style of furniture, they were in great demand, but the undertaking proved too burdensome, and was given up. Similar industries were conducted in Cranberry I., Me., and in the mountains of the south. Industrial and experimental groups were conducted in connexion with colleges, that of Alfred, N.Y., and of Sophie Newcomb College, New Orleans, being suc- cessful examples. At the latter a style of pottery was developed, produced by graduate students and sold by the college for them, in which the motifs were taken from the native flora. A similar group in embroidery created some beautiful things in stitchery and ap- plique. Semi-commercial enterprises also sprung up which were varied in their plan and output. The earliest and best known is that of the Rookwood Pottery at Cincinnati, Ohio. The Grueby Pot- tery, although for financial reasons short-lived, was most distinc- tive, as was the Dedham ware. Both of these came from the neigh- bourhood of Boston, where too was the Paul Revere Pottery, made under the steeple of the very church from which hung the historic lantern: From here came also a heavy ware, suitable for children's use, the decoration of which was done by girls of high-school age, under careful direction, the industry having developed from classes in a girls' club. In New York the Tiffany stained glass and opalescent ware were celebrated. The Herter looms, also in New York, produced beautiful tapestries and hangings. From Doylestown, Pa., came the Mercer tiles of unusually artistic design and workmanship. The original patterns were taken from the doors of porcelain stoves brought over by the " Pennsylvania Dutch " settlers of that region. These are a few of the most prominent of the many art industries through the United States. The craftsman furniture paved the way for other styles more or less modelled upon it, the furniture of the Erskine-Danforth Co., New York, being perhaps most nearly in line with the spirit of simplicity associated with the arts and crafts idea.

Individual societies, as has been said, sprung up spontaneously, and although there was a kind of freemasonry among them each