Venetian Glass

Source: The Art Journal (1875-1887) , 1876, New Series, Vol. 2 (1876), pp. 376-377
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 376 THE ART JOURNAL.
The neck is supported by nondescriptevince purity, grace,and
animals, and appropriateness,
all of the whichdeco
characterise the
productions
rations are in relief. The encrusted ornamentation of leaves and of the artists of this well-known establishment.
flowers is hand-wrought and executed in Hallet,
the Davismost
and Co., of Boston, exhibit
artistic a number of very beau
manner.
The turban-like stopper gives a tasteful tiful pianos.
finish The oneto we engrave
the isdesign,
the gem of theirand collection. It
adds to its gracefulness. (See page 373.) is in ebony, richly inlaid with gilt. The form of the piano, as will
From the jewel-display by this house be seenNveby the illustration,
selectis for uncommonly handsome, and its carv
illustra
tion an azgre//e of diamonds which is ings of
are peculiarly
great elegant and appropriate.
beauty andThe top is surmounted
value.
It is in the form of a peacock's feather, by an urn from which dependmodelled,
exquisitely elegantly carved festoons
andof leaves
having not a little of the grace, freedom, and flowvers. The finish of and
softness, the entire work isattenu
fine excellent.
ations, of a real one. The iris is formed The billiard-table
of whichonewe large
engrave is by H. WV. Collender, of
canary
coloured brilliant, which belonged to the New York, and has been awarded
collection of the a medal of honour. The body
eccentric
late Duke of Brunswick. Its weight isis thirty of ebonised wvood, with ornamental
carats. Thispanels of amaranth, relieved
splendid
brilliant is set in the head of the feather, with gilding.
and The is legs, corners, and central
surrounded brackets,
first by are elabo
a row of white brilliants set in a band ratelyof carved
red in relief.
gold, The bed
and of the table is of
then by slate,
a and the
band of white brilliants set in green cushions
gold, are of thus
the best approved
forming make, and combine
a rich the greatest
variety and contrast of colours. Theelasticity other with parts
the most scientific
of this accuracysuperb
in the angles of inci
piece of jewellery-work are so thickly dence and reflection.
paved with Thesewhite
Collender tables are made of different
brilliants
as to form a perfect feather of light.designs, These and toareharmonise
set with
in theplatinum
decorations of thein apartments
an almost imperceptible manner, so in which
that they may thebe placed.
gems are appa
rently massed together, producing a most We announced last month thatand
dazzling this series of Exhibition articles was
beautiful
effect. drawing to a close. At the solicitation of many persons we have con
We have already given (number for September) an engraved ex cluded to extencl the series beyond the limiiits first intended, and shall,
ample of the Axminster carpets of Messrs. James Templeton and therefore, have the pleasure of presenting our subscribers, in the
Co., of Glasgow. We now give, on page 374, two other designs early numbers of the ensuing volume, further illustrations of some
from the large display of this house at the Exhibition. They of the rare-works of Art gathered at the great Memorial Exhibition.

THE PET OF THE DUCHESS.

si LS. R.ATV . A Painter. C. G. LEWIS. Engraver.

T H- - HE ladies;
history
this it is so
picture, looking up
of
far as wemost
have a
- able to ascertain
it, though
mistress, aswe do not vouc
if expecting a sav
its strict accuracy, He
is, must have
that the been
dog a beautif
belonged to
remember seeing one so magni
- -; w the Dowager Duchess of Beaufort, and Lan
____ made a picture the
of it writer had one scarcely
about twenty-five yearsi
-f i Among the years
works ago.
sold When
after a boy
the he l
artist's
was
sketch,Marquis
a
showingof in
Londonderry,
slight wel
the background
famous
his monogram under the words Lord Castlereagh:
" Sketched the
from memory
the animal
in the accompanying engraving; thisworld, and
may be kept
taken tw
either that the sketch was mals; among
made from them of
memory were
the sev
do
have
his recollection of the picture often
he seen her ladyship
had previously painted-
mal. It matters little, however, so far as
dence followed concerns
by our
quite a pack
what construction may be namned King
placed on Charles's,
Landseer's Marl
writin
is a beauty of its kind, quite worthy
stood of the
they had being the of
range " pe
th
noble
duchess, and the painter has donemistress into to
full justice whatever
his sub
little creature is one of those long-eared
seer must and shiny
have loved dogs oflo
spaniels which seem only fitted
and whoto be
canthe domestic
wonder com
at his, or

VEN ETIAN GLASS.

