AN APPRECIATION

Evening Post, Volume CVII, Issue 131, 4 June 1924, Page 9

AN APPRECIATION

LIGHTING PICTURE GALLERIES

MR. S. HURST SEAGER'S SYSTEM.

(PROM OUR OWN CORRESPONDENT.)

LONDON, 10th April. An interesting article appears in the current number of " The Builder," written by Mr. G. Maxwell Aylwin, dealing with Mr. S. Hurst Seager's top-side-hght method of lighting, picture galleries. It is in the form of an appreciation of this most scientific method which has jet been put forward.

" Such an authority as Mr. Hurst Seager, F.R.1.8.A.," says the writer,

■' leaves little for the casual student to add, but rather provides enough, and still more from which to build. His exhaustive -works upon the subject of ' Top-side Lighting,' for which system "ne makes out a convincing case, are such that the student thereof can hardly fail lo be at any rate influenced by his views." "

■ The writer proceeds to deal with the ' subject from the point of view, of the London galleries, quoting extensively from Mr. Seager's work. "To summarise the requirements of a well-lighted gallery," the writer goes on to say, '" from observations which will be apparent to every student of perception, we find: (1) That the source of light must be reflected out of the range of vision of the spectator; (2) that the pic- ] ture must receive ample direct light; (3) that the spectator must stand in. a relatively subdued light; (4) that the spectator must not intercept any light passing from the source'towards the picture. ' . - " This brings us to the subject of the top-side light system as advocated' ' by Mr. Seager, and which appears to satisfy all the above requirements. ■ In this system the spectator passes down a central corridor which receives no direct light, and is covered with a flat ceiling. : From this are opened up a series of side bays roofed with pitch roofs parallel with the corridor, being glazed to throw a direct light on the back wall of the bay. The pictures are hung on the back walls, and, to a limited extent, upon the side divisional screens. (Mr* Seager advises within six or. seven feet from the inner edge.) Seats are provided just inside the bays off the corridor, but not sufficiently forward to catch the light from above. The result is a good direct light on the picture, with the source hidden and in front of the spectator. - " Probably the most complete example of an existing art gallery on - the top-side light system is the comparatively recent Sargeant Art Gallery at Wanganui, New Zealand, in.the competition for which Mr. Seager himself acted as assessor. . The assessor's report is published, and on sale to the public, and is a very instructive document to read. THE IDEAL SYSTEM. ' "As has been previously pointed out," Mr. ■ Aylwin concludes, " these notes are mainly intended as a resume of the results of others' faithful study and research, supplemented by a little personal observation and thought. They seem to indicate that the top-side light system, as, advocated by Mr. Seager, is the idea] at which to aim in the setting for pictures, and that the majority of our galenes at present violate nearly all the first principles of correct lighting. Thev dc not, perhaps, present a complete ans*wer to those who feel the loss of a certain amount of architectural effect, or who are a little nervous of mounting cost Some will also say that a gallery so deSigned to house adequately' a collection' of pictures may soon become overcrowded, tempting the authorities to utilise all the wall space of the side-screens to the bays, thus, leading the public right1 into the bays, to-the confusion of all original intentions. ' " A final general appreciation of those members.of the profession who, like Mr. Seager, have devoted .their life efforts to the solution of scientific problems in which the rank and file find themselves sadly out of their depth if unaided, we are a little apt to look askance at science as a rather cold companion, but we greet her thankfully after academism has failed us, and the more thankfully when we find her within the sympathetical • bounds of the profession."