f,' ^nhmtviul J3rt A TREASURY OF ORNAMENTAL DESIGN OF ALL SCHOOLS AND PERIODS, APPLIED TO EVERY BRANCH OF V/ORKMANSHIP. f LONDON: W.H ITT INGHAM AND WILKIN S, TOOKS COURT, CHANCERY LANE, E.C Section I. 1874. Price 15^. \<] B h- Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032189320 Cornell University Library arY1301 Industrial art: a treasury of ornamental ,. 3 1924 032 189 320 olin.anx m^ ntiu^trfal Art: A TREASURY OF ORNAMENTAL DESIGN OF ALL SCHOOLS AND PERIODS, APPLIED TO EVERY BRANCH OF WORKMANSHIP. EMBRACING THE MASTERPIECES OF THE MOST FAMOUS CONTINENTAL DESIGNERS IN METAL AND WOOD-WORK; CHOICE EXAMPLES OF TEXTILE, CERAMIC, JEWEL, AND MISCELLANEOUS DESIGN, INCLUDING, AMONGST OTHERS:— 21. Goldsmiths' Art. 22. Lace work. 23. Lustres. 24. • Marquetry. 25. Mosaics. 26. Niello (Inlaid work). 27. Table Accessories. 28. Tapestry. 29. Weaving. 30. Wrought and Cast Iron. I. Ancient Art adaptable to II. Ceramic Art; Glass, Modern purposes. Crystal. 2. Arabesques. 12. Clock and Watch work. 3- Architectural Gems. I3-- Candelabra. 4- Artistic Foliage. 14. Chandeliers. S- Artistic Locks and Keys. IS- Chimneypiece Art. 6. Arms and Armoury. 16. Consoles. 7- Bijoux. 17- Cutlery. 8. Bookbinding and Typogra- 18. Embroidery. phical ornaments. 19. Enamels. 9- Bronzes. 20. External and Internal 0. Buhl Work. Decorations. Volume I. Section I. LONDON: WHITTINGHAM AND WILKIN S, TOOKS COURT, CHANCERY LANE, E. C. 1874. Ti CONTENTS. JMALL Perfume Burner. Cloisonnd Enamels. Ancient Chinese Art. 2. Marriage Casket. Venetian, in Stamped Copper. Italian Goldsmiths' Work. Fourteenth century. 3. Decorative Figures. Chinese Panel. French School. (Louis XV.) Seventeenth century. 4. Panels in Carved Wood. Arabian Art. Sixteenth century. 5. Clock in Copper Gilt and Niello. French Workmanship. Fifteenth century. 6. Flagons in Faience of Strasbourg. French Ceramic. Eighteenth century. 7. Drawing-room Decorations. Jardiniere. Contemporary Art. Nineteenth century. 8. Table Accessories. Glass. Italian Workmanship. Sixteenth century. 9. Decorative Figure. Canephora. Antique. Greek Sculpture. 10. Door Knocker at Palermo. Italo-Norman School. (Sicily.) Twelfth century. 1 1. Table Top in Ebony inlaid with Ivory. Italian Workmanship. Seventeenth century. 12. Sword. French Workmanship. Sixteenth century. 13. Large Dish in Bronze of MUrcian Manufacture. Moresque Style. Sixteenth century. 14. Fragment of a Door in Wood. Arabian Art. Sixteenth century. 15. Night Light in Copper Gilt. Italian Art. Sixteenth century. 16. Knocker IN Wrought Iron. Flemish Ironwork. Fifteenth century. 17. F^ot of a Candelabrum in Bronze. French Art. Twelfth century. 18. Arabesques in Niello. German School. Sixteenth century. 19. Dress Helmet, in the Artillery Museum. Italian Workmanship. Sixteenth century. 20. Staircase Balustrades in Wrought Iron. French Ironwork. Seventeenth century. 21. Marquetry of Tortoise-shell and Copper, French School. Seventeenth century. 22. Keys in Wrought Iron. French Workmanship. Sixteenth and Seventeenth centuries. 23. Mirrors in Bronze, with Ebony Stands. Modern Japanese Art. 24. Ewer and Bason in Metal, encrusted with Silver. Persian Art. Sixteenth century. 25. Bijoux — Niellos. German School. Seventeenth century. 26. Table in Marble. Antique. Roman Epoch. 27. Fire-guard in Wrought Iron. French Ironwork. Thirteenth century. CONTENTS. 28. Carved Walnut Cabinet in Two, pieces. French Cabinet Work. Seventeenth century. 29. Vase in Cloisonne Enamel. Ancient Chinese Art. 30. Knocker and Bolt in Iron (RepoussS). French Locksmith's Work. Sixteenth century. 31. Railings in Wrought Iron. French Ironwork. Seventeenth century. 