,,modern ,,design ,,in ,,jewellery ,,and ,,fans ,,edited ,,by ,,charles ,,holme ,,offices ,,of ',,the ,,studio1' ,,london1 ,,paris1 ,,new ,,york ,,mcmii ,,preliminary ,,note ,,john ,,ruskin has laid down some broad and simple rules which are especially applicable to ,,design ,,in ,,jewellery ,,and ,,fans4 ,he says1 ,never encourage the manufacture of any article not absolutely necessary1 in the production of which invention has no share4 ,and1 again1 ,never encourage imitation1 or copying of any kind1 except for the sake of preserving records of great works4 ,it is in the thorough belief of the soundness or these principles that the ,editor has selected a number of representative modern examples of design by ,british and ,continental workers1 which1 from their beauty and freshness of treatment1 bear testimony to the great advance that has recently been made in the right understanding and rendering of the jeweller's and fan-maker's arts4 ,if articles of good taste are to be produced1 there must be a demand for them4 ,so long as a public is to be found that will purchase trinketry in imitation of wheel-barrows1 cocks and hens1 flower-pots1 and moons and stars1 so long will the advance in art be retarded4 ,the ,editor has pleasure in acknowledging the courtesy of the owners of copyrights for their kindness in sanctioning the reproduction of important work2 and his best thanks are due to all the artist-contributors1 and especially to those who have made designs expressly for this publication4 ,table of ,literary ,contents ,,modern ,,french ,,jewellery ,,and ,,fans ,by ,gabriel ,mourey ,,modern ,,british ,,jewellery ,,and ,,fans ,by ,aymer ,vallance ,,modern ,,austrian ,,jewellery ,by ,w4 ,fred ,,modern ,,german ,,jewellery ,by ,chr4 ,ferdinand ,morawe ,,modern ,,belgian ,,jewellery ,,and ,,fans ,by ,f4 ,khnopff ,,modern ,,danish ,,jewellery ,by ,georg ,brochner ,,list ,,of ,,craftsmen ,,and ,,designers ,,french ,,section ,aubert1 ,flix plate #ce ,bcker1 ,e4 plate #ae ,bing1 ,marcel plates #be1 #bf ,boucheron plates #ab1 #ac1 #ad ,cauvin plate #ab ,colonna plates #be1 #bf ,desbois1 ,jules #af1 #ag1 #ah ,dufrne #bh1 #cc ,feure1 ,georges de #a1 #ce ,follot1 ,paul #ai1 #bh ,fouquet1 ,g4 plates #g1 #h1 #i1 #aa ,grasset1 ,e4 plate #aj ,hirtz1 ,l4 plates #ab1 #ac1 #ad ,l',art ,nouveau plates #be1 #bf ,lalique1 ,ren plates #b1 #c1 #d1 #e1 #f ,lambert1 ,th4 #cb1 #cc1 #cd ,la ,maison ,moderne plates #ai1 #bg1 #bh1 #bi1 #cj1 #cc1 #ce ,mangeant1 ,e4 plates #bc1 #bd ,monvel1 de1 ,ch4 ,boutet #ba1 #bb ,mucha plate #g ,orazzi plates #bg1 #bh1 #bi1 #cj ,richard1 ,paul plates #ad1 #ae ,rivaud1 ,charles plate #ca ,templier1 ,p4 plates #cb1 #cc1 #cd ,verger1 ,ferdinand 7,editeur7 plates #ad1 #ae ,vever plates #ac1 #ai1 #bj ,,british ,,section ,alabaster1 ,annie plate #dh ,alabaster1 ,m4 #cd ,allen1 ,kate plates #ai1 #bi1 #ca1 #cc1 #ch ,angus1 ,christine plate #ab ,arscott1 ,a4 ,e4 #bi ,ashbee1 ,c4 ,r4 plates #ag1 #ah1 #bj1 #ba ,baker1 ,oliver #ce1 #cf ,barrie1 ,b4 ,j4 #ai1 #ca1 #cd ,brangwyn1 ,frank plate #h ,brown1 ,e4 ,may #bi ,cook1 ,thomas ,a4 plates #ae1 #bd ,conder1 ,frank plates #b1 #e1 #f1 #g ,dawson1 ,nelson plate #ad ,dawson1 ,edith #ad ,dick1 ,reginald ,t4 plate #a ,evers-,swindell1 ,nora plates #cd1 #ej1 #eb ,fell1 ,h4 ,granville plate #aa ,fisher1 ,kate plates #be1 #cg ,gaskin1 ,arthur ,j4 #dd1 #de ,guild of ,handicraft plates #ag1 #ah1 #bj1 #ba ,hammett1 ,lydia ,c4 plate #i ,hart1 ,dorothy #cd ,hodgkinson1 ,ethel ,m4 plates #ci1 #ej1 #eb ,hodgkinson1 ,winifred plates #bi1 #cj1 #ci1 #eb ,king1 ,jessie ,m4 plate #af ,larcombe1 ,ethel plates #aj1 #cd ,mc,bean1 ,isabel #bi1 #dg ,mackintosh1 ,c4 ,r4 plate #dc ,mackintosh1 ,margaret ,macdonald plate #dc ,mc,leish1 ,annie plates #bh1 #bi1 #cb1 #cd1 #ci1 #ej ,mc,leish1 ,minnie plates #cd1 #dg ,mc,nair1 ,frances #ba1 #bb1 #db ,mc,nair1 ,j4 ,h4 #bb1 #bc ,morris1 ,talwin #dj1 #da1 #db ,naylor1 ,myra #c1 #d ,pickett1 ,edith #be1 #di ,rankin1 ,arabella #ea ,robinson1 ,f4 ,s4 #df ,simpson1 ,edgar #bf1 #bg1 #cf ,syrett1 ,nellie #ac1 #ae ,talbot1 ,j4 ,m4 plate #ea ,veazey1 ,david plates #ai1 #cd1 #ci1 #dh1 #ej ,,austrian ,,section ,fischmeister1 ,herr plates #b1 #c ,gringold1 ,emil plate #g ,hauptmann1 ,franz #d ,hofstetter1 ,josef plates #a1 #e ,holzinger1 ,e4 plate #h ,mesmer1 ,f4 plates #a1 #h ,prutscher1 ,otto plates #a1 #e1 #f ,roset1 ,herr #b1 #c ,schnthoner1 ,v4 plate #a ,schwartz1 ,prof4 #e ,unger1 ,elsa plates #g1 #h ,wagner1 ,anna plate #h ,,german ,,section ,fahrner1 ,theodor plates #c1 #h ,gosen1 ,theodor von plate #e ,hirzel1 ,h4 ,r4 ,c4 #d ,koch1 ,robert #a ,loewenthal1 ,d4 and ,m4 plates #b1 #c1 #h ,mhring1 ,bruno plate #f ,morawe1 ,c4 ,ferdinand plate #g ,olbrich1 ,joseph ,m4 plates #b1 #c1 #h ,vereingte ,werkstaetten1 ,munich1 plate #e ,werner1 ,f4 ,h4 #f ,werner1 ,louis #d ,,belgian ,,section ,cassiers1 ,h4 plate #a ,dubois1 ,paul #i ,van ,strydonck1 ,l4 plate #b ,wolfers1 ,ph4 plates #c1 #d1 #e1 #f1 #g1 #h ,,danish ,,section ,bindesbll1 ,th4 plate #h ,bollin1 ,moyens plates #f1 #g1 #h ,magnussen1 ,erick plates #b1 #e1 #f ,slott-,mller1 ,h4 plates #a1 #b1 #c1 #d ,,modern ,,french ,,jewellery ,,fans4 ,,by ,,gabriel ,,mourey4 ,illustration ,french superiority in the art of jewellery seems to be incontestable to-day4 ,no unbiased observer will deny the fact that with us there is more richness1 more variety1 more originality than can be found elsewhere2 and the jewellery section in the ,esplanade des ,invalides at the ,exhibition of #aijj showed to the whole world the progress made in this special branch of applied art by our craftsmen and our artists2 showed1 too1 the verve1 the imagination1 the fancifulness1 which are the special property of the ,french race in all that relates to articles of luxury1 to those things which are essentially useless1 if so we may term a woman's adornments2 if so we may regard the beauty of precious stones1 of enamels skilfully and subtly formed--of all that1 in a word1 which1 taken from ,nature's infinite treasure-house1 serves to constitute that adorably vain1 that exquisitely superfluous thing--the jewel4 ,ruskin once remarked1 in his strange1 penetrating way1 that the loveliest things are those which are the least useful--lilies and peacocks' feathers1 for instance4 ,furthermore1 to depreciate the part played by jewellery in relation to decorative art would be equivalent to minimising the rle of womankind in civilisation4 ,then1 again1 as regards decoration or adornment1 has not the highest mission devolved on woman8 ,has she not had to assume the most active part in it all8 ,the modern jewellery vogue has1 ,i am convinced1 done more in ,france to propagate new ideas in the way of decorative art than all the sthetic theories ever evolved1 however sound4 ,one might say much1 might make many reflections on this renascence of the jeweller's art1 as manifested at the present moment in ,paris4 ,this revival reveals itself rich and abundant--perhaps too rich and abundant2 but what of the future8 ,what fruit will it bear when the glamour of that which it has already borne has passed away8 ,is there no danger of seeing good intentions miscarry--high gifts falling into excesses injurious to the prosperity of the movement8 ,is not the new fashion--if it be merely a fashion--being adopted with too much enthusiasm1 followed with too much ardour1 to last8 ,is there no fear of a reaction8 ,here are several questions to which we cannot reply with any certainty4 ,yet1 what matter8 ,among the works produced during the past five years or so--that is1 since the full expansion of the movement--there are many which1 by their originality1 their technical perfection1 deserve to remain4 ,and remain they certainly will1 to bear witness to the audacious fancy1 the creative faculty of our artists1 and as a sort of passionate homage laid by the men of to-day at the feet of the ,eternal ,feminine4 99 99 99 99 99 ,the name of ,m4 ,ren ,lalique arises instinctively as soon as one begins to discuss the modern jewel4 ,he is the renovator1 or1 preferably1 the creator1 of the art as we know it nowadays1 and one can easily understand the enthusiasm and the admiration aroused by his work4 ,m4 ,lalique is almost as celebrated as ,m4 ,edmond ,rostand2 and he at least deserves his celebrity1 for he is a real1 a very great1 artist4 ,and such he must indeed be to be able to make one forget his imitators1 many of whose productions are as detestable as copies can be4 ,at times even--most unjustly1 ,i admit--one almost comes to hate the art of ,m4 ,lalique himself1 so persistently is it badly imitated4 ,one has been constrained before now to hate ,raphael1 on seeing a ,cabanel or a ,bouguereau6 ,but enough of that6 ,the jewels by ,m4 ,lalique now reproduced are rather different1 both in conception and in treatment1 from his usual manner4 ,here he appears as a more direct observer of ,nature1 more devoted to simplicity and breadth4 ,his new combs1 with pansy and sycamore-leaf motifs1 in horn and silver--especially the exquisite one with sycamore seeds in horn1 silex1 black enamel1 and obsidian1 with golden insects here and there--show him still anxious to extend the field of his experiments1 never tired of seeking fresh subjects and testing new materials4 ,instead of remaining stationary and falling asleep at his post1 he is spurred by a desire for conquest1 and shows himself ever fertile in imagination1 of infinite fancy1 constantly advancing1 with undiminished freedom and originality4 ,at the ,universal ,exhibition the works executed by ,m4 ,vever1 in collaboration with ,m4 ,eugne ,grasset1 obtained the success that was their due4 ,but the most important piece of work achieved by these two artists was not finished at that time4 ,i refer to the sumptuous and heroic pendant of ,hercules1 which we are fortunate enough to be able to reproduce here from the original water-colour by ,m4 ,grasset4 ,it is truly an admirable work1 one in which all the imaginative and technical qualities possessed by the illustrator of the ,quatre ,fils ,aymon are to be seen in profusion4 ,what richness1 what distinction in the details2 what perfection of balance1 both in design and in colouring6 ,as for the execution by the firm of ,vever1 they deserve as much credit for it as if they had produced an original work4 ,this is a jewel worthy to find a permanent place in one of the great ,european galleries1 to rank side by side with the wonderful productions of the past4 ,m4 ,georges ,fouquet is a most daring fantaisiste1 and his creations impress one by qualities altogether different from those of the ,,mm4 ,vever4 ,he might perhaps be said to belong to the ,lalique school1 not that he imitates him1 but by reason of his imaginative gifts4 ,he is generally complicated1 somewhat ,byzantine1 and thoroughly modern in any case4 ,some of his jewels would1 ,i think1 gain by being less rich2 nevertheless1 they are very interesting1 and they deserve all the success they have won4 ,the chief objection that can be urged against them is their lack of spontaneity4 ,m4 ,georges ,fouquet certainly holds a foremost place in the new movement4 ,already his production is considerable4 ,altogether an artist of rare gifts and splendid audacity4 ,i have always had a liking for the jewellery of ,m4 ,colonna--for some of it1 at any rate1 that which is most simple1 most original1 and most wearable4 ,his works have this great charm in my eyes1 that they are neither show-case jewels nor mere bijoux de parade1 things intended solely for display4 ,as a rule1 they are quiet and practical4 ,in most cases they have no subject1 being simply happy combinations of lines and curves and reliefs1 the imprvu of which has a particular charm4 ,m4 ,marcel ,bing1 all of whose productions1 like those of ,m4 ,colonna1 are the monopoly of the ,art ,nouveau ,bing1 has done some delightful things4 ,one can see that he is still somewhat timid and hesitating1 but his taste is sure1 and he has an imagination which1 if not specially abundant1 is at least delicate and fine4 ,he has a sense of colour too1 and his pretty fancies are carried out with evident delight4 ,la ,maison ,moderne1 so actively directed by ,m4 ,meier-,graefe1 has produced a large number of jewels4 ,ordinarily the designs are supplied by ,,mm4 ,maurice ,dufrne1 ,paul ,follot1 and ,orazzi4 ,of course1 they are not of uniform merit1 but this in no way diminishes the interest attaching to their efforts4 ,they are marred to some extent1 it must be admitted1 by certain extravagances1 but even that is better than a relapse into the old formul1 or the profitless reproduction of the bad models which were the rage some thirty years since4 ,moreover1 ,la ,maison ,moderne--all praise to it6--has brought within the reach of the public quantities of jewellery which1 without being masterpieces of conception or execution1 are yet thoroughly good work based on excellent principles of novelty and freshness4 ,they are what may be termed popular jewels4 ,the works designed by ,m4 ,thodore ,lambert1 and executed by ,m4 ,paul ,templier1 are of altogether different character4 ,in these days1 when excessive complications in jewel-work are so general and so much esteemed1 these rings1 necklaces and plaques1 with their symmetrical linear designs in monochrome or reddish or greenish metal1 relieved at times by pearls only1 and with their formal ajourements1 will doubtless seem to many people too simple or too commonplace4 ,it will be justly urged against them that they are not sufficiently symbolic1 that they take no account of the human form4 ,no nymph disports herself amid the fall of the leaves in a lake of enamel bordered by water-lilies and iris blooms2 no serpent nor devil-fish winds about in spasmodic contortions3 yet these are charming works of art1 beautifully and harmoniously designed1 and with lines balanced to perfection4 ,they are1 in fact1 jewels meant to be worn1 bijoux de ville1 which1 while attracting no special notice1 form nevertheless most exquisite objects of female adornment4 ,m4 ,ren ,foy is a strange artist1 rather restless1 never altogether satisfied with himself1 and haunted by a perpetual desire for something novel4 ,is he completely himself1 that which he wishes or strives to be8 ,this is the question those who have closely watched his career are asking themselves4 ,for my part1 ,i know some delightful things of his1 extraordinarily delicate and graceful2 but ,i also remember some of his work in which his exaggerations are such that one despairs of understanding his meaning4 ,unless ,i greatly mistake him1 he wants the jewel to express more than it is possible for the jewel to express1 and therefore is continually restless in his attempts to achieve the unachievable4 ,he loses himself in a maze of refinements which1 in my opinion1 are outside the limits of the art he practises4 ,he has created lovely things1 things so novel as to be almost too novel1 but ,i do not think he has said his final word yet4 ,he is a young man who may have many surprises in store for us4 ,the jewels of ,m4 ,jules ,desbois are works of pure sculpture4 ,his vision1 at once broad and delicate1 takes the form of beautiful female forms in dreamy or voluptuous attitude1 sleeping amid the masses of their abundant hair1 against a background of gold1 or shell1 or whatever the material may be4 ,any womanly gesture suffices2 and1 in truth1 what more is needed to make a real work of art in the form of a brooch or a button8 ,no conventional flowers1 no complicated interlacements1 nothing decorative in the bad sense of the word2 yet his work is powerfully and delicately modern4 ,m4 ,desbois' jewels are perfect pieces of sculpture4 ,victor ,prouv1 the painter1 has been influenced in a similar way1 but1 not being a regular sculptor1 he is more complicated without being any more original on that account4 ,there is more composition in his jewels than in those of ,m4 ,desbois1 more real1 more visible1 intention4 ,his waistbelts1 his brooches1 c41 are admirably suited to the purpose for which they are intended1 their modelling being full1 supple1 and keen4 ,the jewels1 executed with scrupulous care and irreproachable technique by ,m4 ,rivaud1 are real works of art4 ,m4 ,bcker and ,m4 ,paul ,richard1 who are both working almost exclusively for ,m4 ,ferdinand ,verger 7,f4 ,v4 is the trademark of the firm71 incline to that type of jewellery which might be termed sculptured4 ,they are very conscientious artists1 but in my opinion1 at any rate1 the originality there may be within them has not yet made itself fully apparent4 ,m4 ,louis ,bonny's jewels deserve special attention4 ,like ,m4 ,vever1 ,m4 ,bonny shows a predilection for precious stones1 which he has the art of using with rare originality4 ,at the last salon of the ,socit des ,artistes ,franais he exhibited a series of jewels which attracted much attention1 among them--in addition to a beautiful necklace of wild grape in enamel1 diamonds1 and emerald1 in addition to various floral pendants and neck ornaments in enamel and diamonds--a curious diadem1 representing cocks in gold and enamel fighting for possession of a superb topaz4 ,this was a real tour de force in the way of execution4 ,other beautiful things of his ,i know1 particularly his plaque de cou of geraniums1 with the leaves in diamonds1 the flowers in rubies1 the stems and buds in dark green enamel1 the whole being at once rich and sober in colouring and most harmoniously and flexibly composed4 ,m4 ,jo ,descomps is a sound artist1 whose efforts1 laudable as they may be1 nevertheless lack boldness4 ,he has imagination enough1 but it looks as though he feared to give it rein4 ,with a little less timidity ,m4 ,descomps would doubtless produce something more piquant and more fresh4 ,i greatly like the work of ,m4 ,charles ,rivaud4 ,it displays a love of simplicity too often wanting in the productions of many of his fellow artists4 ,if his jewels recall--without imitating--the ornamental jewellery of ,egypt or ,greece1 those of primitive civilisations or those sorts popular in ,russia1 ,i can see no harm in the fact4 ,better for him and for us that he should turn to these inexhaustible springs than become a mere imitator of other imitators of successful jewellers4 ,his rings and his necklaces1 in which he is always careful to leave to the materials employed all the natural charm they possess1 are productions which will please the artist rather than the bourgeois and the snob4 ,they are discreet and honest1 never loud or eccentric4 ,no less interesting1 in another way1 are the jewels by ,m4 ,mangeant and ,m4 ,jacquin4 ,it is urged against them that they are crude1 incomplete and imperfect in execution4 ,the truth is1 these two artists--whom ,i bring into conjunction1 although their work is dissimilar1 save from their common regard for freedom in the use of materials--have1 above all1 a love for natural forms4 ,out of a flower1 a piece of seaweed1 or any humble motif1 vegetable or animal1 they construct jewels in gold or oxidised silver1 discreetly relieved by stones1 which1 if of no great intrinsic value1 are nevertheless highly decorative4 ,m4 ,mangeant1 with mother-of-pearl and hammered repouss silver1 has created charming jewels1 in which all the constructive parts have been intentionally left visible4 ,professional jewellers shrug their shoulders at the sight of these jewels1 which bear so plainly the stamp of the hand that fashioned them4 ,yet1 in their nave rudeness1 they appeal to me far more forcibly than does the polychromatic tin-ware of so many highly-esteemed producers4 ,m4 ,charles ,boutet de ,monvel1 although gifted with a richer and subtler imagination1 may be included in this little group4 ,in certain of his jewels there is1 as it were1 a reminiscence of ,byzantine art--in this owl-comb1 for instance1 which ,i regard as one of his best works4 ,his swan hair-pin1 his seaweed buttons in gold and silver on greenish enamel with a pearl in the centre1 his plaque de cou in translucid enamel1 are also strong and captivating4 ,his sunshade handles too1 and his scarf-pins1 are full of delicate fancy4 ,it is impossible1 within the space at my disposal1 to describe in detail the productions of many other workers well worthy of extended mention4 ,let it suffice1 therefore1 to cite the names of ,m4 ,henri ,nocq1 that fresh and bold artist2 of ,m4 and ,mme4 ,pierre ,selmersheim2 ,m4 ,feuilltre2 ,mme4 ,annie ,noufflard2 ,,mm4 ,haas1 ,cherrier1 ,chalon1 ,falguires1 ,dabault1 ,g4 ,laffitte1 ,houillon1 ,archambault1 ,l4 ,h4 ,ruffe1 ,qunard1 ,blanchot1 ,muret1 ,desrosiers1 ,le ,couteux1 ,marioton1 ,lucien ,hirtz1 and ,nau--artists who work1 some on their own account1 some for the big jewellery firms4 ,of the firms in question one must in justice name in the first place those of ,boucheron and ,falize frres1 not forgetting ,l4 ,aucoc1 ,vever1 ,sandoz1 ,lucien ,gaillard1 ,fouquet1 ,desprs1 ,teterger1 ,chaumet1 ,templier1 ,ferdinand ,verger1 ,j4 ,duval1 ,coulon1 and ,piel frres4 ,such1 briefly1 is the modern art-jewellery movement in ,france4 ,its intensity1 as one sees1 is so great as to be almost alarming4 ,whither is it tending8 ,some of its excesses are dangerous2 what will be the result8 ,m4 ,emile ,molinier1 in a recent article on ,objects of ,art in the ,salons of #aija1 expresses certain fears which ,i share4 ,he dreads a reaction due to the eccentricities of certain artists1 to their love of the outrageous and the bizarre1 to their lack of proportion1 both in form and in choice of material4 ,it would really be a pity1 he says1 if so promising a revival of the true artistic jewellery should come to a bad end4 ,happily we have not reached that point yet1 but it is a result which may soon be reached if artists continue to foist these weird things on the public4 ,a fashion in jewellery should last longer than a fashion in dresses or in hats2 but it should not be forgotten that it must rely in the long run on its appropriateness and adaptability4 ,my sincere hope is that these fears may prove to be groundless4 ,,gabriel ,,mourey4 ,illustration 7,french7 ,,design ,,for ,a ,,fan ,,by ,,georges ,,de ,,feure4 ,illustration ,illustration3 ,,plate #a ,illustration3 ,comb in ,horn1 ,silex1 ,black ,enamel and ,obsidian4 ,insects in ,gold ,,ren ,,lalique ,,plate #b ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,pendant in ,gold1 ,ivory1 ,enamel and ,pearl ,b4 ,pendant in ,gold1 ,enamel and ,pearl ,,ren ,,lalique ,,plate #c ,illustration3 ,watch in ,ivory1 ,gold and ,enamel ,clasp1 ,leaves of ,plane ,tree1 in ,silver ,,ren ,,lalique ,,plate #d ,illustration3 ,comb1 ,leaves of ,sycamore ,horn and ,silver ,,ren ,,lalique ,,plate #e ,illustration3 ,combs in ,horn and ,silver ,,ren ,,lalique ,,plate #f ,illustration3 ,parure de ,corsage1 in ,gold and ,enamels ,,mucha and ,g4 ,,fouquet ,,plate #g ,illustration3 ,girdle with ,pendants in ,gold1 ,pearls and ,brilliants ,g4 ,,fouquet ,,plate #h ,illustration3 ,necklet with ,pendant1 ,gold and ,enamel ,g4 ,,fouquet ,,plate #i ,,pendant ,,and ,,necklet ,,by ,e4 ,,grasset4 ,illustration ,illustration3 ,,plate #aj ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,pendant in ,gold1 ,enamel and ,stones ,b4 ,pendant in ,gold1 ,enamel and ,pearls ,g4 ,,fouquet ,,plate #aa ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,lorgnon in ,chased ,gold and ,chrysoprase ,designed by ,,cauvin ,executed by ,,boucheron ,b4 ,lorgnon in ,chased ,gold ,designed by ,l4 ,,hirtz ,,plate #ab ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a4 ,devant de ,corsage1 ,brilliants upon green with ,emeralds en cabochon ,executed by ,,boucheron ,b4 ,necklet in ,chased ,gold1 with a large ,topaz ,both designed by ,l4 ,,hirtz ,c4 ,pendant in ,gold1 ,diamonds1 ,pearl1 ,opal and ,enamel ,,vever ,,plate #ac ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,waist-band ,buckle in ,silver ,designed by ,,paul ,,richard4 ,executed by ,f4 ,v4 ,,diteur ,b4 ,brooches in ,chased ,gold ,designed by ,l4 ,,hirtz4 ,executed by ,,boucheron ,,plate #ad ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,,fig4 ,d ,chatelaines and ,watches ,f4 ,v4 ,,diteur and ,,paul ,,richard ,b and ,c designed by ,e4 ,b,,cker ,,plate #ae ,illustration3 ,brooches in ,chased ,gold ,,jules ,,desbois ,,plate #af ,illustration3 ,buttons and ,brooches in ,chased ,gold ,,jules ,,desbois ,,plate #ag ,illustration3 ,brooch in ,chased ,gold and two ,waist-band ,buckles in ,silver ,,jules ,,desbois ,,plate #ah 7,french7 ,design for a ,comb in ,enamel ,shell1 and incrusted ,gold ,from an original drawing by ,,henri ,,vever ,comb in ,enamel1 ,shell1 and ,precious ,stones ,designed by ,,paul ,,follot ,executed by ,,la ,,maison ,,moderne ,comb in ,enamel1 ,gold1 ,shell1 and ,precious ,stones ,designed by ,,paul ,,follot ,executed by ,,la ,,maison ,,moderne ,illustration ,illustration3 ,,plate #ai ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,comb in ,gold and ,horn4 ,leaves in green translucent ,enamel1 set with ,siberian ,amethysts ,b4 ,horn ,fan ,handle1 incrusted with ,gold1 ,brilliants1 and ,enamel ,,vever ,,plate #bj ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,hat ,pins in ,gold1 ,enamel1 and ,pearl ,b4 ,umbrella ,handle1 ,silver ,gilt and ,stones ,,ch4 ,,boutet ,,de ,,monvel ,,plate #ba ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,comb in ,horn and ,gold with ,turquoises ,b4 ,comb in ,ivory1 ,silver and ,mother-o'-pearl ,,ch4 ,,boutet ,,de ,,monvel ,,plate #bb ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,hammered and ,chased ,silver ,brooches ,b4 ,comb in ,silver and ,mother-o'-pearl ,e4 ,,mangeant ,,plate #bc ,illustration3 ,clasps in ,hammered and ,chased ,silver ,e4 ,,mangeant ,,plate #bd ,illustration3 ,,fig4 ,a ,,fig4 ,c ,,fig4 ,b ,a4 ,pendant in ,gold and ,enamel ,b4 ,hanging ,mirror in ,gold and ,enamel ,executed by ,l',,art ,,nouveau ,designed by ,,marcel ,,bing ,c4 ,pendant in ,gold and ,pearls ,designed by ,,colonna ,,plate #be ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a4 ,brooch in ,gold1 ,enamel and ,ivory ,executed by ,b4 ,pendant in ,gold and ,enamel ,l',,art ,,nouveau ,,marcel ,,bing ,c4 ,belt ,clasp in ,gold ,,colonna ,,plate #bf ,illustration3 ,combs in various materials ,designed by ,,orazzi ,executed by ,,la ,,maison ,,moderne ,,plate #bg ,illustration3 ,,fig4 ,a ,,fig4 ,c ,,fig4 ,d ,,fig4 ,b ,a4 ,b4 ,brooches in ,gold with ,precious ,stones ,designed by ,m4 ,,dufr,,ne ,executed by ,c4 ,comb ,,la ,,maison ,,moderne ,designed by ,,orazzi ,d4 ,gold ,pendant with ,enamels and ,precious ,stones ,designed by ,p4 ,,follot ,,plate #bh ,illustration3 ,combs ,designed by ,,orazzi ,executed by ,,la ,,maison ,,moderne ,,plate #bi ,illustration3 ,hat and ,hair ,pins ,designed by ,,orazzi ,executed by ,,la ,,maison ,,moderne ,,plate #cj ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,plaque de ,corsage in ,gold1 ,enamel and ,precious ,stones ,b4 ,rings ,,charles ,,rivaud ,,plate #ca ,illustration3 ,silver ,waist-band ,buckles ,designed by ,,th4 ,,lambert ,executed by ,p4 ,,templier ,,plate #cb ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,,fig4 ,e ,,fig4 ,c ,,fig4 ,d ,a1 ,b1 ,c ,d4 ,silver ,brooches ,designed by ,,th4 ,,lambert ,executed by ,p4 ,,templier ,e4 ,chatelaine and ,watch ,designed by ,m4 ,,dufr,,ne ,executed by ,,la ,,maison ,,moderne ,,plate #cc ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a ,b4 ,silver ,brooches ,c4 ,silver ,necklet with ,pendant ,designed by ,,th4 ,,lambert ,executed by ,p4 ,,templier ,,plate #cd ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,painted ,fan ,,georges ,,de ,,feure ,b4 ,lace ,fan ,designed by ,f,,lix ,,aubert ,executed by ,,la ,,maison ,,moderne ,,plate #ce 7,british7 ,,design ,,for ,a ,,stencilled ,,fan ,,by ,,reginald ,t4 ,,dick4 ,illustration ,illustration3 ,,plate #a ,,modern ,,british ,,jewellery ,,fans4 ,,by ,,aymer ,,vallance4 ,illustration ,none but the most superficial observers can have failed to note the immense advance that has been attained in ,british jewellery2 though how or at what precise