ABSTRACT
Mr. Fisher then gave a very clear and exhaustive account of the various lines of industry which develop out of the modeller's art, replying to various questiontl put to him as he proceeded. The following is a resume of the information thus given : Beginning with gold and silver work, for which the first requirements were delicacy of finger and strong eye sight, Mr. Fisher said he had inquired of one of the principal manufacturel'B of Sheffield what work in the gold and silversmiths' trade was done by women. The manufacturer had informed him that he was surprised how few women bad taken up that line, probably the reason being that so few had the requisite knowledge of the trade required in order to be a designer-a general practical knowledge of the industry being necessary for the artist to know bow the design could be so worked as to combine with the best· efficiency the least labour and cost of material. For himself be was ready to purchase good practical designs, adapted to the trade, equally from man or woman. Several departments in gold and
·silver work could be well followed by women, besides design, such as chasing, engraving, and die-sinking. It was a great adyantage to an artist to be able to sink his own dies, the procees of which was explained and illustrated by examples-processes which could be carried out in the artist's home. A pupil should go throilgh a three years' course of constant study in the schools to attain the art. The processes of desigullig and modelling for stove-grates, rails, and other iron work were very similar to thost> for gold and silver, and could equally be carried out at home. The field for ornamental metal work
was rapidly extending with the new modes of dome~~tic decora.tion and enrichment of furniture with bronze. Reference was made to the delicate iron work of the Hartz mountains, in which German girls were largely employed. Passing to the potter's art, Mr. Fisher
~remarked . that considering the large number of women engaged in china painting, there seemed no reason why they should not do modelling work in pottery as well. Mr. Price, in this city, employed two girls (both pupils from the Red Maid's school), to model his new ware, which when more widely known, might employ many more. The influence which might be employed by a school of design was illustrated by the Lambeth potteries of Messrs. Doulton, where thirteen years ago, only three girls were at work, and now there were 300, all trained in the Lambeth technical art schools. .Asked as to designs of lace and other fabrics, Mr. Fisher explained that far the · greater part of these came from Paris, French designs being mor~ free and fantastic than those produced at home-the reason of which doubtless was that all over France free technical art schools had existed for many years. The wide influence of a good school wu again strikingly shown in wood carving. Mr. Mundella, in a. speech at Sheffield, in 1883, had said how much he had been struck with the fine artistic designs at the school of wood carving at Venice, and remarking that to a large Venetian employer, the reply was, "Twenty years ago there were not four good wood-carvers in Venice, now there are 2,000; I employ 300 myself." In Ravenna, dea.d '&.Ild gr88Sgrown cit.y as it was, a school of wood-carving was now sending out competent workmen to any part of Italy. If these things could be done in Italy, the same might be done here with proper exertion. It was sl;ated that there was but one t!chool of wood-carving in England, that at South Kensington, where men and women learnt to .. gether, and which was taught by Miss Rowe.