. _________ N the occasion of a recent visit to varietythe establish
of form and adornment, which is well able to stand
ment in St. James's Street, London, ofside thewith
"Sal the most choice specimens that enrich the cabin
( t ~ viati Glass and Mosaic Company," made with
collectors of old Venetian glass. WVith satisfaction the wr
the special object of studying certain important
served the successful application by the Salviati company o
works then just completed by this company resourcesin for the production of glass, as vell for useful
their admirable mosaic, the writer availed
merely him decorative purposes. For the cultivation and refin
self of so favourable an opportunity for of examin
public taste the grand agent must be the identification
ing the present condition of the collections of the company's
useful and decorative arts-it must consist, that is to say
productions in the other department of their artistic industry,
habitual familiarity on the part of the public with the prese
glass-making. As the reader probably will remember, it was
true with
beauty, as an essential element of their construction, in
the desire to restore the almost extinct manufacture of designed for the practical uses of every-day life. The Sal
the beautiful
glass for which Venice in better times long passed away had been
company have taken a bold step in advance *in this direct
so famous, that Dr. Salviati gave up his Venetian practice as a
their production of decanters, wineglasses, and numerous
lawyer of eminence, and devoted his abilities and his objects
wealth that
to themay be grouped vith them, for application to pu
work it was his good fortune to see crowned with triumphant
of domesticsuc utility, all of them exhibiting the beautiful for
cess. At Murano the mosaic of to-day rivals the best remains
cate texture, ofand effective colouring alwvays associated with
the mosaicists who worked there in the Middle Ages; and now
Venetian at of a high class. Their glass vases, and the
glass
Venice glass is made in great abundance and almost worksendless
in the same material for which they are deserved

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 THE ART JOURNAL. 377
brated, designed to bz regarde(Idevoted
as expressions
themselves of the glass-maker's
to the adaptation of t
art in its most aspiring character, and consequently
glass-glass not qualified
which apparently can be m
for application to useful purposes, the
Venice itcompany
is made in cotntinue
so high to pro
a degree of
duce with well-sustained energy, and the for
tinlguished same success that
excellence all
of form, cha
along has attended their career. As naturally
adornment. would
Among thebe latest
the case,
novelties
they have not failed to reproduce in in
vases, all which,
their variety
after thethemanner
curious of th
objects in glass which the old Venetians
different loved, andunited
tints are whichby the glass
the action
makers of the Venice of the olden
the time delighted
collections of theto company,
send forth, as
however,
if to show what might be achieved that was
by means quaint and singular
of description even to a infew
the most delicate of materials.one
Butparticular
the Salviati company
collection, have be
would by altog
no means been content to rivalpower.
their predecessors in the in
These collections, curiosity
fact, and
of their productions, but, on the contrary,
compose them, they
alonehave
are resolutely
able adequately

THE SCULPTOR MILLET.