point of time the improvement originated may not be determined with too rash precision4 ,it began not more than fifteen or twenty1 nor perhaps later than ten years ago4 ,somewhere between these two limits is about the approximate date4 ,at any rate1 it is certain that1 thirty years since1 it was quite impossible to procure jewellery in the design and composition of which there entered any artistic taste whatever4 ,such simply did not exist4 ,whereas now there is a widespread1 though unhappily not a universal1 movement amongst us for the design and production of jewellery on true sthetic principles4 ,the movement may even be described as in a measure concerted1 that is1 in so far as it presents certain main characteristics common to the work of the various individual artists or schools of artists who are concerned with this branch of decoration4 ,and1 firstly1 must be noted the development of the goldsmith's and silversmith's craft as an important artistic factor entirely distinct and apart from the subsidiary task of stone-setting4 ,the recognition of the art of the metal-worker1 as worthy and capable in itself of providing beautiful ornaments1 without their serving any such ulterior purpose as sporting trophies or eccentric badges of buffoonery2 and also without the adventitious attraction of costly gems1 is a decided point gained4 ,and1 secondly1 where stones do happen to be employed1 there is an increasing practice of introducing them for the sake of their decorative properties1 not1 as formerly1 for the commercial value they represent in pounds sterling4 ,mere glitter and the vulgar display of affluence are gradually yielding before the higher considerations of beauty of form and colour4 ,nor is it any longer deemed improper1 should the sthetic effect of the juxtaposition demand1 to set diamonds or other valuable gems side by side with common and inexpensive stones4 ,in these colour combinations1 since flash and transparence are become of minor esteem1 jewels1 instead of being cut in facets1 are not infrequently polished in their natural shape1 en cabochon1 or tallow-cut1 as it is called1 their irregularities of formation imparting not a little to the barbaric richness of the ornaments in which they occur4 ,moreover1 out of the taste for colour effects in jewellery has arisen an enthusiastic study of the special peculiarities of many gems not hitherto much sought after2 a study resulting in the adoption of certain gems not very precious1 yet sufficiently rare1 and such that1 like ,mexican or fire opals1 for example1 possess peculiar qualities of chameleon-like iridescence or depth or lustre that render them admirably appropriate for quaint and picturesque settings4 ,among other stones thus employed may be mentioned lapis lazuli2 malachite and its corresponding blue mineral1 azurite2 ,connemara marble1 or serpentine2 amazonite1 a light green spar2 chrysoprase2 and lumachella1 ,hungarian both in name and origin4 ,the last named consists of fossilised shells imbedded in a black matrix1 the shells of wonderful iridescence1 or flecked with streaks of vivid colour1 and possessing1 in short1 such ornamental qualities as amply compensate the difficulty of obtaining it and of working when obtained4 ,another material included in the same category is river pearl1 or mother-of-pearl1 in the form technically known as pearl blisters1 that is1 pearls undeveloped in the shell and misshapen1 which nevertheless are peculiarly useful for decorative jewellery4 ,one advantage of these substances is that1 on account of their comparative cheapness1 one does not scruple to diminish and divide and fashion them as may best serve the purpose in hand2 whereas in the case of the more precious stones1 like diamonds1 whose cost1 ceteris paribus1 increases proportionately with their size and weight1 one shrinks from impairing their commercial value1 and consequently is apt to preserve them whole1 very often at the sacrifice of decorative effect4 ,the craftsman is unhampered in the use of those jewels only which he knows he is at liberty to treat as adjuncts subordinated to his art4 ,there has1 moreover1 taken place an extended revival of enamelling1 an art which offers abundant opportunities for the exercise of the decorator's skill and fancy4 ,it is worthy of remark that our artists' imagination in jewellery seldom degenerates into any great extravagance4 ,for the most part the designs1 even among beginners and students in art schools1 a number of whom have taken up this branch of ornament1 are strictly restrained within bounds1 in accord1 may be1 with our national character of reserve4 ,few drawings comparatively have been executed1 but there is no reason why a large proportion should not be translated from paper into actual existence2 for they are in general fairly simple1 straightforward1 and practicable1 or such that1 with but slight modifications1 could be rendered quite practicable for working purposes4 ,it is often stated that art can only flourish through the patronage of the wealthy1 to whose comfort and luxury it ministers4 ,if this be true at all1 then surely of all things in the world the jeweller's craft should be a case in point1 whereas it is conspicuously the reverse4 ,the artistic jewellery produced in this country has not1 from its very nature1 appealed chiefly to the richest classes of the community1 but rather to those of quite moderate means4 ,and while1 on the one hand1 it is encouraging to observe how much of good work has been and is being done towards raising the standard of jewellery design amongst us1 it is nevertheless disappointing to have to record how little support it has found in influential and official quarters4 ,one notable exception is the commission ,mr4 ,alfred ,gilbert received to design a mayoral collar1 chain and badge for the ,corporation of ,preston4 ,the sketch model for the same was exhibited at the ,royal ,academy in #ahhh1 and1 for bold originality of outline1 as well as for the crisp curling treatment of the parts executed in sheet metal1 must have been1 as was remarked at the time1 a revelation to the ordinary trade jeweller4 ,among pioneers of the artistic jewellery movement1 ,mr4 ,c4 ,r4 ,ashbee holds an honourable place4 ,he stood almost alone at the beginning1 when he first made known the jewellery designed by him1 and produced under his personal direction by the ,guild and ,school of ,handicraft in the ,east ,end4 ,it was immediately apparent that here was no tentative nor half-hearted caprice1 but that a genuine and earnest phase of an ancient craft had been re-established4 ,every design was carefully thought out1 and the work executed with not less careful and consistent technique4 ,in fact1 its high merits were far in advance of anything else in contemporary jewellery or goldsmith's work4 ,the patterns were based on conventionalised forms of nature1 favourite among them being the carnation1 the rose1 and the heartsease1 or on abstract forms invited by the requirements and conditions of the material--the ductility and lustre of the metal itself4 ,most of the ornaments were of silver1 the surface of which was not worked up to a brilliantly shining burnish1 in the prevalent fashion of the day1 but dull polished in such wise as to give the charming richness and tone of old silverwork4 ,mr4 ,ashbee also adopted the use of jewels1 not lavishly nor ostentatiously1 but just wherever a note of colour would convey the most telling effect1 the stones in themselves1 e4g4 amethysts1 amber1 and rough pearl1 being of no particular value1 save purely from the point of view of decoration4 ,novel and revolutionary as were1 at its first appearance1 the principles underlying ,mr4 ,ashbee's jewellery work--viz4 that the value of a personal ornament consists not in the commercial cost of the materials so much as in the artistic quality of its design and treatment--they became the standard which no artist thenceforward could wisely afford to ignore1 and such furthermore that have even in certain quarters become appropriated by the trade in recent times4 ,mr4 ,ashbee himself is an enthusiastic student of ,benvenuto ,cellini1 whose treatises he translated1 edited1 and printed in #ahih4 ,but fortunately the influence of ,italian style is by no means paramount in ,mr4 ,ashbee's own designs for jewellery1 unless indeed the fine and dainty grace which particularly characterises some of his later work is to be attributed to this source4 ,one or two of the necklaces here reproduced are examples of this lighter manner of ,mr4 ,ashbee's1 as the two handsome peacock pattern brooches are of his more solid and substantial jewellery2 while1 again1 the necklace of green malachite1 turquoise1 and silver1 with pendants of grape bunches alternating with vine-leaf and tendril ornaments1 occupies an intermediate position midway between the two former classes of his work4 ,one is always glad to welcome an artist who is courageous and firm enough to grapple with the practical difficulties that surround him1 and who sets about to reform1 where need requires1 the native industry of his own neighbourhood4 ,such is the aim of ,mr4 and ,mrs4 ,arthur ,gaskin4 ,their home is in a locality where a large amount of very deplorable jewellery is produced2 so deplorable that they determined1 if possible1 to provide an antidote to the prevailing degradation4 ,and the reason why the vast mass of the trade jewellery manufactured in ,birmingham is bad is that in style and outline it is utterly devoid of artistic inspiration1 while at the same time it is perfect as concerns mere technique4 ,the pity of it is that such excellent workmanship should be wasted on such contemptible design4 ,mr4 ,gaskin1 therefore1 saw no alternative but to start afresh1 reversing the accepted order of things4 ,his plan is to give the foremost care to the design1 and only secondly to regard technique2 and so1 by keeping design well in advance1 executive skill following after1 to raise the former to its proper level4 ,absence of mathematical uniformity is no doubt held to be a blemish in the opinion of the tradesman1 but it gives a living and human interest to the work1 and a decorative quality which machine-made articles cannot claim to possess4 ,mr4 ,gaskin came to the conclusion that it was of little benefit for a draughtsman to make drawings on paper to be carried out by someone else2 studio and workshop must be one1 designer identical with craftsman4 ,it is not very many years since ,mr4 ,gaskin1 ably seconded by his wife1 started with humble1 nay1 almost rudimentary apparatus1 to make jewellery with his own hands2 but the result has proved how much taste and steadfast endurance can accomplish4 ,their designs are so numerous and so varied--rarely is any single one repeated1 except to order--that it is hardly possible to find any description to apply to all4 ,but it may be noted that1 whereas a large number have been characterised by a light and graceful treatment of twisted wire1 almost like filigree1 the two pendants here illustrated seem to indicate rather a new departure on the part of ,mr4 ,gaskin1 with their plates of chased metal1 and pendants attached by rings1 a method not in any sense copied from1 yet in some sort recalling the beautiful fashion with which connoisseurs are familiar in ,norwegian and ,swedish peasant jewellery4 ,next in order may be mentioned ,mr4 ,fred ,robinson4 ,this artist is actuated by similar ideals as ,mr4 and ,mrs4 ,gaskin1 as is evidenced more especially by his necklace with bent wire pendants of open-work arabesque4 ,another artist of distinction is ,miss ,annie ,mc,leish1 of ,liverpool1 whose jewellery design1 particularly in the way in which the several parts are connected together--an ornamental feature being made out of the structural requirement of strengthening and tying together the portions pierced jour--is curiously suggestive of the perforated iron guards of ,japanese sword-handles4 ,at the same time1 it is not to be implied that ,miss ,mc,leish is at all an imitator of ,japanese work4 ,another point to be noticed is her decorative use of the human figure1 in which regard two more lady designers1 ,miss ,larcombe and ,miss ,winifred ,hodgkinson1 also excel4 ,the latter1 to whose work black-and-white reproduction scarcely does adequate justice1 is stronger in her figure work than in that which comes easiest to most people--to wit1 the treatment of floral forms that constitute the subordinate portions of the design4 ,the number of ladies who have achieved success in jewellery design proves this1 indeed1 to be a craft to which a woman's light and dainty manipulation is peculiarly adapted4 ,besides those already mentioned one has only to instance ,miss ,ethel ,hodgkinson and ,miss ,swindell1 who both contribute graceful designs for hat-pins and other small articles2 ,miss ,dorothy ,hart1 whose charming pentacol is executed by herself2 ,miss ,kate ,fisher and ,miss ,mc,bean1 in whose designs for clasps1 etc41 enamel is a prominent item2 ,miss ,alabaster1 whose beautiful gold brooch1 adorned with blue and green enamel1 is based on a motif of trees with intertwining stems and roots2 and ,miss ,rankin1 whose four silver hat-pins of handsome design1 representing a peacock1 thistles1 and ,celtic beasts respectively1 are executed by ,mr4 ,talbot1 of ,edinburgh1 himself a designer as well as artificer4 ,miss ,edith ,pickert1 in her designs for various articles of jewellery1 usually employs a fairly thick outline of metal to enclose a coloured enamel surface4 ,how diversely one and the same motif may be rendered in different hands is illustrated by a comparison of ,miss ,pickert's belt design and ,mr4 ,nelson ,dawson's belt-clasps1 both in enamel and both founded on the flower love in a mist4 ,mr4 ,nelson ,dawson1 well known as an eminent metal-worker and active member of the ,society of ,arts and ,crafts1 is also ,director of the ,artificers' ,guild4 ,another belt-clasp from his design represents the delicate form of