M. van Strydonck expresses himself to me in the following terms on the subject of his art:—
"I am of opinion that the jewel can be produced without the aid of stones, enamels, etc. I do not exclude them entirely, but they should not be used unless it be to give the finishing touch, or occasionally to relieve an ensemble lacking in vigour of colour. My preference is for oxydations, for in general effect they are more harmonious to the eye, and by careful seeking one can find all the tones required. I think you will share my opinion that it is much easier to use enamels, by means of which one's object is instantly attained. Yet it is seldom one produces a beautiful symphony of colour. Enamel can only be employed in small quantities. Why? Because, in the first place, he who uses it must have a profound knowledge of colours and a special colourist's eye; he must remember, moreover, that he is appealing to a clientèle composed principally of ladies, who in most cases regard the jewel simply as a means to complete such and such a toilette.
"It seems to me, indeed," continues M. van Strydonck, "that translucent enamel is the most suitable because it simply serves as an auxiliary—a basis necessary to the completion of the ensemble—and adds value to workmanship and design; and there is nothing to prevent its alliance with the beautiful oxydations which come almost naturally from gold."
Note how, little by little, enamel is being abandoned in favour of stones, such as onyx, agate, and malachite, materials of no special value, which can be cut in different ways, and whose colour gives fine effects infinitely preferable to those of inferior enamels.
Of course, I do not despise the fine stone, which, by its bold colour, often relieves the work, but this is not altogether the object of the jewel, unless profit be the sole object of the maker; and I ought to add that the revival of the jewel in recent years has not been favourably regarded by certain firms, who saw therein a distinct diminution of gain, the fact being that their large stock of fine stones—beautiful in themselves, but out of place in works such as I have mentioned—threatens to remain on their hands.
One cannot truly say that Belgian eventaillistes exist, for it is only very occasionally that such water-colour painters as MM. Cassiers, Stacquet, and Uytterschaut carry out their delightful landscapes and seascapes in the shape required for a fan.
Something has been done in lacework in connection with the fan, and on this point I should mention in terms of praise M. Van Cutsem, a Brussels designer, who has made numerous models for M. Bart and M. Sacré, amongst which may be noted several happy experiments in the direction of the "modern style."
To conclude, let me refer to the lace by Mlle. Bienaimé, admirably mounted by M. Goosens, of Brussels.