,,the ,,pleasures ,,of ,,collecting ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,early ,american ,mahogany ,block-,front ,cabinet-,top1 ,rhode ,island ,style ,desk1 #agej-agge ,illustration3 ,,the ,,pleasures ,,of ,,collecting ,,by ,,gardner ,,teall ,being sundry delectable excursions in the realm of antiques and curios1 ,american1 ,european1 and ,oriental ,new ,york ,the ,century ,company #aibj ,copyright1 #aibj1 by ,,the ,,century ,,co4 ,,to ,,my ,,sister ,,frances ,,cotheal ,,teall ,,in ,,loving ,,memory ,,dear ,,reader ,your true collector does not apologize for his hobbies2 he exalts their virtues4 ,necessity may occasionally compel him to resort to the camouflage of mid-interest1 as when his family is not in sympathy with his pursuits2 or1 again1 as when fate has placed him in arid communion with unsympathetic associates1 individuals whose personalities have developed independently of their souls1 leaving them pronounced in the directions they invariably select2 directions1 in consequence1 invariably divergent from those paths which the true collector loves to tread4 ,while not secretive by nature1 and by the same nature eager to share his joys with his fellow-beings1 the true collector is endowed1 more often than not1 with a certain intuitive perception which enables him to appreciate the futility of hoping to convert the unequipped infidel to the solaces of his own faith in the delights of the lares and penates of another generation1 an intuition which warns him to protect his peace of mind by harmlessly appearing to accept with good grace the commonplacenesses undoubtedly enjoyed by the many1 but with no culpable renunciation of his own lively interest in the quaint and curious mementos of the world of yesterdays1 a world into which our own to-days slip1 one by one1 silently1 but as surely followed by our to-morrows4 ,was it not ,charles ,lamb who exclaimed3 8,antiquity6 thou wondrous charm1 what art thou8 that1 being nothing1 art everything8 ,when thou wert1 thou wert not antiquity1--then thou wert nothing1 but hadst a remoter antiquity1 as thou calledst it to look back to with blind veneration2 thou thyself being to thyself flat1 jejune1 modern6 ,what mystery lurks in this retroversion8 or what half ,januses are we1 that cannot look forward with the same idolatry with which we forever revert6 ,the mighty future is as nothing1 being everything6 ,the past is everything1 being nothing60 ,your true collector may often maintain reticence in order that he may enjoy a normal place in the community1 undisturbed by the merely idle curious1 the undeft rummaging of the clumsy1 the curt depreciation of the supercilious1 the gushing of the undiscriminating susceptible1 or the skepticism of those who measure the sanity of their fellows by the canons of their own irrevocable and undeviating limitations1 those to whom no music but the echoes of caverns can appeal4 ,such are beyond the pale of any errand in missionary spirit4 ,the true collector is born1 not made4 ,yet one cannot discover the mirror without knowledge of the reflection4 ,the contentment to be found in the acquisition and in the contemplation of the things that are dear to the heart of the antiquarian and the art-lover is a contentment that is the gift of the gods1 always awarded the intelligent1 though not always disclosed to them4 ,a friend1 then1 will be he who discovers to one a treasure like that which the joy of collecting uncovers4 ,what we read and what we see pictured for us is precious1 indeed1 if it holds up to us the image of that which we immediately know to be congenial to our natural tastes4 ,and so it is that this little book is not devised for savages1 but tenderly has been nurtured in sympathy with the interesting and the beautiful things of yesterday4 ,may it find friends among those who love them as well as among those who love the things of to-day which have prospered in their heritage from the days of long ago6 ,the author wishes to express his grateful acknowledgments to those who have made possible the preparation of this volume--to ,messrs4 ,cond ,nast ,company1 ,inc41 publishers of 8,house ,garden10 ,messrs4 ,munn ,company1 ,inc41 formerly publishers of 8,american ,homes and ,gardens10 the publishers of 8,the ,cosmopolitan10 the publishers of 8,the ,house ,beautiful10 and the publishers of 8,the ,sun10 ,new ,york1 for permission to include in this volume portions of the material contributed by him to those periodicals2 to ,dr4 ,george ,frederick ,kunz1 ,mr4 ,richardson ,wright1 ,mr4 ,charles ,allen ,munn1 ,mr4 ,robert ,h4 ,van ,court1 ,mrs4 ,elizabeth ,c4 ,lounsbery1 ,dr4 ,frank ,w4 ,gunsaulus1 ,mr4 ,robert ,lemmon1 ,mr4 ,h4 ,e4 ,bauer1 ,miss ,mary ,h4 ,northend1 ,mr4 ,andr ,m4 ,rueff1 ,mr4 ,t4 ,c4 ,turner1 ,mr4 ,william ,a4 ,cooper1 ,mr4 ,william ,francis ,phillips1 ,miss ,elizabeth ,robinson1 ,mr4 ,william ,c4 ,clifford1 ,mr4 ,g4 ,h4 ,buek1 ,mr4 ,frederick ,h4 ,howell1 the ,metropolitan ,museum of ,art1 whose photographs have been drawn upon for illustration1 the ,brooklyn ,museum1 the ,art ,institute of ,chicago1 the ,victoria and ,albert ,museum1 ,london1 and the ,new ,york ,public ,library1 and to those authors whose works are noted in the ,bibliography4 ,,gardner ,,teall ,,new ,,york ,june #d1 #aibj ,,contents ,,chapter ,,page ,i ,,the ,,pleasures ,,of ,,collecting #c ,,ii ,,collectors ,,of ,,yesterday #i ,,iii ,,american ,,tables #ah ,,iv ,,tea ,,and ,,antiquity #bf ,v ,,cup-,,plates #cf ,,vi ,,chintz #db ,,vii ,,pewter #ea ,,viii ,,samplers #fa ,,ix ,,wax ,,portraits #fh ,x ,,hand-,,woven ,,coverlets #gd ,,xi ,,chairs #gg ,,xii ,,english ,,drinking-,,glasses #hd ,,xiii ,,stuart ,,embroideries #id ,,xiv ,,delft #ih ,,xv ,,early ,,desk ,,furniture #ajf ,,xvi ,,chelsea #aae ,,xvii ,,wedgwood #abe ,,xviii ,,saving ,,the ,,pieces #acj ,,xix ,,lounging ,,furniture #acd ,,xx ,,sheffield ,,plate #adf ,,xxi ,,straw ,,marqueterie #aec ,,xxii ,,consoles #afd ,,xxiii ,s,,vres ,,porcelain #agj ,,xxiv ,,european ,,enamels #agh ,,xxv ,,the ,,romance ,,of ,a ,,potter3 ,,bernard ,,palissy #aia ,,xxvi ,,italian ,,maiolica #baj ,,xxvii ,,glass ,,of ,a ,,thousand ,,flowers #bah ,,xxviii ,,antiques ,,of ,,persia ,,and ,,of ,,india #bbg ,,xxix ,,chinese ,,porcelains #bch ,,xxx ,,chinese ,,and ,,japanese ,,lacquer #bdf ,,xxxi ,,chinese ,,snuff-,,bottles #bec ,,xxxii ,,cloisonn ,,enamels ,,of ,,china ,,and ,,japan #bfb ,,xxxiii ,,japanese ,,sword-,,guards #bgj ,,xxxiv ,,medallic ,,art #bgh ,,xxxv ,,engraved ,,gems #bhf ,,xxxvi ,,fraudulent ,,art ,,objects #bii ,,bibliography #cje ,,index #cai ,,list ,,of ,,illustrations ,early ,american mahogany block-front cabinet-top ,rhode ,island style desk1 #agej-agge ,frontispiece ,,facing ,,page ,american walnut gate-leg table1 #afge-agjj #bd ,american pine and walnut chair-table1 #agjj #bd ,american cherry and maple gate-leg table1 #afge-agjj #bd ,late #ahth century ,english tea caddy #be ,late #ahth century ,english tea caddies #be ,ivory and two tortoiseshell #ahth century tea caddies #be ,cup-plates #dj ,early printed cotton #da ,chinese pewter jar with bronze cover--early #ahth century #fj ,a ,swiss pewter wine-flask1 ,zurich1 dated #agff #fj ,american #ahth century sampler #fa ,a dated ,english or ,welsh sampler1 #aghg #fa ,wax-portrait of ,ferdinand ,i of ,sicily1 ,italian1 late #ahth century #gf ,wax-portrait1 subject unknown1 ,italian1 early #ahth century #gf ,model of an ,american peg-loom bearing the name of ,w4 ,d4 ,fales of ,providence1 ,rhode ,island #gg ,handwoven coverlet in bed-chamber of the ,john ,howard ,payne ,house #gg ,chippendale mahogany arm-chair1 #agfj-aghj #hj ,shield back ,hepplewhite arm-chair #hj ,louis ,,xiv arm-chair #hj ,louis ,,xv arm-chair #hj ,three rare ,williamite glasses #ha ,two ,english glass rummers engraved with ,nelson subjects #ha ,a small ,jacobite ,arms rummer #ha ,tumbler commemorating coronation of ,george ,,iv of ,england #ha ,two #ahth century tumblers #ha ,english #agth century stump-work embroidery #if ,dutch delft shelf ornaments #ig ,four ,dutch delft tiles1 #agth century #ig ,a pair of candlesticks and a vase of #ahth century ,chelsea #abj ,cabinet inset with ,wedgwood jasper ware medallions #aba #afth century ,venetian glass covered cup #acf ,double chair-back settee1 ,chippendale1 #agce-agej #acg ,settee1 ,adam style #acg ,sofa of the ,william and ,mary period #acg ,sheffield plate tray and spoonholder #aeb ,sheffield plate teapot and coffee-pot #aeb ,straw marqueterie box1 ,french1 #ahth century #aec ,straw marqueterie box1 ,english1 #agth century #aec ,french console1 ,louis ,,xiv period #afh ,french console1 ,louis ,,xv period #afh ,svres white bisque statuette of ,voltaire #afi ,svres white bisque bust of ,franklin #afi ,a pair of ,svres porcelain covered vases #afi ,oval dish by ,bernard ,palissy1 #aeaj-aehi #ahh ,lumires by ,bernard ,palissy #ahh ,limoges enamel covered cup attributed to ,pierre ,raymond #ahi ,champlev enamel casket1 ,french1 #acth century #ahi ,early ,italian maiolica plates #baf ,copies of ,roman millefiori glass #bag ,two ancient ,roman millefiori glass bowls #bag ,ewer and basin1 ,bindri ware1 ,india1 #ahth century #bcf ,polychrome ,persian tiles1 #agth century #bcf ,chinese porcelain1 ,kang ,h'si period1 #affb-agbc #bcg ,chinese lacquer vase1 #ahth century #beb ,japanese gold lacquer toilet stand1 #agth century #beb ,chinese snuff bottles of the ,ch'ien ,lung period1 #agcf-agif #bec ,chinese cloisonn ,palace ,censer1 ,chia ,ching period1 #aebb-aefg #bfh ,japanese armour of the feudal period showing swords with their sword-guards 7tsuba7 #bfi ,,the ,,pleasures ,,of ,,collecting ,,the ,,pleasures ,,of ,,collecting ,,chapter ,i ,,the ,,pleasures ,,of ,,collecting ,blessed is the man who has a hobby6 declared ,lord ,brougham2 and of all the hobbies it is doubtful if any are more blessed than those of the collector of antiques and curios1 old prints1 coins and medals1 rare books and bindings1 and the like4 8,god never did make a more calm1 quiet1 innocent recreation10 good old ,isaac ,walton said of angling4 ,but that is true1 too1 of collecting1 which1 figuratively speaking1 is in itself a species of the art of angling1 of dipping into the quiet pools of unfrequented places1 there to angle for quaint curios and interesting mementos of bygone days1 conscious that though the bait may be small1 the catch may be large--besides1 there is the fun of fishing6 ,in 8,le ,jardin d',epicure10 ,anatole ,france has written3 8,people laugh at collectors1 who perhaps do lay themselves open to raillery1 but that is also the case with all of us when in love with anything at all4 ,we ought rather to envy collectors1 for they brighten their days with a long and peaceable joy4 ,perhaps what they do a little resembles the task of the children who spade up heaps of sand at the edge of the sea1 laboring in vain1 for all they have built will soon be overthrown1 and that1 no doubt1 is true of collections of books and pictures also4 ,but we need not blame the collectors for it2 the fault lies in the vicissitudes of existence and the brevity of life4 ,the sea carries off the heaps of sand1 and auctioneers disperse the collections2 and yet there are no better pleasures than the building of heaps of sand at ten years old1 of collections at sixty4 ,nothing of all we erect will remain1 in the end2 and a love for collecting is no more vain and useless than other passions are40 ,anatole ,france might well have added ,sir ,james ,yoxall's observation1 that 8good for health of mind and body it is to walk and wander in by-ways of town and country1 searching out things beautiful and old and rare with which to adorn one's home40 ,indeed1 collecting has aspects other than the one of discovery1 of acquisition1 of entertainment1 or of furnishing a pastime3 it has its utilitarian one as well4 ,there is an undeniable and oftentimes indefinable charm about a home in which well-chosen antiques and curios form part of the decorative scheme and become part of its furnishing and adornment4 ,many collectors have become such through an increasing interest in old furniture1 rare china1 early silver1 and other classes of antiques and curios1 inspired in the beginning by the acquisition of some object of the sort1 personal contact with which has served as an example of the pleasure which collecting holds in store for one4 ,the true collector is not merely 8a gatherer of things10 indifferent to the guidance of a discriminating taste4 ,rather1 when he finds an object at hand1 he considers it from many points of view--its historical value1 its significance in the development of the arts1 its anecdotal interest1 its worth as a work of art1 and its workmanship4 ,the intuitive sense will carry the amateur a long way1 but connoisseurship will depend upon knowledge4 ,those persons who are absolutely indifferent to the whys and wherefores of things1 uninterested in any effort to discover the 8story0 of an object1 bored by its history or unappreciative of its beauty1 are hardly likely to become collectors1 though accident and the chances of fortune may throw interesting things into their possession4 ,neither are they likely ever to become as ,thackeray1 who1 in 8,roundabout ,papers10 said of a certain antique and curio shop3 8,i never can pass without delaying at the windows--indeed1 if ,i were going to be hung1 ,i would beg the cart to stop1 and let me have one look more at the delightful omnium gatherum40 ,now1 it often happens that we find a collector-in-embryo--one who has a desire to start a collection1 but fancies it an undertaking requiring very special qualifications--asking3 8,how could ,i hope to become a collector when ,i know so little about the subject ,i think ,i should be interested in8 ,then ,i fear good things cost too much1 and that real bargains have long ago vanished from the mart40 ,to such a one the reply can truthfully be made that it is by no means difficult for the beginner to acquire definite and valuable knowledge on any subject in the collector's field that may chance to interest him4 ,the way one learns to collect 7and that means the way one learns about the things worth collecting7 is by collecting4 ,contact with the objects themselves is necessary to connoisseurship1 just as it is one of its pleasures4 ,the collector learns more about ,oriental porcelains1 old ,english china1 ,dresden figurines1 ,french enamels1 ,russian brass1 ,italian laces1 or ,bohemian glass by having a few representative pieces of them at hand for study than he could learn1 so far as helpful knowledge fitting him to judge is concerned1 from volumes on the subject4 ,while this contact with actual objects is necessary in developing a connoisseurship 7one may have it visually in museums or have access to private collections2 the shops1 too1 will teach one much71 all the accessible writings on the subject should be consulted1 as comparative study increases the interest and confirms or corrects one's personal deductions and opinions4 ,supremely fine examples of old furniture1 china1 silverware1 bronzes1 miniatures1 and the like1 have not often been 8picked up for a song40 ,the collector must remember that the pastime of collecting is not one of recent development4 ,indeed1 the ancients were collectors of the rare1 curious1 and beautiful4 ,the ,medici were renowned for gathering in their places objets de virtu1 and few collectors of note of to-day could outvie the enthusiasm of ,horace ,walpole1 who turned ,strawberry ,hill into a veritable museum4 ,all this goes to show how keenly sought for have been all art objects of unusual importance4 ,naturally1 when rare occasion brings them to the mart they command high prices4 ,however1 it is not for one to despair because he cannot collect museum pieces1 to cry for those things which have little to do with the pleasure of collecting beyond the interest their contemplation affords4 ,that the by-paths which the collector may tread are literally bristling with bargains is true4 ,certainly the small collector need not become discouraged4 ,for instance1 the author continually finds within the boundaries of ,new ,york city alone numerous objects that any collector of limited means could acquire with rejoicing heart4 ,one day it is a yellow ,wedgwood mustard-pot for two dollars1 another day a genuine ,paduan medal for fifty cents2 then a ,persian lacquer mirror-frame for a dollar1 and a ,japanese sword-guard by ,umetada1 signed1 for half as much6 ,it adds to the interest of collecting that while the collector soon learns where to look for things1 he constantly meets with them also where they are least expected1 and the country holds as many treasures hidden away for the keen collector as does the metropolitan stronghold4 ,,chapter ,,ii ,,collectors ,,of ,,yesterday ,this is an age in which ,achilles gives way to ,douglas ,fairbanks1 ,helen of ,troy to ,mary ,pickford4 ,at least ,homer in the original is unpopular and to confess to a liking for ,virgil in the ,latin is to be frowned upon by those who have persuaded certain of our universities to turn their backs on the very cultural presences that have given structure to civilization4 ,as for myself1 ,i shall continue to be old-fashioned4 ,only this morning ,i have been dipping into good old ,pliny's 8,letters40 ,now more than ever ,i am convinced that those who cried most loudly against the classics were those who knew nothing about them4 ,where1 ,i ask1 in all literature will there be found more things of human interest than in the writings of those old masters of antiquity8 ,it is ,francesco ,petrarca's chief title to fame that he was an inveterate collector of classical writings1 that he devoted himself with an unending enthusiasm to the recovery of the literature of the ,ancients4 ,and yet he knew naught of ,greek1 little enough of ,latin from the point of view of scholarly attainment in the language4 ,what he did realize1 did sense1 was the value to intellectual development of these bygone literary ,titans1 and at ,padua he warred against the medievalism which was1 after all1 nothing more than a warring against the complacency of his own times1 just as the attitude of those of to-day who fight against such of the finer things of life as are to be reached only through contact with the original writings of ,homer1 ,euripides1 ,aristophanes1 ,sophocles1 ,horace1 ,virgil1 ,cicero1 ,csar1 ,ovid1 ,plato1 ,pliny1 and the rest is1 in effect1 smugly complacent in its acceptance of cultural things as they stand4 ,renan called ,petrarch the first modern man2 if only we could be as modern6 ,and what a debt the world owes to his collecting proclivities1 an instinct connected with an intelligence6 ,of course1 there were hundreds1 one may venture to say thousands1 of collectors who were his contemporaries2 for the love of beautiful and of interesting things is seldom separated in the normal person from the desire to own them1 a desire that has produced more history and more romance than one would dream of4 ,there