32. Painted Door from the Chateau of Pailly. French School. Seventeenth century. 33. Door of the Tabernacle in the Church of St. Sebald, Nuremburg. German School, Fourteenth Century. 34. Lamp in Polished Copper. French School (Contemporary). Nineteenth century. 35. Lacework. French Workmanship. Eighteenth century. 36. Gas Lustre with Balance Weights. Contemporary Art. Nineteenth century. 37. Candlesticks in Bronze. Indian and Persian Art. 38. Covered Vases. Indian Workmanship. Seventeenth century. 39. Vases (Burettes)., Persian Ceramic. Seventeenth century. 40. Drawing Room Centre-piece. Contemporary French Art. Nineteenth century. 41. Fragment of a Window. Italian School. Fifteenth century. 42. Covered Vase in Lackered Ware. Ancient Chinese Art. 43. Casket in Bronze. French Goldsmiths' Work. Sixteenth century. 44. Coffer in Rock Crystal. Italian Workmanship. Seventeenth century. 45. Bijoux in Gold, in Bronze, and in Gilt Terra-Cotta. Antique. Roman and Etruscan Period. 46. Fragment of Guipure. Flemish Work. Sixteenth century. 47. Fragments of Stained Glass. French School. Thirteenth century. 48. Niellos. Arabesques. German School. Sixteenth century, 49. Embroidery — Guipure. German School. Sixteenth century. 50. Tapestry — Embroideries, German School, Sixteenth century. 1. Ancient Chinese Art. CLOISONNE ENAMELS. SMALL PERFUME BURNER. THIS splendid object will repay the most careful study. The perfume vase is supported by three elephants' heads superbly modelled and reposing upon a pedestal of open work, cut so as to imitate twisted plants and flowers. The perfume-pan and its lid axe covered with partition (cloisonn^ enamels, chaste in point of ornamentation and characterized by smgular harmony. Scale, full size. 2. _C0 V •3 M ^ .s >« 3 ^ a M § «, >« 6 1 ■s •= _ 4> •o ^ §H 1. V « > S g. V ^^ J5 P^ §>•? J-B PLI O V Q u •^ S • •a u s Q U V C3 W ^ £3 H § g "SI O ^ s g » fe ■^ « SP X j^ Ph.S •^ to ^ . « g" 1 §-l K 1 g 1 iz; s* ^ si t> c3 g :2 3 S 1 u ^ ii ^ ■fi g* ? « « ^ ^ % HH " -s « e 3 -ss fk$ ^ S "• S rS g* M o til |ea •-^ •lilt "^ ?. fc'^ S ^ 1 •0.3**! s o c W ft „ •§ W St^ r ** 1 I in P"^ " I 8 French School. (Louis XV.) XVIIth Century. DECORATIVE FIGURES. CHINESE PANEL. THIS plate is one of F. Boucher's famous series of " The Four Elements." Fire is here represented. Before a trophy of vases crowned by a grotesque Chinese figure, an inhabitant of the Celestial Empire is pouring out a cup of tea to a squat, sitting warrior. The outline is agreeable and the composition is wittily executed. Scak, facsimile. Arabian Art. XVIth Century. PANELS IN CARVED WOOD. (In the Oriental Museum, organized by the Central Union of the Arts Applied to Industry.) Scale, one-tenth. French Workmanship. XVth Century. CLOCK IN COPPER GILT AND NIELLO. {In the Collection of M. Duthuit ofJRouen,) THIS clock, octagonal in shape, presents the architectural forms of the period. The base is of a composite order. In the upper part, or attic, are Caryatides with tressed terminals supporting the crowning cornice. Each of the semicircular arcades in the lower part is filled with very remarkable niello ornaments. The upper part is cut in openwork. 