the harebell plant4 ,mr4 ,edgar ,simpson1 of ,nottingham1 is an artist of great gifts1 as his drawings and1 still more1 the specimens of his actual handiwork here illustrated fully testify4 ,many excellent designs lose vigour and character in the process of execution from the original sketch2 but ,mr4 ,simpson1 on the contrary1 manages to give his designs additional charm by the exquisite finish with which he works them out in metal4 ,particularly happy is this artist's rendering of dolphins and other marine creatures2 as in the circular pendant where the swirling motion of water is conveyed by elegant curving lines of silver1 with a pearl1 to represent an air-bubble1 issuing from the fish's mouth4 ,mr4 ,david ,veazey's work1 including1 among other things1 a hair comb decorated with enamel1 has a variegated opal-tinted quality of colour2 while ,miss ,barrie obtains admirable effects in translucent enamel without backing1 after the ,russian method4 ,her design for a belt-clasp with interlaced ornament and stones is excellent4 ,other belt-clasps and buckles are from designs by ,mr4 ,oliver ,baker4 ,some of this strap-work ornament looks as though it might have been produced by casting from a model2 but1 as a matter of fact1 it is entirely wrought and folded by hand4 ,mr4 and ,mrs4 ,mc,nair's jewellery1 as well as that of ,mr4 and ,mrs4 ,mackintosh1 has that quaint mannerism which one instinctively associates with the ,glasgow school of decorators1 as also1 in a still more marked degree1 that of ,mr4 ,talwyn ,morris1 whose characteristic book-covers are well known4 ,for jewellery1 he frequently elects to work in aluminium4 ,his design is strikingly original in effect1 though on analysis it is found to consist of very simple units1 such as various-sized rectangles overlaid1 their boundary lines interpenetrating2 with the occasional apparition of a peacock's eye-feather or the bird's neck and head in the midst4 ,in these cases a completer sense of organic unity might be obtained if1 instead of a detached limb1 the whole bird were represented1 or some other logical coherence established between the incidents of the composition4 ,mr4 ,thomas ,cook1 of ,west ,ham1 inserts small slabs of mosaic1 after the ,italian mode1 only he frankly adopts a purely conventional treatment1 wisely refraining from any approach to pictorial realism4 ,it is a hopeful sign that in many of the technical art schools throughout the land students are taking up jewellery design1 and not only that1 but in some cases carrying out the actual work themselves4 ,it is largely due to the same fostering influence that the beautiful art of enamelling1 frequently referred to above1 has been developed amongst us1 notably at the ,central ,school of ,arts and ,crafts1 where classes for this department were inaugurated under the able guidance of ,mr4 ,alexander ,fisher4 ,but if the improvement in jewellery is to be general and permanent1 in order to set it on a secure basis the motive power must come from within4 ,much good1 therefore1 may be expected to result from the official sanction afforded by the ,goldsmiths' ,company to the jewellery work of their ,technical ,institute1 to which a number of very creditable designs owe their existence4 ,among others may be singled out some decorations for watch-backs1 a branch of the craft as useful as it is neglected2 those who have taken it up1 like ,miss ,kate ,allen1 for instance1 being unfortunately but rare exceptions4 ,there is no reason1 however1 why everyone who carries a watch should not enjoy in it the constant companionship of a thing of beauty4 ,to sum up1 then1 if our modern art jewellery cannot boast any conspicuously brilliant features1 at any rate it is of a high average standard4 ,and though1 as is the case of all good work1 it must needs share many qualities in common with the noble treasures of the past1 it yet does not assimilate to any historic style4 ,in fine1 it is original2 and1 withal1 there may be traced in most of it a certain family likeness4 ,it seems almost as if some new-born idea were really beginning to dominate it with the impress of a distinct nationality1 destined to develop some day into a tradition which future generations may justly feel it a privilege to follow4 ,the case of fans is the exact opposite to that of jewellery4 ,in the former department1 it cannot be said that there exists any sort of consensus of ideals1 nor any paramount type of ornament4 ,and1 notwithstanding the existence amongst us of some few fan-painters of very considerable repute1 their operations remain as yet quite personal and individualistic4 ,they have no regular following2 have founded no school of decoration4 ,it is1 therefore1 a subject still open to determine by what principles the ornament of fans should be guided4 ,firstly should be taken into account the peculiar shape of the surface available for decoration2 and1 secondly1 the fact that this surface is not a flat plane1 but such that must in practice infallibly be broken into so many set divisions or folds4 ,the latter circumstance is the real crux of the question1 many decorations1 otherwise beautiful enough in the flat1 being utterly ruined in effect as soon as they undergo the ordeal of mounting4 ,thus it may perhaps seem an ingenious plan to subdivide the space horizontally1 but it must be remembered that every horizontal line will lose its value when converted1 as it must be1 into a series of irregular zigzags4 ,the folding is an essential factor1 without taking which into account no fan decoration can be satisfactory4 ,in setting out the design1 then1 it should always be borne in mind that no sharply defined straight lines are admissible1 except those that radiate from the centre2 and that1 of curves1 concentric ones are the best1 such1 that is1 as are parallel with the arc shape4 ,if the ornament is floral1 it may take the form either of a powdering1 or of an all-over pattern of moderately small scrolls4 ,those on a large scale would run counter to the folds in too emphatic a manner to be agreeable4 ,in figure subjects1 of course1 care should be taken so to dispose them that no important feature like an eye or a nose be split asunder by the lines of the folds4 ,the larger and more pronounced the pattern1 the more necessary it is to observe these conditions4 ,on the other hand1 where the colouring is of fairly even tone1 and without strongly contrasted masses1 or where the design is on a small scale1 the surface can the more safely be spaced out by lines or medallions or cartouches1 or other devices that may commend themselves4 ,as regards material1 there is no question that a silk ground1 prepared with rice-size and stretched1 until the decoration is completed1 on a stretcher1 offers as suitable a texture as one could desire for delicate and softly-blended harmonies in water-colour2 as the fans of ,mr4 ,conder1 a prolific fan-painter1 whose work appeals to a large circle of admirers1 amply testify4 ,the detail is all ,mr4 ,conder's own1 though the influence of ,french ,x,v,i,i,ith century ornament is unmistakable4 ,miss ,syrett again is a clever artist working on somewhat similar lines4 ,no one1 however1 who knew her figure compositions in her ,slade ,school days1 productions full of promise1 if marred by the attenuated model with prim1 smooth-drawn hair1 the type of ,carlos ,schwabe's illustrations to ,le ,rve and l'vangile1 could have foreseen that ,miss ,syrett would develop in the direction of her present work4 ,the reduced black-and-white illustrations convey no idea of the tender beauty of the colouring1 nor of the exquisite pen-work in brown with which such features as the faces1 hair1 and hands are executed4 ,another gifted artist is ,mr4 ,brangwyn1 who now makes his dbut as a fan decorator1 with a finished painting on silk1 and also a crayon study for the same purpose4 ,his design shows how much individuality an artist may impart even to work consciously founded on that of a past style4 ,here1 for example1 in the drawing of ,cupids shooting their darts at a pair of lovers1 may be recognised the very figures of the ,trianon period1 but happily without any of their doll-like affectation and effeminacy4 ,those who recollect ,miss ,jessie ,king's drawing in the last winter's special number of ,,the ,,studio--her ,pelleas and ,mlisande--in which the lank forms of ,schwabe or ,torop were combined with a wealth of accessory ornament of the artist's own1 will scarcely recognise her hand in the present fan4 ,she seems to be able to pass with marvellous facility from one fully matured style to another4 ,the elaborate1 nay1 luxuriant finish of the whole1 to say nothing of separate details such as the butterflies1 the festoons1 knots1 etc41 vividly recall the work of the late ,aubrey ,beardsley4 ,it is no derogation of ,miss ,king's remarkable powers to assert that1 but for the existence of ,mr4 ,beardsley1 this drawing of hers would certainly not have been what it is4 ,one could wish that1 for the sake of support to the leaf1 more room had been allowed to the sticks4 ,but1 apart from this defect1 the dainty care with which every minute detail is consistently carried out merits little else than praise4 ,miss ,christine ,angus contributes two designs--one1 in a pictorial style1 for a paper fan1 not nearly so decorative as the other1 of nude boys and sweet peas1 for painting on silk4 ,miss ,ethel ,larcombe's gauze fans are attractive compositions1 which bear tokens of a diligent appreciation of ,granville ,fell4 ,another kind of fan ornamentation is exemplified by the stencil work of ,mr4 ,reginald ,dick and ,mr4 ,thomas ,cook4 ,it is true these decorations are in a degree1 but only in a slight degree1 mechanical4 ,the one unchangeable element is the white tie-lines of the pattern4 ,for the rest1 no little skill is required of the artist in devising and cutting his stencil4 ,the number of plates is limited1 but the mode adopted of colouring by hand admits of such variations that no two specimens from the identical stencil plates would ever be alike4 ,mr4 ,dick's fan is provided with enamelled sticks in keeping with the other parts of the decoration4 ,mr4 ,cook's design is the less characteristic of this particular method4 ,indeed1 though finished off at either end with a certain plausibility1 the pattern is an obvious repeat1 and such that might very well be the section of a circular dish border4 ,less ambitious are the designs for different sorts of lacework by ,miss ,hammett and ,miss ,naylor4 ,each of these patterns1 while keeping strictly within the limits of the special technique proposed1 shows yet much freshness and fertility of resource4 ,in the one case the design is floral1 in the other the theme is relieved by the introduction of bird forms into the composition4 ,to conclude1 the scope for decoration that fans afford is so great1 and the possible methods so manifold1 that the wonder is there are not many more artists employed in this industry4 ,it is one well worthy of their attention2 and it is to be hoped that no long time may elapse before the joint efforts of designers may1 in this1 as already in other branches of arts and crafts1 result in something like a native style of ornamentation being evolved4 ,,aymer ,,vallance4 7,british7 ,a ,,fan ,,painted ,,on ,,silk ,,by ,,frank ,,conder4 7,in the possession of ,thomas ,greg1 ,esq47 ,illustration ,illustration ,,plate #b ,illustration3 ,design for a ,lace ,fan ,,myra ,,naylor ,,plate #c ,illustration3 ,design for a ,lace ,fan ,,myra ,,naylor ,,plate #d 7,british7 ,a ,,fan ,,painted ,,on ,,silk ,,by ,,frank ,,conder4 7,in the possession of ,dalhousie ,young1 ,esq47 ,illustration ,illustration3 ,,plate #e ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,the ,medallion ,fan ,b4 ,a ,travesty ,fan ,,frank ,,conder 7,by permission of ,messrs4 ,carfax ,co47 ,,plate #f ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,the ,empire ,fan ,b4 ,l',anglaise ,fan ,,frank ,,conder 7,by permission of ,messrs4 ,carfax ,co47 ,,plate #g 7,british7 ,a ,,painted ,,silk ,,fan ,,by ,,frank ,,brangwyn4 ,illustration ,illustration3 ,,plate #h ,illustration3 ,designs for ,lace ,fans ,,lydia ,c4 ,,hammett ,,plate #i ,illustration3 ,designs for ,painted ,gauze ,fans ,,ethel ,,larcombe ,,plate #aj 7,british7 ,,the ,,court ,,of ,,love ,,design ,,for ,a ,,painted ,,fan ,,by ,h4 ,,granville ,,fell4 ,illustration ,illustration3 ,,plate #aa ,illustration3 ,designs for ,painted ,silk ,fans ,,christine ,,angus ,,plate #ab ,illustration3 ,painted ,silk ,fans ,,nellie ,,syrett ,,plate #ac 7,british7 ,,buckle ,,in ,,wrought ,,silver ,,and ,,enamel ,,by ,,nelson ,,and ,,edith ,,dawson4 ,illustration ,illustration3 ,,plate #ad ,illustration3 ,,fig4 ,a ,a4 ,painted ,silk ,fan ,,thomas ,a4 ,,cook ,,fig4 ,b ,b4 ,painted ,silk ,fan ,,nellie ,,syrett ,,plate #ae ,illustration3 ,design for a ,fan ,,jessie ,m4 ,,king ,,plate #af ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,necklet in ,gold and ,silver1 with ,amethysts and ,enamels ,b4 ,necklet in ,silver and ,gold1 green ,malachite and ,turquoise ,designed by ,c4 ,r4 ,,ashbee ,executed by ,,the ,,guild ,,of ,,handicraft ,,plate #ag ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,necklet in ,gold1 ,pearls and ,enamels ,b4 ,silver ,muff-,chain with ,pearl ,blisters ,designed by ,c4 ,r4 ,,ashbee ,executed by ,,the ,,guild ,,of ,,handicraft ,,plate #ah 7,british7 ,comb in ,mother-of-pearl and ,enamel ,b4 ,j4 ,,barrie ,comb in ,beaten ,silver with ,ivory ,prongs ,,david ,,veazey ,hair ,comb in ,silver and ,transparent ,enamels ,,kate ,,allen ,illustration ,illustration3 ,,plate #ai ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a4 ,peacock ,brooch with ,pearls1 ,white ,enamel and ,turquoises ,b4 ,silver ,brooch1 with ,green and ,blue ,enamels ,c4 ,peacock ,brooch1 in ,gold1 with ,pearls and ,diamonds1 a ,ruby in the ,peacock's eye ,designed by ,c4 ,r4 ,,ashbee ,executed by ,,the ,,guild ,,of ,,handicraft ,,plate #bj ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,silver ,clasp1 enriched with ,amethysts1 ,pearls and pale violet ,enamel ,designed by ,c4 ,r4 ,,ashbee ,executed by ,,the ,,guild ,,of ,,handicraft ,b4 ,hair ,comb1 in ,silver and ,enamels ,,frances ,mc,n,a,i,r ,,plate #ba ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,vinaigrette and ,chain ,j4 ,,herbert ,mc,n,a,i,r ,b4 ,pendant in beaten ,silver1 pierced and enamelled to hold a ,crystal ,locket ,,frances ,mc,n,a,i,r ,,plate #bb ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,belt-buckle and two ,brooches in beaten ,silver and ,wire ,b4 ,brooches and ,earrings ,j4 ,,herbert ,mc,n,a,i,r ,,plate #bc 7,british7 ,,designs ,,for ,,jewellery ,,in ,,gold1 ,,silver1 ,,enamels1 ,,mosaic ,,and ,,precious ,,stones ,,by ,,thomas ,a4 ,,cook4 ,illustration ,illustration3 ,,plate #bd ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,necklace in ,gold and ,enamel ,,kate ,,fisher ,b4 ,belt in ,silver and ,enamel ,,edith ,,pickett ,,plate #be ,illustration3 ,silver ,clasps and ,gold ,pendants set with ,opals and ,amethysts ,,edgar ,,simpson ,,plate #bf ,illustration3 ,a ,pendant1 ,two ,buttons1 a ,brooch and a ,cloak ,clasp in ,silver ,,edgar ,,simpson ,,plate #bg ,illustration3 ,silver ,pendant1 ,brooch and ,clasp ,,annie ,mc,l,e,i,s,h ,,plate #bh 7,british7 ,enamelled ,silver ,brooch ,a4 ,e4 ,,arscott ,silver ,pendant touched with ,enamel ,e4 ,,may ,,brown ,enamelled ,silver ,brooch ,w4 ,,hodgkinson ,silver ,brooch with ,beads of ,enamel ,,annie ,mc,l,e,i,s,h ,brooch in ,silver and ,enamel ,,kate ,,allen ,silver ,brooch set with ,red ,coral ,,isabel ,mc,b,e,a,n ,silver ,locket ,enamelled ,w4 ,,hodgkinson ,brooch in ,gold and ,enamel with ,pearl ,centre ,,kate ,,allen ,brooch1 ,silver and ,enamel ,a4 ,e4 ,,arscott ,silver ,brooch enriched with ,enamel ,,annie ,mc,l,e,i,s,h ,enamelled ,silver ,brooch ,w4 ,,hodgkinson ,illustration ,illustration3 ,,plate #bi ,illustration3 ,belt ,buckles in ,silver1 ,niello and ,enamels ,,winifred ,,hodgkinson ,,plate #cj ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,enamelled ,silver ,belt-,clasp ,,kate ,,allen ,b4 ,silver ,clasp set with ,stones ,b4 ,j4 ,,barrie ,,plate #ca ,illustration3 ,clasps in ,silver and ,enamel ,,annie ,mc,l,e,i,s,h ,,plate #cb ,illustration3 ,watch ,backs in ,silver and ,enamels ,,kate ,,allen ,,plate #cc 7,british7 ,brooch in ,silver and ,enamel ,,david ,,veazey ,brooch in ,silver1 ,enamel1 and ,precious ,stones ,b4 ,j4 ,,barrie ,gold ,pendant with ,pearls1 and ,turquoise1 and ,champlev ,enamel ,,dorothy ,,hart ,gold ,pendant enriched with ,enamel ,e4 ,,larcombe ,silver ,pendant with ,enamel ,,minnie ,,mcleish ,brooch in ,silver and ,enamel ,,annie ,,mcleish ,enamelled ,silver ,brooch ,,minnie ,,mcleish ,enamelled ,brooch in ,silver ,n4 ,,evers-,,swindell ,brooch in ,gold and ,enamel ,m4 ,,alabaster ,illustration ,illustration3 ,,plate #cd ,illustration3 ,silver ,clasps set with ,stones ,,oliver ,,baker ,,plate #ce ,illustration3 ,british ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a4 ,silver ,pendant set with ,opal in matrix ,,edgar ,,simpson ,b and ,c4 ,silver ,buckles ,,oliver ,,baker ,,plate #cf ,illustration3 ,clasps in ,silver and ,enamels ,,kate ,,fisher ,,plate #cg ,illustration3 ,clasps in ,silver and ,enamels ,,kate ,,allen ,,plate #ch ,pin in ,beaten ,silver and ,enamel ,d4 ,,veazey ,hair ,pin in ,silver and ,enamel ,e4 ,m4 ,,hodgkinson ,pin in ,silver and ,enamel ,e4 ,m4 ,,hodgkinson ,pin in ,beaten ,silver and ,enamel ,d4 ,,veazey ,pin in ,beaten ,silver and ,enamel ,d4 ,,veazey ,silver ,hair ,pin touched with ,enamel ,,annie ,,mcleish ,hair ,pin of ,gold decorated with ,enamel and ,mother-of-pearl ,w4 ,,hodgkinson ,hair ,pin in ,silver and ,enamel ,e4 ,m4 ,,hodgkinson ,illustration ,illustration3 ,,plate #ci ,illustration3 ,,fig4 ,c ,,fig4 ,a ,,fig4 ,b ,,fig4 ,d ,a and ,b4 ,jewelled ,brooches in beaten ,copper ,c and ,d4 ,jewelled ,buckles in beaten ,aluminium ,,talwin ,,morris ,,plate #dj ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a ,jewelled ,shoe-,buckle in beaten ,copper ,b4 ,cloak ,clasp in beaten ,silver ,c4 ,waist-band ,clasp in beaten ,silver ,,talwin ,,morris ,,plate #da ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a and ,b4 ,buckles in beaten ,aluminium ,,talwin ,,morris ,c4 ,pendants in ,silver2 the upper one with ,enamels1 the lower with ,turquoises ,,frances ,,mcnair ,,plate #db ,illustration3 ,silver ,finger ,ring set with ,pearls1 ,amethysts1 and ,rubies ,,charles ,r4 ,,macintosh ,silver ,brooch and ,pendant ,heart set with ,rubies1 ,pearls1 and ,turquoises ,m4 ,,macdonald ,,mackintosh ,,plate #dc ,illustration3 ,necklet of beaten ,silver1 chased1 and set with ,fire ,opals ,,arthur ,j4 ,,gaskin ,,plate #dd ,illustration3 ,silver ,pendant and ,chain set with ,turquoises and ,chrysoprase ,,arthur ,j4 ,,gaskin ,,plate #de ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,silver ,belt ,b4 ,silver ,necklet1 set with ,pearl ,blisters1 ,coral and ,aquamarine ,,fred ,s4 ,,robinson ,,plate #df ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,silver ,chain and ,pendants set with ,stones ,,isabel ,mc,b,e,a,n ,b4 ,enamelled ,silver ,pendant ,,minnie ,mc,l,e,i,s,h ,,plate #dg ,silver ,clasp enriched with ,enamel ,,annie ,,alabaster ,silver ,clasp inset with ,enamel ,,david ,,veazey ,illustration ,illustration3 ,,plate #dh ,illustration3 ,silver and ,enamel ,clasps1 ,pins and ,brooches ,,edith ,,pickett ,,plate #di ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,,fig4 ,e ,,fig4 ,d ,,fig4 ,f ,,fig4 ,g ,a1 ,d1 ,g4 ,brooches and a ,cross in ,gold1 set with ,stones ,,annie ,mc,l,e,i,s,h ,b4 ,brooch in ,silver and ,enamels ,,david ,,veazey ,c4 ,silver ,brooch with ,opals ,,ethel ,m4 ,,hodgkinson ,f4 ,brooch in ,silver1 ,enamel and ,pearls ,,nora ,,evers-,,swindell ,,plate #ej ,illustration3 ,four ,silver ,hat ,pins ,designed by ,,arabella ,,rankin ,executed by ,j4 ,m4 ,,talbot ,,plate #ea ,illustration3 ,a4 ,six ,pins in ,silver and ,enamel ,,nora ,,evers-,,swindell ,b4 ,two ,pins in ,silver and ,enamel ,,winifred ,,hodgkinson ,c4 ,two ,silver ,pins set with ,enamel ,,ethel ,m4 ,,hodgkinson ,,plate #eb ,,modern ,,austrian ,,jewellery4 ,by ,w4 ,,fred4 ,illustration ,critical examination of the jewellery of any particular period cannot fail to be practically a chapter of the history of culture4 ,the popular saying3 ,every time has the poet it deserves1 is superficially true1 yet holds within itself a certain element of falsehood1 as does pretty well every commonplace proverb of the same kind4 ,however1 if the sentence be slightly modified1 as it very well may be1 so that it reads1 ,every time has the jewellery it deserves1 there will be absolutely nothing untrue about it1 for the ornaments worn1 whether on the dress1 the hair1 or the person of the wearer1 have always reflected in a marked degree the taste of their period1 and are very distinctly differentiated from those of any other time1 so that changes in fashion imply changes of a more radical description in popular feeling4 ,a history of personal ornament is open to many side issues1 and unfolds itself in two different--indeed1 opposite--directions4 ,primitive savages1 as is well known1 wear ornaments before they take to clothes4 ,the ,fiji islanders sport gold chains round their necks1 and the ,african negroes in their untamed state load themselves with every glittering object they can get hold of1 looking upon the multiplication of ornaments as a sign of wealth4 ,very different1 of course1 is the state of civilisation of those who look upon decoration as an evidence of art culture1 and care only for such ornaments as require the exercise of technical skill in their production1 valuing them in proportion to the amount of that skill displayed by their craftsmen1 rather than the intrinsic value of their material4 ,the time of the ,italian ,renaissance is an instance of the truth of this4 ,as has so often before been the case in the times of transition which are of inevitable recurrence1 our own modern epoch is characterised by a certain unrest and confusion1 in which many tendencies are contending with each other side by side1 and neutralising1 to a great extent1 each other's effects4 ,in ,america1 the ,tiffany company seems to aim at producing masses of precious stones1 which will give primarily the impression of the great wealth of their owner and producer2 whereas1 in ,france1 ,lalique the jeweller endeavours rather to throw into the background the actual value of the jewels1 their artistic setting being the first thing to strike the observer4 ,we in ,austria have greater leanings to ,france than to ,america1 and precious stones1 however great their intrinsic value1 are looked upon as of quite secondary value in modern art-work to beauty of line and of colour4 ,french influence on ,austrian work cannot fail to be recognised4 ,its germs fell indeed on a soil of exceptional fertility1 with the result that they have taken root and borne abundant fruit4 ,it should perhaps1 however1 be remarked that those races who are the heirs of a strong art tradition do not need1 as do others less fortunate1 to prove the wealth of their inheritance by the use of lavish ornament4 ,their inherent artistic culture is indeed evidenced by the fact that they expect their artists to exercise their skill on materials less costly than do those who1 to a certain extent1 have their reputations still to make4 ,benvenuto ,cellini had to be content to work in silver1 the ,americans want to have every stick or umbrella-handle to be of gold4 ,if we cast a glance1 however hasty and cursory it may be1 over the development of jewellery in ,vienna1 noting the forms most popular in that city in past times1 it is impossible not to be struck with the way in which every historical phase of art is reflected in these forms4 ,the favourite style with ,viennese jewellers1 and that in which the most effective1 and at the same time the most characteristic1 results have been achieved was undoubtedly the so-called baroque1 a term originally restricted to a precise architecture or art-style alone1 but now loosely applied to characterise any ornamental design of an unusual kind4 ,it is in this half-serious1 half-sportive style1 with its grotesque yet bold effects and its complete freedom from convention1 that the finest pieces of ,austrian jewellery have been produced4 ,at the time of the great ,congress of ,vienna1 when the representatives of the ,powers met in that city to settle the affairs of ,europe after the fall of ,napoleon--that is to say1 about one hundred years later than the first introduction of the baroque style from ,italy1 ,french work1 though it was of a crude description1 exercised an influence over ,austrian jewellers1 and what seemed like a second renaissance of the art of ornament began in ,austria4 ,the art of jewellery in ,austria remained under ,french influence almost until the present day--in fact1 throughout the whole of the #aith century--and it has only been in the last year that ,austrian art-industries have been set free from the foreign yoke which so long oppressed them1 so that the true ,viennese style of jewellery has but rarely come to the fore4 ,now at last1 however1 the liberating influence of the modern spirit is making itself felt in the art of jewellery1 as in everything else2 and every ornament produced1 whether in precious stones or in enamel1 bears the unmistakable impress of the distinctive psychic character of our capital city1 which even foreigners do not fail to recognise4 ,the result of this individuality is that a work of art is indissolubly bound up with the personality of its creator1 and with the idiosyncrasies of the town which was its birthplace4 ,in ,austria men wear very little jewellery1 and the only noteworthy examples of ornaments made for them which can be quoted are a few rings and charms1 the former perhaps adorned with designs in low-relief4 ,the flat gold circle of the wedding-ring1 which can be easily carried in the waistcoat pocket1 and the engagement-ring1 the psychic meaning of which is clear enough1 the latter generally bearing one large diamond or other precious stone1 do not afford much scope for the sthetic feeling of their makers4 ,a man who ventures to wear much jewellery is called old-fashioned1 but there are still people who dare to sport a single great diamond or some other simple ornament on their shirt fronts4 ,a pearl without setting1 an emerald1 or so-called sapphire en cabochon1 are still frequently seen4 ,the present fashion allowing men to tie their cravats in all manner of different styles to suit their own particular fancy1 has led to the manufacture of a few varieties of scarf rings which admit of a certain amount of artistic intertwining of the gold1 if it be gold of which they are made4 ,when the making of jewellery for men is left to the unfettered imagination of the artist1 he generally produces something quaintly original and fantastic1 such as queer figurals1 grotesque masks1 comic caricatures of human or half-human figures or faces1 etc4 ,on the other hand1 there is no doubt that there is far more activity in the production of jewellery for women in ,vienna than in almost any other city4 ,the culture of our town is1 indeed1 essentially feminine4 ,the graceful and witty1 yet dreamy and passionate1 girls and women of ,vienna give to it its distinctive character4 ,a foreigner who once spent two days only in our capital was yet able to say of it1 that all through his wanderings in its streets and alleys the rhythm of female culture was sounding in his ears4 ,the men of ,vienna pride themselves more than the ,french1 more even than the people of ,northern ,europe1 on their women1 and as a result of this pride there is sure to be plenty of beautiful jewellery of varied design to be met with in the town in which they live4 ,amongst jewels and precious stones the spotless white pearl is perhaps the favourite1 but1 as proved at the last great ,exhibition in ,paris1 