are those who dissolve pearls in wine1 those who treasure them in necklaces2 these two sorts are in the world4 ,to ,petrarch each scrap of writing was as precious as a pearl to be added to a necklace to adorn the fair throat of ,learning1 and his accomplishment1 his devotion to this hobby1 marks him as the very ,prince of ,collectors of ,yesterday4 ,i suppose there have been collectors ever since things were discovered to be collectable4 ,every object of human creation seems eventually to fall within the collecting class1 ,father ,time saying when4 ,c4 ,plini ,caecilii ,secundi ,epistularum sounds somewhat formidable to the ears of a foe to the classics1 but it lately yielded this morsel from the eighth letter of ,book ,,viii1 a letter from ,pliny to his good friend ,rufinus3 ,you have now all the town gossip2 nothing but talk about ,tullus4 ,we look forward to the ,auction ,sale of his effects4 ,he was so great a collector that the very day he purchased a vast garden1 he was able to adorn it completely with antique statues drawn from his stores of art treasures4 ,ancient ,domitius ,tullus6 would that we knew how your sale came out6 ,did you turn in your tomb that some ,eros from ,praxiteles's own hand1 some ,amor chiseled by great ,phidias himself1 fetched but a hundredth of its value8 ,or did you rush off to ,dis and to ,proserpina with the gleeful tale of how friend ,pliny1 who thought to get something for nothing1 was forced up to a prince's ransom by ,lucanus in the matter of that little sardonyx gem1 engraved by ,pyrgoteles1 finer1 the auctioneer declared1 than the ,perseus by ,dioskourides8 ,how human it is to wish to know6 ,those old ,romans were great collectors4 ,even when the creative spirit had degenerated they were appreciators of the fine things which the ,greeks had produced4 ,petronius1 that arbiter elegantiarum of ,nero's court1 amassed thousands of remarkable art treasures that even the emperor longed to possess4 ,incurring ,nero's displeasure1 and dying under the ,emperor's orders1 he disdained to imitate the servility of those who1 under like penalty1 made ,nero heir to their possessions and1 as ,suetonius tells us1 filled their wills with encomiums of the tyrant and his favorites4 ,petronius broke to bits a precious goblet out of which he commonly drank1 that ,nero1 who had coveted it1 might not have the pleasure of using it4 ,incendiary1 violinistic ,nero1 ,nero who on shaving off his beard for the first time put it in a golden box studded with precious gems6 ,what would not collectors of a lock of hair of this great one1 and of that1 give to discover the beard of ,nero6 ,i dare say1 in no time was human nature more perfectly understood than in ,roman days4 ,even ,augustus ,csar was wont to amuse himself by a device explained by gossipy ,suetonius as follows3 8,he used to sell by lot amongst his guests articles of very unequal value1 and pictures with their fronts reversed2 and so1 by the unknown quality of the lot1 disappoint or gratify the expectation of the purchasers4 ,this sort of traffic went round the whole company1 every one being obliged to buy something1 and to run the chance of loss or gain with the rest40 ,how many of us who have frequented the art sales in ,american cities1 from the old ,clinton ,hall auction days to the present1 would have imagined that ,pliny took such things as seriously1 ,augustus ,csar such things in jest8 ,how old the new world is1 how new the old6 ,from the time of the ancient ,athenian vase shops1 and even from long before that1 to our own day1 when we may browse in the realms of antiquarians at home1 the bazaars of the ,far ,east and the quaint inglenooks of ,europe when we are traveling1 collecting has been a passion with the many as well as a mania of the few4 ,but we1 ourselves1 are more prone to collect the things of yesterday than were the collectors of yesterday to collect the things of the centuries before their time4 ,lorenzo de' ,medici1 ,lorenzo the ,magnificent1 found time when steering through the perilous channels of endless family feuds to immortalize himself as a collector4 ,to the efforts of ,cosimo1 his grandfather1 are due those priceless classical and ,oriental manuscripts which formed the nucleus of the ,laurentian ,library in ,florence4 ,the grandson was worthy of his forebear4 ,through ,joannes ,lascaris he procured from the monastery of ,mount ,athos two hundred manuscripts of greatest importance for the ,laurentian1 an incomparable collection1 which1 together with other works of art1 disappeared at the sacking of ,florence during the rule of ,lorenzo's wretchedly incompetent son1 ,piero4 ,lorenzo1 notwithstanding his love for ancient works of art1 was a ready patron of the art of his time4 ,lorenzo's daughter1 ,catherine de' ,medici1 had all the ,medici love for art1 and she1 too1 patronized living artists lavishly1 as her husband's father1 ,francis ,i1 had done in ,france before her4 ,she it was who took such constructively active thought for the planning of the ,tuileries1 and her interest in books1 manuscripts1 and other things led to enriching the collections of the ,bibliothque ,nationale4 ,what a remarkable list of collectors ,france can write in her ,golden ,book of ,art-,lovers--,jean ,grolier1 ,de ,thou1 ,pierre ,jean ,mariette1 ,cardinal ,mazarin1 ,comte de ,caylus--to name but a few of literally thousands6 ,nor must we forget ,madame de ,pompadour1 whose library and marvelous collection of works of art were sold after her death4 ,there is no question that ,madame de ,pompadour took a constructive interest in art and literature1 an interest which led ,voltaire to assert that without her patronage the culture of her time would have found itself in sorry plight under the rule of a king whose thoughts had little or nothing to do with the finer things of life1 that king who stood at the palace window looking forth as the cortge of the ,pompadour passed by in a drizzling rain and remarked3 8,it is a wet day for the ,marquise60 ,charles ,i of ,england was a king whose art-collecting proclivities produced rich spoils indeed for the ,cromwellians4 ,in the quaintly worded old catalogue recording his possessions we find noted among other things1 8,item1 a landscape piece of trees1 and some moorish water1 wherein are two ducks a swimming1 and some troup of water flowers1 being done in a new way1 whereof they do make ,turkey carpets1 which was presented to the ,king by the ,french ,ambassador1 in an all over gilded frame #a ft4 #aj x #b ft41 #e wide40 ,some of ,king ,charles's treasures in the century following passed into the hands of ,horace ,walpole1 who housed them in his villa at ,strawberry ,hill1 that 8,gothic castle0 which revived the ,english eighteenth-century taste for ,gothic design4 ,austin ,dobson's 8,horace ,walpole0 says of the master of ,strawberry ,hill3 ,as a virtuoso and amateur1 his position is a mixed one4 ,he was certainly widely different from that typical art connoisseur of his day1--the butt of ,goldsmith and of ,reynolds1--who traveled the ,grand ,tour to litter a gallery at home with broken-nose busts and the rubbish of the ,roman picture factories4 ,as the preface to the des ,walpolian showed1 he really knew something about painting2 in fact1 was a capable draughtsman himself2 and besides1 through ,mann and others1 had enjoyed exceptional opportunities for procuring genuine antiques4 ,but his collection was not so rich in this way as might have been anticipated1 and his portraits1 his china1 and his miniatures were probably his best possessions4 ,we must not judge ,walpole's virtuosity by all that accumulated in his house--,wolsey's hat1 ,van ,tromp's pipe-case1 ,king ,william's spurs1 and1 ,i dare say1 some chips of stone from the ,parthenon and a vial of water from the ,jordan6 ,but let it be remembered that these things were gifts to ,walpole1 and as such were necessarily within reach1 just as the cut-glass wedding-present pickle-dishes of our own time must be given shelter against the sudden appearance of their donors4 ,perhaps there is merit in the discipline of such tender-heartedness4 ,well1 gone is ,master ,horatio1 gone the wits and beaux and belles of his day1 but he remains in our thoughts as the ,georgian master of ,chelsea china pseudo-shepherds and shepherdesses1 the most elegant of collectors1 the most brilliant of subjects in the sovereign realm of precious bric--brac4 ,we are glad that he lent his presence to our ranks4 ,so1 you see1 collecting is not merely a fad of recent generations4 ,in that which has gone before there is ever a peculiar fascination4 ,the field is unbounded1 its possibilities limitless2 things which to us of to-day are commonplace1 by reason of their niches in our every-day life1 will be treasures to posterity a hundred years hence4 ,thus will the love of collecting go on from generation to generation1 with new converts always ahead4 ,,chapter ,,iii ,,american ,,tables ,among collectors in ,america there is an ever-increasing interest in 8things ,american40 ,one of the most attractive fields in which one's hobby may browse is that of old furniture4 ,nearly every one appreciates the early furniture of good design and cares to know something of its history4 ,america1 both in colonial times and in the period following the ,declaration of ,independence1 produced pieces of many sorts4 ,some of it was excellent1 most of it was good1 and a little of it was wholly of an indifferent quality4 ,as table-makers the early ,american craftsmen exhibited much skill1 and such examples of their work as are to be met with cannot fail to attract the attention of the alert collector who1 having a house of his own1 knows that by some mysterious providence1 no matter how small that house may be1 there will always seem to be room in it and need in it for 8just one more table10 if the table is a 8find0 and of interest as an ,american antique of genuine authenticity4 ,with tables1 as well as with other pieces of furniture1 the early ,american craftsmen who produced the finer examples did not allow themselves any decided departure from ,european models that were sufficiently numerous with the ,american furniture-makers by the close of the eighteenth century and at the beginning of the nineteenth4 ,naturally1 much furniture from ,england came into the colonies throughout the period of settlement and development1 followed by many pieces of ,french design and manufacture4 ,if we turn now to ,english reflections in ,american work we shall find comparisons of decided interest4 ,there is often little or nothing to distinguish early ,american pieces from their ,english prototypes4 ,however1 there was no 8slacking10 in quality of material1 workmanship1 of finish in ,american furniture4 ,the colonial cabinet-makers were thorough and conscientious1 although not always 8artistic10 perhaps4 ,certainly these craftsmen had at their command the finest woods--maple1 pine1 walnut1 birch1 chestnut1 and the ships brought in quantities of mahogany4 ,extant examples of this early craftsmanship show at once the intrinsic merit of stanch construction and virile line that makes them so much sought by collectors4 ,their sincerity of design1 while not always accompanied by the refinements of striking grace1 compels our attention and respect4 ,previous to #aggf we must expect ,american native furniture to run parallel in style 7with natural lagging tendencies1 of course7 to the ,english periods with which they were contemporary4 ,in earliest colonial times1 times when voyages were few and far between1 large shipments of furniture were not to be considered4 ,as the wealth of the individual colonists increased1 luxuries came to hold a place in trade which they could not have held at an earlier day in the ,new ,world4 ,with the advent1 too1 of colonial officials1 fat of purse1 sent over by the mother country1 came articles to enhance as well as to continue their comfort4 ,one could be more contented with an easy-chair than without1 and little by little the rude bench furniture of the ,pilgrims was locally developed 7reverting to ,english patterns7 into a more attractive and acceptable sort of furniture1 or was augmented by importations4 ,at the same time this increased demand for cabinet-making invited ,english craftsmen to seek their fortunes in the ,new ,world1 and before long a very respectable home industry1 both in the ,north and in the ,south1 was making its influence felt4 ,fortunately ,new ,england thrift 7or perhaps it was conservatism7 has preserved to us many pieces of this early ,american furniture1 some of it dating back to the time of ,king ,james ,,ii4 ,these ,new ,england ,jacobean pieces follow simple lines in general1 with here and there a piece of ornate type4 ,in the reign of ,william and ,mary and that of ,anne a rapidly increasing number of ,english craftsmen migrated to the ,american ,colonies1 where they helped to perpetuate the styles of this period4 ,it is not at all uncommon to meet with very fine examples of the ,queen ,anne period which were contemporaneously produced by ,american craftsmen2 in fact1 some of the ,new ,england cabinet-makers became so proficient that the products of their shops rivaled the output of ,british makers both in staunchness of construction and accuracy of contour4 ,the well-proportioned cabriole legs of many pieces of this description extant--the generic term for furniture with a 8knee10 derived from the ,french cabriole 7goat-leap7--are as well designed as any of the examples then being produced in the mother country by the skilled ,english cabinet-makers4 ,naturally1 the local colonial production of ,chippendale1 ,adam1 ,hepplewhite1 and ,sheraton styles was supported by the affluence to which the colonies attained4 ,during the troubles of the ,revolution the importation of mahogany by the colonies was diverted by ,great ,britain4 ,substitutes1 for the time--and this began to mark a decline1 with fluctuations in the materials used--had to be found1 such as that of the sweetgum tree1 ,liquidambar ,styraciflua1 which in appearance and general character is very similar to mahogany1 its distinguishing features being a slightly lighter color and grain4 ,the ,dutch influence seems less to have entered the traditions of ,american furniture than that of ,england or of ,france4 ,a fair amount of furniture was imported by the ,dutch of ,new ,amsterdam from ,holland1 and numerous authentic pieces of this ,dutch furniture have come down to us2 such1 for instance1 as the gate-leg table which is preserved in the ,manor ,house at ,croton-on-,hudson4 ,but local cabinet-makers soon came to blend features of the ,english styles with those of the ,dutch designers and finally purely ,english styles superseded the others4 ,still another local division of colonial furniture was that introduced by those settlers known as the ,pennsylvania ,dutch4 ,this type of 8,dutch0 must not be confounded with the ,dutch of ,new ,amsterdam4 ,coming to ,pennsylvania1 these immigrants brought with them their gaily painted peasant furniture1 and in the early days of the colony they produced much of that sort for their own use4 ,hence their furniture cannot be said to have been a product designed for the market4 ,examples of it did not stray far from the locality of their production1 save in those instances where the settlers emigrated to other parts of the country4 ,even then it appears to have exerted little or no influence outside ,pennsylvania territory4 ,stiff1 conventional flowers and fruits1 birds1 and decorative bands characterize the decorations4 ,pieces of this sort are still to be found in central and southeastern ,pennsylvania1 although the majority of such decorated wood antiques extant consist of bridal chests and small boxes4 ,in the ,north much of the early furniture1 especially tables1 was made of maple1 pine and birch4 ,walnut1 of course1 was a great favorite1 particularly with the earlier cabinet-makers of ,pennsylvania1 where superb slabs of beautiful black walnut were milled from the wonderful old trees1 that so soon disappeared through this demand4 ,we must not be surprised to find so little early furniture of the ,south1 for1 despite the wealth and culture of ,virginia1 the ,carolinas1 and ,maryland in colonial times1 these ,southern colonists were equally fashionable1 and discarded the old for the new before the dawn of the nineteenth century1 earlier than did the ,northerners4 ,a search of the southern states will scarcely yield one piece of ,jacobean design4 ,a hunt for original ,william-and-,mary will be equally fruitless4 ,but in the style of ,queen ,anne1 many excellent pieces will be found4 ,no story of ,american furniture1 no matter how brief1 can be written without mentioning the name of ,duncan ,phyfe1 the ,new ,york cabinet-maker whose artistic products justly won him the sobriquet of 8,the ,american ,sheraton40 ,the period between #agie and #ahcj was marked by a persistent disinterest in all 8things ,english10 and an ardent admiration for all 8things ,french10 and this prejudice showed itself in the furniture4 ,american cabinet-makers adapted these ,french designs according to their lights1 and the result was not always unsuccessful4 ,at the very end of its influence the work sank to a low level of artistic merit4 ,before that time it had known the apex of artistic line in the works of ,phyfe1 and if we are to judge ,american ,empire1 it were better to use the high standards set by his famous productions4 ,the tables of this period were usually made with square ends1 the dining-tables being of the extension type having drop leaves and other leaves which could ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,american ,walnut ,gate-,leg ,table1 #afge-agjj ,illustration3 ,american ,pine and ,walnut ,chair-,table1 cicra #agjj ,illustration3 ,american ,cherry and ,maple ,gate-,leg ,table1 #afge-agjj ,illustration3 ,courtesy ,mr4 ,frederick ,h4 ,howell ,late #ahth ,century ,english ,tea ,caddy ,late #ahth ,century ,english ,tea ,caddies ,ivory ,tea ,caddy and two ,tortoise-shell of #ahth ,century be inserted on pedestal tables4 ,at this time centre-tables came into vogue4 ,these were ordinarily circular in shape and usually rested on ornate pedestals rising from a plinth supported by winged claw feet4 ,some of these tables were rectangular and some had double tops that folded out or could be turned up against the wall4 ,the 8sofa tables0 of ,phyfe's design were oblong and had narrow drop leaves at both sides1 the ends supported by the ,lyre motif4 ,,chapter ,,iv ,,tea ,,and ,,antiquity ,one afternoon of a day late in autumn we were having tea in ,camberwell4 ,the home of our ,english friends was a house redolent with memories4 ,the ,brownings1 ,carlyle1 and many others had in days gone by gathered beneath the hospitable roof4 ,it was one of those houses whose exterior gave hint of an interesting history4 ,not all interesting houses do that4 ,this one particularly did1 so much so that