6. i s u a 9 o pq t H (Z! O U O O "S . I hi !3 o « (U > bo -ki § tH g 2 M t§ ■^ ■" ^ •« (U p I •o ii ■a s Contemporary Art. XIXth Century. DRAWING-ROOM DECORATIONS. JARDINIERE. THIS article, in Neo-Greek style, is a happy example of the unicm of taste and comfort — ^modern luxury blended with the antique. At the base cushions invite rest, whilst the flowers arranged in the open worked basket spread perfume throughout the room. This elegant flower-stand was executed by M. Clauses, a Lyons carver, in walnut wood. It is in the possession of M. Gaudet of Rive-de-Gier. The candelabrum placed at the top is of bronze, and harmonises well with the colour of the wood. 8. Italian Workmanship. XVIth Century. TABLE ACCESSORIES. GLASS. {In the Cluny Museum.) ALL these specimens of Venetian glass are drawn full-size. Fig. i is a tulip-shaped vase with a foot, and white and blue ornaments. The unicorn, seen in the foot of Fig. 2, is in metal. Fig. 3 is a cup with a foot, enriched with open-worked blue adornments. Antique. Gheek Scclptxtre. DECORATIVE FIGURE. CANEPHORA. THIS fine Caryatid, supporting a baskel^ is executed full length, the drapery falling to the feet. It is one half larger than nature. The original is at the Albani Villa at Rome. This drawing was executed from a plaster moulding preserved at the Ecole des Beaux-Arts (Paris). 10. 10. ^^^^^^^K^^?%SS^»».*:«^4 .a^"i-g|J«|i.|| a s.&'s5*« s g-^-o § S«;g«.§ g " g aTKj n S^g>o£-"-gg-gf1 - O ■" tS 13 " iS B ui -K - S 3 ^ggS-gtg, 'S'S ^ S:2 o fe-s.3 S i^ K 5 1^ -1-* a >« 2 o 2 S 5^^'S a°'3.S-!5rS-H 3 "■a -I §12^*8 -2 ph .a s-e a H o !5 B a o I "^ g ■| o ■I c i a, i I § s bO o 1 g u o ti u> X nt " -O in S ' ^ S ."2 ±j CO I I* Tj a 5 » O lU A S "s "■"■ o V s -s B. ° •gj o S ^•^ ft g 2 .2 " ■a 5 u 8 12. French Workmanship. XVIth Century. OFFENSIVE ARMS. SWORD. {From the Collection of M. D'Artnailli.) THIS beautiful weapon is in a state of perfect preservation and bears the date of 1555. The subject on the guard is the Rape of Helen, the lower one shows the City of Troy. The niellos are of gold on a black ground, with the exception of that encasing the row of small pearls which mark and follow the contours, these are silver. Scale, fitll size. 13. Moresque Style. XVIth Century. LARGE DISH IN BRONZE OF MURCIAN MANUFACTURE. THE ornaments with which this beautiful dish is covered are engraved. The piece in the middle with the escutcheon seems to have been added, after the conquest, by its owner, a Spaniard. It is of silver and riveted. The lower figure of the dish gives the exact horizontal section of the dish. Scale, one-half. 14. Arabian Art. XVIth Century. FRAGMENT OF A DOOR IN WOOD. .' A THIS richly omated door from Cairo was drawn at the Oriental Museum, organized by the Central Union of Fine Arts as applied to Industry. At A is seen the axis of the door as formed by a small column. B shows the vertical section. The lower panels are like those here shown. Scale, one-tenth. 15. Itauan Art. XVIth Century. NIGHT LIGHT IN COPPER GILT. T 'HOUGH Italian and perhaps Venetian, the decoration of this article is Arabian in taste and character. Flemish Ironwork. XVth Century. KNOCKER IN WROUGHT IRON. {Collection of M. Orville.) THIS exquisite heurtoir was purchased by M. Orville in Belgium some years since. It was fastened to the door of the house No. 3, Grosse-Pomme Street, at Mons, and seems to have suffered from the effects of time. Nevertheless, the contours of the skilful cuttings out with which it is decorated, are perfectly visible. Height, 24 centimetres. French Art. XIIth Century. FOOT OF A CANDELABRUM IN BRONZE. THIS magnificent foot (Fig. i) is copied from a plaster cast deposited in the Museum of the Central Union of the Arts applied to Industry. Fig. 2 shows the plan or horizontal section made between the two knots. 'i/v^,'!?