W. Thomas was another designer in the Adam style; but of far greater importance was Michael Angelo Pergolesi, who was employed by the Adam brothers, and whose designs are equal to theirs. Pergolesi also employed Zucchi, Cipriani and Angelica Kauffman. His books of designs came out in parts from 1777 onward. One of Pergolesi’s rooms “has a low dado rail, plain plaster walls, panelled round with a moulding, a fine mantel-piece and a narrow ornamental compo frieze and plain ceiling.” Angelica Kauffman painted ceilings, table-tops, and furniture-panels, which, like Cipriani’s productions, represent cherubs, maidens, gods and goddesses, and amorini.
[21]. Scagliola, mentioned above, was a kind of plaster made of gypsum and Flanders glue. It was coloured to imitate marble. The Adam brothers made great use of it, as well as plaster of Paris pressed in metal moulds.
[22]. Cosmo Monkhouse.
[23]. “By grotesque is meant that beautiful light stile of ornament used by the ancient Romans in the decoration of the palaces, baths and villas. It is also to be seen in some of their amphitheatres, temples and tombs; the greatest part of which being vaulted and covered with ruins, have been dug up and cleared by the modern Italians, who, for these reasons, give them the name of grotte, which is perhaps a corruption of the Latin Criptæ, a word borrowed from the Greeks, as the Romans did most of their terms, in architecture; and hence the word grotesque, and the English word signifying a cave.
“In the times of Raphael, Michael Angelo, Julio Romano, Polidoro, Giov. d’Udine, Vasari, Zuchero and Algardi, there is no doubt but there was much greater remains of the grotte, than what are now to be seen, and in imitation of them were decorated the loggias of the Vatican, the villas Madama, Pamfili, Caprarola, the old palace at Florence; and indeed whatever else is elegant and admirable in the finishings of modern Italy. The French, who till of late never adopted the ornaments of the ancients, and jealous as all mankind are of the reputation of their national taste, have branded those ornaments with the vague and fantastical appellation of arabesque, a stile which, though entirely distinct from the grotesque, has, notwithstanding, been most absurdly and universally confounded with it by the ignorant.
“This classical stile of ornament, by far the most perfect that has ever appeared for inside decorations, and which has stood the test of many ages, like other works of genius, requires not only fancy and imagination in the composition, but taste and judgment in the application; and when these are happily combined, this gay and elegant mode is capable of inimitable beauties.
“Vitruvius with great reason condemns an over-licentiousness in compositions of this kind, and blames the painters of his time for introducing monstrous extravagances. We mean not to vindicate anything that deserves such appellations, but surely in light and gay compositions, designed merely to amuse, it is not altogether necessary to exclude the whimsical and bizarre.”
[24]. “Rainceau, apparently derived from rain, an old French word, signifying the branch of a tree. This French term is also used by the artists of this country, to express the winding and twisting of the stalk or stem of the acanthus plant, which flowing round in many graceful turnings spreads its foliage with great beauty and variety, and is often intermixed with human figures, animals and birds, imaginary or real; also with flowers and fruits.
“This gay and fanciful diversity of agreeable objects, well composed and delicately executed in stucco or painting, attains a wonderful power of pleasing.”