it lent much of its fascination 7or appeared to lend it7 to its neighbors4 ,perhaps we were in the mood for thinking so1 for had we not dropped in to a tea at another wonderful house a few steps away but the day before8 ,and what a house that had been6 ,what a host6 ,i think all the treasures of the earth must have been gathered there to commemorate the yesterdays of beautiful things1 of interesting personalities4 ,there was the actual chair in which ,george ,eliot sat when writing 8,romola02 ,i had sat in it drinking tea6 ,a plate of delectable biscuits was at my right--on ,carlyle's table6 ,if ,i had been ill-mannered enough to devour all the biscuits1 ,i am sure that plate would have revealed itself as equally delectable ,svres2 ,i guess as much from its edge4 ,what an afternoon that had been6 ,charles ,lamb's bookcase6 ,the ,persian lacquered mirror that had belonged to ,rossetti6 8,and did you know10 said my companion1 8that our host is the original of ,walter ,pater's #8,marius the ,epicurean1' his best friend80 ,it was then that ,i gasped forth something about a ,mahomet in ,mecca4 8,you must remember10 said the other indulgently1 8that you are in ,london40 ,and here we stood1 this other afternoon1 on the threshold of another happy adventure6 8,tea and antiquity seem to go amazingly well together10 said our host of this second day1 8but our friend ,marius has probably shown you that4 ,still1 his hobbies are many4 ,ours are few4 ,if we have not ridden in every nook and corner of the world1 we have ridden furiously in one direction--tea40 ,with curiosity piqued we followed to the library4 8,arthur60 warned our hostess1 as the master of the house paused before the glass-encased shelves to the right of a tapestry-hung doorway4 8,no10 he laughed1 8,i'm not going to--yet6 ,you see1 every book on those shelves has to do with tea1 old tea1 new tea1 good tea1 poor tea4 ,everything any one has ever known and printed about tea is there4 ,you will find the first edition of ,pepys's ,diary1 in which that indefatigable chronicler remarks #8,i did send for a cup of tee 7a ,chinese drink71 of which ,i never had drunk before4' ,then there is the rare first edition of ,philippe ,sylvestre ,dufour's #8,manner of ,making ,coffee1 ,tea and ,chocolate1' a quaint little volume printed in #afhe1 and just there0--our host pointed through the glass--8is ,simon ,paulli's #8,commentarius' of #affe40 8,arthur10 laughed our hostess1 8remember the fate of ,carleton and ,lord ,north in forcing tea down the throat of ,america1 while ,britannia wept60 8,i meant to go straight ahead60 our host replied with affected meekness1 holding back the tapestry to admit us into the very sanctum of this entertaining collector's worshiping4 ,the large room1 despite its generous dimensions1 was cozy4 ,although filled almost to overflowing with rare bits of china1 prints1 brasses1 pewter--in fact1 with a wealth of objects that would delight the heart of any collector--there was order in it all4 ,one did not tumble over a ,turkey-red tea-cozy or mistake it for a hassock4 ,nor did one have to compress elbow to side to keep from precipitating precious tea-cups to the floor underfoot4 ,in this instance a remarkable collection of antiques and curios furnished a whole room4 8,i cannot vie with ,marius in offering you the throne of ,george ,eliot10 said our host1 8but here is a very comfortable arrangement once occupied by ,queen ,anne40 8,yes10 commented our hostess2 8,arthur went threadbare to have it1 because ,alexander ,pope happened to have written3 ,here1 thou1 great ,anna6 whom three realms obey1 ,dost sometimes counsel take1--and sometimes tea4 ,in fact1 ,i once arrived just in time to prevent him from buying ,leigh ,hunt's spectacles just because--what was it ,leigh ,hunt said of tea1 ,arthur8 ,i never can remember40 8#8,oh1 heavens6 to sip that most exquisite cup of delight was bliss almost too great for earth2 a thousand years of rapture all concentrated into the space of a minute1 as if the joy of all the world had been skimmed for my peculiar drinking1 ,i should rather say imbibing1 for to have swallowed that legend like an ordinary beverage without tasting every drop would have been a sacrilege4'0 8,no wonder you were keen for the spectacles60 ,i cried4 8,but ,i've never heard of ,leigh ,hunt's spectacles6 ,i don't believe he ever wore them4 ,you have to make allowance for the attitude my better half holds toward tea60 8,no1 my dear10 our hostess replied sweetly1 8you know ,i love these things as much as you do40 ,it was true4 ,now1 while we did not talk tea throughout all our little visit1 we did eagerly examine the old tea-furniture4 ,there was ,delft1 pottery1 and porcelain of all sorts1 marvelous tea-caddies1 a collection of prints and caricatures of the ,boston ,tea ,party4 8,there were other tea-parties over there in ,america10 our host explained2 8you neglect them terribly6 ,there was the #8,tea-party' of ,philadelphia in #aggc1 the #8,tea-party' of ,edenton in #aggd and the same year the #8,tea-parties' of ,cumberland ,county and of ,greenwich1 ,new ,jersey4 ,i have them all in the library60 ,we saw the books before coming away4 ,not the least interesting was ,chippendale's 8,the ,gentleman and ,cabinet-,makers' ,director10 issued in ,london in #agfb1 with its designs for tea-tables and tea-chests1 and the ,hepplewhite book of #aghg4 ,dr4 ,samuel ,johnson was rated a prodigious tea-drinker in his day1 8beyond all precedent40 ,we did not compete with his record1 nor yet with that of ,bishop ,burnet1 who thought nothing of sixteen cups of a morning1 but we did not find our tea taste stinted1 that delightful afternoon at ,camberwell4 ,venus her myrtle1 ,phbus has her ,bays ,tea both excels1 which she vouchsafes to praise4 ,we found ,waller's lines coming to mind many times afterward1 when we had come to discover them in a dusty tome of #affb which we found for a penny in a book-stall and added it to tea-ana6 ,and what response to the memory of ,camberwell adventures was evoked when1 home again in our own country1 we chanced upon ,thomas's 8,massachusetts ,spy0 and read therein that touching farewell to tea6 ,farewell1 the teaboard with its equipage ,of cups and saucers1 cream bucket and sugar tongs1 ,the pretty tea-chest also lately stored ,with ,hyson1 ,congo and best ,double ,fine4 ,we began then with enthusiasm to read up on tea4 ,it behooved us to begin with the 8tea-party0 episodes our host in ,camberwell had hinted at as neglected by our histories4 ,for one thing1 there were the autographs to be sought of many of the revolutionary participants4 ,we found a book on the subject1 long since out of print1 and many a hint was contained therein4 ,this was 8,tea ,leaves0 by ,francis ,s4 ,drake1 8,being a collection of letters and documents relating to the ,shipment of ,tea to the ,american ,colonies in the year #aggc1 by the ,east ,india ,tea ,company40 ,there we found many portraits1 facsimile signatures1 etc4 ,it is a book worth looking for4 ,our copy cost us but two dollars4 ,on a fly-leaf some one--not the poet himself1 alas6--had copied these lines of ,oliver ,wendell ,holmes's 8,a ,ballad of the ,boston ,tea ,party03 ,no6 never such a draught was poured ,since ,hebe served with nectar ,the bright ,olympians and their lord ,her over-kind protector2 ,since ,father ,noah squeezed the grape ,and took to such behaving1 ,as would have shamed our grandsire ape1 ,before the days of shaving2 ,no1 ne'er was mingled such a draught1 ,in palace1 hall or arbor ,as freemen brewed and tyrants quaffed ,that night in ,boston ,harbor6 ,and how completely the old rancor of it is gone in these days when our hearts beat in unison with the hearts of our ,british cousins6 ,how different are our tea-parties to-day1 ,american and ,britisher1 brother and brother6 ,when we began collecting tea things1 we did not get everything we wanted6 ,one of the tantalizing treasures beyond our reach was the poetical effusion of ,mr4 ,nahum ,tate1 who lived from #afeb to #agae and celebrated the beginning of the eighteenth century with 8,panacea1 a poem upon tea1 with a discourse on its ,sov'rain virtues2 and directions in the use of it for health40 ,a greedy ,mcenas outbid us at the book auction where we thought only ourselves had discovered or could possibly wish to acquire it6 ,with ,dr4 ,john ,coakley ,lettson's 8,the ,natural ,history of the ,tea-,tree10 printed in ,london in #agii1 we were more fortunate4 ,likewise ,mr4 ,t4 ,short's 8,a ,dissertation upon ,tea1 ,explaining ,its ,nature and ,properties1 ,showing from ,philosophical ,principles1 the ,various ,effects ,it ,has on ,different ,constitutions2 ,also a ,discourse on ,sage and ,water10 produced in #agcj1 was ours for the expenditure of ten shillings1 a rare piece of fortune coming to our door through the good graces of a ,birmingham book-seller's catalogue4 ,i fancy good ,queen ,anne set the pace to second place for sage and water6 ,we are still on the lookout for the 8,treatise on the ,inherent ,qualities of the ,tea-,herb10 by 8,a ,gentleman of ,cambridge10 whose scholarly effusion came from a ,london press in #agej4 ,in the course of our adventures at home we found that tea-collectors were more numerous than we should have dreamed them to be1 perhaps because the subject embraced collecting in almost every field--furniture1 old silver1 china and pottery1 pewter1 brasses1 books1 prints1 and what not2 to say nothing of collectors of ,oriental tea things1 as1 for instance1 the lady who has seven hundred and thirty-two interesting ,japanese tea-pots1 the equally interesting lady who has a collection consisting of as fine as possible a tea-cup of every sort of porcelain and ware of which tea-cups have been fabricated since the memorable days following the presentation of two pounds of tea to ,king ,charles ,,ii by the ,east ,india ,company4 ,another collector has gotten together a great number of fine ,japanese color-prints1 the subjects of which have to do with the tea ceremony1 and yet another gentleman 8goes in0 for the ,cha-no-yu 7tea ceremony7 pottery of ,japan4 ,probably the most interesting collection of tea-caddies in ,america is that owned by ,mr4 ,frederick ,h4 ,howell of ,new ,york4 ,tea-caddies offer to the collector an entertaining hobby1 for although they are by no means common1 they are still to be 8discovered0 in many of those nooks that long since have1 perhaps1 given up other collectable things4 ,i remember once dwelling with enthusiasm on the pleasures of collecting tea things4 8,i have a little hobby along that line myself10 remarked one of the group1 8teaspoons40 8,don't you have to be careful80 was the question the man next to him could not refrain from putting4 ,but perhaps our friends are not always as sympathetic with the collector's pursuits or as courteously attentive1 and there is always a time to stop before one becomes a bore6 ,,chapter ,v ,,cup-,,plates ,it is surprising how rare the cup-plates of the eighteenth century and the early nineteenth century have become1 considering their universal use during that period when they were regarded as necessary and fashionable accessories to the tea-set4 ,in the days of our great-grandmothers the etiquette of tea-drinking was markedly different from that which maintains in our own day4 ,then the tea-cup occupied much the position that the tea-bowl still holds with the ,chinese1 and the saucer that of the tiny ,chinese cup4 ,in other words--we blush to confess it6--our tea-drinking ancestors used the saucers of their tea-cups to cool their tea in1 and while the saucers were so utilized1 tiny plates 7like the plates of a doll's tea-set7 were employed as holders for the cups1 thus to protect the polished top of the tea-table or1 perhaps1 the trays of satinwood from being stained by the moist cup rims4 ,just why1 when so many of these little cup-plates were in use1 so few have survived seems a mystery4 ,while tea-cups1 cream-pitchers and sugar-bowls abound1 cup-plates still remain elusive4 ,this is because these tiny objects1 being truly plates in miniature1 were1 when they fell into disuse 7and before collectors of old china and old earthenware began to take an interest in them71 given to children to play with1 thus meeting the general destruction to which nearly all dolls' dishes of all periods succumb4 ,this seems the plausible theory for accounting for the scarcity of the cup-plate4 ,nevertheless1 despite its rarity1 the collector need not be discouraged4 ,in all parts of the country where settlement has been early the collector of old china still stands a good chance of picking up cup-plates of all sorts4 ,even the glass ones are yet to be found4 ,true it is that any exceptionally fine cup-plates offered in the antique shops generally bring high prices4 ,for instance1 a four-inch cup-plate brought twenty-three dollars at auction a year ago1 and another fetched thirty-six dollars at private sale4 ,certain other cup-plates which have come to the author's attention have been held for prices running from fourteen to forty-five dollars apiece4 ,although the collector of moderate means may not expect to indulge in many purchases1 he is apt to run across fine pieces at bargain prices that will send his spirits to the level of true elation4 ,first of all1 however1 he must study the subject and learn to know a cup-plate when he sees one1 for the successful collector is never a hunter of ,snarks6 ,only two hundred and fifty years ago the ,east ,india ,company considered the gift of a couple of pounds of tea a princely one to make the ,king of ,england6 ,pepys gives us an inkling as to how uncommon a thing tea-drinking was in his time4 ,however1 the use of cup-plates is a much later one than ,pepys's day2 they were not the fashion until tea-drinking had become an almost universal custom4 ,the illustrations will give the reader an idea of the variety to be found in cup-plates4 ,while the pieces put to this use are nearly of a size1 their diameters vary by a fraction of an inch to an inch or more4 ,one of the best known cup-plate series is ,hall's 8,hampshire ,scenery10 with borders of primroses1 hepatica1 and other flowers resembling many of the ,clews borders4 ,their color is rich blue4 ,john ,hall ,sons were ,staffordshire potters 7#ahaj-ahbj71 whose marks on wares ,chaffers places in the 8uncertain0 list4 ,then there is a 8,quadrupeds ,series40 ,the mark on this resembles an extended bell1 on which appears the name 8,i4 ,,hall0 in capital letters1 with the word 8,,quadrupeds0 in crude capital letters below1 on a curtain-like extension with inverted flutings4 ,but far more beautiful than either of these sets1 and more interesting to the ,american collector1 are those of a series in rich blue1 one of which shows the ,park ,square ,theatre1 ,boston1 and bears the characteristic oak-leaf and acorn border of ,r4 ,stevenson and ,williams4 ,all the designs of ,ralph ,stevenson are eagerly sought by collectors of old china4 ,the ,stevenson works were in ,cobridge1 ,staffordshire1 but all record of both potter and pottery seems to have disappeared4 ,another cup-plate series contains a view of the first ,united ,states ,mint1 ,philadelphia1 and has the characteristic border--of scrolls1 eagles1 and flowers--of ,joseph ,stubbs4 ,this potter made comparatively few pieces for the ,american market4 ,from #agij to #ahcj he was owner of the ,dale ,hall ,works at ,burslem4 ,his cup-plates are among the most desired objects of the sort4 ,many cup-plates bore mottoes and verses such as those of the ,liverpool type1 a ,romance ,series1 for instance1 containing one known as 8,returning ,hopes10 with the ardent verse appearing thereon as follows3 ,when seamen to their homes return1 ,and meet their wives or sweethearts dear1 ,each loving lass with rapture burns1 ,to find her long-lost lover near4 ,these ,liverpool cup-plates1 by reason of their pictorial nature1 have always been popular with collectors1 hence the scarcity of them in antique and curio shops4 ,private collectors1 too1 seem loath to part with specimens of such printed wares4 ,the glass cup-plates in native ,american manufacture are in no sense comparable esthetically with the cup-plates of porcelain and pottery of foreign fabrique4 ,still they are interesting historically4 ,the majority of the glass cup-plates were crystalline glass1 though some were colored--blue1 green1 yellow1 brown1 amber1 rose1 purple1 etc4 ,there were many glass factories in ,america in colonial days as well as in the nineteenth century1 and ,american households were well supplied by them with cup-plates1 although in design these were1 more often than not1 of comparatively little beauty4 ,among the patterned cup-plate wares the collector will find1 many varieties of the hundreds of varieties of the 8,willow0 pattern may with reasonable certainty be traced to their various potters2 but this is a special study in itself1 and one entailing the ,illustration3 ,courtesy of ,mary ,h4 ,northend and ,mr4 ,william ,a4 ,cooper ,cup-,plates ,landscape1 ,wild ,rose ,border ,landscape1 ,falls of ,killarney ,pressed ,glass ,cup-,place ,portrait of ,henry ,clay ,floral ,pattern ,hyena ,design ,illustration3 ,courtesy of ,mr4 ,charles ,allen ,munn ,early ,printed ,cottons ,allegory of ,franklin1 and ,apotheosis of ,washington surmounting of many difficulties4 ,the amateur need not concern himself with the matter completely in order to enjoy the few examples that may chance to discover themselves to him4 ,the lovely dark-blue ,davenport ware1 with designs in the ,chinese style1 are worth looking for4 ,ware such as this is familiar to every collector and is coming to be appreciated more generally than formerly4 ,from even a small collection of cup-plates much pleasure may be derived1 and the collector need not feel that it is hopeless to start getting together examples of worth4 ,if things are being picked up here and there on the one hand1 it is true that1 on the other1 examples of cup-plates fully worth while are coming to the market as well as leaving it4 ,,chapter ,,vi ,,chintz ,chintz has been called the tapisserie d',aubusson of the cottage home4 ,its place in the affections of the collector of antiques and curios has long been secure4 ,for fully fifty years and more lovers of household ancientry have gathered to their appreciation bits of old printed fabrics4 ,originally the word 8chintz0 was applied to the printed cotton fabric from ,india1 each piece being called in early days a chint1 a name which was derived from the ,hindu cint1 ,bengal cit1 and ,sanscrit chitra1 meaning spotted or variegated4 ,afterward it came to be applied to the glazed printed calicoes of ,european and ,american manufacture1 gaily patterned with flowers and birds and figures in diverse colors on a white ground4 ,its calendered dust-shedding surface made the material a great favorite with careful housewives4 ,cretonne1 the ,french substitute for chintz1 a heavier material1 was not introduced