Volume II. Guth na Bliadhna ' leabhar II.]

i6o

Tobar na Reil

Gaelic Arts and Crafts

161


Drink and admire, the motto says, upon the well in far Marràkesh set among its palms. Above* the fountain, built by some pious pilgrim, who! perhaps had felt the desert's thirst and reared this] monument to the one God—He who alone bringsi comfort in the sands—the horse-shoe arch is blue! with pottery. Intricate patterns marked in lus! trous tiles cross and recross each other, and araa besques repeat some pious saw or play upon God'sj name. Over the humble fountain on the pass.l unknown to fame, the skies are canopy, and the] stars set in them, celestial glow-worms of the] firmament, which mark the hours the passers by! neglect. No pious pilgrim there has hedged about! the spring with masonry; no sculptured stone re-S lates its virtues, for it serves but as a drinkina place for roe, who as they drink admire and give] their thanks instinctively, wiser by far than man.

So it sleeps quietly upon the pass just where the road descends to Vennachar and rises from* Menteith. Winds sweep the bents and rustle in) the ling, setting the cotton-grass a-quivering, bow­ing the heads of the bog asphodel, and carrying, with them the sharp perfume of the gale, sweeten and homelier than the spice of Araby.

In the dark mirror of the lake below, the priory, and the castle hang head downwards, and on the] bulrushed shore the wavelets break amongst the stones. The earl's old pleasance, now neglected, is a park for cows, its few surviving sycamores have withered at the top, and soon will follow those who planted them into the misty region of the past.

The well, the star, the scrubby oak copse on the hill, the old Fingalian road, distinct in moon­light, or in the morning after frost, for time itself appears unable to efface the taint man's footsteps leave upon the ground, remain and call to the chance passer by to stop and drink at the conjunc­tion of the star. They call in vain, and nature in the breeze still raises its lament, uncomprehended by the ears of man, who, in his self-forged fetters, fails to understand.

Fv. B. cunninghame graham.
I gaelic arts and crafts

I. METAL WORK

'On the subject of Celtic metal work a number of books and articles have already been written, many of which are deeply interesting and instruc­tive. They are so numerous, comprehensive and easily obtained that it would be a waste of the reader's time to give more than a few practical explanations of the technical side of this art.

From numerous sources we know that far away ,in the dim and distant past our forefathers possessed a deep insight into and appreciation of the beautiful, as well as a creative power of decoration that can hardly be equalled, and certainly cannot be sur­passed. And again, when we read, no longer in those authors, but in the old records left to us of their handiwork, of the different materials they used as a medium for their art, our admiration and wonder pass into reverence before this display of careful and beautiful work. There is a deep-souled patience about it all that is indescribable; it becomes more than an art — it approximates religion!

But as I propose to consider our Celtic art from the point of view of the craftsman only, I must needs limit my remarks to the purely practical, and not indulge in any lengthy panegyric on the period when Gaelic arts flourished.

These old artists in the handling of their work teach us a lesson which if we honestly learn it by heart will surely abundantly repay us. They teach us the initial principles of all good art, as applied to conventional decoration—namely, proportion, exquisite spacing, nicety of detail, and careful finish.

Of their marvellous imagination and originality, their abundant and facile use of a prolific orna­mentation, we can have no adequate conception until after years of careful and patient study. We may then begin dimly to feel the endless subtleties which are so apparent in all their work, the ease there, the slight stiffness here, the unexpected movement of a line in another place—their art is like a piece of exquisite music, or the meanderings of a summer stream! To understand and interpret this wonderful secret of their art becomes an en­thusiasm. It fills the student and craftsman with a passionate desire to be able to reveal those secret beauties, and to translate them into his own artistic productions. That this love of the beautiful has not expired in the Gael I, for one, am prepared to believe, though doubtless we owe the survival of an artistic sentiment amongst us rather to accident than to design.