MONG the living sculptors of France the name
In her ofher robe has fallen from her form, and sweeps in full,
flight
AiMt MILLET stanids preeminent. graceful
With folds
the from the arm that is flung around the pedestal. Her
head is thrown
* - 1 possible exception of Carpeaux, no modern French back, and her beautiful features bear the imprint of
1 sculptor has produced works of such avaried and
terror and despair beyond the. reach of words. She rests her
- striking merit. Yet his talent differs widely weight onfrom
one foot, the other being placed on one of the three
steps leading
. - - that of his gifted and lamented countryman. The up to the column, on which stands the image of Mi
great (lefect of the work of Carpeaux was
of repose. Something in its feverish and exaggerated
recalled the extravagances of Bernini. His figures that
petrified in the moment of violenit action-dancing, writhing,
ilng, springing inito the air with dishevelled locks and
ing drapery. He did indeecl waken the cold stone into
animation, sometimes most admirably and appropriately
as in his group of dancers on the facade of the newand
at others degenerating into contortion and grimace.
ter of Millet's work, on the contrary, is repose. There
sweetness about the nature of his genius that lendsadne,'
bly to the commemoration of the dead. He is an artist
a poet. And if Carpeaux, as has been stated, represents
travagant, turbulent, and splendid epoch of the Second
the genius of Millet may be held to typify that loftierthe
tic existence whose placid atmosphere no blasts from
tempests ever ruffle. The universal recognition accordecl
talent .may be read in the fact that all shades of political
may be found representecl among the orders that hecommanded
He has sculptured for the Orleans family th-e tombs for
place at Dreux; the Second Empire commanded from
lossal Vercingetorix; the Third Republic commissioned
execute the tomb of Bau(lin, the republican representative
stricken by a musket-ball in the breast during the street
that marked the accession of Napoleon III. to the imperial
of France.
Oni approaching the studio of M. Millet, on the Boulevard des
Batignolles, the first thing that strikes the eye is a reduced copy of her breast, and a mantilla-veil of Spanish lace, most marvellously
the Vercingetorix, placed in the courtyard before the door. This
armed and stern-browed Gaul may be fitly held to typify the spirit
of ancient France. On crossing the threshold we are confronted
in the hall by a model in plaster of the colossal head of -Pre En
fanitin, the celebrated leader of the St.-Simonians, whose personal
fascination is said to have exercised so potent an influence over
all those who beheld him that, when he was tried for immorality
and illegal practices, it was found necessary to remove him fr(,m
the presence of the jury. As M. Millet informed us, he was when
he died completely bald, and hacl shaved off his long beard. But,
with the pardonable license of an artist, the sculptor had restored
to him the flowing locks and beard of his prime, and the result is
a head wonderfully noble and beautiful in aspect, resembling a
Christ of mature years. The full-length statue, wlhich is of colos
sal size, has been placed on the monument of Pere Enfantin at the
cemetery of Montmart;re.
The prinlcipal work at present in M. Millet's studio is a life-sizcd who died at the age of nineteen. The princess lies extended Uponl
figure of Cassanclra. Pursued by Ajax, the Trojan princess has
taken refuge at the foot of a statue of Minerva, and in her terror
and anguish she clasps with one arm the column on vhich the figure
stands, %vhi!e she raises the other hand in supplication to the cleity. ni.shed-sleep has surprised her before she. has completed it. The
PG
nerva,its lack
a difficult pose, yet onie -rendered with perfect naturalness
andmovement
exceedling skill. The figure of Minerva is very small, while
are ofnearly
Cassandraall is the full size of life, and the contrast between
the stony calm laughof the image of the goddess andl the wild anguish
ofwildly-flow'
the suppliant is extremely impressive. The Trojan prinicess is
represented,
life* notandas a slender, undeveloped girl,. but as a young and
lovely woman in the full prime of life. The modelling of the back
expressed,
shoulders is remlarkably fine, a's are also the shape and poise of
Opera-House,
the The
head. charac
A graceful conmpliment was recently paid to M. Millet
by a isleading French Art-critic. Referring to the sculptor's ' Ari
a tender
itself admira
which was one of his greatest sticcesses, he said,: "Mon
sieur,lined
your 'with
Ariadne ' proved Theseus. to have been inexcusable;
and now the your
ex ' Cassandra' mnakes us ready to pardon. Ajax."
This statue,
Empire, which is nearly completecl in marble, is destined for
SaZon?
form ofofartis
next year, and also for the Great Exhibition of I878.
Turning from this beautiful anid ideal image of agonised suppli
political
cation, weto hisourselves face to face with a veritable triumph of
finid
Art over opinion
the exigencies of actual life. The Orleans princes had
lhas received.from the sculptor a tomb for their aunt Madame Ade
their
laide, burial
on which wvas to be placed a life-sized statue of the ladly' in
a reclining
him the position
co and in the garb that she habitually wvore. Ma
dame Adelaide
him towas an aged lady at the time of her death, and
she wore whoher fell
hair in those stiff little finger-curls, at either side of
her head, that are utterly intractable for artistic representation.
conflicts
Yet the sculptor
throne has contrived to present to us a touching and
renerable image of repose. The princess lies with her head turne(d
slightly to one side as if in tranquil sleep, her hands are folde(d on
wrought, is thrown over her head, and falls in graceful drapery
over her shoulders. There is nothing stiff or conventional either
about the expression or the attitude, and the venerable lady looks
like one who has fallen asleep after th2 fatigues of a long and wea
rying day. v
Very beautiful and touching was the tomb executed for one of
the sons of the Duke de Montpensier, a fine, spirited, intelligent
boy, wvho died at the age of fourteen. There is nothing funereal
or death-like about the young sleeper. He lies on his bed, his open
shirt thrown back so as to show the fine modelling of his youthful
throat and chest. One arm is thrown lightly over his breast, while
in the other hanid, extencled beside him, he holds a half-open book,
with his finger between the leaves. The young student has fallen
asleep in the midst of his studies, a conception at once poetic and
touching. Of extreme artistic beauty is the tomb erected to the
memory of one of the daughters of the Duke de Montpensier,
a couch, her long, profuse tresses, whose length and beauty wer-c
celebrated, floating unbound around her. In her hands, relaxecl
in slumber, she holds a garland of flowers, but the wreath is unfi

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