until somewhere around the year #ahfj4 ,the old-time chintzes are not so easily picked up nowadays4 ,however1 there are still excellent chances of occasional 8finds10 even in antique-combed ,america1 where1 happily1 collecting has come to be one of our chief pastimes4 ,i know one collector who has been so fortunate as to obtain many quaint specimens of old printed fabrics at small cost1 from an upholsterer in his own town4 ,from time to time chairs and sofas were brought to the upholsterer to be re-covered4 ,often these had several layers of material under the outer one1 and below those of later days he would find1 now and then1 coverings of old printed cotton fabrics4 ,among these were a lovely spray-pattern chintz of the ,queen ,anne period and a hand-print of pastoral design by one ,r4 ,jones1 manufacturer of ,old ,ford1 ,london1 who produced patterned chintzes about the year #agfj4 ,many of the new printed cotton fabrics have borrowed their patterns from these interesting textile ancestors1 though nowadays1 in the case of monochrome and duochrome prints1 the color effects are somewhat richer than those that obtained in the printed fabrics of the eighteenth century1 with their cold chocolate browns1 bottle-greens1 and ox-blood reds4 ,for the collector there will naturally be an inimitable charm about the original pieces1 not to mention their historic interest1 while old multicolored chintzes cannot be surpassed in loveliness4 ,chintz attained a beauty and a distinction of its own when it attracted the fancy of the fashionables of the eighteenth century4 ,to maintain its favor1 it did not rest content with being imitative but developed its own resources with a consequent richness that marks its place among decorative fabrics of the early days4 ,a sixteenth-century ,portuguese writer1 by name ,odoardo ,barbosa1 gives us an interesting early reference to printed fabrics3 8,great quantities of cotton cloths1 admirably painted1 are held in highest estimation40 ,but even some two hundred years before his time the narrators of the romance of commerce were celebrating the chintzes of the ,coromandel ,india coast4 ,doubtless these printed fabrics of the earlier centuries attained an intricacy and beauty that were long denied the ,european printed textiles which they inspired4 ,early examples of the latter are in no way comparable1 artistically or technically1 with contemporary ,india prints4 ,even to-day it would be difficult to improve esthetically on the beautiful printed stuffs that come to us from the countries of the ,orient4 ,we do not know with certainty the circumstances attending the introduction into ,europe of the manufacture of printed fabrics4 ,long before ,english weavers had undertaken the industry1 the printing of fabrics flourished on the ,continent4 ,the sixteenth century references to printed cottons in ,england are so few and so vague that we are virtually without knowledge of the earliest manufactories of these fabrics4 ,we do know1 however1 that veritable legions of skilled craftsmen in the textile arts settled in the ,british ,isles during the latter half of the seventeenth century4 ,it is to them1 probably1 that the art owes its introduction there4 ,the ,print ,room of the ,british ,museum exhibits a quaint old trade card--itself the impression of a wood-block such as the cloth-printers used--which bears the representation of a cotton-printer at work4 ,in the costume of his time--the reign of ,james ,,ii--he stands before a long1 broad ,jacobean table1 lengthwise of which lies a piece of cloth1 one third showing the pattern which the printer has impressed on it4 ,behind the left end of the table is set a ,jacobean stool on which rests a circular basin containing the color1 which a boy is waiting to apply to the wood-block for printing4 ,the master printer is in the act of impressing a section of the pattern on the white cloth by means of the wood-block1 which he is hammering with a wooden mallet4 ,the text 7in script of the period7 reads1 8,jacob ,stamps living at ye sighn of the ,callicoes ,lineings ,silkes ,stuffs ,new or ,ould at ,reasonable ,rates40 ,this old mode of block-printing obtained for fully two hundred years until the inventive genius of the nineteenth century joined hands with commerce1 to the craft's almost complete discouragement4 ,however1 a revival of interest in the old arts was inspired by such enthusiasts as ,william ,morris4 ,the hand-printed fabrics have been restored to favor1 and to-day they again play an important part in the decoration of the modern home4 ,richmond1 ,bow1 and ,old ,ford1 ,london1 became the earliest centers for printed chintzes in ,england4 ,the few extant specimens of seventeenth-century chintz show us that the early printed cottons were crude enough4 ,at first more than one color was not attempted4 ,the next step appears to have been to add to the monochrome effect by applying washes of dye1 either freehand or stencil application1 to the outline pattern4 ,this was done by brushing the color on as required1 a process slow1 laborious1 and fraught with uncertainties4 ,an examination of these early pieces1 treasures though they are from an antiquarian point of view1 reveals a smudgy appearance resulting from the thickness of the dye-inks with which the patterns were printed4 ,the early materials were very coarse canvas-like cloths4 ,with the advent of the eighteenth century the cloth for receiving the printed patterns was much improved1 and it was not long before finely woven textures supplanted the cruder ones4 ,this greatly facilitated the development of textile color-prints1 and the ,queen ,anne chintzes were in consequence infinitely superior to those of the ,charles ,,ii1 ,james ,,ii1 or ,william and ,mary reigns4 ,so popular did these improved patterned fabrics become that the chintz industry not only rivaled that of the silk-weavers but for a time threatened to drive the latter out of business4 ,indeed1 so bitter became the feeling on the subject1 between the two crafts1 that riots resulted and an appeal was made to ,parliament1 by the silk-manufacturers of ,spitalfields1 for protection4 ,history records that the silk-workers were so enraged because ,westminster did not immediately forbid the wearing of chintz that the delegation which had carried the petition to ,london1 gave vent to its wrath by tearing off all chintz gowns whose wearers were encountered on the homeward journey4 ,finally1 in #agcf1 ,parliament passed an act prohibiting printed cottons and linens1 an act which was soon repealed and followed by an increased vogue in chintz4 ,in ,france as well it was at one time considered expedient to forbid the manufacture of printed textiles2 the restriction extended until #agei4 ,authorities seem to be agreed in considering the middle of the eighteenth century as the golden age of old-time printed chintzes4 ,collectors eagerly seek specimens of this period1 though they are all too rare to encourage hope in this direction except for occasional finds4 ,it was during the years around #agfj that multicolored patterns were so beautifully and satisfactorily wrought with superimposed woodblock impressions4 ,chippendale furniture of the time naturally led to the popularity of ,chinese motifs in design1 and lovely indeed these were4 ,the intertwining flower sprays that marked the printed fabrics of ,queen ,anne's day now gave way to motifs in separated positions4 ,the famille verte1 famille rose1 and famille noire porcelains of ,china furnished many a motif for the chintz designers of the seventeenth century4 ,in the ,chippendale period buff grounds were introduced1 whereas in the earlier chintzes the grounds had been white or untinted4 ,the third quarter of the eighteenth century witnessed an innovation in the manufacture of printed fabrics4 ,various mechanical devices were perfected and led to an enormous increase in chintz manufacture4 ,cotton-printing was taken up in the northern counties and soon the trade center shifted thence from ,london1 its old cradle-town4 ,engraved copperplates and roller-printing came into use4 ,still1 as has already been said1 hand-printing was destined to survive4 ,the collector of these various printed cottons will find the historical group especially interesting4 ,take for instance1 the 8,apotheosis of ,washington0 or the 8,allegory of ,washington and ,franklin0 subjects4 ,in both1 the figures of ,washington were taken from the famous ,trumbull portrait4 ,in the 8,apotheosis0 chintz the medallions containing portraits of thirteen famous personages of early ,american history are after engravings by ,du ,simitire4 8,william ,penn's ,treaty with the ,indians0 forms the subject of another patterned chintz of especial interest to ,american collectors4 ,then there are the later political subjects which the nineteenth century's early history inspired4 ,the printed kerchiefs also came within the province of the collector of printed cottons4 ,many of these kerchiefs are especially well adapted for framing4 ,such as the 8,lord ,thomas and ,fair ,eleanor0 kerchief and the one bearing the title of 8,the ,token or ,sailor's ,pledge of ,love40 ,some of these old kerchiefs and also many examples of printed chintzes of historic interest have found their way into ,american public collections4 ,,chapter ,,vii ,,pewter ,there are many persons--some of them collectors of other antiques and curios--who ask what the fascination of old pewter can be1 frankly declaring that to them it has no attraction4 ,perhaps to some the mention of pewter suggests battered up1 dingy1 leaden-hued objects of metal1 more suitable for bullets than suited to buffets4 ,again1 there are those who1 unacquainted with pewter lore1 do not guess the wealth of historical interest that invests the subject4 ,relics of any age that are so damaged as no longer to command respectful attention have no real excuse for perpetuation unless some highly important historic association attaches to them1 for surely mere age or antiquity is not a raison d'tre with the sensible4 ,pewter in a state of dilapidation is no exception to the rule governing the forming of any collection of quality1 and no matter what its antecedents1 it should present good form to be worthy a place in the worth-while collection1 if it is to be regarded with other than the sentiment bestowed upon a chipping from the ,great ,pyramid or a bottle of dust from ,pompeii4 ,but truly fine pewter has attributes to justify its collecting4 ,in the first place1 its decorative quality commends it to notice4 ,here1 however1 one must remember that an esthetic taste will recognize this1 where one to which the artistic does not appeal will overlook it4 ,secondly1 the story of old pewter1 as recorded by ,welch ,mass and other authorities on the subject1 authorities to whom the collector-student is bound to be indebted for much information1 is one that lends entertainment to the pursuit of the hobby4 ,a few years ago a rage for old pewter swept over ,england and ,america1 following a notable exhibition--the first of its sort--held at ,clifford's ,inn1 ,london4 ,this was in #aijd4 ,to be truthful one must record the 8slump0 that followed a few years later4 ,but the true collector who had taken up with pewter remained loyal and enthusiastic1 and with the appearance of a number of exhaustive and authoritative works on the history of pewter in ,america and in ,great ,britain1 there has been a revival of interest in the subject which is bound to be permanent4 ,english pewter was much simpler than the pewter made in other parts of ,europe4 ,this latter often attained to an ornateness from which1 fortunately1 the pewter of ,england of the best period is free4 ,the manufacture of pewter in ,england was governed by the strict rules of the ,pewterers' ,company1 which1 as early as #aejc1 made it compulsory for the pewterers of ,england to mark their wares1 just as the ,french pewterers of ,limoges had been compelled to do a century earlier4 ,some of the early ,english pewter was marked with the heraldic ,tudor rose with crown above1 although the rose-and-crown is to be found on ,scottish and on some ,flemish pieces also4 ,as for the individual marks of the pewterers1 these marks were called touches4 ,each pewterer was compelled to have his separate touch1 which was recorded at the ,pewterers' ,company halls by impressions struck on sheets of lead4 ,nearly all the plates of touches in ,london so formed prior to #afff were destroyed in the ,great ,fire1 which also consumed nearly all the records1 although some of the audit books of the company1 dating from #adae1 were saved4 ,however1 on the lead plates that have survived we find some eleven hundred pewterers' touches impressed4 ,the earlier touches were somewhat smaller than those of later date2 some of them1 in fact were tiny4 ,the mark ,x on old ,english pewter was permitted on metal of extra quality1 as one may learn from one of the company's rules of #afig1 which gives notice that 8none may strike the letter ,x except upon extraordinary ware1 commonly called hard metal ware40 ,the various instances of misdeeds on the part of pewterers who tried to evade the regulations kept the company busy for several centuries4 ,the very last regulation of the ,pewterers' ,company concerning touches directs that 8all wares capable of a large touch shall be touched with a large touch with the ,christian name and surname either of the maker or of the vendor1 at full length in plain ,roman letters2 and the wares shall be touched with the small touch40 ,a penalty of one penny per pound was exacted from those pewterers who neglected to observe this rule4 ,while all the facts concerning the marking of old pewter should be diligently studied by the collector1 as he gathers them from this source and from that1 and will prove of great help1 be of interest1 and lend zest to collecting1 one must not forget that much imitation old pewter has been fabricated with intent to defraud4 ,however1 such 8fakes0 7many of them are very attractive67 usually unblushingly bear upon them the ear-marks of their spurious nature1 and the collector soon comes to have command of the knowledge necessary to detect such reproductions4 ,the material of old pewter is variously compounded4 ,old fine pewter consisted of #aab pounds of tin to #bf pounds of copper1 or--in place of the cooper--of brass4 ,again1 a fine1 hard resonant metal was made of #ajj parts of tin to #ag of antimony4 ,distinguished from the fine pewter was common pewter--or 8trifle0 pewter1 as it was called4 ,this was made of #hc parts of tin to #ag parts of antimony1 or1 with slight variations1 of #hb parts of tin to #ah parts of antimony4 ,these various alloys are susceptible of a high polish and of retaining it well in ordinary circumstances some time4 ,this pewter1 too1 has a good measure of hardness and possesses durability4 ,britannia metal must not be confused1 as often it is1 with the real pewter4 ,it was a late eighteenth-century invention of tin1 antimony1 copper1 and zinc1 which lent itself to fashioning on the lathe 7a process called 8spinning071 having in this respect a decided advantage over the less easily worked pewter4 ,naturally it did not take long for the new ,britannia metal to supersede pewter when it was discovered that ,britannia metal could be electroplated4 ,however1 the general use to which pottery and porcelain1 tinware and enamel attained had come to have much1 too1 to do with banishing pewter from general use1 though it remained longer in favor in ,scotland than in ,england4 8,a whole garnish of peutre10 such as a lady of #adhg bequeathed to one of her heirs1 no longer came to be deemed fashionable4 ,the master pewterers suffered and1 as time went on1 found themselves forced out of their trade4 ,with the waning of the popularity of pewter1 vast quantities of it were melted up for solder and for other purposes1 which accounts for the scarcity of really fine old pieces4 ,indeed1 such articles as pewter spoons are exceptionally rare2 not1 as some suppose1 because they were so small1 but because they were especially serviceable to the traveling tinkers1 who could convert them into solder4 ,the ,english pewter spoon was seldom a small affair1 if it ever descended in scale to the size of a dessert spoon4 ,in passing it is well to call the collector's attention to the fact that pewter spoons are imitated and often placed before buyers as antiques4 ,one needs especially to familiarize himself with the shapes of the bowls and of the handles of the ,english ones1 and with other minuti1 in order to determine intelligently the authenticity of a piece of pewter of this sort4 ,other objects are much more common1 and ten genuine ,english pewter spoons would form a goodly collection1 considering their exceptional rarity4 ,the ,london pewterers guarded their trade secrets jealously4 ,they permitted no outsiders to loiter and watch them at work4 ,as the various molds for pewter objects were made at great expense1 it was the custom for the guilds of the ,pewterers' ,company to own these and to let them out4 ,this accounts for the various standard shapes of articles1 made by quite different pewterers4 ,lists of such molds1 dating as far back as #adbe1 have survived the vicissitudes of time and throw much interesting light on the subject4 ,let the pewter-collector remember that pewter objects appear to have come into vogue as a substitute for silver1 and that pieces of old pewter usually follow in form the shapes of the contemporary silver objects of like use4 ,indeed1 a study of old ,english silver will prove of great help to the pewter-collector in solving problems of chronology4 ,one may not attempt to collect a whole garnish of pewter of a single period--a complete garnish consisting of twelve platters1 twelve dishes1 and twelve saucers--but it is quite possible1 without an appalling outlay4 ,on the other hand1 unless it is a 8find10 one may have to pay forty or fifty dollars for a fine and authentic early ,english pewter spoon4 ,whatever one collects in the way of old pewter of any period and of any country1 it should be displayed by itself and not mixed with silver1 glass1 and other objects4 ,as to what dealers sometimes call 8silver pewter10 let not the unwary collector suppose that it is more than pewter of a fine quality 7if the object proves to be that674 ,silver cannot enter into the composition of true pewter1 as it takes #iej ,c4 to melt it1 while the tin1 melting at #bcj ,c41 would volatilize too greatly to combine with the precious metal before the silver even reached the melting-point4 ,perhaps because the finest pewter takes a silver-like polish it was originally called 8silver pewter10 without intent to mislead4 ,another point worth remembering is that1 although all sorts of objects have been fashioned of pewter--even a copy of the ,portland ,vase has been fashioned in this metal--the collector will find very few old ,english pewter tea-pots4 ,fully