When we examine our ancient missals, chalices, brooches, etc., what impresses us most is the com­bination of qualities, essential to the highest class of decoration, which they reveal —utility, beauty and durability. The ancient Gaelic craftsmen worked regardless of time, of everything, in fact, save the immediate object on hand, and to this cause we must ascribe the high level of excellence to which they attained. Some of their brooches and shrines, in particular, are of rare beauty and amazing originality. Their creations were worthy to be handed down from one generation to another, fitting testimonies to the skill and patience shown in their execution.

How foreign to this spirit of enduring and pas­sionate attachment to their work are the slip-shod methods jf to-day ! The contrast is truly melan­choly Tawdry jewellery, florid and vulgar designs, brooches of imitation metal set with imitation stones, endless silver ware, loaded with a meaningless en­tanglement of fruit, flowers and scroll (all bearing the hideous impression of the Brummagem or German die) meet us in every direction. What a contrast between the serviceable and beautiful ornaments of ancient times and the cheap and nasty productions of to-day is here ! Of course, we still have beauti­ful and well-executed work, but fashion exercises a really wonderful influence over modern taste, and it is the few who appreciate beautiful ornaments, or are able to judge of the time and labour spent on their execution. It behoves each and all of us, therefore, to protest against the degradation of art, and to do what we can to revive the old interest in and instinct for true beauty. And this brings me

to the practical side of the question, touching which I have been asked to make some suggestions, and to tender some advice in the pages of this Review.

Now, practice is generally acknowledged to be worth abundance of theory ; and beginners and all others whom it may concern should bear this con­stantly in mind, namely, that one good well-executed piece of work will prove a better influence in the development of self-culture and good taste than the mere reading of dozens of manuals on the subject of art, or listening to scores of lectures. To attain to a respectable proficiency in metal work is not beyond any one's capacity provided he has an in­stinct or liking for this branch of art and possesses the necessary patience and perseverance to bring to its cultivation.

There is no more fascinating occupation than that of repousse work. Its advantages are obvious. It is a permanent and easily handled medium, be­sides being impervious to damp and rough usage, and the beginner may apply himself to the clean flat sheet, just as it comes from the dealer's store.

To go into every detail of practical metal work would be superfluous when so many reliable and well-illustrated text-books have been written by men thoroughly conversant with the subject. Two of such text-books I can cordially recommend— The Art of Repousse by Gawthorp, costs Is., and Repousse and Metal Chasing, by Charles Godfrey Leland (London: Dawbarn and Ward, Ltd., 6 Farringdon Avenue, E.C.), costs 6d. only. I find, however, that those experts overlook some of the more simple difficulties that are apt to discourage the beginner; and it is with a view to explaining away some of those difficulties that I now give the following hints.

Always work on a pitch board.

Procure a board about fifteen inches square. This is a handy size to begin with. The wood should be about three-quarters of an inch in thickness, with a one-inch rim nailed round the sides, in order to prevent the pitch when soft from running over the edges. The pitch, or cement as it is usu­ally called, can be made up at home, or bought ready for use. If mixed at home the following proportions will make a good cement: soft pitch 7 lb., tallow 1 lb., black resin 4 lb., bath-brick 6 lb. Mr. Gawthorp, 16 Long Acre, London, or Mr. Davidson, Repousse Craftsman, 93 Hope Street, Glasgow, will supply pitch ready for use.

These preparations can be melted and mixed in an old disused pot over the fire, care being taken not to let it run over.

When the pitch is in a fluid state, pour it into the board to the depth of three-fourths or seven-eighths of an inch. Before it is quite set, and still soft at the surface, lay the metal down on the pitch, previously rubbing the under side with oil or fat of any kind. This allows the metal, with the appli­cation of a little heat, to be easily lifted. When laying down the metal on the pitch press it from the centre outwards, in order to exclude the air, and have a solid working surface. Let the pitch run over the edges of the metal: this fixes it down, prevents it rising when hammered, and saves the trouble of nailing it down to the pitch board.

N.B.—Always allow a fair margin of metal over and above the design you intend doing.

Work sitting at a strong low table ; and as the noise of the hammering may be objectionable, the sounds can be deadened by placing a bag half filled with sifted sand under the board. For beginners, copper is preferable to any other metal, having many of the qualities of silver, and is softer and more sympathetic than brass. A good working gauge is 22 B. W. G. A special art-copper is now supplied by dealers.

