Sculptors would, come to the aid ot architects and devote their abilities to the study of architectural ornament and collaborate with architects in the design of their buildings much might be done to create a finer quality in our buildings. Architects could give many useful hints to sculptors, but the call for more of a style sculptural in quality in our buildings is not a call for lean and stark buildings or a fear of good ornamental details to give emphasis to architectural features. That architects can work without “ all the old business of the styles
of architecture,” as the sculptors suggest, there is no èxisting modern work to prove, and we wish that sculptors, instead of voicing such opinions, would join architects in their efforts to give their buildings style and distinction.
Architectural opportunities.
It might be suggested that in this later age, when apparently every conceivable form of art has been studied, there is nothing left to the modern architect to achieve in new buildings, which may have beauty, grace and distinction. We have imagination
enough to believe the contrary. Lean, stark, graceless, modern buildings are not a necessity, and architects have in their hands all the essentials for creating fine work, notwithstanding the whole world is full of beautiful building work. They can give us fine building outlines with tenderness and grace of detail treated with breadth and reserve, they can give us beauty of proportion, distinction of features, and all this may be done without a sacrifice of practical requirements. Can we train up a race of architects who can live up to these possibilities ?
A
Pottery Com
petition.
Next year will be the Bicentenary of the Birth of Josiah Wedgwood, and among the plans to celebrate it as a national event are Exhibitions in London and Paris, a Civic Week in the Potteries, and possibly a Royal visit to the works at Etruria. Of immediate interest is the intention of making a practical offer to encourage artists to maintain the traditional supremacy of British ceramic art. To this end, Messrs. Josiah Wedgwood and Sons, Ltd., of Stoke-on-Trent, announce a competition open for the design of a decorative piece of pottery which will not only serve to commemorate the Bicentenary, but will rank primarily as the best example of the traditional Wedgwood Jasper in purely modern form. The design is to be for a vase intended as a centre piece, and not exceeding 18 inches in height. The decoration may be either by means of applied ornament, or by a form of sgraffito work. Details are given in our Competition Columns.
There will be three monetary awards of £100, £50, and £25. It is hoped that this competition will inaugurate a renewed interest on the part of artists in fine pottery art.
Study, by Alfred Stevens.
Lent by Me. Alfred Drury, R.A., to the Exhibition of Retrospective
Art, Brussels.
The Junior King’s School, Canterbury (Milner Court, Sturry, Kent): Sixteenth-Century Brick Gateway. (See pages 678, 685, 691-695.)
of architecture,” as the sculptors suggest, there is no èxisting modern work to prove, and we wish that sculptors, instead of voicing such opinions, would join architects in their efforts to give their buildings style and distinction.
Architectural opportunities.
It might be suggested that in this later age, when apparently every conceivable form of art has been studied, there is nothing left to the modern architect to achieve in new buildings, which may have beauty, grace and distinction. We have imagination
enough to believe the contrary. Lean, stark, graceless, modern buildings are not a necessity, and architects have in their hands all the essentials for creating fine work, notwithstanding the whole world is full of beautiful building work. They can give us fine building outlines with tenderness and grace of detail treated with breadth and reserve, they can give us beauty of proportion, distinction of features, and all this may be done without a sacrifice of practical requirements. Can we train up a race of architects who can live up to these possibilities ?
A
Pottery Com
petition.
Next year will be the Bicentenary of the Birth of Josiah Wedgwood, and among the plans to celebrate it as a national event are Exhibitions in London and Paris, a Civic Week in the Potteries, and possibly a Royal visit to the works at Etruria. Of immediate interest is the intention of making a practical offer to encourage artists to maintain the traditional supremacy of British ceramic art. To this end, Messrs. Josiah Wedgwood and Sons, Ltd., of Stoke-on-Trent, announce a competition open for the design of a decorative piece of pottery which will not only serve to commemorate the Bicentenary, but will rank primarily as the best example of the traditional Wedgwood Jasper in purely modern form. The design is to be for a vase intended as a centre piece, and not exceeding 18 inches in height. The decoration may be either by means of applied ornament, or by a form of sgraffito work. Details are given in our Competition Columns.
There will be three monetary awards of £100, £50, and £25. It is hoped that this competition will inaugurate a renewed interest on the part of artists in fine pottery art.
Study, by Alfred Stevens.
Lent by Me. Alfred Drury, R.A., to the Exhibition of Retrospective
Art, Brussels.
The Junior King’s School, Canterbury (Milner Court, Sturry, Kent): Sixteenth-Century Brick Gateway. (See pages 678, 685, 691-695.)