eighty-five per cent4 of the tea-pots passing as pewter are1 ,i should say1 either ,britannia or ,ashberry metal4 ,very early ecclesiastical pieces of ,english make are rare1 too4 ,the ,council of ,westminster forbade the fashioning of church vessels of pewter1 as it was thought not sufficiently precious to be dedicated to such use4 ,but in poorer communities exceptions must have been made1 as we know of its use in churches in #aaid4 ,the ,council of ,nmes 7#abeb7 and the ,council of ,albi 7#abed7 in ,france had later to take up a like matter1 then permitting pewter in the manufacture of objects for church use under certain restrictions4 ,not only in early times 7by the year #abij ,edward ,i had accumulated three hundred pieces of pewter of fine quality7 but as late at #ahbj1 when ,george ,,iv had pewter placed upon the table at the coronation feast1 pewter has enjoyed the protection of royalty1 which fact adds not a little to its historic interest4 ,but let the collector beware of certain pewter plates with arms1 portraits1 etc41 stamped in high relief1 which are now and then to be met with1 marked with a crowned rose and ,n4 ,d4 in the upper part of the crown1 as well as a pellet in the center of each petal 7except in the center of the upper one1 where there is a six-pointed mullet74 ,and let him beware of the marked pieces distinguished by a ,st4 ,george or by a ,st4 ,michael and a dragon in a beaded circle and the letters ,a4 ,i4 ,c41 as these are not old pieces but appear to have been fabricated as 8ornamental0 antiques4 ,of course there are many other tricks resorted to by the unscrupulous1 but the real collector1 generally speaking1 happily possesses that instinct which enables him to learn his lessons quickly and inexpensively2 and there are plenty of reputable antique shops wherein genuine things are to be found4 ,as a matter of fact1 the writer has found that even where certain dealers have offered spurious objects as genuine1 they have done so through ignorance rather than through cupidity4 ,a dealer will usually be only too glad to have a collector who knows point to him mistakes in attribution4 ,most of the small shops are run by men who have little time for study1 and who are far more likely to be imposed upon themselves than to attempt to impose upon their customers4 ,after all1 the dealer could not live without customers1 and the only safe way to hold any customer is to treat him honestly4 ,early in the eighteenth century the lathe began to be developed1 so any specimens of pewter disclosing lathe marks would suggest a date subsequent to that period4 ,the pewter formed by the 8spinning0 process is the most modern of all4 ,the pewter collector should be careful how he polishes his pewter1 as this ware should never be subjected to rubbing with brick-dust and like vigorous usage4 ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,chinese ,pewter ,jar with ,bronze ,cover4 ,early #ahth ,century ,a ,swiss ,pewter ,wine-,flask1 ,zurich1 ,dated #agff ,illustration3 ,american #ahth ,century ,sampler ,illustration3 ,a ,dated ,english or ,welsh ,sampler1 #aghg ,,chapter ,,viii ,,samplers ,before the age of machine-made things1 and of attire much more conventional than in many of the earlier periods1 there was1 of course1 great need of skilled needlewomen1 not only professionally but at home as well1 for it was in the home that most of the 8finery0 of our forefathers originated4 ,stubbes's 8,anatomy of ,abuses10 which appeared in #aehc1 tells of the raiment of the men of the author's time who were 8decked out in the fineries even to their shirts1 which are wrought with needlework of silks10 etc4 ,the good ,stubbes also complains that it was difficult to tell who were gentlefolk1 because all men of that time affected silks1 velvets1 8taffeties10 and the like1 regardless of station4 ,thus we may see how important it was that the little misses of the days of long ago should be taught stitchery at the early age of nine or ten years4 ,samplers are among the most intimate of collectable old things4 444,bookless and pictureless ,save the inevitable sampler hung ,over the fireplace4 ,how patiently the little fingers toiled over these records of their wonderful 7even if enforced7 application6 ,truly1 samplers are the needle-craft primers of yesterday4 ,we have only to recall an old ,english play1 8,gammer ,gurton's ,needle10 probably the very first of the earlier ,english folk comedies1 to understand the great importance attached to the needle4 ,this play1 written about #aefj 7and attributed to ,john ,still1 ,bishop of ,wells1 and formerly ,master of ,st4 ,john's ,college1 ,cambridge1 where it was first produced7 shows how1 during the period of its conception1 a steel needle was treasured as few family treasures of to-day1 and so when ,gammer ,gurton lost hers--the only one she possessed--the misfortune took on the importance of genuine calamity4 ,as collectors of samplers and writers on the subject of samplers have been baffled in trying to discover why no samplers dated or positively known to have been worked before the middle of the eighteenth century are extant1 this clue to the probable reason which we find in 8,gammer ,gurton's ,needle0 is of interest2 the fact is that as needles were so uncommon and such treasured possessions they were not to be entrusted to tiny fingers4 ,later1 when invention turned its attention to needle-making1 needles became common enough4 ,i imagine many a little girl of the eighteenth century wished that needles had never been 8born06 ,very fine samplers containing both names and dates prior to #ahjj are not to be found at every turn4 ,notwithstanding this1 the sampler-collector need anticipate no discouraging difficulty in getting together examples for a fairly representative collection4 ,it is only in comparatively recent years that we have discovered the value of old samplers as excellent decorative accessories on the walls of a room in which old pieces of furniture are placed4 ,samplers may be mounted and framed for hanging on a wall as a picture might be1 and ,i know of few objects in the line of antiques that seem so appropriate for use in this manner for adorning the walls of a bedchamber4 ,while it is not always an easy matter to assign undated samplers to their exact periods1 approximate dates may without great trouble be determined4 ,naturally1 the earliest examples were more utilitarian than ornamental in conception1 more like a mere example of stitchery of various sorts--a leaf from the scrap-book of needlework1 as it were4 ,later1 pattern and design and pictorial composition were evolved4 ,likewise1 the earlier samplers seem to have been longer and narrower in proportion than later ones4 ,threads of gold and silver are to be found in needle-work of the ,elizabethan and the ,jacobean period1 where we should not look for them in the ,georgian4 ,again1 there are characteristics of pattern that clearly denote the embroiderer's time4 ,the design of the letters of the alphabet embroidered on a sampler also forms a clue1 inasmuch as it shares in common with contemporary dated1 printed1 and engraved lettering the more distinctive period characteristics of the latter4 ,the earliest date of an alphabet sampler is1 ,i believe1 #afdc2 of a sampler with a motto1 #afea2 of a sampler having a border1 #agbf2 of a representation of a house1 #agfc2 of numerals1 #afee2 of a verse1 #afif2 #agbh has been suggested as the approximate date of the introduction of mustard-colored canvases on which the samplers were worked4 8,sad sewers made bad samplers10 said ,lord de ,tabley in 8,the ,soldier of ,fortune10 but the wonder is that the little fingers of yesterday should have acquired skill not only in one sort of embroidery but in the varied stitches often seen in a single sampler remarkable for its perfect and exquisite handiwork4 ,one is almost aghast1 for instance1 at the task suggested by ,john ,taylor's 8,the ,needles ,excellency10 where one reads3 ,tent-worke1 ,raised-worke1 ,laid-worke1 ,frost-worke1 ,net-worke1 ,most curious purles or rare ,italian ,cut-worke1 ,fine ,ferne-stitch1 ,finny-stitch1 ,hew-stitch and ,china-stitch1 ,brave ,bred-stitch1 ,fisher-stitch1 ,irish-stitch and ,queen-stitch1 ,the ,spanish-stitch1 ,rosemary-stitch and ,morose-stitch1 ,the ,smarting ,whip-stitch1 ,back-stitch and the ,cross-stitch4 ,all these are good and these we must allow1 ,and these are everywhere in practice now4 ,with the infinitude of stitches it is not necessary here to be concerned1 although the enthusiast in sampler-collecting will find the study of stitches helpful just as the expert will find it highly necessary4 ,as there is much confusion in the nomenclature1 there will be many stumbling-blocks1 but the pursuit will be worth while4 ,the earliest seventeenth-century samplers of lace-like appearance were worked in cut-and-drawn embroidery1 with various additional lace stitches4 ,then there was the eyelet-stitch1 damask-stitch1 the backstitch 7these three were used for alphabets71 darning-stitches1 tent-stitches1 and tapestry-stitch 7unusual7 and so on4 ,the foundation of early samplers was the hand-woven linen1 either unbleached or bleached4 ,sometimes this was almost as coarse as canvas and again of closely woven texture4 ,linen thread or silk 7somewhat loosely twisted7 was employed for the stitchery4 ,the harsh yellow linen of early eighteenth-century samplers came into vogue toward the end of the first quarter of the century1 but was soon discarded4 ,unfortunately1 tannery cloth was much in vogue at the end of the eighteenth century4 ,this unattractive material seemed especially devised to satiate the appetites of moths6 ,most of the tannery-cloth samplers are worked in silk4 ,the muslin-like tiffany cloth was occasionally used before #ahjj for small and fine samplers4 ,later the coarse linens came into fashion4 ,the crudely dyed threads marked the decline of the sampler from about #ahjj4 ,then cotton canvas and ,berlin wool completed the fall of this one of the gentlest arts4 ,the early ,american samplers had1 of course1 their ancestry and inspiration in ,english samplers1 with which ,i think they vie in interest and attractiveness4 ,surely there could be no more delightful wall decoration for a colonial house than one of the early ,american samplers6 ,these are less commonly found than ,english samplers and ,american collectors naturally give them preference4 ,that the little misses of olden times managed at so tender an age to produce such handiwork seems almost amazing4 ,little girls of five and six years achieved marvels in sampler stitchery as extant examples abundantly proves4 ,poetry and samplers seem to have been good friends4 ,in the second scene of the third act of 8,midsummer ,night's ,dream10 and in the fourth scene of the second act of 8,titus ,andronicus10 ,shakspere alludes to samplers4 ,so does ,milton in 8,comus10 and ,sir ,philip ,sidney in 8,arcadia40 ,if those blest bards could but scan the verse of some of the sampler-makers6 ,here is one which1 in its way1 is a gem typical of task and talent3 ,sarah ,bonney is ,my ,name1 ,england is ,my ,nation2 ,see ,how ,good ,my ,parents is to ,give ,me ,education ,there is rhyming for you6 ,and may we not imagine that beneath those sentiments lurked a fine humor8 ,,chapter ,,ix ,,wax ,,portraits ,strange it seems that so many fragile objects have come down to us from antiquity while cities of stone1 statues of marble1 and monuments of bronze too often have appeared lost forever4 ,on beholding a perfect glass vase whose history dates back to ,phnician times1 but which has survived centuries of vicissitudes1 one cannot but reflect upon the extraordinary fortune of things apparently so perishable4 ,in the ,victoria and ,albert ,museum1 ,south ,kensington1 ,london1 the museum of the ,art ,department of ,carnegie ,institute1 ,pittsburgh1 and elsewhere one may find little wax models that have come down through hundreds of years1 and one wonders that ,time has lent so kind a hand to things which were constructed of materials that we have regarded as being so perishable4 ,wax portraiture is one of the arts of the past so little known to many collectors that examples of it are not often met with in ,american collections4 ,ancient writers have given us a hint of the antiquity of wax portraiture1 not only in round sculpture1 but in relief4 ,moreover1 we know that the ,greek artists in ,egypt were adepts in painting portraits by means of powdered colors applied with rush brushes to slabs of cedar-wood covered with wax1 into which coating the color could easily be worked when the sun's rays were permitted to soften the wax4 ,many of these ancient wax panels are extant1 and they appear very much like paintings in oil colors upon wood4 ,we know that ,lysistratus1 who lived in the time of ,alexander the ,great1 executed small busts in colored wax1 and this is the earliest use of the medium in color mentioned by history4 ,works of this sort were forerunners of the later colored wax portraits of the seventeenth and of the eighteenth century1 with the old custom1 which ,pliny mentions1 of having ancestral portraits in the households of the ,romans as connecting links in the progress of the art4 ,moreover1 the ,romans were wont to carry in funeral procession waxen portraits of the departed1 as a curious custom clinging to civilization as late as the seventh century in ,england4 ,indeed1 a visitor to ,westminster ,abbey may see the old wax form of ,queen ,elizabeth gorgeously attired1 which was carried in the cortge at her burial6 ,more cheerful1 on the other hand1 are the remarkable wax portraits in relief--some white or monochrome and others colored--which were modeled 78painted0 would perhaps be a better word7 by the early artists of the cinquecento--,leone ,leoni1 ,antonio ,abondio in ,italy1 later by ,guillaume ,dupr and ,antoine ,benoit in ,france1 and then by ,isaac ,gosset1 ,eley1 ,george ,mountstephen1 ,joachim ,smith1 ,s4 ,percy1 and ,peter ,ruow and others in ,england4 ,how the ancients prepared their materials for working in wax is not recorded1 but probably they anticipated all of the processes employed by the medieval artist in such portraiture1 powdering the color1 mixing in oil1 and adding it to pure wax in the state of fusion4 ,to ,pastorino of ,siena has been accredited the honor of having invented the particular wax paste used by himself and his successors in representing the hair and the skin4 ,in the sixteenth century the art of wax portraiture was practised in ,nuremberg and reached a high state of development under ,casper ,hardy1 prebendary of the ,cologne cathedral4 ,among the most interesting wax portraits by ,french artists are those from the hand of ,franois ,clouet1 in the sixteenth century1 which are among the treasures of the ,cluny ,museum1 ,paris4 ,under ,louis ,,xiv wax portraiture attained so important a place in ,france that we find ,antoine ,benoit given the royal appointment of 8,unique sculpteur en cire colore40 ,no material is more responsive to the artist's touch than wax1 immortalizing as it does his individual handling in a manner peculiarly its own4 ,perhaps no ,english portraitist has given evidence of greater ability than did ,s4 ,percy1 whose wax portraits1 as well as those by ,peter ,ruow1 are prized by collectors4 ,artists in wax portraiture were not unknown in ,america during colonial times4 ,among the names of early wax-portrait artists in ,america that of ,patience ,wright stands forth prominently4 ,she was born in #agbe1 the daughter of ,mr4 ,lowell1 a ,quaker of ,bordentown1 ,new ,jersey4 ,when twenty-three years of age she married ,joseph ,wright1 and some years later was left a widow with three children4 ,in #aggb she went to ,england4 ,already she had become noted for her excellent work in portraiture4 ,a bust of ,thomas ,penn was one of her earliest works of the ,london period and the wax-portrait of ,washington from her hand1 modeled after an original from life by her son1 ,joseph ,wright1 is now in the possession of ,dr4 ,richard ,h4 ,harte of ,philadelphia4 ,this is the work which she mentions in a letter to ,washington preserved in the ,library of ,congress3 ,you may have my most grateful thanks for your kind attention to my son in taking him into your ,family to encourage his genii and giving him the pleasing oppourtunity of taking a ,likeness that has ,i sincerely hope gave his country and your friends1 ,sir1 satisfaction4 ,i am impatient to have a copy of what he has done that ,i may have the honour of making a model from it in wax work1 as it has been for some time the wish and desire of my heart to model a likeness of ,general ,washington4 ,to this ,washington replied3 ,if the bust which your son has modelled of me should reach your hands and afford your genii any employment that can amuse ,mrs4 ,wright it must be an honour done me4 ,wax portraiture almost died out in the nineteenth century1 but it is of interest to note its recent revival by ,ethel ,frances ,mundy and other skilful artists4 ,good old ,giorgio ,vasari1 the gossipy chronicler of the ,old ,masters to whom we owe nearly all of our knowledge of the lives of the early ,italian painters1 wrote an interesting treatise on the technique of art from which the following is quoted1 as being of further interest to the collector of wax portraits3 ,in order to show how wax is modeled let us first speak of the working of wax and not of clay4 ,to render it softer a little animal fat and turpentine and black pitch are put into the wax1 and of these ingredients it is the fat that makes it more supple1 the turpentine adds tenacity1 and the pitch gives it the black color and consistency1 so that after it has been worked and left to stand it will become hard4 ,this was the wax probably used for the backgrounds4 ,vasari continues3 ,and he who would wish to make wax of another color may easily do so by putting into it red earth or vermilion or red lead2 he will thus make it yellowish red or some shade2 if he add verdigris1 green1 and so on with the other colors4 ,but well it is to observe that the colors should be powdered and sifted1 and in this condition mixed with the wax afterward and made as soft as possible4 ,the wax is also made white for small things--medals1 portraits1 minute scenes1 and other objects in bas-relief4 ,all this is accomplished by mixing white lead that has already been powdered with the white wax as already explained4 ,i must not neglect to mention that modern artists have discovered the method of working all sorts of colors into the wax so that in taking portraits from life in half-relief they make the flesh tints1 the hair1 the clothes and all so lifelike that these presentments appear to lack only the power to speak4 ,,chapter ,x ,,hand-,,woven ,,coverlets ,the collector who has been fortunate enough to make a pilgrimage through the villages of ,new ,england1 visiting the antique shops in search of adornments to the shrines of