This law, if obeyed, will always enable liquid to be poured from a vessel without its appearing heavier than it actually is, but it will be seen that the shape of the vessel must be considered so that the spout and handle can bear this relation to each other, as in Figs. 156, 157, 158, 159, and 160. Some shapes will not admit of it, so they must be avoided, as may be seen by examining Figs. 151 and 152, which show a tea-pot of faulty shape in this respect.
A consideration of this law shows that the handles of jugs—those formed of silver, of glass, and of earthenware alike—are usually placed too high; but in this respect things are much better than they were a few years back. Now we somewhat frequently see a jug with the handle in the right place, while some years back we never did. Silver jugs are now the most generally faulty in this respect, and such mistakes as the wrong placing of the handle or spout of a vessel result only from ignorance, for no man knowing the law would violate it. Fig. 161 shows a common form of jug with its handle, but the handle is too high; the position which it should occupy is shown by the dotted line. A very excellent handle is applied to many of the French water-pots, as shown in Fig. 162.
It is unnecessary that I say more respecting the shape and general construction of silver and gold vessels, except to remark that if figures or other ornaments are beaten up on their surfaces, they must not destroy or mar their general contour.
Iron is not used with us as it should be. Not only is the effect produced when it is inlaid with silver and other metals excellent, but by this mode of work our art-creations are greatly preserved, for the iron is valueless, and the labour of removing the small quantity of precious metal inlaid would be so great as to render the gain inadequate remuneration for the time consumed in collecting it.
M. Christophle, of Paris, and also M. Barbedien in a lesser degree, have commenced to inlay copper vessels with silver, and some of their works are very beautiful. The Japanese have from an early time inlaid silver in bronze. This inlaying of silver into copper is a step in the right direction, and should be encouraged by all lovers of art. The Indians not only inlay silver in iron, but also gold in silver and in iron; and the Italians and other peoples have inlaid metals in a similar way; and the firmness and intricacy of some specimens of this inlaying are truly marvellous.
By the process of enamelling, colour can be applied to metal, and of all arts this art of enamelling produces works which are most lovely; at least, if the best works of enamel do not surpass those produced by any other manufacture, they are equal in beauty to the works of the highest excellence. Transparent enamels are in some cases very beautiful, but they do not generally compare with the opaque enamels, such as were largely used by the Chinese about a hundred and fifty years back, and by the Japanese, or those now so skilfully produced by Barbedien, the Algerian Onyx Company, and Christophle, all of Paris.
Chinese cloisonné enamel vases may be seen at the South Kensington Museum, and here you may also find one or two small pieces of Japanese enamel, as well as one or two grand specimens by Barbedien, of Paris.