Principles of Decorative Design Part 15

[Ill.u.s.tration: Fig. 138.]

[Ill.u.s.tration: Fig. 139.]

[Ill.u.s.tration: Fig. 140.]

There is one thing pertaining to table-gla.s.s that we do not now sufficiently consider, which is its capacity for colour. Our one idea in the formation of gla.s.s vessels is the imitation of crystal, unless we happen to produce a vessel of the strongest tint. With the exception of hock-gla.s.ses, which are generally either ruby-colour, dark green, or intense yellow-green, we rarely employ tinted gla.s.s on our tables. These three colours, which we usually employ in hock-gla.s.ses, are all too strong in tint for ordinary purposes, and they are coa.r.s.e and vulgar. It is curious that we should confine ourselves to these colours when gla.s.s is capable of a.s.suming the most delicate of shades, of appearing as a soft, subtle, golden hue of the most beautiful light tertiary green, lilac, and blue, and, indeed, of almost any colour.

Why, then, should we employ only two or three colours, and those of the most crude character? If the Roman and Greek gla.s.s of the British Museum be inspected, it will be seen that the Romans employed various soft and delicate tints, and why we should not do so I cannot see. For many reasons the colours of our hock-gla.s.ses are highly objectionable, but especially for two. First, as already stated, the colour is so strong that they appear as mere dark spots on the cloth, and altogether fail in imparting to the table a pleasant colour-effect; and, secondly, they utterly destroy the beauty of appearance which the wine would otherwise present.

[Ill.u.s.tration: Fig. 141.]

[Ill.u.s.tration: Fig. 142.]

No gla.s.s which is to contain a liquid of pleasant colour should be so strong in tint as to mar the beauty of the contained fluid, and especially is this true when the colour of the gla.s.s is of an opposite character to that of the liquid: thus a red liquid placed in a strongly-coloured green gla.s.s becomes highly offensive in appearance, and yet we often see claret served in green hock-gla.s.ses. A dinner-table requires colour. Let the cloth be pale buff, or cream-colour, instead of white; and the gla.s.s water-vessels of very pale, but refined and various, tints; and the salt-cellars, if of gla.s.s, also coloured, in a tender and befitting manner, and a most harmonious effect will be produced. The flowers with which the table is adorned would then harmonise with the other things, and much beauty might be produced.

Respecting the ornamentation of gla.s.s, two methods of treatment are resorted to, which are "cutting" and "engraving." Both modes deal with gla.s.s as a hard, crystal-like substance; and consist in grinding the surface, and either leaving it "dead" or repolis.h.i.+ng it. In the case of "cutting" a considerable portion of the substance of the gla.s.s is generally removed, and the surface is repolished; but in the case of "engraving" little more than the surface is generally acted upon, and the engraved portion remains dead.

Cutting may be employed in bringing about ornamental effects in gla.s.s, but it is rarely to be commended when so lavishly used as to be the chief means of giving form to the vessel; indeed, cutting should be sparingly and judiciously used. A vessel formed of gla.s.s should never be wholly shaped by cutting, as though it were a work of stone. If the neck of a decanter can be made more convenient by being slightly cut--if it can be so treated that it can be held more securely--then let it be cut; but in all cases avoid falling into the error of too much cutting which causes the work to appear laboured, for any work which presents the appearance of having been the result of much labour is as unpleasant to look upon as that work is pleasing which results from the exercise of momentary skill. There is a great art-principle manifested in the expression "Let there be light, and there was light."

[Ill.u.s.tration: Fig. 143.]

[Ill.u.s.tration: Fig. 144.]

Engraving is also laborious, and while it is capable of yielding most delicate and beautiful effects, it should yet be somewhat sparingly used, for extravagance in labour is never desirable, and there is such a thing as extravagance of beauty.