their hobbies1 will recall the occasional hand-woven coverlet that chanced to be displayed as the background to the ensemble of odds and ends4 ,but one finds fewer and fewer of these old-time examples of handicraft4 ,there have been eager but quiet collectors industriously seeking them out4 ,nevertheless the collector has always a chance of coming upon an early woven coverlet1 particularly in those remote quarters where local auctions 7occasioned by momentous events and not merely foregone conclusions7 still disclose the hidden treasures of yesterday and bring them within reach of the moderate purse4 ,from colonial times the art of weaving coverlet by hand was practised wherever wool and industry suggested4 ,the overseas traditions were faithfully carried out by the housewives of ,new ,england1 and then southward4 ,there came to be modifications in the old weaving patterns as the ingenuity of those skilled in this handicraft developed4 ,indeed1 an enormous variety of patterns was evolved4 ,proportionately few of the very old hand-woven coverlets have survived--precious they are to the collector of household antiques6--but even these show remarkable pattern variations4 ,of course1 the time came when machine-weaving supplanted hand-work1 and before long coverlets hand-woven were of the discarded arts1 so far as the ,new ,england states were concerned4 ,a few years ago1 however1 the industry of making hand-woven coverlets was revived1 for the art had in a measure1 fortunately1 continued in the ,southern mountains of the country4 ,many of the old-time coverlets were carefully copied and hundreds of new patterns also were devised4 ,these later hand-woven coverlets are1 many of them1 of great beauty and intrinsically worth having1 even when one can also acquire the earlier specimens1 for the modern hand-woven coverlet is more often than not indicative of the same artistic spirit with which the colonial housewife endowed her work4 ,blue-and-white is the usual combination in the old coverlets1 though many of them introduced other colors1 brown being the most commonly used after blue4 ,this blue was home-dyed--with indigo--and time has lent to many of the old coverlets a coloring comparable to that of the blues of ,chinese porcelains4 ,with the aptitude for determining the details of the fabrics1 of which every woman seems intuitively to be possessed1 the woman collector will in all probability be able to distinguish a truly old coverlet from one of modern fabrication4 ,in a few instances some unscrupulous antique-dealer may claim antiqueness for an obviously modern coverlet1 but the discriminating collector will be comparatively safe4 ,the collector will find old coverlets interesting as hangings1 lounge-covers1 and portires1 as well as when put to their original uses4 ,fortunate indeed is one who chances to acquire a signed and dated example4 ,such a discovery leads the happy collector to haunt genealogical libraries until he has unearthed the mystery of its owner's place in history2 for in the good old days the weaver was probably the owner as well4 ,illustration3 ,wax-,portrait of ,ferdinand ,i4 of ,sicily1 ,italian1 ,late #ahth ,century ,wax-,portrait1 ,subject unknown1 ,italian1 ,early #ahth ,century ,courtesy ,metropolitan ,museum of ,art ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,model of an ,american ,peg-loom4 ,bearing the ,name of ,w4 ,d4 ,fales of ,providence1 ,rhode ,island ,illustration3 ,copyright by ,g4 ,h4 ,buek ,handwoven ,coverlet in ,bed-,chamber of the ,john ,howard ,payne ,house1 ,easthampton1 ,long ,island1 ,new ,york ,,chapter ,,xi ,,chairs ,the old-fashioned idea that a collector must arrange his treasures grouped in one spot no longer obtains4 ,i recall asking one who had returned from a visit to a very interesting house if the host and hostess were collectors of antiques1 curios1 or rare objets d'art4 8,oh1 no10 was the reply1 8,i don't think so4 ,they showed me many beautiful things1 but ,i didn't see anything that looked like a collection40 ,later ,i learned that this home contained one of the most notable collections of early furniture in ,america6 ,all these pieces1 of course1 had been considered as articles entering into the adornment of this home and not merely as objects gathered clutter-wise into the semblance of an old curiosity shop4 ,even our museums are now often exhibiting their furniture collections arranged in such a manner as to carry out a complete idea of the original intention of the various pieces1 displaying them in reconstructed rooms or in the counterpart of a portion of a room4 ,probably no piece of furniture holds greater interest for the specialized or even the general collector than the chair4 ,its ancestry is venerable1 but its remote antiquity need not be dwelt upon at length here4 ,it is true that in a magnificent ,louis ,quatorze drawing-room1 perfectly appointed and historically correct1 the introduction of a cottage chair of the ,windsor type would be as displeasing an anachronism as putting a wild thrush to neighbor with all the parrots of an avairy4 ,on the other hand1 the drawing-room of the average typical home in good taste the world over might contain a ,chippendale chair1 a ,carolean settee1 a ,sheraton card-table1 a ,louis ,,xiii stool1 and an ,italian ,renaissance table1 and yet be agreeably pleasing and pleasantly inviting if skill1 good taste1 and common sense had entered into the character of arrangements4 ,the collector who wishes to devote some attention to old furniture would do well to begin with old chairs4 ,all the old chairs 7the good ones and the fine ones7 have not been 8collected up0 in the sense that they are permanently retired from business4 ,when once they get into the museums1 of course1 they stay there1 but even museums are not omnivorous4 ,the acquiring of supremely rare or unique objects is by no means the only pleasure to be derived from collecting4 ,in fact1 it is one of its least thrilling forms1 being measured more by dollars and cents and the commerce of things than it is by the mere joy of acquisition4 ,some one has estimated that every collection which does not go into a museum changes hands every twenty years on an average4 ,it is a fact that collecting in ,america to-day is infinitely more easy of accomplishment than it was a century ago4 ,in ,new ,york1 for instance1 the auction sales of a single recent season presented to the collector more opportunities than could have come his way in six seasons years ago4 ,it is a mistake to suppose that all good 8chances0 have passed2 they are1 as a matter of fact1 just about beginning in ,america4 ,we are told that collectors have ransacked farmhouses and old houses in the ,east for interesting pieces of antique furniture4 ,that is true1 but the process means only a change of location and not an elimination of possibilities4 ,the collector of old chairs can easily become familiar with the various forms of peculiarities of design which mark the different styles and periods1 as may be seen by even a passing glance at the accompanying illustrations4 ,indeed1 the ear-marks that distinguish certain pieces of furniture of the historic periods and distinct styles from others are1 happily1 so numerous that the art of identification becomes comparatively an easy one4 ,beginners will1 to be sure1 often come across modern reproductions of genuine old chairs4 ,not all of these--in fact1 comparatively few of them--were made with intent to defraud4 ,occasionally some unscrupulous or ignorant person will offer a modern piece as genuine1 but your true collector need hardly be deceived1 except in rare instances1 by attempted impositions4 ,the form of the master furniture designers of yesterday has never been surpassed4 ,there is nothing in modern design more beautiful or so beautiful as many of the old chairs of ,chippendale1 ,sheraton1 and ,hepplewhite1 and likewise of the early ,english and the ,french periods4 ,realizing this1 the furniture-makers of to-day at home and abroad have sought to reproduce the best of these antique pieces for the service and the benefit of the modern home-maker1 obviously as undisguised reproductions4 ,the collector who studies old chairs will glean many a helpful hint from these modern reproductions4 ,the fine ones faithfully carried out are really worth collecting in themselves1 as accessory to a collection of other pieces which the collector has been fortunate in obtaining in the originals4 ,if you ,illustration3 ,chippendale ,mahogany ,arm-,chair #agfj-aghj ,illustration3 ,shield-,back ,hepplewhite ,arm-,chair ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,louis ,,xiv ,arm-,chair ,illustration3 ,louis ,,xv ,arm-,chair ,illustration3 ,courtesy ,brooklyn ,museum of ,art ,three ,rare ,williamite ,glasses4 ,two ,english ,glass ,rummers ,engraved with ,nelson ,subjects1 and a smaller ,jacobite ,arms ,rummer4 ,centre ,tumbler ,commemorates ,coronation of ,george ,,iv of ,england4 ,two #ahth ,century ,tumblers chance to come across an old chair fine in the lines of its design1 do not give it up as hopeless should you notice that it is disfigured with paint1 dowdy1 broken-down upholstery1 and the like4 ,a good restorer of old furniture will be able to work wonders with a piece of the sort4 ,i remember discovering an old chair so hidden under the disguise of paint1 putty1 and car-plush as to have discouraged any but a discriminating enthusiasm4 ,when this chair was turned over to a restorer he delivered it from its bondage of humiliation and it came forth an excellent and treasured genuine example of the finest ,hepplewhite style4 ,the 8stuffing0 had completely hidden a splendid ostrich-plume back4 ,to collect anything sensibly requires an interest in the available data concerning it4 ,one might as well collect buttons manufactured in #aibj as to pay no attention to the study of things gathered together in pleasurable pursuit4 ,so1 too1 it is with chairs4 ,a chair-collector looks beyond the mere utilitarian fact that each chair can be sat upon with comfort1 or can't be4 ,first of all he must acquaint himself with the various periods3 ,italian ,renaissance1 ,french ,renaissance1 ,flemish1 ,spanish1 ,elizabethan1 ,carolean1 and ,jacobean 7,tudor to ,stuart71 ,william and ,mary1 ,queen ,anne1 the ,early ,georgian1 the ,french periods of the ,henris1 the ,louis1 the ,empire1 the styles of ,chippendale1 ,adam1 ,hepplewhite1 and ,sheraton1 and the early ,american forms4 ,the collector will find many excellent works in ,english by eminent authorities on furniture1 all of which devote proper space to the subject of the chairs of the particular period of which they are treating4 ,there the chair enthusiast will learn that walnut came to be widely used in ,english chairs after #afej2 that ,hepplewhite suggested haircloth for chair coverings2 that the ,carolean crown is a distinguishing feature of the ,restoration period2 that ,queen ,anne chairs are marked by simplicity1 their beauty depending mainly on their fine lines1 graceful curves1 delicate veneering1 and restraint where inlay is used2 that mahogany came into use between #agbj and #agbe1 and not into general use before #agcj2 that ,chippendale's best pieces were made between #agcj and #agfj2 that in all real ,chippendale ball-and-claw terminations the claw is carved to suggest vividly a gripping strength1 and not as merely resting passively on the ball as in the imitations and in nearly all modern reproductions4 ,these are but a few of the many interesting facts every old-furniture collector should know1 points that enable one to collect chairs intelligently and with joy in the pursuit of a delectable hobby that is also a very practical one4 ,,chapter ,,xii ,,english ,,drinking-,,glasses ,there are few general collectors who have not1 at some time1 come under the enchantment of old glass4 ,it is remarkable that objects so fragile in fabric should have survived the vicissitudes of centuries1 as have specimens not only of ,european glass but of the ancient glass of ,syrian1 ,phnician1 ,greek1 and ,roman manufacture as well4 ,glass-making in ,england had an early origin1 derived1 it would seem probable1 from the ,roman invaders4 ,we know it to have flourished to some extent at ,cheddingfold in the thirteenth century1 continuing there for several hundred years1 as we glean from a reference in ,thomas ,charnock's 8,breviary of ,philosophy10 published in #aeeg1 wherein is written3 8,you may send to ,cheddingfold to the glassmaker and desire him to blow thee a glass after thy devise40 ,an entry in ,evelyn's ,diary for ,february #aj1 #afhe1 refers to 8his ,majesty's health being drunk in a flint glass of a yard long1 by the ,sheriff1 ,commander1 ,officers and ,chiefe gentlemen40 ,this reminds us that flint glass was discovered and came into vogue prior to #afhj2 or in that year its fame had caused it to be so highly regarded elsewhere in ,europe that manufactories to compete with ,english ones were established at ,lige in that year4 ,the early flint glass of ,england differed somewhat from the later product4 ,probably the flint glass as we know it now was not introduced before #agcj1 or perfected until over a century later4 ,of all the ,english glass none is more beautiful or attractive than the drinking-glasses of this period4 ,particularly is this true of the engraved and inscribed drinking-glasses which collectors now eagerly seek4 ,rare1 indeed1 these glasses have become1 and fortunate is the collector who comes across a 8find0 of the sort4 ,english glass of the eighteenth century1 though less ornamental than ,venetian1 was nevertheless more utilitarian4 ,in respect to the spirit glasses and rummers1 which succeeded ale-tankards of metal and of pottery1 this is particularly true4 ,no 8glasse of ,venice0 could have withstood the table impact which the ,english eighteenth-century spirit glasses were designed to survive1 a virtue which gave them the name of 8firing-glasses10 as the setting down of them by a company surrounding the jovial board produced a noise like a miniature cannonade4 ,some of these 8firing-glasses0 in the ,leckie ,collection1 now forming part of the permanent collection of the ,brooklyn ,art ,museum1 are engraved with grape-vine designs1 and arms1 and are inscribed4 ,of course such engraved and inscribed glasses are of greater interest and rarity than those which are without decoration or inscription4 ,the method of classification of ,english drinking-glasses takes into consideration the types of the feet1 the types of the bowls1 and the types of the stems4 ,there is the plain-footed glass1 the glass with the folded foot 7so called because the outer circle of the foot is folded back beneath it to strengthen it71 the domed foot 7shaped as its name suggests71 and the domed-and-folded foot glass 7a combination of dome and fold74 ,the folded foot is a type which indicates early origin1 just as those glasses which have the foot broader than the bowl indicate their origin to have been prior to the first quarter of the nineteenth century4 ,as to types of bowls1 there are the drawn bowl 7bowl and stem drawn from a single piece of glass1 as in the glasses of the seventeenth century72 the bell-shaped bowl1 the waist-formed bell bowl1 the waisted bowl1 the ovoid bowl1 the straight-sided bowl1 the straight-sided rectangular bowl1 the ogee bowl1 the lipped ogee bowl and the double ogee form4 ,the waist-formed bell-shaped 7waisted-bell7 bowl is rarely met with--the early eighteenth century marks its decline--and the waisted bowl is uncommon also4 ,the bell-shaped bowls seem longest to have maintained favor4 ,the ,bristol ,glass ,works originated the ogee bowl shapes1 which date from the middle of the eighteenth century4 ,as to the types of stems1 the earliest in design is the baluster stem1 in use as early as #afhj1 and popular till #agcj2 the plain stem1 most frequently met with in glasses from #agjj to #agej2 the air-twist stem1 in vogue from #agbe to #agge1 and perhaps later2 the opaque white twist stem1 dating from #agde till the end of the century2 the air and opaque white twist stem1 the color twist stem1 and the cut stem1 dating from about the middle of the eighteenth century4 ,air-bubbles imprisoned in the stems of glasses have given to this type of glass the name of 8tear-glass40 ,almost without exception the 8tears0 have their points downward1 although glasses showing the reverse of this have in rare instances been met with4 ,the air-twist stems are an evolution of the tears4 ,the glass containing air-bubbles came to be heated and drawn out and ingeniously manipulated in such a way as to produce the effect of twisted filaments which formed such patterns within the glass as one now and then chances to find4 ,before manipulation the bubbles were produced artificially by pricking into the glass1 softened by heat and covered over1 in turn1 with a film of molten glass4 ,the opaque white twist stem1 and also the color twist stem1 were obtained after the ,venetian fashion of making ,millefiori glass1 described in ,chapter ,,xxvii 7page #bba71 as derived from the ,roman glass of antiquity4 ,rare specimens of stems are found with delicate tints of blue and red among the filaments4 ,all these twist and tear stems are nowadays reproduced and are occasionally fraudulently offered the unwary as genuine4 ,but such glass neither rings true nor is right in color1 though the copyists are coming to display their skill in the matter of tint likewise1 even though balked by specific gravity4 ,a number of the cut-stem glasses were coaching-glasses--that is1 glasses without feet1 which stood inverted on the tray when brought to the coach traveler at a relay inn4 ,after his hasty drink the traveler would replace the glass inverted1 hence there was no need for a foot2 and there was less likelihood of a tray of such glasses1 hurriedly carried1 coming to grief through carelessness4 ,with the advent of railroads and the decline of coaching such glasses were retired from service4 ,many of these old-time coaching-glasses were engraved and inscribed1 but few of them have survived and a specimen would1 indeed1 be a pice de rsistance in any collection of glass4 ,we see from these notes that there is less guesswork connected with the study and collecting of old glass than one uninitiated in the rudiments of its lore might suppose4 ,nothing is without a reason2 the thing is to find the raison d'tre--that is a true collector's pleasure4 ,of all the engraved or the inscribed ,english glass none is more interesting in its historical connection than the ,jacobite drinking-glasses4 ,their story1 briefly1 is this3 ,after the flight of ,james ,,ii left ,william of ,orange firmly in possession of the government1 an act of ,parliament1 in #agja1 formally excluded the house of ,stuart from the throne and settled the succession 7after ,william and his sister-in-law ,anne should have died7 upon the house of ,hanover4 ,prince ,charles ,james ,edward1 ,chevalier