DESIGN FOR A CHURCH UPON A DETACHED SITE
Design and Plan of a Domed Church. By A. E. Martin
Royal College of Art: Design School under Prof. Lethaby
Design for Tapestry.
By E. W. Tristram
Our fundamental requirements then, are a sympathetic atmosphere, a favourable soil and climate for the raising of the seed of art in its fullest sense; which means, practically, a reasonable human life, with fair play for the ideas and senses, and good for the drama of the eye. To how many is this now possible?
Granting this, however, would go a long way towards solving the next problem—What to teach? for we should then find that art was not separable from life.
Children are never at a loss what to learn, or what to teach themselves, when they see any manner of interesting work going on and have access to tools and materials. They gather at the door of the village blacksmith, or at the easel of the wayside painter. Demonstration is the one thing needed—demonstration, demonstration, always demonstration. This is, perhaps, at the bottom of the present strong determination to French modes on the part of our younger painters. You can learn this part of the painting business because you can see it done. You could learn any craft if you saw it done, and had ordinary aptitude. But it does not follow that there is no art but painting, and that impressionism is its prophet.