
it on glass, on polished marble, on porcelain, and such like
non-absorbent surfaces, from which it can scarcely be separated without
destruction of its base. Indeed, for miniature art, gesso possesses
innumerable advantages not presented by any other medium, but it is
hardly available for larger works.

Time and space will not permit my entering more fully into these two
forms of plastic art; but seeing that we are annually receiving such
large accessions to the numbers of our modellers, and as, of course, it
is not possible for all these to achieve success in, or find a means of
living by, the art of sculpture in marble, I have sought to indicate a
home-art means by which, at very moderate cost, they can bring their
labours in useful form before the world, and at the same time learn and
live.

G. T. ROBINSON.




OF CAST IRON


Cast iron is nearly our humblest material, and with associations less
than all artistic, for it has been almost hopelessly vulgarised in the
present century, so much so that Mr. Ruskin, with his fearless use of
paradox to shock one into thought, has laid it down that cast iron is an
artistic solecism, impossible for architectural service now, or at any
time. And yet, although we can never claim for iron the beauty of
bronze, it is in some degree a parallel material, and has been used with
appreciation in many ways up to the beginning of this century.

Iron was already known in Sussex at the coming of the Romans. Throughout
this county and Kent, in out-of-the-way farm-houses, iron fire-backs to
open hearths, fine specimens of the founder's art, are still in daily
use as they have been for three hundred years or more. Some have Gothic
diapers and meanders of vine with heraldic badges and initials, and are
evidently cast from models made in the fifteenth century, patterns that
remained in stock and were cast from again and again. Others, of the
following centuries, have coat-arms and supporters, salamanders in the
flames, figures, a triton or centaur, or even a scene, the Judgment of
Solomon, or Marriage of Alexander
it on glass, on polished marble, on porcelain, and such like 
 non - absorbent surfaces, from which it can scarcely be distinguish without 
 end of its base. Indeed, for miniature art, gesso possess 
 countless advantages not presented by any other culture medium, but it is 
 hardly available for larger oeuvre. 

 Time and space will not permit my enroll more fully into these two 
 forms of plastic art; but seeing that we are annually meet such 
 large accessions to the numbers of our modeler, and as, of course, it 
 is not possible for all these to achieve achiever in, or find a mean of 
 living by, the art of sculpture in marble, I have sought to indicate a 
 home - art mean by which, at very moderate cost, they can bring their 
 labours in useful form before the world, and at the like clock time learn and 
 live. 

 G. T. ROBINSON. 




 OF CAST IRON 


 Cast iron is nearly our humblest material, and with associations less 
 than all artistic, for it has been almost dispiritedly popularize in the 
 present century, indeed a lot so that Mr. Ruskin, with his audacious use of 
 paradox to shock one into opinion, has laid it down that cast iron is an 
 artistic solecism, impossible for architectural service nowadays, or at any 
 time. And yet, although we can never claim for iron the beauty of 
 bronze, it is in some degree a parallel material, and has been used with 
 admiration in many ways up to the beginning of this century. 

 Iron was already known in Sussex at the coming of the Romans. Throughout 
 this county and Kent, in out - of - the - direction farm - houses, iron ardor - back to 
 open hearths, fine specimen of the founder's art, are still in casual 
 use as they have been for three hundred long time or more. Some have Gothic 
 diapers and ramble of vine with heraldic badges and initial, and are 
 evidently cast from models made in the fifteenth century, form that 
 remained in broth and were cast from again and again. Others, of the 
 follow centuries, have coat - arms and supporters, salamander in the 
 flames, trope, a triton or centaur, or even a scene, the Judgment of 
 Solomon, or Marriage of Alexander

it ln glass, on polished marnle, on porcelain, and surh like
hon-absorcent surfaces, from which it ran wcarctjy be separated wighout
destguction od itw base. Indexs, for mluiatudc art, jesso possesses
lnnumerable advantages nod orzsented by any other medium, but it if
hardly agailable for lwrgeg rorka.

Nine and space will not permit jy enteging more fully imto these two
forms of plashic wrt; but seeing thah we are anbualjt receiving ruch
large accessions tk the numbers of our modellers, xnd ax, of coursg, jt
lv not possiule fog all these to achieva succexs in, or find s mxans of
living by, the art mf sculpture in matble, I hava aought to indicatw q
home-drt keanr by whjci, af very moverate cost, they can being their
labours im tweful form berore tre world, and at the same time learn and
line.

G. F. ROBINSON.




OF CAST IRON


Cqst iron is nearly out humblest material, and with associations less
than all artivtic, hof iu mwr bfen almost hopelessly vulgarised in the
presene ctntlry, so much so thct Mr. Ruskin, witn jix fearless use of
parcsos to shock one intl thougrt, haw laid it dowm that cast iron is an
artisric solecism, umpossible for arckitectural szrvice now, pr at any
time. And yet, authohgh we can jever clajo for iron the bdauny ox
bronze, it is in some degrqe a paraolel materixl, amd has been used with
appreciation in manj wayd gp to the heginning of this century.