of ,st4 ,george 7the son of ,james ,,ii71 was recognized by ,louis ,,xiv of ,france as rightful ,king of ,england4 ,this led ,william to prepare to make war on ,france1 when death overtook him1 and ,anne became ,queen of ,england4 ,queen ,anne1 thanks to ,marlborough1 successfully carried out ,william's policies1 and every attempt of the ,stuarts to regain the throne was frustrated4 ,anne died in #agad1 but as early as #agaj the ,cycle1 a famous and factious ,jacobite club1 was formed4 ,other ,jacobite clubs followed throughout ,england and ,scotland4 ,the ,jacobites were1 of course1 those who sought to restore the house of ,stuart to the throne1 a dangerous treason from the ,crown's point of view1 and those ,jacobites who had any desire to keep their heads on their shoulders had to proceed with care and secrecy4 ,nevertheless1 even after the rebellion of #agae and the famous 8disappointment0 of #agde the ,jacobites1 when toasting the king1 would hold their drinking-glasses above a bowl of water to signify that they drank to 8the king over the water10 the ,old ,pretender or1 after his death1 to the ,young ,pretender4 ,the bolder ,jacobites had their drinking-glasses engraved with ,stuart emblems3 a heraldic rose and two buds were1 for instance1 emblematic of ,james ,,ii1 his son1 and his grandson1 while the star1 oak-leaves1 and acorns1 etc41 were obvious in allusion4 ,the very boldest ,jacobites had glasses inscribed with mottoes--,fiat being the most general one1 as this 8,let it be done10 was the motto of the ,cycle ,club1 ancestor of ,jacobite activity4 ,the more timid ,jacobites contented themselves with symbols or inscriptions engraved upon the under side of the foot of the glass4 ,one comes across specimens of the ,fiat ,jacobite drinking-glass with the two oak-leaves engraved on the foot4 ,others are engraved with the heraldic rose upon the bowl and a star upon the foot4 ,a large glass--its owner must have been the very boldest ,jacobite of all6--is inscribed ,audentior ,ibo and also bears the portrait of the ,young ,pretender1 whose death in #aghh did not1 strangely enough1 put an end to ,jacobite activities4 ,indeed1 the 8,stuart fascination0 is one of history's great mysteries4 ,on the foot of ,jacobite glasses one sometimes finds engraved the feathers of the crest of the ,prince of ,wales2 the rose and two buds of the ,stuarts on the bowl4 ,still other glasses are not heraldic1 but have the heraldic ,stuart rose engraved upon the foot4 ,it is truly remarkable that any of these ,jacobite glasses should have survived1 for many of them must1 in their perilous time1 have had to meet with destruction to escape serving as telltales when sudden and unexpected raids upon ,jacobite strongholds were made by the officers of the ,crown4 ,some of these engraved and inscribed ,jacobite glasses were probably decorated upon the ,continent1 but most of them are of ,english workmanship in engraving as well as in manufacture4 ,probably many of the ,jacobite glasses were made at the glass-works of ,newcastle-on-,tyne1 proximity to the border of ,scotland making such a location convenient on occasion4 ,i think but few should be attributed to the ,bristol glass-workers4 ,probably the largest number of ,jacobite glasses were made shortly before the 8,forty-five40 ,as the ,jacobites had specially engraved and inscribed glasses1 so1 too1 did the partisans of ,king ,william4 ,williamite glasses were to be found in ,ireland as well1 where a number of them--some are extant--were engraved with anti-,jacobite toasts4 ,but when it was not likely that the ,irish could forget ,james ,,ii4 ,authorities are not agreed as to which were first put forth1 ,williamite or ,jacobite glasses1 but ,i am inclined to think precedence in chronological order should be given to the engraved and inscribed ,williamite ones4 ,there were1 of course1 fewer ,williamite glasses than ,jacobite glasses1 just as later there were fewer ,hanoverian glasses1 as the ,williamites and the ,hanoverians were in the ascendant1 and public loyalty considered itself beyond the necessity of symbolizing its fealty in other than the simple toast4 ,one may also include mention here of the ,hanoverian engraved and inscribed glasses1 one of which1 for instance1 was made to commemorate the coronation of ,george ,,iv4 ,finally we come to rummers engraved with ,nelson subjects1 commemorating ,england's naval hero4 ,these1 of course1 are early nineteenth century1 as ,nelson lived till #ahje4 ,,chapter ,,xiii ,,stuart ,,embroideries ,the ,stuart period of embroideries is one of great interest to the collector4 ,a few years ago comparatively little attention was paid to examples of ,english embroidered work of the seventeenth century4 ,specimens of the sort are now eagerly sought for1 not only by private collectors but by public museums as well4 ,true it is that the ,english embroideries of the seventeenth century are not comparable in artistic quality with those of earlier periods1 although the technical skill displayed therein1 particularly in the class known as stump-work1 has not been surpassed in ,english needle-work of any period since that of the very early ecclesiastical embroideries4 ,certain of its characteristic patterns survived the ,elizabethan reign1 only to degenerate1 during ,king ,james's time1 into what one must confess to be some of the most uninteresting work in the whole history of ,english embroidery4 ,some quilted work1 inspired by ,oriental design1 and certain crewels for hangings1 were exceptions4 ,this ,oriental influence was due to the rapidly developing intercourse1 through commerce1 of ,england with ,india and ,china1 which marked the reign of ,james ,i and that of the two ,charleses2 a proclamation of ,charles ,i1 in #afca1 for instance1 permitted the importation from the ,east ,indies of 8quilts of ,china embroidered with gold40 ,obelisks and pyramids were favorite devices with the embroiderers of ,james ,i1 just as they were with woodcarvers and silversmiths of the day1 a fact interesting to note1 as these devices often aid the collector in fixing the period of an object he may be studying4 ,toward the end of this reign it became fashionable to represent religious subjects in needlework4 ,the manufacture of tapestry in ,england flourished side by side with embroidery throughout the reign of ,james ,i and those of ,charles ,i and ,charles ,,ii1 and it was from tapestry subjects that the needlework pictures of the ,stuart period derived their inspiration4 ,so thoroughly established had their vogue become1 that although the fabrication of tapestry rapidly declined toward the end of the reign of ,charles ,,ii1 embroidered pictures still held their own4 ,the petit point or tent-stitch was effectively employed in the tapestry embroideries of this period4 ,in its earliest form this stitch was worked over a single thread and produced a massed effect of very fine lines4 ,the tapestry embroideries of the ,stuart period often mirrored with extraordinary fidelity the fashions in the dress of the time4 ,among objects in ,stuart embroidery ,i have seen a little jewel-cabinet carried out mainly in silk flosses and some wool worked on irregularly woven tawny-white canvas1 the material generally in use for petit point work1 though the stitch employed in carrying out the pictorial subjects which adorned the sections of this cabinet is known as long-stitch4 ,almost as precious as some of the jewels which once may have been treasured in this cabinet are the embroidered sachets1 jewel-boxes1 needle-case1 pincushion1 and two bits of beadwork which were tucked away in its recesses4 ,next to the long-stitch work of the cabinet itself1 the stump-work sachet was perhaps the most important of these pieces4 ,stump-work consisted of featherstitching 7though all other stitches were also employed7 under which a padding was placed to form raised surfaces1 taking this suggestion perhaps from the ancient opus anglicanum4 ,these elevations or 8stumps10 as they were called1 were of cloth1 of hair1 of wool1 and sometimes of wood1 paper1 and parchment4 ,in fact1 their materials were various4 ,these stumps were glued ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,english #agth ,century ,stump-work ,embroidery4 ,subject3 8,judgment of ,paris40 ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,dutch ,delft ,shelf ,ornaments1 ,the ,cow by ,jacobus ,holder1 dated #agfe ,four ,dutch ,delft ,tiles1 #agth ,century or basted on a ground of 7generally7 white satin1 and the stitching was then executed to cover the stumping4 ,quaint in conceit1 though often crude enough in design1 are the stitched emblems in much of this stump-work4 ,the twice-repeated caterpillar was an emblem of the ,stuart dynasty often employed1 nor are other emblems without intended significance4 ,the eyes of the birds1 animals1 and insects are often marked by seed-pearls1 a practice of even earlier date in ,england1 as one finds from the inventory of ,st4 ,james ,house1 #aedi1 wherein is mentioned a picture 8of needlework1 partly garnished with seed pearl40 ,silver threads are also effectively introduced in ,stuart embroideries and edgings of silver lace surround many of the objects such as the pincushion4 ,many ,stuart embroidery patterns were copied from the designs of the richly brocaded silks of the period4 ,,chapter ,,xiv ,,delft ,when ,horace ,walpole's ceramic treasures at ,strawberry ,hill came by inheritance to ,lord ,waldegrave they were sent to the auction room4 ,it took twenty-seven days of long sessions for the auctioneers to dispose of them1 notwithstanding the fact that there were eager bidders for every lot in his extensive collection4 ,of ,walpole it was said3 ,china 's the passion of his soul4 ,a cup1 a plate1 a dish1 a bowl1 ,can kindle wishes in his breast1 ,inflame with joy or break his rest4 ,and how many others there are of us who succumb to this same passion6 ,pottery and porcelain have1 ,i think1 more devotes in the temples of antiques and curios than almost any other of the household gods4 ,clay feet we know them to have1 but we display their shrines6 ,dutch delft is one of the sorts of pottery that is especially dear to the gatherer of things ceramic4 ,its popularity has brought it to be uncommon1 but if it is true that twenty years is1 as statisticians say it is1 the average time for a collection to rest before it comes upon the market again1 we may take comfort in the fact that opportunities for picking up old delft are not vanishing4 ,we have only to lie in wait for them1 to be courageous in competition and alert in interest4 ,no faience has crept more winningly into literature than this to which the quaint1 quiet little city that lies between ,the ,hague and ,rotterdam has lent its name4 ,here ,william the ,silent dwelt and here he met his tragic death4 ,here in the little church is the tomb of ,admiral van ,tromp4 ,here1 too1 the ,prince of ,orange came to live4 ,knowles says3 ,with the advent of the ,prince and the foreign missions1 with their extensive retinue of servants1 came increased wealth on the top of ,delft's own commercial and industrial prosperity4 ,it did more2 it brought the cultivation of artistic feeling and luxury1 and a number of distinguished men of foreign culture and tastes--rich1 sumptuous1 money-spending1 arrayed in costly brocades1 moving in elegant carriages2 notables and magistrates from neighbouring provinces and towns--all with a train of officialdom pertaining to their rank1 with the strict precedence and etiquette1 and the ceremonies of the times4 ,the requirements of the well-to-do households of ,delft gave encouragement to the potter's art4 ,the ,dutch were well acquainted with the enameled and glazed pottery of ,italy and of ,spain4 ,such maiolica ware undoubtedly inspired experiment4 ,with the importation of the ,chinese blue-and-white porcelain--probably all that came to ,europe at that early period passed first to ,holland--the distinctive faience we know as old ,dutch delft came into making1 but it assumed distinctive qualities immediately1 differentiating it from either the porcelain of ,china or the white-ground wares of ,italy and ,spain4 ,some one once said to me3 8,i wish ,i could begin to collect real old delft1 but ,i am afraid it is so difficult to pass judgment on pieces that without an expert to turn to constantly ,i should find my cabinet full of spurious ware4 ,mr4 ,antiqueman tells me it is very difficult to tell a piece of genuine old delft1 unless one has had the years of experience he has had with it40 ,happening to have a slight acquaintance with this ,mr4 ,antiqueman1 ,i did not find it difficult to understand why he chose to throw such mystery around the subject4 ,personally ,i think too many antique men lose more than they gain by so zealously guarding those trade secrets that are no secrets at all4 ,once to know old ,dutch delft is never to forget it4 ,the knowing of it is not a difficult matter1 once it is explained and one has contact with a genuine piece as an object-lesson4 ,in the first place1 old ,dutch delft is a pottery1 not a porcelain4 ,pottery is always opaque1 while porcelain is always translucent4 ,break a pottery object and it will be seen that it was formed of a baked clay base glazed or enameled over with a substance that has given it a coating which does not seem to be incorporated in substance with the base4 ,break a porcelain object and you will discover that all the way through it appears of a translucent substance4 ,old ,dutch delft of the earliest sort was composed of a soft1 friable1 reddish clay base4 ,dutch delft of the sixteenth and seventeenth centuries had a body base of yellowish or pale-brown color4 ,these bases instead of being glazed were coated with an enamel-like slip4 ,tin entered into the composition of this coating and this tin-enamel gave it a surface which ,i should describe as densely opaque1 with a metallic feel but without the metallic lustre1 for instance1 of the maiolica wares of ,italy and of ,spain4 ,the surface of old delft is absolutely different from the glazed surface of porcelain1 of modern pottery4 ,the modern delft of to-day is not to be confused with the old ,dutch delft4 ,the ,dutch ware made to-day which passes with the old name is a glazed ware and not1 like the old1 an enameled ware4 ,in modern so-called delft one can see through the glaze4 ,as ,i have said1 old ,dutch delft presents a completely opaque surface4 ,just here ,i should say that in some of the later sorts of old ,dutch delft a glaze was added to the enameled surface1 but as the enameled coating is there1 one will readily recognize it beneath the glaze4 ,as the clay base of old ,dutch delft was so soft and friable1 the surface of a piece was entirely coated with the tin-enamel4 ,while it was not metallic in the sense of having a metallic lustre like the maiolica of ,deruta or of ,gubbio1 light glinted across the surface of a piece of old delft reveals a tinny sheen4 ,the surface will prove smooth to the touch1 but it will not feel glassy as does that of a glazed ware4 ,so friable is old delft that it is prone to crip at the edges1 there revealing the brown body base of the under clay4 ,a drop of strong acid dropped on the body clay thus exposed will effervesce1 since there is carbonate of lime in the understructure of old delft4 ,this body clay is so soft that it is easily cut with a knife4 ,this cannot be said of the ,english ,lambeth delft1 which ,english ware1 though inspired by the old ,dutch delft and contemporary with much of it1 was of a much harder body base1 denser and more glossy than the ,dutch clay4 ,the enamel lay much more closely and evenly to the body base in old ,dutch delft than it did in the ,english delft4 ,dutch delft rarely crazed in the kiln2 ,english delft often did so and in consequence its enameled surface came to be glazed to prevent this4 ,then one often finds the colors of the decoration of old ,dutch delft to have run--neither under nor over the enamel surface but into the enamel4 ,this is because the colors were put upon the ,dutch delft while the enamel was still wet and fixed in it during the liquefaction and fixing of the surface coating in the firing of the piece in the kiln4 ,in such pieces of ,english delft as show the colors of their decoration to have run1 it will be seen distinctly that these colors have run upon the enamel of the surface and not into or with it4 ,finally the color of the clay body of the ,lambeth delft of ,england is buff4 ,while nature has given us a sense of blue skies1 scientists will tell you that she has been overly sparing with blue in flowers and in bird life4 ,the ,chinese had long placed this color as the first of the five nominated in their popular traditions4 ,to blue they gave a symbolism rich and varied4 ,they associated it with the ,east1 for instance1 and again with wood4 ,it is natural that it should have been a favorite color for the ,chinese ceramicist4 ,the palace china of some of the early ,chinese emperors reserved the privilege of blue decoration1 a blue1 as an old ,chinese writer tells us1 as 8seen through a rift in the clouds after rain40 ,it was not until the sixteenth century that the ,chinese obtained cobalt4 ,this bright and vivid blue made speedy headway as against the grayer blues that until then had alone been produced by the ,chinese ceramic artist4 ,cobalt was introduced into ,china by either the ,jesuits or the ,mohammedans2 the ,chinese themselves named the color 8,moslem ,blue40 ,the blue-and-white porcelain of ,china appears to have made a direct appeal to the ,dutch potters4 ,blue was the earliest color used by them in their delft decoration4 ,purple followed1 and after that the green1 yellow1 brown1 and red of the polychrome delft pieces that we know4 ,we do know how popular the ,dutch blue-and-white became4 ,every year quantities of it found their way to ,england4 ,much of it was sold there at the ,dutch ,fair held annually in ,yarmouth4 ,king ,charles ,,ii soon came to fear the effect on local potteries of the extended importation of ,dutch delft into ,england and in consequence issued a proclamation against this commerce1 declaring the sale of ,dutch delft in ,england to be 8to the great discouragement of so useful a manufacture so late found out0 at home1 presumably by the potters of ,lambeth1 who naturally would not be slow in attempting to imitate the ,dutch ware so flourishingly in vogue4 ,probably ,dutch potters had come over to work in the ,english ateliers4 ,in the ,british ,museum are interesting examples of ,english delft1 a particularly fine set of plates having a line of poetry on each1 so that when the six are arranged in proper order they form a little five-line verse4 ,,chapter ,,xv ,,early ,,desk ,,furniture ,the appeal of old furniture which has the merit of form1 design1 and workmanship of high order is one that is not the reflection of a passing fad or fancy2 it has come to be one of attachment and genuine