the pale rose-coloured coral from the ,east runs it very close4 ,diamonds are still set in the old-fashioned way--that is to say1 after simple designs1 the best of which are copies from ,renaissance or baroque models4 ,only now and then is any attempt made to produce lightly incised representations direct from ,nature of flowers1 birds1 or leaves4 ,of course1 bouquets of brilliants and leaves consisting entirely of diamonds have always been easily made at any period2 but what is now aimed at for that very reason is the evolution of designs which shall be essentially true to ,nature1 but at the same time really artistic4 ,crude masses of naturalistic flowers are really of no account whatever1 for a bouquet of diamonds can never have the exquisite charm of a fresh1 sweet-smelling bunch of real blossoms4 ,only a fairly good design1 founded on some flower or leaf which can be satisfactorily reproduced in1 and is1 so to speak1 en rapport with1 the jewels to be used1 can succeed in pleasing through beauty of form alone1 independently of any association4 ,good examples of the best style of ornament in which precious stones are used are the necklace1 figured herewith1 with the earrings to match1 by ,roset and ,fischmeister4 ,in them the natural form1 which has been the motive from which the design was evolved1 was the fruit and leaf of the rare plant known in ,germany as the ,gingopflanze4 ,the delicate separate stems are worked in dull gold1 and the way the joining is managed cannot fail to be admired1 whilst the single stems are in platinum4 ,the charm and distinction of this piece of jewellery is due above all to its beauty of form1 in other words it is not the gross value of the precious stones with which it is set which makes it a worthy possession1 but the skill with which the motive has been worked out4 ,viennese jewellers do not use the colourless precious stones much4 ,they generally combine jewels with enamel1 and also with what they themselves call the coloured ,halbedelsteine1 or half-jewels1 such as the agate1 onyx1 cornelian1 and other less valuable precious stones4 ,the modern tendency is in every case to rely upon colour and line for effect rather than upon massive form1 so that the greater number of new designs1 or of revived designs of the past1 require for their satisfactory treatment what may be almost characterised as a new technique4 ,first of all1 the modern buckle for the belt or girdle claims attention4 ,the lately revived custom of wearing the blouse led1 as a matter of course1 to the use of the belt with a more or less ornate buckle1 just as1 a few years ago1 the long necklace came into general use again4 ,the young women of the present day found both all ready for use in the jewel-chests of their grandmothers4 ,it seems likely1 too1 that there will presently be a revival of the costly shoulder-clasps which used to be the fashion in the time of the ,empire1 and if this be the case1 the new fancy will probably1 to some extent1 oust the belt buckle from popular favour4 ,in the designing of ornaments for the neck1 art jewellers have far more scope than formerly for the exercise of their imagination1 and they are disposed1 to some extent1 to follow the ,french mode1 that is to say1 they make necklaces flat and broad1 so as to give an effect of slenderness to the throat of the wearer4 ,it is a matter of course that combs and pins for the hair are often of very fine workmanship1 showing much skill and taste on the part of their designers4 ,strange to say1 however1 even in ,vienna1 few rings for women of real art value are produced4 ,in certain cases1 however1 the pendants in gold relief1 in crystal1 or in enamel1 are of pleasing1 though not particularly original design4 ,working in enamel is of course an independent art in itself1 and to begin with1 ,i must remark that1 as a general rule1 beautiful as are the colour effects produced by ,viennese craftsmen1 it is impossible to reproduce exactly the delicate charm of the original sketches from which the designs are worked out4 ,very good results can1 however1 be obtained in what the ,french call mail jour1 or mail translucide1 as well as in the old-fashioned opaque enamel4 ,it would1 however1 be out of place here to attempt to describe the various modifications of what may now be called an international art4 ,gustav ,gurschner is a sculptor par excellence4 ,his fingers are accustomed to moulding clay or plaster designs in such a manner as to be readily reproduced in bronze4 ,his slim and graceful statuettes holding candles or gongs1 and other artistically designed objects for household use1 have all a distinctly ,viennese character4 ,his charming nude figures are full alike of childlike innocence and nervous strength1 and are moreover instinct with the spiritual expression which naturally belonged to their originals4 ,gurschner's designs for jewellery have very much the same effect upon a true judge4 ,the great thing distinguishing his work from that of his contemporaries is the fact that it is modelled from the living figure1 not as is generally the case1 from mere water-colour sketches4 ,the difference cannot fail to strike the most superficial observer4 ,elsewhere1 colour is often the chief consideration2 with ,gurschner it is form4 ,in modern decorative work1 silver is now very largely used and appreciated4 ,it is her skilful use of this material which has won so high a position for ,elsa ,unger1 a daughter of the wonderfully successful etcher1 ,professor ,william ,unger4 ,elsa ,unger has a very great predilection for silver1 and has attained to rare skill in expressing herself in that material4 ,she herself knows perfectly well how to deal with it at every stage of its progress as art material4 ,she can hammer it out and chisel it2 she can engrave it1 and combine with it beautiful mail jour of soft1 harmonious colouring4 ,one of the most noteworthy peculiarities of ,elsa ,unger's work is1 indeed1 her mastery of her material4 ,she is not content1 as are unfortunately most of her contemporaries1 with delegating to others the working out of her designs1 but she herself sees to every detail1 doing all the work with her own hands4 ,some of her articles1 such as gentlemen's studs and sleeve-links1 in beaten silver1 relieved with blue enamel1 are alike simple and elegant1 and have the rare advantage of being also cheap4 ,with ,elsa ,unger may be classed another woman worker in silver1 ,anna ,wagner1 who has produced amongst other tasteful work a beautiful silver buckle1 relieved with enamel4 ,amongst men who have won a reputation as skilful workers in silver maybe named ,e4 ,holzinger and ,franz ,mesmer1 who were trained in the same institution as ,elsa ,unger and ,anna ,wagner1 the ,school of ,art ,craftsmanship connected with the ,museum of ,vienna1 well known for the thoroughness of the instruction given in it4 ,in this academy1 which was thoroughly reformed a few years ago1 and is now under the able direction of ,baron ,myrbach1 the students learn to esteem skill in art craftsmanship as it deserves1 and become thoroughly familiar with the materials employed in it4 ,in the course of their training1 feeling for true beauty and elegance is mixed1 so to speak1 with their very blood1 becoming part of their natures1 so that they cannot go far wrong4 ,look1 for instance1 at some of the combs made by ,elsa ,unger4 ,how delicately harmonised are the beaten silver and the pale lilac-coloured enamel1 and how well the gracefully curving lines of the two materials blend with and melt into each other6 ,how chastely effective1 moreover1 is the way in which the leaf-motive is worked out in the pins for the hair designed by ,mesmer1 and what a happy thought it was to make the many-coloured half-jewels1 or jewels of minor value1 emerge as they do from the beaten silver4 ,these works are1 moreover1 a very striking example of how necessity may sometimes become a virtue4 ,the cheapness of material1 so essential in an educational establishment1 has not been allowed to detract in the very slightest degree from the beauty of the work produced2 so that it is possible to have a real work of art1 of which but few examples are produced1 at a very low price--say from about thirty-five shillings2 and that work is not a machine-made article1 but one the production of which1 by his or her own hand1 has been a true labour of love to the designer1 marking a real progress in art culture4 ,to the ,technical ,academy of ,vienna the architect1 ,otto ,prutscher1 and the painter1 ,v4 ,schoenthoner1 also owe much1 but the charm of their work consists rather in its colour than in its form4 ,much is to be hoped in the future from both of these talented artists1 and what they have already produced proves that there has been no sacrifice of individuality1 no cramping of special tendencies1 such as is so much to be deprecated elsewhere1 in the training they have received4 ,otto ,prutscher's necklaces and rings are remarkable alike for the beauty and harmonious variety of their colouring4 ,he uses enamel to a great extent1 and also quite small precious stones4 ,very uncommon1 too1 is the way in which he employs metal1 though only enough of it to hold the enamel in its place4 ,it would appear as if the artist had in his mind a vision of the women who are to wear his work1 who are too tender and frail to carry any weight1 so that the use of much metal in ornaments for them would be quite unsuitable4 ,for a ,salome or a ,queen of ,sheba that sort of thing is scarcely appropriate--but it is done for the softly nurtured ,mignonne of the present day4 ,the little coloured pins designed by ,f4 ,schoenthoner are also noticeable for their elegance and suitability for the purpose for which they are intended4 ,a word of unstinted praise must be accorded to the graceful designs of the talented ,frulein ,eugenie ,munk1 whose skill and good taste have been devoted to the production of a great deal of very beautiful and refined jewellery4 ,i have already spoken of the work in diamonds of ,roset and ,fischmeister1 and ,i should like to refer to those two master craftsmen again in connection with some of their figural ornaments1 such as buckles for belts1 rings1 studs for shirt fronts and cuffs1 etc41 worked in dull or bright gold1 all of which ,i consider worthy to be spoken of as ,viennese works of art4 ,the different masks on the studs1 each with its own individual expression1 really display quite remarkable talent in their designer1 for they are not only thoroughly artistic but most amusing studies in physiognomy4 ,unfortunately it is impossible to give in reproductions of such work any true idea of the subtle manner in which the blue-green colours of the enamels1 the gleaming white of the diamonds1 and the pearly opaline tints of the moonstones1 harmonize with each other and with the gold of their setting in the beautiful necklaces of ,messrs4 ,roset and ,fischmeister4 ,the watch-chains for men1 with their finely-modelled and characteristic ornaments1 manufactured by the firm of ,f4 ,hofstetter1 must also be mentioned on account of the skill with which the links are interwoven4 ,the pendant is designed from a sketch made by ,professor ,stephan ,schwartz4 ,two other designs from the same firm show very considerable skill4 ,very interesting is the way in which the materials are combined in the belt-buckles by ,franz ,hauptmann4 ,the water-lily buckle is of greenish gold1 and the enamel1 which is of the translucid variety1 is also of a green hue1 as are the onyx stones worked into the design4 ,the motive is the flower and seed of the water-lily1 and from the water1 represented in enamel1 rise up the delicate flowers in the same material of a snowy whiteness4 ,an examination of the sketches of designs for jewellery1 reproduced here1 cannot fail to bring one fact forcibly before the mind4 ,mechanical repetition is most carefully avoided1 and as a result every example retains its own unique charm--the mark of the artist's hand4 ,w4 ,,fred4 ,scarf ,pin ,v4 ,,sch,,nthoner ,scarf ,pin ,v4 ,,sch,,nthoner ,scarf ,pin ,v4 ,,sch,,nthoner ,silver ,brooch with ,enamel ,f4 ,,mesmer ,pendant in ,gold1 ,enamel and ,pearls ,,otto ,,prutscher ,silver ,brooch with ,enamel ,,josef ,,hofstetter ,scarf ,pin ,v4 ,,sch,,nthoner ,head of ,scarf ,pin ,v4 ,,sch,,nthoner ,head of ,scarf ,pin ,,otto ,,prutscher ,silver ,brooch with ,enamel ,f4 ,,mesmer ,gold ,brooch with ,enamel ,,otto ,,prutscher ,illustration ,illustration3 ,,plate #a4 ,illustration3 ,necklace of ,brilliants ,,roset ,,fischmeister ,,plate #b ,illustration3 ,jewellery ,,roset ,,fischmeister ,,plate #c ,illustration3 ,belt-,buckles in greenish ,gold1 enriched with ,onyx ,stones and ,enamel ,,franz ,,hauptmann ,,plate #d ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,figs4 ,c ,d ,a4 ,silver ,pendant and ,chain ,the ,chain by ,j4 ,,hofstetter ,the ,pendant by ,,prof4 ,,schwartz ,b4 ,a ,comb in ,silver and ,horn ,j4 ,,hofstetter ,c and ,d4 ,gold ,pendants set with ,precious ,stones ,,otto ,,prutscher ,,plate #e ,illustration3 ,jewellery ,,otto ,,prutscher ,,plate #f ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a4 ,belt and ,silver ,clasp ,,emil ,,gringold ,b and ,c4 ,silver-mounted ,combs ,,elsa ,,unger ,,plate #g ,illustration3 ,necklace ,e4 ,,holzinger ,,elsa ,,unger ,threefold ,clasp1 ,upper ,central ,clasp ,e4 ,,holzinger ,f4 ,,mesmer ,large ,twofold ,silver ,clasp ,,anna ,,wagner ,brooches and ,links ,e4 ,,holzinger1 ,e4 ,,unger ,a4 ,,wagner ,,plate #h ,,modern ,,german ,,jewellery4 ,,by ,,chr4 ,,ferdinand ,,morawe4 ,illustration ,my opportunities of surveying the ,german jewellery market1 and of making acquaintance with the ins and outs of the jewellers' business1 have been limited2 but it is certain that both are flourishing2 at least1 the ,german jewellers do not look as if they starved6 ,moreover1 the demand for precious ornaments seems to increase year by year1 and the display in the jewellers' windows grows more and more luxurious1 