This list of tools should be enough to begin with : a repousse hammer, about one dozen as­sorted tracers, punches and mats ; also a box-wood mallet for flattening and raising the surfaces. Either Gawthorp or Davidson would supply and select the tools. I may add here that Mr. Davidson is not only a first-class craftsman, but an excellent teacher. The beginner should start with a simple design in order to gain experience and practice, and with a small article such as a card tray or finger plate. In this way experience is gained at little cost, and one is not disheartened by mistakes, which always dog the footsteps of the beginner. Your design being ready, trace it and transfer it on to the metal with ordinary carbon paper. Use an agate point for tracing, but a hard pencil does just as well. Keep the tracing in its place by a piece of modelling or soft bees-wax. Remember always to make centre lines, both on the design and on the metal; should your tracing shift, by this means you can put it right at once. Another and more professional method of transferring your design, if the drawing is small and intricate, is to fix your drawing to the metal, and then punch the outline through with a sharp point using the hammer and making the dots strong enough to mark the metal and close enough to reproduce the design. Clean the metal with turpentine before beginning to work.

What is most important is the correct holding of the tools. Gawthorp's book has a diagram showing how the hammer and tool should be held. On this depends a distinct and steady line. With the hammer held in the right hand, keep striking the tool rapidly and fairly, and with the left make the tool slowly travel, producing an even continuous line. These lines must not be made by punching the tool into the metal and then lifting and moving it before striking it again. A nice background is obtained by tooling with mats.

When the novice makes his first attempt to work in high relief, he finds some difficulty in knowing the part he ought to repousse, and he, consequently, may strike the wrong place. A simple method, showing how far the work is ad­vanced and what is still required, is obtained by squeezing some modelling clay or modelling wax into the depression, which on being carefully taken out at once shows up all the relief, and the student sees exactly what is wanted to complete the study. This process is a very great help to the beginner. When your bit of relief is ready for working on the face side, fill up the depressions of the back with enough pitch to cover them. You can take some from the board for this purpose ; then, holding the metal with a pair of tongs over the gas or fire, heat it until the pitch flows into all the hollows, and as soon as it begins to set place it down on the pitch board again. This is an easy way of obtaining a solid surface.

Many patent lamps are recommended to soften the pitch. An ordinary fire does admirably, and, if an old mat be laid on the hearth, to prevent a " mess " which, quite unjustly, is always associated with the repousse craftsman, this is perhaps the best and most convenient way of heating your pitch.

If it be possible, obtain a few lessons from a practical man; he will show you how to hold your tools, and how to anneal, besides giving you many other useful hints. Annealing is necessary when' the metal has been hardened and made brittle by! much hammering—annealing brings it back to itsì original soft pliable condition; in other words, the] metal is heated and allowed to cool again.

In course of time enough confidence will be] acquired to work in the precious metals. Re-: member that you can make a brooch or buckle] from any of the old designs whose beauty audi originality render them exceedingly tempting toj the art metal-worker, especially to those whosej ambition leads them to work in the more precious] metals.

It seems strange that one should so often hear] the question asked, " Where can we get designs ? 'j Celtic designs, alas ! are neither taught nor undera stood in our schools. Our schemes of decoration] often come to us from the continent. I do nofl intend to comment upon or to disparage any good] design, no matter where it be obtained; but I dq earnestly wish to impress upon our students that] at our very doors there is a wealth of material foj designing purposes which any nation would be] proud of, and would certainly use as a motif foe their decorations. What could be more pleasing] than a simple interlacing, relieved by bosses runl ning round the border of a tray. Decorative panels] in endless variety can be fashioned from the zoo4 morphic patterns found in the old missals and on] the monuments, and from the later foliaceoua patterns, of which we have so great a wealth in] Scotland. The designs can be taken direct from] the slabs by rubbings. The best way to make] these rubbings is to place a piece of thin white] paper or cheap cotton on the stone and rub over id with heel-ball. This brings out the pattern in a wonderful manner, often revealing what the eye cannot see.