^ mwi^.r^^^^ii Hhs. 18. •^/O^ German School. XVIth Centurv. ARABESQUES IN NIELLO. {By P. Fketner.) IN the three panels numbered i, 2, 3, are seen extremely complicated twines, one of which— that on the left hand — seems to have retained in a certain degree the characteristics of the Romanesque art. The two panels on the right would appear to proceed rather from the Arabian ornamentation. All are plates of a damascened casket. Nos. 4, 5 and 6, are running motives of twines and niello foliage. No. 7 is the lid of a niello-worked box. 19. ' Italian Workmanship. XVIth Century. DRESS HELMUT (CALLED THE "ANTIQUE CASQUE") IN THE ARTILLERY MUSEUM. THIS magnificent helmet, one of the finest and richest, perhaps, ever made, dates from the middle of the XVIth century, and is consequently synchronous with the reign of Henry II. of France. It is a kind of bourguignote with ear and nape coverings. It has for its crest a guivre or winged dragon in high relief, with a black ground damascened in gold. The rolling tail falls dowa instead of horse-hair. The body of the helmet is enriched with arabesques, small figures, human masks, birds and reptiles. The style and execution are admirable and cannot be too highly praised. French Ironwokk. (Time of Louis XIV.) XVIIth Century. STAIRCASE BALUSTRADES IN WROUGHT IRON. FIG. I is from No. 13, Rue Neuve des Petits-Champs. The leaves are attached in bronze. Scale oTo centimetre per mfetre. Fig. 2 gives the detail of A in Fig. i. FifiT. ? is from the Rue Radziwil. Scale o'lo centimetre per mbtre. The leaves are attached 21. French School. (Time of Louis XIV.) XVIIth Century. MARQUETRY OF TORTOISE-SHELL AND COPPER. BY BOULE. THESE omated bands and fragments of Marquetry belong to a cabinet of medals in the Biblio- thfeque Imp^riale. The ornaments, of a chaste style, adorn the uprights and cross-bars of the fabric, and are doubtless the work of the celebrated artist who left so many masterpieces of that kind. Scale, half size. 22. French Workmanship. XVIth and XVIIth Centuries. LOCKSMITHS' WORK. KEYS IN WROUGHT IRON. 23. y Q T3 § Z g < s H o w U 11) O PQ 1 W o ^. w (U o a h; O 3 M lU a d) 12; w O s N 1 « sp o ?^ p^ ^ HH d ?] O 1 o f^ >-. P< T3 1— 1 § 3 P ■^ , 1) o H J3 T1 rt i« q o IJ ■o _ ^ 5" .n ■52 § ^ I v S H g o •o o . en to "a ^ g a 8 CO § I !i^ .5 R S ° g 2 J "S 'S ffl H w cu *« o ^ o c^ O ■« (U (L) 38. "o 2 u p< a ,2 «? o a 6 .ti ?f !ii ^ ^ ^ •5b 1 1 rs n « •S oT •s' TJ § ■f 1 i" i 1 F tj ^ ■s § l-l CO 1 U3 .J3 1 W Si u' ,14 &; fS > o o S u p.* Q Bl J3 a w Pi > o l3 g c O 1 a' 1 o o It^ 4-» 1 .S 1 u Q ^ g u cd ua +5 O UJ « U O4 u « u :S II ^ ^ v id B T> 'S 1 u f 8 > c q'"? Q o ^ K "O •" s rM- -ID w 8 « 5 t/1 o < Hi & H Z u w H u as 5 .!S 0) >, C4 (3 rt a o *•> s .n tfi j3 o P4 hJ S >j ,^ ^ ti s > CO \St u u U ^ 1 n u ^ H l-H o 1— 1 1 Si general France. 04* » -d l-H 1 e o u § esques. enry IV ^ g ^ ^ arab of H '^ ^oS t HH 17 .S ^ ■s i HH p4 •s .s- g E mounting of this Coffer is wood covered points. It is said to have once held the ba 45. Antiques, Roman and Etruscan Period. BIJOUX IN GOLD, IN BRONZE, AND IN GILT TERRA-COTTA. {From the Museum of the Louvre and the BibliotKeque Imph-iale.) ALL the objects, with one exception, came from the famous Campana Collection. They are hair pins highly finished and skilfully decorated, presenting many details worthy of careful study. The necklace was a gift of the Duke of Luynes to the " Bibliothfeque Impdriale." It is in gold, and presents all the characteristics of Etruscan art. 46. Flemish Work. XVIth Century. EMBROIDERY. FRAGMENT OF GUIPURE. THE embroidery usually called " Guipure " is a combination of the application and lanci embroideries. It is the richest with respect to the materials used in it, as it often combines gold and silver threads, feathers, precious stones, &c. The Maltese lace here shovra is of plain materials, but very complicated in design. The blanks and full parts combine artistically— the twines being nicely and harmoniously contrived. Scale, full-size. 4T. A French School. XIIIth Century. FRAGMENTS OF STAINED GLASS. LL the stained glass of the ancient Abbatial Church of St. John aux Bois, near Compifegne, are varied and in excellent drawing. Four principal motives are here given. 