as is the case with most other businesses4 ,nobody will store superfluous and unmarketable goods1 least of all the jeweller1 who is always a business man4 ,you will be thoroughly aware of this fact if you start discussing art with him4 ,he is cautious and suspicious of anything in the shape of novelty4 ,he seems to say to himself3 ,this artist has ideas2 he wants to show something new2 but we cannot agree with these ideas1 for we do not know if we shall be able to do business4 ,this is a great pity1 for the trade in women's ornaments offers more artistic scope than almost any other4 ,it is not enough nowadays just to set some nicely polished stones neatly1 or to be so lavish of material that the ornament produced represents an immense value2 for the result will probably be something not at all artistic4 ,indeed1 this generally occurs4 ,the lot of the artist who designs women's ornaments is not a happy one1 and it is almost like a message from heaven when a jeweller tells him that he will really condescend to carry out an original design4 ,even then he must sometimes put up with the fact that his design1 which was intended for one person or purpose only1 is repeated1 like a manufactured article1 a hundred and a thousand times again4 ,happily there are some artists in ,germany1 as in ,england1 ,france1 and ,belgium1 who are above the fashion1 and whose artistic individuality is so strong that they are bound to succeed in other spheres of art as well as in that of women's jewellery4 ,two of the first to show activity in this direction were the ,berlin artists1 ,hirzel and ,mhring4 ,both chose for their ornaments the same manner and methods which ,eckmann and his fellow-workers had previously employed in decorative art2 they adhered as closely as possible to simple natural plant-forms1 especially ,hirzel4 ,thallmayr1 of ,munich1 is still working in the same style1 but with more individuality than ,hirzel4 ,thallmayr will certainly spend his life studying the leaves and blossoms of the trees and the flowers in his garden1 while the other will doubtless produce new results1 departing somewhat from the real forms of nature4 ,mhring's works already showed this tendency when he produced them nearly at the same time as ,hirzel his4 ,subsequently these artists were occupied less with women's ornaments than with other things coming within the category of decorative art1--this owing to lack of intelligence and enterprise on the part of the jewellers and manufacturers4 ,tables1 chairs1 and other necessary household articles found a much wider market4 ,but we are now dealing exclusively with women's ornaments4 ,two circumstances in this connection are very strange4 ,in the first place1 it seems that the artists of the present time 7,i speak of ,germany7 are not successful in designing finger-rings4 ,here and there one sees an attempt made to design characteristic shapes1 but the sphere of the ring is so confined that nobody has succeeded in producing anything really elegant and novel4 ,mostly one sees extravagant examples1 of confused design4 ,the second peculiar fact is1 that one very seldom finds an artist devoting himself to designing earrings4 ,the whole artistic movement in relation to women's ornaments is still somewhat puerile4 ,this may be recognised by the absence of the ear-ring1 that most superior ornament1 which1 unlike all others1 has an independent language of its own4 ,although in the list of female ornaments the clasp and the brooch occupy the foremost place1 the pendant for the breast should not be forgotten4 ,the mission of the pendant is to show by its fancy and its tastefulness how and in what degree the ,german is distinguished from the ,englishman and from the ,frenchman4 ,i will mention in this connection two artists living in ,germany who are not ,germans1 but by their manner of life and work might be such4 ,both these artists1 in their several ways1 will exercise great influence on the development of our ornaments4 ,i refer to ,van der ,velde and ,olbrich4 ,it is well known that the first is a ,belgian1 while the other is a foreigner1 inasmuch as he comes from ,austria4 ,olbrich's pendants and pins are very characteristic4 ,he takes a hammered gold-plate1 enriches it with precious stones and enamel1 and adds a rim set with long pearls4 ,it is easy to see that he is fond of rummaging among the treasures of the old cathedrals and convents2 he knows the secret of their effect1 and1 besides this1 he has an extraordinary talent for inventing new things himself4 ,his jewellery is the best we have now in ,germany1 because it is superior to fashions and periods4 ,his jewels are pure1 thoughtful works of art4 ,when worn1 they produce a most sumptuous effect2 but their richness has nothing tawdry about it4 ,these jewels show us how we ought to deck our wives1 both at home and at the theatre2 moreover1 they suggest things fit for the lady superiors of religious orders1 for abbesses1 even for our queens4 ,they show us too how our burgomasters' chains1 with their insignificant crosses and stars1 might be improved4 ,these ideas are perhaps at present as intangible as a beautiful dream1 but that is no reason why we should not indulge our fancy in this direction4 ,for the moment1 however1 we must be satisfied if the jeweller is inclined to carry out our designs4 ,looking further among our artists1 we find ,karl ,gross1 of ,dresden4 ,mr4 ,gross1 who formerly lived in ,munich1 delighted us while there with a good many beautiful designs for jewellery4 ,he produced not only female ornaments1 but also paper-cutters1 seals1 and so on4 ,he always displayed good taste and a fine sense of form1 having1 like ,olbrich1 the capacity to carry out his designs quite independently1 without consideration of his predecessors' effects4 ,a hair-pin of ,gross's may be regarded as quite an independent work1 although it relies on an old tradition4 ,those artists1 indeed1 show the most freedom who have adapted the beautiful examples of past generations4 ,examining our new jewellery1 we find very little work which has the appearance of having been done by a strong hand4 ,most of it in time becomes unbearably monotonous4 ,still1 it is something that we in ,germany have at least two artists who design in so fresh and characteristic a manner that their works are always looked at with the greatest interest4 ,i already have mentioned them--,olbrich and ,van der ,velde--and ,i fall back again upon them1 though ,i have already taken them in consideration4 ,we have other artists1 too1 who follow sound principles in other branches of decorative art4 ,one of the most individual of these is ,riemerschmid1 of ,munich4 ,others there are who are nearly on the right way1 but whose personal artistic sense is not broad enough to make them produce something really good4 ,this general mention is1 therefore1 all their work demands4 ,in addition to finger and earrings our jewellery artists are responsible for other objects1 such as the bracelet1 the watch1 and the fan4 ,i think it is very difficult to rescue the bracelet from conventionality4 ,we must hope the best for the future4 ,but what about watch-cases1 especially those of ladies' watches8 ,this art is quite neglected1 not so much by the manufacturers as by the artists4 ,at this year's ,darmstadt ,exhibition there were two watches displayed4 ,one of them had the case enamelled1 if ,i mistake not1 in the form of a chrysanthemum1 and on the other was modelled the figure of one of the ,fates4 ,the effect of the chrysanthemum watch was fairly good1 but the less said about the ,fate the better4 ,why is it not possible to design an ornament with taste and furnish it with precious stones and enamel8 ,it is the greatest pity that our sculptors have no imagination4 ,having arrived at the determination to think of a watch1 the artist has no idea beyond depicting one of the ,fates with the thread and the scissors4 ,i said just now that the watch was neglected less by the manufacturers than by the artists4 ,nowadays you may find watches indeed with gaily-coloured cases1 but the decorations are miserable1 like everything else that is invented by the manufacturers4 ,they don't want to pay a good price for the artist's sketch1 and they are proud of the inspiration of their own ,muse4 ,in this case one cannot avoid the conclusion that the artists are themselves to blame for their neglect of this branch of the jeweller's art4 ,,the condition of affairs with regard to the fan is also very astonishing4 ,why do our artists not supply our ladies with nice fans8 ,please do not confound nice with precious4 ,the fan as we know it now is so utterly played out that scarcely anything can be done with it4 ,new arrangements of the feathers are invented2 the handle is trimmed in different ways2 new materials are used1 but a really new and artistic idea cannot be devised4 ,titian's ,lady with the ,fan is admired2 the fan is known very well1 but nobody thinks of making use of it4 ,meanwhile another kind of fan is being more and more extensively employed4 ,i refer to the palm-leaf of the ,japanese and the ,chinese4 ,people are very fond of being fanned by these leaves1 but nobody observes their artistic possibilities4 ,an artist who can afford to be independent of mere fashion is therefore wanted to give new life to the fan4 ,such an artist will win lasting success4 ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,collar ,ornament in ,gold1 ,enamel1 ,onyx1 and ,brilliants ,b4 ,collar ,ornament in ,gold1 ,enamel1 and ,brilliants ,,robert ,,koch ,,plate #a ,illustration3 ,gold ,pendant1 set with ,lapis ,lazuli1 ,pearls1 and ,rubies ,designed by ,,joseph ,m4 ,,olbrich ,silver ,pendant1 set with ,bloodstones and a large ,pearl ,executed by ,d4 ,m4 ,,loewenthal ,,plate #b ,illustration3 ,pendant in ,gold1 ,silver1 ,enamel1 and ,pearl ,executed by ,,theodor ,,fahrner ,gold ,pendant set with ,amethysts and ,pearls ,executed by ,d4 ,m4 ,,loewenthal ,both designed by ,j4 ,m4 ,,olbrich ,,plate #c ,illustration3 ,gold ,brooches ,designed by ,,hermann ,r4 ,c4 ,,hirzel ,executed by ,,louis ,,werner ,,plate #d ,illustration3 ,gold ,brooches ,designed by ,,theodor ,,von ,,gosen ,executed by ,,vereinigte ,,werkstaetten1 ,,munich ,,plate #e ,illustration3 ,gold ,brooches ,designed by ,,bruno ,m,,hring ,executed by ,f4 ,h4 ,,werner ,,plate #f ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,a and ,c4 ,gold ,pendants set with a ,turquoise ,b4 ,gold ,pendant set with ,turquoises and ,moss-,agates ,,chr4 ,,ferdinand ,,morawe ,,plate #g ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,silver ,brooch set with ,turquoise and ,enamel ,executed by ,,theodor ,,fahrner ,b4 ,gold ,pendant set with ,pearls and ,sapphires ,executed by ,d4 ,m4 ,,loewenthal ,both designed by ,,joseph ,m4 ,,olbrich ,,plate #h ,,modern ,,belgian ,,jewellery ,,and ,,fans4 ,by ,f4 ,,khnopff4 ,illustration ,recent ,salons in ,belgium have been notoriously unsuccessful1 and it cannot be disputed that the public is becoming less and less interested in the large exhibitions of ,fine ,arts4 ,notable artists have been conspicuously absent2 new works have been as scarce as old ones have been abundant2 and1 lastly1 the general arrangements have been altogether lacking in attractiveness4 ,despite the violent opposition of interested persons1 official and otherwise1 the type of display started some time ago in ,brussels by the ,,xx club1 and continued by the ,libre ,esthtique and ,pour ,l',art societies1 has succeeded in attracting the attention of connoisseurs and art lovers generally1 with1 apparently1 every prospect of retaining it4 ,the combination of works of painting and sculpture with the most exquisite productions of ceramic art1 glass-ware1 and all that is most delicate in jewellery and goldsmith's work1 adds a special attraction to these exhibitions1 which are always looked for with the utmost interest4 ,it is1 indeed1 the jewellers1 who1 among all our ,belgian art workers1 have succeeded in making themselves and their productions the best known and most widely appreciated2 the more so as in their case one was able to compare their works closely and determine their relative merits4 ,it may truly be said that their most notable characteristic is diversity--a diversity which is shown1 not only by the amateurs1 so to speak1 but also among the professionals4 ,no remarks on ,belgian sculpture--particularly in its decorative sense--are complete without mention being made of ,charles ,van der ,stappen4 ,true1 he has executed but a small number of detached ornaments1 but in the arrangement of the hair in his exquisitely fanciful busts he has lavished a wealth of fine modelling1 the influence of which is still widely felt4 ,in the works of ,m4 ,paul ,dubois we discover the sculptor modelling the details of his buckles and clasps as he would so many powerful muscles4 ,m4 ,fernand ,dubois seems to be a chercheur of a more subtle kind2 but this very excess of ingenuity sometimes mars the plastic effect of his jewels4 ,from ,victor ,rousseau we have had so far nothing more than a gold bracelet4 ,the subject is quite simple--two hands holding a pearl2 but the work is in every way worthy of the young ,brussels artist1 whom ,i regard as one of the most remarkable personalities in the domain of contemporary ,belgian sculpture4 ,the decorator ,van de ,velde1 who has left ,brussels1 and is now settled in ,berlin1 exhibited at some of the ,libre ,esthtique salons a series of jewels remarkable for their firm and consistent construction4 ,the jewels displayed recently by ,m4 ,feys are distinguished by grace and felicitous appropriateness2 but even more striking is the perfection of their execution1 which is really extraordinary in its suggestion of suppleness4 ,other jewels displayed recently at the ,libre ,esthtique by ,m4 ,morren and ,mlle4 de ,bronckre also deserve notice4 ,in the course of a very interesting study on ,m4 ,ph4 ,wolfers1 ,m4 ,sander ,pirron1 the sagacious ,brussels