However delicate ornament may be, and however well composed, yet if it covers the whole of the walls of an apartment and of the objects which it contains, it fails to please. There must be the contrast of plain surfaces with ornamented--plain for the eye to rest upon, ornament for the mind to enjoy. In the enrichment of gla.s.s these remarks fully apply. Let there be plain surfaces as well as ornamented parts, and the effect will be more satisfying than if all be covered with ornament.

All that I said respecting the decoration of damask table-linen will apply equally to gla.s.s, considering only the different way in which the effect is produced (see Chap. VI., page 108). Thus we have ornament produced only by a variation of surface. Such simple means of producing an art-effect are capable of rendering in a satisfactory manner simple treatments only, but simple patterns are capable of yielding the highest pleasure, and such patterns can be almost perfectly rendered by engraving, as shown in Figs. 141, 142, 143.[28]

[28] Fig. 143 represents a decanter made for the Prince of Wales by Messrs. Pellatt and Co., which is in good taste. Fig. 141 is a goblet from Austria: it was shown in the International Exhibition of Paris in 1867.

Somewhat elaborate effects can be rendered in gla.s.s by very laborious engraving, whereby different depths of cutting are attained; but such work is the result of great labour, and rarely produces an effect proportionate to the toil expended upon it; and if a bottle so engraved is filled with a coloured wine, the entire beauty of its engraving is destroyed. Fig. 144 is a drawing of a most elaborately engraved bottle, which was shown in the Exhibition of 1862. It represents, to a great extent, wasted labour.

[Ill.u.s.tration: Fig. 145.]

It must be borne in mind that any ornament placed on a decanter, wine-gla.s.s, or tumbler, is to be seen almost wholly in perspective; and the remarks made respecting the effects of folded or waved surfaces on ornament (Chap. VI., page 110), and those made in reference to the application of ornament to earthen vases (Chap. VII., page 126), apply equally here.

It is not my province to enter into the various methods of manipulating gla.s.s, nor into all the cla.s.ses of art-effect which gla.s.s is capable of yielding: I can only call attention to general principles, and leave the art-student to think for himself what should be the treatment of any particular object. There is a sort of crackle gla.s.s which has come into use during the last few years, and is an imitation of old Venetian work; this is in some respects pleasant in appearance, but it is somewhat uncomfortable to handle, and difficult to keep clean; its use must therefore be limited. The Romans were in the habit of forming gla.s.s which was opaque, dark, and of many colours. Fig. 145 is an ill.u.s.tration of this kind of gla.s.s, the pattern being formed by portions of various coloured gla.s.s being imbedded in the substance of the vessel.

In another chapter I shall have a few remarks to make upon stained gla.s.s; but as our present remarks pertain to hollow vessels chiefly, and as general principles regulate the formation of all such, whether they are formed of earthenware, gla.s.s, or metal, I think it better to proceed to the consideration of silversmiths' ware, and thus continue a notice of hollow vessels, than to pa.s.s to gla.s.s windows, although they are formed of the material now under review. What we are specially considering at present are vessels of capacity, or hollow wares.

[Ill.u.s.tration: Fig. 146.]

[Ill.u.s.tration: Fig. 147.]

DIVISION III.

Continuing our remarks upon hollow vessels, we have now to notice silversmiths' work, and here we may observe that while the material with which we have now to deal differs in character widely from that of which those vessels already noticed have been formed, yet that many principles which have been enunciated are equally applicable to the objects now under consideration. Silver objects, like those formed of clay or gla.s.s, should perfectly serve the end for which they have been formed; also, the fact that ornament applied to rounded surfaces should be adapted for being viewed in perspective remains as binding on us as before; but herein the works of the silversmith differ from those already discussed--they are formed of a material of intrinsic value, which is not the case with articles of earthenware or gla.s.s.