Anderson's Scotland in Early Christian Times, Stewart's Sculptured Stones of Scotland, Drummond's Sculptured Monuments of Iona and the West High-elands, are full of treasures to those who have not the opportunity of drawing direct from the originals.

Our cities and populous districts have their 1 technical schools with competent masters, but our scattered villages and lone shielings have no op­portunity of obtaining regular instruction in the arts and crafts. And it is in these remote places, and during the long winter evenings, that there is plenty of leisure to devote to a technical study. Apt and willing pupils would find in the occupa­tion a pleasant and absorbing pastime, and the master, though he might not discover a village Grindling Giddons, yet would be encouraged by many a revelation of true talent and that peculiar ■aptitude and instinct for handling tools which has been slumbering for centuries and seems to be inherent in our race. I speak from experience, having been struck very often with the true eye and nicety of touch which many of our people possess, and which only require opportunity and encouragement in order to bring prosperity and happiness to the Highlands.

It is encouraging to hear of the start of in­dustries here and there amongst our Celtic neigh­bours. Their establishment is a stepping-stone to the highest form of craftsmanship. I have seen toys fashioned by the Lewis children which are of very creditable workmanship—and the children are taught by one of their own lads, hrho has received a little training.


Gaelic Arts and Crafts

The Ideas of a Patriot Peer 17 j

Our County Councils could do much to foster this instinct among our young people in remote districts, by supplying a teacher during the winter months who would itinerate. A month's steady instruction would start those who really are anxious to learn on the right lines, and for those only would the instruction be of any permanent use. It is a mere waste of time both for master and pupil if the latter does not earnestly wish to acquire skill in his trade.

If those who have the means, and a love of the old art of our country, would give a helping hand and encourage the teaching and development of the crafts, then in our stateliest homes, as in our humblest cottages, machine-made ugly barbarous ornaments and utensils would disappear, and in their place would be seen the work of the hand again, the only true agent art ever employs when her work is really beautiful.

Surely, a revival of the art of our country would not be a passing phase—a whim of the moment? Our old designs are so beautiful, so adapted to decorative purposes, that if once they became popular they would always remain so. The study of them would lead to the turn of the tide; and our neighbours would come to us for artistic schemes, instead of our going to them for ideas, and thus before long would be silenced that monotonous and melancholy cry, " Another industry gone ! " " Another ancient art or craft the less !"— lost to us and to posterity for ever, through apathy, and ignorance, and criminal indifference.

A. R.

the ideas of a patriot peerToo often Biography is but superfluity, and pos­thumous publications are but so many instances of blazing indiscretion on the part of their well-mean­ing but misguided projectors. At all times it is. extremely hard to say what is worth preserving in respect of fugitive essays, whose very character is sufficient indication of their appropriate destination. The magazine article or review possesses, as a rule, but a temporary interest. It has served its turn, fulfilled its destiny, as it were, when it Las tempo­rarily arrested public attention, or pointed a road to more serious and sustained investigation. To republish it after the lapse of many years, to seek to preserve it in more enduring and pompous form than that in which it originally appeared, seems-to us both superfluous and pedantic. Just as-comparatively few men's lives are worth writing (though there is much in the lives of even the most humble and obscure which is interesting), so few men's fugitive writings are worth republishing. Reprints, therefore, as Biography, constitute a form of literary activity which, on humanitarian grounds, should be severely discouraged. They tend to develop and exaggerate in us that love of publicity which, in the concrete form of book-making, is the bane of the harassed reviewer's existence. What might irreverently be styled Literary Resurrection Pie is neither comfortable nor invigorating diet. Some good folk, however, are apparently convinced that the best if not the only way of preserving the memory of their particular " star" is by republish­ing his fugitive pieces, by submitting his literary

¹

1 Essays on Home Subjects, by John Third Marquess of Bute, K.T., LL.D. Paisley: Alexander Gardner, 1904.

remains, that is to say, to a process of gorgeous and costly exhumation. Could these same well-meaning persons be but persuaded to let well alone, to allow their favourite author to go down to posterity in the form in which he originally