critic1 thus described the work of this remarkable specialist in the ,revue des ,arts ,dcoratifs3-- ,m4 ,wolfers seeks his inspiration in the study of the nature and the forms of his marvellous domain1 and his vision of things is specially defined in his jewels4 ,the detail therein contributes largely to the spirit of the entire work1 which borrows its character from the decoration itself or from the subject of that decoration4 ,he never allows himself to stray into the regions of fancy2 at most1 he permits his imagination to approach the confines of ornamental abstraction4 ,nevertheless1 he interprets ,nature1 but is never dominated by it4 ,he has too true1 too exact a sense of the decorative principle to conform to the absolute reality of the things he admires and reproduces4 ,his art1 by virtue of this rule1 is thus a modified translation of real forms4 ,he has too much taste to introduce into the composition of one and the same jewel flowers or animals which have no parallel symbol or1 at least1 some family likeness or significance4 ,he will associate swans with water-lilies--the flowers which frame1 as it were1 the life of those grand poetic birds2 or he will put the owl or the bat with the poppy--that triple evocation of ,night and ,mystery2 or the heron with the eel--symbols of distant1 melancholy streams4 ,he rightly judges that in art one must endeavour to reconcile everything1 both the idea and the materials whereby one tries to make that idea live and speak4 ,inspired1 doubtless1 by the fact that the ancients chose black stones for the carving of the infernal or fatal deities1 ,m4 ,wolfers uses a dark amethyst for his owls1 which gives them a special significance4 ,the ,grecians used the aqua-marina exclusively for the engraving of their marine gods1 by reason of its similarity to the colour of the sea1 just as they never carved the features of ,bacchus in anything but amethyst--that stone whose essence suggests the purple flow of wine4 ,m4 van ,strydonck expresses himself to me in the following terms on the subject of his art3-- ,i am of opinion that the jewel can be produced without the aid of stones1 enamels1 etc4 ,i do not exclude them entirely1 but they should not be used unless it be to give the finishing touch1 or occasionally to relieve an ensemble lacking in vigour of colour4 ,my preference is for oxydations1 for in general effect they are more harmonious to the eye1 and by careful seeking one can find all the tones required4 ,i think you will share my opinion that it is much easier to use enamels1 by means of which one's object is instantly attained4 ,yet it is seldom one produces a beautiful symphony of colour4 ,enamel can only be employed in small quantities4 ,why8 ,because1 in the first place1 he who uses it must have a profound knowledge of colours and a special colourist's eye2 he must remember1 moreover1 that he is appealing to a clientle composed principally of ladies1 who in most cases regard the jewel simply as a means to complete such and such a toilette4 ,it seems to me1 indeed1 continues ,m4 van ,strydonck1 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 design2 and there is nothing to prevent its alliance with the beautiful oxydations which come almost naturally from gold4 ,note how1 little by little1 enamel is being abandoned in favour of stones1 such as onyx1 agate1 and malachite1 materials of no special value1 which can be cut in different ways1 and whose colour gives fine effects infinitely preferable to those of inferior enamels4 ,of course1 ,i do not despise the fine stone1 which1 by its bold colour1 often relieves the work1 but this is not altogether the object of the jewel1 unless profit be the sole object of the maker2 and ,i ought to add that the revival of the jewel in recent years has not been favourably regarded by certain firms1 who saw therein a distinct diminution of gain1 the fact being that their large stock of fine stones--beautiful in themselves1 but out of place in works such as ,i have mentioned--threatens to remain on their hands4 ,one cannot truly say that ,belgian eventaillistes exist1 for it is only very occasionally that such water-colour painters as ,,mm4 ,cassiers1 ,stacquet1 and ,uytterschaut carry out their delightful landscapes and seascapes in the shape required for a fan4 ,something has been done in lacework in connection with the fan1 and on this point ,i should mention in terms of praise ,m4 ,van ,cutsem1 a ,brussels designer1 who has made numerous models for ,m4 ,bart and ,m4 ,sacr1 amongst which may be noted several happy experiments in the direction of the modern style4 ,to conclude1 let me refer to the lace by ,mlle4 ,bienaim1 admirably mounted by ,m4 ,goosens1 of ,brussels4 7,belgian7 ,a ,,fan ,,painted ,,on ,,silk ,,by ,h4 ,,cassiers4 ,illustration ,illustration3 ,,plate #a ,illustration3 ,design for a ,necklet in ,silver and ,enamel ,l4 ,,van ,,strydonck ,,plate #b ,illustration3 ,pendant with ,chain4 ,the masque is an ,iris with red ,enamel for the hair4 ,the ,orchid's petals are in translucent ,enamel of opalescent tones ,,ph4 ,,wolfers ,,plate #c ,illustration3 ,pendant and ,chain set with ,brilliants and ,pearls4 ,the ,figure in ,gold1 the ,serpent in black and brown ,enamel ,,ph4 ,,wolfers ,,plate #d ,illustration3 ,necklet1 with ,ornaments of transparent ,enamel ,,ph4 ,,wolfers ,,plate #e ,illustration3 ,parure de ,corsage1 set with ,emeralds1 ,brilliants and transparent ,pearls ,,ph4 ,,wolfers ,,plate #f ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,waist-band ,buckle4 ,the ,serpent in green ,bronze1 the ,crab in ,silver-gilt ,b4 ,pendant4 ,the ,pheasants in green and yellow-brown ,enamel1 the centre ,stone a pale-green ,ceylon ,sapphire ,,ph4 ,,wolfers ,,plate #g ,illustration3 ,coiffure1 set with ,brilliants2 the petals in ,opal1 the ,serpent in ,gold touched with a slight patina ,,ph4 ,,wolfers ,,plate #h ,illustration3 ,,fig4 ,a ,,fig4 ,b ,,fig4 ,c ,,fig4 ,d ,a1 ,b1 and ,d4 ,silver ,belt-,clasps ,c4 ,silver ,buckles ,,paul ,,dubois ,,plate #i ,,modern ,,danish ,,jewellery4 ,,by ,,georg ,,brochner4 ,illustration ,emanating from ,england--and1 ,i am tempted to add1 with ,,the ,,studio for its pioneer--the new movement1 the rejuvenation1 the second ,renaissance1 or whatever one may be pleased to call it1 in matters of ,fine1 and more especially ,applied ,art1 is like a mighty wave making its way over many lands4 ,but1 as with the waves of the ocean1 its movements are often fitful and impulsive1 its progress irregular and spasmodic4 ,why this is so it is often futile to speculate upon1 and even where a plausible explanation is apparently near at hand1 it may on closer investigation prove more or less of a fallacy4 ,thus it may appear natural enough that a small country should be unable to vie with large and rich empires in the matter of jewellery1 for the making of such is likely to entail expenditure out of proportion to the buying capacity of smaller nations4 ,yet this argument really does not hold good1 for inasmuch as in modern jewellery it is more the design and conception1 more the intrinsic artistic value and the proper choice and handling of the material which are the main things 7and not the quantity of precious stones used71 the cost need by no means be excessive4 ,for day wear1 at least1 delightful jewellery is now made entirely from gold and silver1 and enamel1 and even bronze1 possessing decorative properties immeasurably beyond those of the far more costly articles produced up to only a few years ago4 ,be this as it may1 the fructifying effects of these new ideas have1 on the whole1 been somewhat slow in making themselves felt within the craft of the gold and the silver-smith1 or1 rather1 within that branch of it which embraces articles for personal adornment4 ,some countries have so far ignored them altogether2 in others they are only just beginning to take root4 ,in ,denmark1 for instance1 which in other fields of applied art holds such an honourably prominent position1 comparatively little attention has hitherto been given to jewellery by those distinguished artists who have for years brought their talent to bear upon other crafts4 ,but1 if ,i mistake not1 a change is beginning to manifest itself in this respect1 and ,i have very little doubt that the material for an article on modern ,danish jewellery will be vastly augmented within a span of but a few years1 although it is unfortunately a little scanty at the time of writing4 ,bindesbll1 whose characteristic style is so easily recognised1 has some good clasps and brooches to his credit4 ,they are distinguished by that unconventional boldness and freedom which one always hails with unmixed pleasure wherever one finds them1 whether it be on a book-cover1 on a sofa cushion1 on a metal vessel1 or in some architectural decoration4 ,it is only very rarely ,bindesbll deigns to employ a distinct figure or motif in his designs1 but1 in spite of a capriciousness in his lines--a capriciousness which at times borders upon recklessness--the effect is almost invariably harmonious and decorative4 ,of a totally different stamp is ,harald ,slott-,mller1 to whom is due the place of honour when dealing with modern ,danish jewellery4 ,his designs are carefully conceived and they almost invariably illustrate a fine poetic idea or allegory1 always happily chosen4 ,they are somewhat elaborate1 both in details and drawing1 and in the choice of material1 with regard to which he is rather extravagant than otherwise4 ,his jewellery is possessed of a distinguished decorative beauty1 and although he is entirely original1 both in his choice of motifs and in his way of dealing with them1 it might perhaps not be very difficult to trace certain ,english influences in his work4 ,he is himself a skilful craftsman1 whilst some of his designs have been executed at the famous establishment of ,mr4 ,michelsen1 ,danish ,court jeweller4 ,for one of ,mr4 ,michelsen's daughters1 ,slott-,mller designed the exceedingly beautiful brooch of which we give an illustration 7,plate #d74 ,it is made of silver1 which is strongly oxidised1 with blue1 white1 and green enamel4 ,the stars are set in diamonds1 and the pendants at the side are pearls4 ,the comb with the butterflies on the lyre is the property of another sister1 and is made of tortoise-shell and gold1 with enamel1 set with pearls1 diamonds1 and sapphires4 ,a second comb1 likewise made of tortoise-shell1 has for its decorative motif a mermaid1 gold1 enamel1 and coral being used with no mean skill4 ,in the necklace the myth of ,helen is represented4 ,the central portion is of dark oxidised silver1 with flames and sparks in gold1 the walls of burning ,troy and the grass are enamel1 and the figure of ,helen is carved in ivory4 ,on the side plates men fight and die1 illustrating the inscription1 in ,greek3 ,she brought devastation1 she gave fame4 ,slott-,mller has himself made the whole of this elaborate and charming necklace4 ,the hand-mirror is made in silver1 with an ivory handle1 in the likeness of a candle1 round the flame of which a number of luckless moths flutter2 the moths and the ooze from the candle are oxidised4 ,moyens ,bollin1 who has lately gone in for the making of artistic metal objects1 has also designed several pretty combs1 clasps1 etc41 made in silver or bronze4 ,in the former material is a clasp1 of which we give an illustration1 with flowers in blossom and bud1 admirably drawn so as to fill their allotted space4 ,another clasp1 a butterfly1 is in bronze4 ,erick ,magnussen is a very young artist1 who seems to give promise4 ,the #aija in the pendant mirror is very deftly drawn1 covering its space evenly and well1 as does also the design of the ,fish clasp illustrated4 ,the other1 with the mermaids1 shows that he can also successfully employ the female form for decorative purposes4 ,a silver clasp and brooch by ,niels ,dyrlund are distinguished by a quaint but well balanced intertwining of lines1 the effect produced being pleasing and decorative1 and ,einar ,nielsen1 the talented painter1 ,axel ,hou1 and ,georg ,jensen have also recently taken to the designing of clasps and such like objects4 ,illustration ,illustration3 ,necklace representing the story of ,helen of ,troy4 ,the central part in dark oxidised ,silver1 with flames and sparks in ,gold2 the walls of burning ,troy and the grass in ,enamel2 the figure of ,helen is carved in ,ivory ,,harald ,,slott-,m,,ller ,,plate #a ,illustration3 ,a4 ,belt-,mirror in chased ,silver ,,erick ,,magnussen ,b4 ,silver ,hand-,mirror with an ,ivory handle4 ,the moths are oxidised ,,harald ,,slott-,m,,ller ,,plate #b ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,butterfly ,comb in ,tortoiseshell and ,gold1 with ,enamel1 and set with ,pearls1 ,diamonds1 and ,sapphires ,b4 ,mermaid ,comb in ,tortoiseshell and ,gold1 with ,coral and ,enamel ,,harald ,,slott-,m,,ller ,,plate #c ,illustration3 ,enamelled ,brooches in oxidised ,silver ,,harald ,,slott-,m,,ller ,,plate #d ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,silver ,clasp ,b4 ,enamelled ,silver ,clasp ,,erick ,,magnussen ,,plate #e ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,twofold ,silver ,clasp ,,moyens ,,bollin ,b4 ,silver ,belt-,clasp ,,erick ,,magnussen ,,plate #f ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,butterfly ,clasp in ,bronze ,b4 ,silver ,clasp ,,moyens ,,bollin ,,plate #g ,illustration3 ,,fig4 ,a ,,fig4 ,b ,a4 ,silver ,clasp in three pieces ,,moyens ,,bollin ,b4 ,silver ,buckles and ,brooches ,,th4 ,,bindesb,,ll ,,plate #h 99 99 99 99 99 ---------------------------------------- ------------------ ,transcriber's notes3 ,p4#a4 'unbiassed' changed to 'unbiased'4 ,p4#d47;,french7 no devil-fish1 'no' changed to 'nor'4 ,p4#g4 'themelves' changed to 'themselves'4 ,plate #dc4 ',pendent' changed to ',pendant'4 ,corrected various punctuation4 '' around words mean bold as in ,french4 '' around words mean italic as in ,french4 ---------------------------------------- ------------------