Silver and gold being materials of considerable worth, it is necessary that the utmost economy be observed in using them, and in order to effect this a special mode of construction must be resorted to. If we propose to ourselves the formation of a sugar-basin of semi-circular shape, of what thickness must the metal be in order that it may not bend when lifted? It is obvious that the vessel must not yield its shape to ordinary pressure, nor be subject to alterations of form when in ordinary use; but if it is to be formed throughout of metal of such thickness as will secure its retaining its shape, it will be costly and heavy, and an amount of metal will be used in its formation sufficient for the manufacture of two or three such articles.

Instead of forming the vessel throughout of thick metal, we may construct it from a thin sheet of silver; but in order that it possess sufficient strength we must indent one or more beads in its side (see Fig. 146); or we can form an angle by having a rim projecting into the basin (Fig. 147), or extending from it, and thus give strength; but the two beads are the more desirable, as the one gives strength at the top and the other at a lower portion of the vessel.

Modes of economising material, when we are forming vessels of costly substances, are of the utmost importance, and should be carefully thought out. If the designer forms works which are expensive, he places them beyond the reach of those who might otherwise enjoy them, and if heavy they appear clumsy in the hands of those accustomed to delicate and light objects.

Besides this, works in silver and in gold are always in danger of being destroyed, owing to the intrinsic value of these metals; for if stolen, the theft is promptly hidden in the melting-pot. Now if we form the vessels of thin metal, we render the money value of the material less, and thus our works are to a smaller degree tempting to the avaricious, and their chance of long existence is greater. The precious metals are at all times perilous materials for the formation of works of art; but while we use them, let us take care so to employ them as to give to our works every possible opportunity for long existence. If a work is to be so formed that it may exist for many years, it becomes of the highest importance that those objects which we create be well considered as to their utility, and at the same time be beautiful in form. Long existence is an evil in the case of an ugly object, or an ill-considered vessel; that which is not refining in its influence is better blotted out. Let that man who will not seek to embody beauty in his works make them heavy with metal, so that they may tempt the thief, and thus sooner blot out his works from existence, as they tend only to debase and degrade; but he who loves refinement, and seeks to give chasteness of character to the objects which he creates, may well strive to secure to them length of duration.

There are various modes of working metal. It may be cast, hammered, cut, engraved, and manipulated in various ways.

Little that is satisfactory can result from casting. Casting is a rough means of producing a result, and at best achieves the formation of a ma.s.s which may be less troublesome to cut into shape than a more solid piece of metal; but casting without the application of other means of working-metal achieves little of an art nature.

Some of the fine iron castings of Berlin are wonderfully good in their way, and are to an extent artistic; and certainly they contrast strangely with the cast handles and k.n.o.bs which we often see applied to vegetable-dishes, and similar silver objects here in England; yet even these will not compare with works wrought by the hammer and the chisel. Thin metal hammered into form, and touched where necessary with the chisel, the graver, and the chasing-tool, is capable of the very finest effects which can be achieved in metal-work. Let the reader consider the beautiful vessels with which Arabian metal-work presents us: these are all formed by the hammer and chisel, with the a.s.sistance of the graver and chasing-tool, and how marvellously delicate and beautiful are the results! We have in these vessels beauty and dignity of form, richness of design, great intricacy and delicacy of detail, and altogether a refinement of effect which may long be considered and repeatedly enjoyed (Fig. 148).

[Ill.u.s.tration: Fig. 148.]

Several, I may almost say many, of these beautiful objects are to be found in the South Kensington Museum, and it should be generally known that fac-similes of these lovely works, in the form of electrotype copies, have been prepared by Messrs. Elkington and Co., under the sanction of the authorities of the Department of Science and Art, and that these are procurable at small cost. For purposes of study these copies are of almost equal value with the originals, and for the adornment of a sideboard they are hardly inferior. I strongly advise those who can afford to purchase these beautiful copies to garnish their sideboards with plate of this description, rather than with the meretricious electro-plate which we often see in our shop-windows.

Having determined on the best mode of working the material, consider carefully the requirements which the work to be produced is intended to meet, and then strive to form the object so that it may perfectly answer the end proposed by its creation.

