almost be said that nowadays architects go out of their way to make it impossible for wall spaces to be utilised. Yet, while architects may perhaps justly be accused of a bias against wall painting, a certain justification for this attitude may be found in the fact that the number of painters who can be trusted not to ruin the appearance of a room, otherwise well designed, by inappropriate colour schemes is not very great. It would not be an easy matter to determine what proportion of modern paintings are merely banal and what proportion may be truthfully described as “ mad, ” but there can be no doubt that the number of executants capable of producing mural decorations which, from the architect’s point of view, are both sane in subject and competent in execution, is limited. It would appear that nothing very remarkable is here asked for; we are not insisting that a painter of genius need come forward before we consent to provide him with wall space. Architects are content to make the quite moderate request that mural paintings should be sane in subject and competent in execution.
With regard to subject, the obvious requirement is that the picture be of such a character that we do not too rapidly get tired of it. This is because a mural decoration is something fixed; it is not like those charming Japanese tableaux which are hung for a time, then rolled up, put away, and replaced by others. The immobility of the mural painting puts a limitation upon its range of subject, and, moreover, it tends to define the use and locality of the room itself, for many rooms, by reason of their very function, are not fitted to be adorned by wall paintings. A hall belonging to some public institution, however, such as the waiting-room of the Royal Orthopædic Hospital, seems an ideal place for this form of decoration.
Subject and Technique.
As the hospital especially ministers to the needs of children, it was a happy idea of Miss Nan West to
give to her pictures an agreeable subject. Another condition imposed upon her was that of making the pictures intelligible to groups of spectators who are not “highbrows, ” but ordinary people accompanied by younger members of their families. Thus Miss West has rejected the doctrine, so commonly preached nowadays, that it is the first duty of artists to please themselves in their work, for she has been content to aim at pleasing the spectators, who in this instance need to have instilled in them cheerful and happy thoughts. As this particular regard for the mentality of the spectator is a pre-requisite for success in mural painting, Miss West has achieved a most praiseworthy result — her work is both pleasing and intelligible. The mural decoration here consists of twelve panels illustrating the months of the year and a larger central panel. The former are placed over the doors in the form of long rectangles, which in some instances are brought down some distance below the opening. Of these only the ones illustrative of the months March to October are as yet completed. One cannot but admire the facility with which Miss West is able to suggest by the simplest pictorial emblems the character of the different seasons. In each case the background is an English landscape, rolling hills, trees, water and sky, with the occasional relief of figures and buildings, though these latter are but sparsely introduced. In March the impression of a blowing gale is produced by wind-swept clouds, a windmill on the horizon, and a girl with her scarf blowing in the breeze. In the picture for each month the flowers which belong to it are conspicuous features of the composition. In April we see a ruin on a hill, the view of which is half obscured by rain; in May a flowery paradise; in June and July, hills, trees and yet more flowers; in August a happy summer’s day; in September a cornfield; and in October a hunting scene. The central panel illustrates a picnic. Pour girls are seated round a table with a striped umbrella
(Continued on page 868. ) THE ROYAL NATIONAL ORTHOPEDIC HOSPITAL, GREAT PORTLAND STREET, W.
Messrs. Murrell & Pigott, FF. R. I. B. A., Architects.
With regard to subject, the obvious requirement is that the picture be of such a character that we do not too rapidly get tired of it. This is because a mural decoration is something fixed; it is not like those charming Japanese tableaux which are hung for a time, then rolled up, put away, and replaced by others. The immobility of the mural painting puts a limitation upon its range of subject, and, moreover, it tends to define the use and locality of the room itself, for many rooms, by reason of their very function, are not fitted to be adorned by wall paintings. A hall belonging to some public institution, however, such as the waiting-room of the Royal Orthopædic Hospital, seems an ideal place for this form of decoration.
Subject and Technique.
As the hospital especially ministers to the needs of children, it was a happy idea of Miss Nan West to
give to her pictures an agreeable subject. Another condition imposed upon her was that of making the pictures intelligible to groups of spectators who are not “highbrows, ” but ordinary people accompanied by younger members of their families. Thus Miss West has rejected the doctrine, so commonly preached nowadays, that it is the first duty of artists to please themselves in their work, for she has been content to aim at pleasing the spectators, who in this instance need to have instilled in them cheerful and happy thoughts. As this particular regard for the mentality of the spectator is a pre-requisite for success in mural painting, Miss West has achieved a most praiseworthy result — her work is both pleasing and intelligible. The mural decoration here consists of twelve panels illustrating the months of the year and a larger central panel. The former are placed over the doors in the form of long rectangles, which in some instances are brought down some distance below the opening. Of these only the ones illustrative of the months March to October are as yet completed. One cannot but admire the facility with which Miss West is able to suggest by the simplest pictorial emblems the character of the different seasons. In each case the background is an English landscape, rolling hills, trees, water and sky, with the occasional relief of figures and buildings, though these latter are but sparsely introduced. In March the impression of a blowing gale is produced by wind-swept clouds, a windmill on the horizon, and a girl with her scarf blowing in the breeze. In the picture for each month the flowers which belong to it are conspicuous features of the composition. In April we see a ruin on a hill, the view of which is half obscured by rain; in May a flowery paradise; in June and July, hills, trees and yet more flowers; in August a happy summer’s day; in September a cornfield; and in October a hunting scene. The central panel illustrates a picnic. Pour girls are seated round a table with a striped umbrella
(Continued on page 868. ) THE ROYAL NATIONAL ORTHOPEDIC HOSPITAL, GREAT PORTLAND STREET, W.
Messrs. Murrell & Pigott, FF. R. I. B. A., Architects.