48. German School. XVIth Century. NIELLOS. ARABESQUES. (By P. FkOner) O. I presents a gathering of interesting motives. In the centre a large rose is expanding, composed of remarkably fine and elegant foliage disposed on tnro rectangular axes. The rest of the frame contains four triangular fillings, four grotesque v%nettes, and two small medallions. Nos. 2 and 3 are knife sheaths; Nos. 7 to 14, scissors cases ; No. 4 is a box-lid with niellos ; Nos. s, 6, and 15 are marquetiy and blaid firiezes. N 49. ftiis'iTssi-? K S3!!v(S2r5S:^P^£Ji^Ci' s^XGi^sOrfflM^nnsHi German School. XVIth Century. EMBROIDERY— GUIPURE. THIS is a specimen of cut-stitch by Hans Siebmacher. The upper part of the pkte shows four compositions of Gmfiure cut out like lace. In this &shion they used to trim the Spanish ruffles, which were in £ishion at the Court of Versailles towards the middle of the XVIth century (see the picture of Clouet's Ball in the Museum of the Louvre). These frills were very large, stiffly starched, and held up by metal wires disposed like fans. The central part of the plate shows two running examples of cut-stitch, and a fine specimen of Guipure for back- grounds {such as bed-covers, curtains) in a radiating disposition. The lower part of the plate is also a reproduction of cutting-out— crests and trimming of ruffles to be adapted to head-piece ties. One of these models has been executed in cross-stitch (fae-smiU). 50. f 1 n 1 :M 1 1 1 'B i i 1 1 II ; ¥!¥! 'IS B m Hi if !ii IHfflH ill 11 l| 1 |i i i ffi 1 Mi ;!l 1 II I |; ijl 1 1 i i 'i ■ 'i } isi : 1 mi w ? B i i 1 II 1 1 ! lis i £i S ! |! H ^H ffl 1 IK ||| II if i H Hi l^s 9 s iw ll 11 1 1^9 Si |S| n P H iffi li sffli 1 IH H pi Isi Si 11 S iW B ■ n ^M M ■ vn MM pnn IIM ■M w Ifi m w pfi mff i:!i ir n 1 ' '1 i i ffi 1 m i li 1 1 || 1 \^ m ^ lILLIH: J ^ 1 1 Si s II m gj g g toW^ip ^ tt 1 g German School. XVIth Century. TAPESTRY— EMBROIDERIES. THIS is a set of three phtes of cross-stitcliing by Hans Siebmacher. The two upper stripes, showing the designs for grcund-work or spotted-gnmnd, are octagonal, the base being a perfect square with its diagonals. The following stripes ate patterns of borders with the same base, with the exception of the fourth stripe, which shows the way of executing in rug-work fiee designs, by cleverly combining ftdl and empty spaces in the composition. It is a continuous pattern of coats-of-arms, supported by unicorns alternating with vases of flowers (borders and lace of liveries, &c.) The stripes are composed :— the first, of 56 stitches j the second, of 31 ; the third, of 29 j the fourth, of 65 ; the fifth, of 32 ; and the sixth, of 49. Sise, facsimile. 51. Antique. Roman Period. LAMP AND CANDELABRA IN BRONZE. THESE three objects were found in the excavations at Hercukneum. The lamp has a foot or stand ornamented with claws and acanthus leaves. 52. Italian Ceramic XVIIth Century. • VASE IN STANNIFERE ENAMEL. (From the Collection of the Countess Dsiatynska.) THE manufactory of Monteluppo, of the products of which this is a specimen, between Leghorn and Florence, still exists. They fonnerly used to make these tena-cottas in the Avignon style. In this vase the ground of the enamel is chocolate brown. The mascarons, fillets, and ornaments are yellow. S