Let us take a sugar-basin. What form should it have? After much consideration, I have arrived at the conclusion that the two shapes engraved in Figs. 149 and 150 are those which best fulfil the requirements of such a vessel, for in them the sugar is always collected together, and the dust sugar separates itself from the lumps.

The handles of a sugar-basin are often so small as to be partially or wholly useless. It not unfrequently happens that only one or two fingers can rest on the handle, owing to its smallness, while the thumb has to be placed within the orifice of the basin when it is desired to move it. This should not be so; if a handle is to exist at all, it should be so formed as to be useful, and afford a means of moving the object with ease and comfort.

To form a handle as a mere ornament is an absurdity, for the handle is part of the vessel structurally, while the ornamentation is an after and separate consideration. In order to its existence a vessel must be constructed, but when formed it need not of necessity be ornamented; ornamentation must ever be regarded as separate from construction.

Such a sugar-basin as I have suggested would not stand without legs: it must therefore have them; but I see no reason why the legs and handles should not be combined; hence I propose three feet so formed as to serve as handles throughout their upper parts (Figs. 149, 150), they being convenient to hold.

Modern European silversmiths have fallen into the error (an error now prevailing wherever art can be applied to any object) of making their works of a pictorial, rather than an ornamental, character--an error which the Arabians, Indians, and j.a.panese never perpetrate, whose works in metal are unsurpa.s.sed by any, and equalled by indeed few. It is a mistake to cover an entire vase with figures in high relief; but wherever anything of the kind is attempted, care must be exercised in causing the groups to follow the line of the vase, and not to appear as irregular projections from it. As to the modes of decorating works in silver and in gold, they are many; of ornamentation by _repousse_ work we have already spoken, and of chasing and engraving. But besides these there are other methods, and some of great interest, for there is damascene work, or inlaying; and applying colour, or enamelling; and niello work; jewels may also be added.

Damascene work is of great interest. Metal of one colour is inlaid into metal of another colour. India produces, perhaps, the rarest examples of this kind of work, the Indians being experts at this manufacture; but the Indian work consists chiefly of silver inlaid in iron. This mode of work seems to be capable of producing many beautiful effects, as all who have examined the large inlaid hookahs of India will admit.

Having chosen a form for a vessel, the next question with which we have to deal is, will it require a handle and spout? It is curious that while the position of a spout and handle in relation to a vessel is governed by a simple natural law, we yet rarely find them placed as they should be. This is the more curious, as a vessel may become practically of great weight, owing to the handle being misplaced.

[Ill.u.s.tration: Fig. 149.]

[Ill.u.s.tration: Fig. 150.]

A pound weight is easily lifted, but when applied to the shorter end of the steel-yard it will balance a hundredweight. If this principle is applied to a tea-pot which actually weighs but little, it may yet be very heavy to lift. In nineteen cases out of twenty, handles are so placed on tea-pots and similar vessels that they are in use lifted only by a force capable of raising two or three such vessels, if the principle of the steel-yard was not acting against the person who uses the vessel. Take our ordinary forms of tea-pot, and see how far the centre of the weight (the centre of gravity) is from the handle in a horizontal direction, and you will be able to judge of the leverage acting disadvantageously to the person who may pour tea from such pots. Now if the part which is grasped is to the right or left of a right line pa.s.sing through the centre of gravity of any vessel, there is leverage acting to the disadvantage of the person desiring to pour from that vessel, and this leverage increases just as the point held is removed from the central line spoken of.

Fig. 151 would pour when in the position shown in Fig. 152, but see how far the hand that holds it would be to the right of the centre of gravity (_a_), which distance is of great disadvantage, as it causes the vessel to appear much heavier than it actually is, and requires a much greater expenditure of force in order that the tea-pot be put to its use than is necessary were it properly formed.

[Ill.u.s.tration: Fig. 151.]

[Ill.u.s.tration: Fig. 152.]

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