Top - Giotto's dramatic and expressive work 'Lamentation over Christ' (see previous page). Carrick's study of a soldier (above right) taken from his 1918 sketchbook bears some resemblance to Giotto's enigmatic mourners with their backs to the viewer. Significantly Carrick's Engineer (above left) in the SNWM is however turned towards the viewer and although the figure remains anonymous this allows the shrapnel helmet to be the focus of the composition, the circular shape being repeated in the bicycle wheel behind him, and in the rubber hose of his gas mask.
Writing an appraisal of Carrick's pupil Hew Lorimer's work for the Talbot Rice Gallery in 1988 Duncan McMillan wrote of Carrick's Engineers panel "It is a bronze in low relief, low key, almost matter of fact. In the foreground there is a soldier writing a message on a pad on his knee. His head is bent over his work in such a way that we can only see the round top of his helmet tipped towards us. This incongruity is a striking rejection of idealisation. It recalls the awkward immediacy of Giotto and so suggests the importance to Carrick of the early Renaissance as an inspiration; the period when artists found a language of simplification that somehow, instead of sinking into generalisation, endorsed and enhanced common humanity".