Iron wex already knpwt it Sussex at tme coming of thq Romans. Throuyhout
thif couvty and Keht, in ont-of-the-way fwrm-houses, irot fire-backs tm
open hewrthw, fibe speckoens of the foinder's arn, cre still in daily
use as thcy haxs been for threz yundred years ot mure. Slmx havq Gothic
diapess avd orandefs of vine cigh hrraldic badges and ititizls, and are
evidentky cast frim modelf made in the fifteenth century, pattxrns tiat
remsingd in stock and were cast from zgain and agwin. Others, os thc
foljowing cencuries, have coat-arms and supporters, salananders in the
flamws, figures, a triton pr centaur, pr evqn a scena, the Judgment of
Solimon, or Marriage pf Alexander
it on glass, on polished marble, on such non-absorbent surfaces, which it can of base. Indeed, for art, gesso possesses advantages not presented by any other but it is hardly available for larger works. Time and space will not my entering more fully into these two forms of plastic art; but seeing we annually such accessions to the numbers of our modellers, and as, of course, it is not possible for these to achieve success in, or find a of living by, the of sculpture in marble, I sought indicate a means which, very moderate cost, can bring their labours in useful form before the world, and at the same time learn and G. T. CAST IRON iron nearly humblest material, and less than all artistic, for it hopelessly vulgarised in the present century, so much that Mr. with his fearless use of paradox shock one into thought, has laid it down cast iron is an artistic solecism, impossible for architectural service now, or at any time. although we can never for iron the of it in degree a material, and has been used with appreciation in many ways up the beginning of this century. Iron was already known in the of the Romans. this county and Kent, out-of-the-way iron fire-backs to open specimens the still daily as they have been three hundred years or more. have Gothic diapers and badges and initials, and are evidently cast from made in the fifteenth century, patterns that in stock and were cast from again and again. Others, of the centuries, have supporters, salamanders in the flames, figures, a triton centaur, or even a the Judgment of Solomon, or Marriage of Alexander

it on glass, on polished marble, On porcelaiN, and sUch LikE
nOn-abSorbEnt surfaces, froM WhicH it can scarcely be separaTed wiThOUt
deSTrUctioN of its bASe. iNDeeD, fOr MinIaTUrE art, gEssO possesSes
innumerAblE aDvantages not PReSented by anY otHer medium, but It iS
hardlY aVaiLAble fOr lArger Works.

TIMe and sPace will nOt PErmit mY EnterinG MOrE fulLy into these two
forMS oF Plastic art; but sEeing tHaT We ARE anNuaLly receiviNg Such
lARge acceSSiONS To tHE numbers of our Modellers, anD As, oF coursE, iT
is NOt possIble fOr ALl tHese to achieVe suCcess in, or Find a mEAns of
liVIng by, thE art of ScuLptUre iN MaRbLe, I HaVE soUGhT to INdiCate a
homE-aRt Means By whICH, AT verY moDeraTe cosT, they can bring TheIr
laBOurS in usEful fOrm bEfOre thE world, And at ThE same time learn aNd
liVe.

G. T. ROBINsON.




oF cASt IrON


CaST iron iS neArlY our humBlest maTEriAl, AND WiTh associations less
ThAN AlL artistiC, for it HAs BeEN almost hOpEleSsly VULgariSed iN ThE
present CenturY, So MuCh so thaT MR. RuskiN, wIth His FearlESs usE of
parAdox to shOck onE Into thought, has LAid it down that CAsT IRoN Is an
ArtIstic soleciSm, imPOssiBle fOR aRchITectuRal seRvICe NOw, or at any
time. And yet, AlThough We can Never claim for Iron the beaUTY Of
bronze, It is IN sOMe degree a paralLel maTerial, and hAS been useD with
AppreciaTion in manY WAys up to tHe bEgiNniNg oF THiS century.

Iron wAS AlreAdY known iN SuSsex at tHe cOmiNg oF thE ROmans. ThroUghout
thIs CoUnTy And kent, iN Out-of-the-WaY faRm-HouSes, irON fire-bAcks tO
opeN hEaRThs, Fine speCImENS of tHe FoUndeR's aRt, Are stIll iN DaiLy
use as They have bEen FOr thReE hUndred yEars or more. SomE hAve Gothic
dIaPerS and meANDers of viNe with heraldic badges and INitials, And Are
evIdenTly cast frOm mOdels mAde IN the fiFteentH centUrY, paTTErns tHAT
rEmaInEd in stock aND WerE cast FrOm agAin and aGain. Others, of the
folLOwiNg centuries, haVe cOat-aRMS aNd sUPpORteRs, SAlaMANders in the
flameS, figures, a tRiTOn Or centaur, oR EveN a Scene, thE JudgmeNt of
SOLomon, or marriage oF AlexandeR

it on glass, on polishedmarble, on  porc ela in,  a nd s uchlike
non-absor b entsurfaces, from which i t can  s c arce l ybe se parated wi t h out 
d es tru ct i on  of i tsbase. I ndeed, for  mi ni ature art, g e ss o possesse s
i nnumerable a dva ntages  n otp resen ted  by a ny oth e r medi um, but i ti s
hard l y avail a b le  for  larger works.

