Geometric form, in all its endless variety, was particularly studied in the Middle Ages, and decorative enrichments of all kind subjected to its ruling control. We add two specimens of glass-painting (Figs. [8] and [9]), which are in reality the same design slightly varied in the disposition of the tints, and the interlacing of the double or strap-lines of one, while the other has them single only. The striking variety that any given design may elicit, by a mere rearrangement of this interlaced work, or by a different disposition of the coloured compartments, will at once be apparent; it was worked out with singularly good effect by the older artists in decoration of all kinds. The key ([Fig. 10]) and the latch ([Fig. 11]) are examples of quaint old Gothic metal works. The latter is copied from the old Hôtel de Ville of Bruges; the dragon is used as a lever to lift the latch, and is one of those grotesque imaginings in which the old art-workmen frequently indulged.
Fig. 10. | Fig. 11. |
When the Dukes of Urbino, dazzled with the brilliancy of the Moorish potters, had determined to rival their workmanship in manufactories upon their own principality, the so-called Raffaelle-ware soon afterwards fascinated the Italians, by the quaint design and beautiful colour of the dishes and vases there produced. Though popularly named after the great painter, it was unlikely that he had aught to do therewith; but his designs were occasionally adapted to its use by the workmen. The circular plateau ([Fig. 12]) is a good example of the bold character and vigour of effect occasionally produced in these works.
Wood panelling we have already alluded to, and the large amount of decoration it occasionally displayed. [Fig. 13] is a beautiful instance of the grace that characterised the style known as the Flamboyant, from the flowing or flame-like curve adopted for the leading lines. In this instance they are happily blended with the earlier Gothic cusps, and the quaint ivy-leaves that spring easily out of the severer lines. The ease with which heraldry may be introduced in the design, gave it a peculiar charm to our ancestors; in this instance the shields bear the sacred monograms—a purpose to which they were very commonly devoted in the church; sometimes being further enriched with religious emblems, as terse and striking as the heraldic ones we have given in a previous page.
Fig. 14. | Fig. 15. |
We give two small drawings of cabinet-handles in Figs. [14] and [15], part of the elaborate fittings of a piece of furniture which occupied the place of honour in the state-rooms of the wealthy, and upon which the art of the day was generally lavished with a most liberal hand. Ivory, ebony, and the rarest woods were employed in their construction, occasionally plaques of lapis lazuli, or coloured marbles, were used for the panels; ultimately the whole surface became an encrusted mosaic of figures, birds, and flowers, in coloured wood and stone, occasionally framed in the precious metals. The gorgeous taste of Louis Quatorze excited the fancy of the ébenistes of his court to the most costly invention. Furniture inlaid with engraved metal-work, or embossed with coloured stones, oppressed the sense of utility; and when tables, chairs, and picture-frames were made of silver, chased and overloaded with the scroll-work he so abundantly patronised, common sense seems to have yielded its place to mere display. Despite of the costly character of such works, and their destination as the decoration of a palace, they are positive vulgarisms, and we feel little regret when we read in history of the disastrous wars at the close of the king’s career, which obliged him to melt down the silver furniture of Versailles, and convert it into cash for the payment of his soldiers.