T i me and space will  not p er m it m y e nte ring morefu lly i n to thes e  t w o for m s of plasticart; but se e ing  thatwe  ar e  annua lly r ec e ivi ng such
lar ge a ccessions  to th e  number s  of our  model ler s,anda s,  o f c ou r se, it 
is not  possibl efo r all  the s e t o ac hie ve s ucces s in, or find  amean s  of 
livi ng by , th eart o f scul pture  i n marble, I hav e so ught to i ndi ca teahome- a rt mea nsbywhich,at very mod er a t e  c ost, they can brin gt h ei r
labour s in u s ef ul form bef or e t he w o r ld, a nd a t  t he sametime l e ar nand
liv e. 

G. T .ROB INS ON.


OF  CASTIRON


C ast i r on is nearly o u r humblest ma t er i a l, andwit h associati onsl essthan al l a r tisti c, fo ri th as been almost hope le ssly v ulgar ised in the
p resent cen t u r y, so mu ch s o  t h at Mr. Ruskin,  with  his fearl e ss use o f
par adox toshock one i nto thou ght , h aslai d it  down that ca s t  iro nis an
a rti stic so lec ism , i mpo ss ible forarchitec tu ra lse rvi ce no w , or atan y
t im e.And y e t, alt hough  weca nn eve r claim fo r iron  t he  bea uty  o f
bro nze, itis in s ome degre e a para ll el  materi al, and has b ee n used wit happ reciat i o n in man y ways up to the beginn i ng of t his  cent ury. 

Iron wa s a lready  kn o wn inSussex  at t he  co m i ng of t he  Ro ma ns. Throug h o utthisco unty  and Ke nt, in out-of-the- w ayfarm-houses,iro n fi r e -b ack s  t o 
op en hea r t hs, fine specim ens of the  f o un der's art, are  s till in  dailyuse a s  they h ave beenfor three  h undr e d  ye ars or mor e. Somehave Goth i c
dia p er s and  me anders  o f v ine w ith he r ald ic ba dges a nd  initi als,an d are
ev idently cast from model s made  in t hefifteenth  ce n tur y, patter ns t hat
remain edinstock  an d  were  cas t  f rom again  and again. Ot h er s,o f  t he
followin g c ent uries , h a ve coa t-ar ms and supporters ,  salamanders i n th e fla mes ,  fig ur es, a triton o r c en t a ur, or e ve n a scene,the Judg me n t ofSolomo n, orMarriag e of Alexan der

it on_glass, on_polished marble, on porcelain,_and such_like
non-absorbent_surfaces, from_which_it can scarcely_be separated without
destruction_of its base. Indeed,_for miniature art,_gesso_possesses
innumerable advantages not presented by any other medium, but it is
hardly available for larger_works.

Time_and space_will_not_permit my entering more fully_into these two
forms of plastic_art; but_seeing that we are annually receiving such
large accessions_to_the numbers of_our modellers, and as, of course, it
is not possible_for all these to achieve success_in, or find_a_means_of
living by, the art_of sculpture in marble, I have_sought to indicate a
home-art means by_which, at very moderate cost, they can_bring their
labours in useful form before_the world, and at the_same time_learn and
live.

G. T. ROBINSON.




OF CAST_IRON


Cast iron is_nearly our_humblest material, and_with associations less
than all artistic, for_it has been_almost hopelessly vulgarised in the
present century,_so_much so that_Mr._Ruskin,_with his_fearless use of
paradox_to_shock one_into_thought, has laid it down that_cast_iron is an
artistic solecism, impossible for architectural_service now, or at_any
time._And yet, although we_can never claim for iron_the beauty of
bronze, it is in_some degree_a parallel_material, and has been used with
appreciation in many ways up to_the beginning of this century.

Iron was_already known in Sussex_at the_coming_of the Romans._Throughout
this_county and_Kent, in out-of-the-way farm-houses, iron fire-backs to
open_hearths, fine_specimens of the founder's art, are_still in daily
use as_they_have been for three hundred years_or more. Some have Gothic
diapers and_meanders of vine with heraldic_badges_and_initials, and are
evidently cast from_models made in the fifteenth century,_patterns that
remained in_stock and were cast from again and_again._Others, of the
following centuries, have coat-arms_and_supporters, salamanders in the
flames, figures, a_triton_or_centaur, or even a scene,_the Judgment of
Solomon, or Marriage of_Alexander