sincerity4 ,if it took the greater part of the nineteenth century to teach us the futility of fixing our affections on exaggerated novelties1 such as those which dimmed the reign of ,queen ,victoria and boomed the ,bunthornes of the 'eighties1 the twentieth century finds us discriminatingly chastened4 ,we are taking out of our houses1 those of us who can1 the pieces of furniture that ought not to have been made1 putting into their places old-time things of beauty1 or1 when it is not possible for us to acquire veritable antique pieces1 the high-grade reproductions of old furniture that now grace the market and show no abatement in popular esteem4 ,in classifying the hobbies of several thousand collectors who stated their preferences1 ,i found that a greater number were interested in old furniture than in any one other subject4 ,this fact is not strange1 when one comes to consider the utilitarian phase4 ,generally1 the collector of old furniture starts in with the chance possession of two or three antique bits which1 by inspiring interest and appreciation1 lead him to wish to bring the other house furnishings into harmony with the loveliness of the old pieces4 ,few collectors of antique furniture1 of course1 are without homes of their own1 or the modern substitute--the long-lease apartment4 ,the skill of the modern restorer of old furniture accomplishes wonders with the battered derelicts of the houses of yesterday by making the old pieces to shine forth in their glory anew2 all of which lends encouragement to the collector and new zest to his traditional delight in the 8hunt40 ,upon first thought1 a collection of desks might seem like a mastodonian assemblage4 ,so it would be if the collector placed them all in a row or all in a single room6 ,but the house of to-day can accommodate--indeed1 finds necessary--more than a single desk in its furnishings4 ,and so the collector of old furniture has another impetus in his search1 a utilitarian one4 ,under the term 8desk0 we may include the various escritoires1 bureau-bookcases and the secrtaires4 ,all of these1 in common with our cabinets1 tall-boys1 and so on1 had their origin in the chest or coffer of the ,middle ,ages4 ,to the bottom of the chest came to be added a drawer4 ,next1 side doors instead of a top lid came into fashion1 and in this manner followed the many steps that led to the development of the piece of furniture we designate1 for convenience1 the desk4 ,it is not possible to tell just when the earliest desks were made4 ,the desk is a composite affair1 combining a cabinet1 a bureau1 drawers1 and a writing-table4 ,in ,ghirlandaio's painting 8,saint ,jerome in ,his ,study0--a work of about #adhj1 found in the collection of the ,ognissanti in ,florence--we see depicted a portable desk of the 8schoolmaster0 type2 and another painting of the same period and in the same collection1 the 8,st4 ,augustine0 by ,sandro ,botticelli1 depicts a desk with drawers4 ,in other paintings by the old masters1 and in very early engravings1 we see delineated the various pieces of furniture in contemporary use designed for writing purposes1 as well as others for the account-keeper4 ,all suggest to us the probable units which combined to produce the escritoire and the secrtaire of later centuries1 and lend interest to the collector's enthusiasm for searching out pieces of the sort4 ,when living was so much less complex in the matter of domestic doings than it is in our own time1 there was far less need of such objects as desks4 ,whole families1 even of the prosperous classes1 could get along without them very well4 ,your ,mona ,lisa of the ,renaissance could have carried her household accounts in her head1 and probably did1 while the housewife of the ,northern countries had little use for a place to keep quires or reams of correspondence paper4 ,nor had they1 in all probability1 entered into the sphere of feminine prowess in home-banking matters that made necessary a writing-bureau sacred to personal command4 ,the finest examples of the craft of the old master cabinet-makers of the seventeenth century and the eighteenth were originally produced for wealthy patrons who paid well for the master's skill4 ,while such pieces must naturally be beyond the reach of the collector of moderate means--except in rare instances where complete ignorance of their value is combined with a desire to part with them--they are still always interesting to note1 and many of them have been reproduced with wonderful skill by some of the leading masters of the craft of furniture-making to-day4 ,of course1 no reputable dealer will attempt to pass off a modern copy of anything as an original4 ,at the same time1 one may take great pleasure in acquiring a truly fine copy of a ,queen ,anne secrtaire or a ,hepplewhite bureau1 if it is knowingly purchased as a copy1 whereas if deception is practised1 the result must be a disappointment and discouragement to the owner1 however fine the piece4 ,unfortunately1 all dealers are not reliable and occasionally fraud is perpetrated in connection with antique furniture4 ,even the metal trimmings--knobs1 handles1 etc4--are given the appearance of antiquity by all sorts of devices at the command of skilful craftsmen who produce worm-holes with buck-shot1 antiquity with acids1 and a worn appearance with friction4 ,the general furniture-collector is not likely to come across anything in the way of a find in a desk of the ,renaissance1 seventeenth-century1 or even early eighteenth-century ,italian periods2 nor is he be likely to meet with the finer pieces of other early continental furniture1 as nearly all of these1 if not in public or great private collections already1 would be justly held at a very high price by dealers into whose stock such pieces might come4 ,however1 there are frequent public sales of old foreign household furnishings1 and great bargains may1 indeed1 be met with at these4 ,in any event1 the collector must cultivate alertness1 decision1 and intuition for opportunities to buy--and once in a while to sell1 too6 ,to the ,european the name bureau1 from its ,french derivation1 is understood to be associated with writing4 ,in ,america we connect the term with a piece of furniture designed to hold articles of clothing in its various drawers4 ,it was somewhere about the middle of the seventeenth century that the drawer was added to the lower part of the chest4 ,later in the century further drawer capacity was developed1 and by the beginning of the next we find the complete chest of drawers in use4 ,in view of this we shall not expect to find ,jacobean desks1 though we may find cabinets for writing-materials and documents and even occasional desk-like pieces4 ,in the ,william and ,mary period 7#afhh-agjb7 cabinets1 secrtaires1 and bureaus came rapidly into use4 ,simplicity and an unobtrusive elegance marked the designs of this period4 ,the desks displayed distinct characteristics which differentiate several groups4 ,in the first division may be placed the cabinet with bracket 7straight7 feet or bun feet2 a whole front flap1 which when let down displayed the drawers and the pigeonholes2 a top either single-hooded or straight with ovolo frieze4 ,in the second division we have the bureau-desk with its slant-top desk-plane4 ,here we find the taller desk styles1 sometimes with double-hooded tops1 with or without vase-shaped finials4 ,the third division includes the narrow slant-top desks on cup-turned legs1 flat stretchers1 and bun feet4 ,the knee-hole desks 7desks with the center portion arranged to permit the knees of the writer to go below the desk-plane7 constitute the fourth division1 while a fifth sort of desk had gate-legs braced by serpentine flat stretchers4 ,the two center legs 7there were six in all71 pulled out as a support for the desk-flap when its plane was let down4 ,in the ,william and ,mary period and in the ,queen ,anne period succeeding1 the middle classes had come to a state of education undreamed of in the time of ,elizabeth4 ,letter-writing1 pamphlet-writing1 and diary entries occupied many hours of the day and many candle-lit ones as well4 ,this scriptorial activity called for more accessories than had been needed earlier4 ,these newly devised bureau-desks combined solidity and dignity4 ,they were distinctly architectural in design1 with their moldings1 cornices1 and broken pediments4 ,bomb fronts came in with the ,dutch influence4 ,walnut was the favorite wood employed1 either solid or as a veneer for the wood bases4 ,the furniture-makers of the time of ,george ,i were beginning to find a demand1 and to supply it1 for writing-tables with tiers of drawers at each side of the knee-hole4 ,from about #agbj mahogany entered into furniture-making extensively4 ,its use by the ,american furniture-makers in the colonies was coincident with1 and possibly antedated1 lacquer1 which had been the rage and as a fashionable fad continued to hold the popular favor4 ,of course1 no writing-furniture is more eagerly sought than that of ,chippendale4 ,there were the writing-tables with bomb fronts1 the bureaus1 standing on legs that supported low bases1 the bureau-bookcase style of desk 7bureau-desk71 the slant-top secrtaires1 etc4 ,in ,american desks of the period we find the block-front to have been very popular4 ,the writing-furniture of the brothers ,adam exhibited the originality and excellence common to their other articles4 ,they introduced the more general use of satinwood and others of the lighter-colored woods1 and a contour of line in design that struck a new note4 ,painted ornament1 too1 was used by them more extensively than ever before it had been used in ,english furniture4 ,with the furniture of ,hepplewhite we find the three section bookcase desk in vogue1 and the pull-over top 7tambour7 which was ancestor to the modern roll-top4 ,the ,hepplewhite desks are in great variety and of much beauty and practical utility as well4 ,sheraton included in his desks all the forms brought into fashion by ,hepplewhite or modified by him4 ,all these various periods were reflected in ,american desks1 some of them with local modifications and variations4 ,,chapter ,,xvi ,,chelsea ,old ,chelsea--with what associations is the name endowed6 ,hither came the wits--,smollett1 ,steele1 ,swift1 ,horace ,walpole1 and others of the monde4 ,those were the days when ,chelsea was still a village of the eighteenth century1 boasting of ,ranelagh and its gaieties on the one hand1 and ,cremorne ,gardens on the other4 ,here was the manor ,henry ,,viii had given to ,catherine ,parr when ,chelsea was completely rural2 in ,walpole's time it was just beginning to be truly suburban1 while now it is so integral a part of ,london that it might long ago have had its identity swallowed up but for the perpetuation of its literary1 artistic1 and historical atmosphere by ,carlyle and his circle and by ,whistler and his4 ,the fifteen years from #agej to #agfe comprised the period of old ,chelsea's social heyday1 though the aftermath was not without its distinctly brilliant though somewhat irascible flashes4 ,these were years demanding fine things for the fashionables4 ,horace ,walpole and others had stirred up the passion for chinaware and the ,english porcelain and pottery-manufacturers were kept busy not only to supply the demand but to meet the exacting quality of that demand1 which called for perfection in fabrique4 ,with this in mind it is not at all strange that some enterprising potter with a provident eye to business should have decided on establishing a porcelain factory at ,chelsea4 ,just when this venture was established1 history has neglected to disclose1 but it must have been somewhere around #agdj4 ,we do know that the ,chelsea porcelain-works were already celebrated for their wares in #agde4 ,some students of ceramics believe a very early date should be assigned to ,chelsea productions4 ,it is even possible that porcelain was being made in the village as early as #afhb1 the year in which was begun the old hospital for invalid soldiers1 designed by ,sir ,christopher ,wren4 ,of course as ,oriental porcelain had been introduced into ,england some fifty years before that--in #afca1 to be exact--it is likely enough that works for the purpose of imitating it were established in ,chelsea4 ,horace ,walpole made note of very early 8specimens of ,chelsea blue-and-white40 ,perhaps these were the sort of crude porcelain which ,dr4 ,martin ,lister referred to in an account of his visit to ,france1 in #afie1 wherein he mentions the superiority of the 8,potterie of ,st4 ,clou0 over the 8gomroon ware0 of ,england1 although he observes that the ,english were 8better masters of the art of painting than the ,chineses10 a statement that might have applied to ,chelsea porcelains of the gomroon1 or imitation ,oriental genre1 productions perhaps antedating the native ,english development in decoration4 ,the ,french manufacturers of #agde had become concerned over the strides taken by the ,english potters and they petitioned1 accordingly1 for the privilege of establishing a soft-porcelain factory at ,vincennes1 complaining of the competition of ,english wares of ,chelsea4 ,such early porcelains as are extant and ascribed to a period coeval with that of the porcelain of ,st4 ,cloud exhibit clumsiness and lack of finish4 ,already the village of ,chelsea had become well known in the industrial world through its glass manufactory established there by ,venetian glass-workers under the patronage of the ,duke of ,buckingham1 in #afgf4 ,it may be that the ,chelsea pottery was evolved as an outcome of this experiment1 an experiment so successful that ,elers joined it in #agbj4 ,the early bits of ,chelsea were1 almost entirely1 copies of ,oriental wares and mainly decorated with ,chinese designs4 ,queen ,anne does not appear to have bothered her head particularly about the ,chelsea porcelain4 ,the ,hanoverian ,georges paid more attention to it4 ,in their minds porcelain was too intimately connected with the table to escape royal patronage4 ,george ,,ii especially encouraged the manufactory at ,chelsea4 ,frederick ,,ii had early borrowed and taken from ,france the art of porcelain-making and had initiated his several hundred princes in the mysteries of its allurements4 ,naturally the ,hanoverians were interested and ,george ,,ii had everything1 from models to workmen1 brought over in the hope of rivaling the wares of ,svres and of ,dresden4 ,the ,duke of ,cumberland took an especial interest in the ,chelsea factory and made it an annual allowance4 ,soon the fame of ,chelsea porcelain had become so great that the demand was far in excess of the supply and the prices soared accordingly4 ,in #agfe contemporary reference informs us that the china of ,chelsea was in such repute 8as to be sold by auction1 and as a set was purchased as soon as baked1 dealers were surrounding the doors for that purpose4 ,watkins in his 8,life of ,queen ,charlotte0 writes3 ,there are several rooms in ,buckingham ,palace full of curiosities and valuable moveables1 but not ranged in proper order4 ,among other things1 ,i beheld with admiration a complete service of ,chelsea china1 rich and beautiful in fancy beyond expression4 ,i really never saw any ,dresden near so fine4 ,her ,majesty made a present of this choice collection to the duke1 her brother1 a present worthy of so great a prince4 ,indeed1 ,horace ,walpole1 in writing to ,sir ,horace ,mann in #agfc1 had said3 ,i saw yesterday a magnificent service of ,chelsea china1 which the ,king and ,queen are sending to the ,duke of ,mecklenburg4 ,there are dishes and plates without number1 an epergne1 candlestick1 saltcellars1 sauceboats1 tea and coffee equipage4 ,in short1 it is complete1 and cost #a1bjj4 ,after the death of the ,duke of ,cumberland and that of the director of the works1 ,nicholas ,sprimont1 the porcelain of ,chelsea declined4 ,grosley's 8,tour to ,london10 as we have it in ,nugent's translation1 noted this4 ,apropos of earthenware he wrote3 ,the manufacturers of this sort lately set on foot in the neighborhood of ,london have not been able to stand their ground4 ,that at ,chelsea1 the most important of all1 was just fallen when ,i arrived at that capital4 ,the last proprietors had pleaded in vain for further state protection1 but it was not forthcoming4 ,it closed its doors1 while the models1 materials1 etc41 were carted off to ,derby1 followed by the forlorn workmen who witnessed the dissolution4 ,in ,smith's 8,life of ,nollekens0 we find the following reference to the porcelain of ,chelsea3 ,the factory stood just below the bridge upon the sight of ,lord ,dartery's house4 8,my father worked for them at one time10 said ,nollekens4 8,yes10 replied ,betew1 8and ,sir ,james ,thornhill designed for them4 ,mr4 ,walpole has at ,strawberry ,hill half-a-dozen china plates by ,sir ,james which he bought at ,mr4 ,hogarth's sale4 ,paul ,ferg painted for them4 ,the cunning rogues produced very white and delicate ware1 but then they had their clay from ,china1 which when the ,chinese found out1 they would not let the captains have any more for ballast1 and the consequence was that the whole concern failed40 ,nevertheless1 although decorated by ,sir ,james ,thornhill1 these plates were probably of ,dutch fabrique1 and not ,chelsea4 ,we learn from ,faulkner's 8,history of ,chelsea0 that ,dr4 ,johnson 8conceived the notion that he was capable of improving the manufacture of china4 ,he even applied to the directors of the ,chelsea ,china ,works1 and was allowed to bake his compositions in their ovens in ,lawrence ,street1 ,chelsea4 ,he was accordingly accustomed to go down with his house-keeper1 about twice a week1 and stayed the whole day1 she carrying a basket of provisions with her40 ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,a ,pair of ,candlesticks and a ,vase1 ,chelsea1 #ahth ,century ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,cabinet ,inset with ,wedgwood ,jasper ,ware ,medallions ,one could hardly imagine the good doctor's adventuring without the provisions6 ,but alas6 the doctor's mixtures all yielded to the intensity of the heat1 while the clays prepared by the company came forth irritatingly whole4 ,faulkner says3 ,the ,doctor retired in disgust1 but not in despair1 for he afterwards gave a dissertation on this very subject in his works2 but the overseer 7who was still living in the spring of #ahad7 assured ,mr4 ,stephens that he 7the overseer7 was still ignorant of the nature of the operation4 ,he seemed to think that the ,doctor imagined one single substance was sufficient1 while he1 on the other hand1 asserted that he always used sixteen2 and he must have had some practice1 as he had nearly lost his eyesight by firing batches of ,chine1 ,chelsea1 and ,derby1 to which the manufacture was afterward carried4 ,the collector of old ,chelsea will find it rare indeed4 ,but as with so many things worth while1 an occasional find will cause thrills of a quality scarcely to be compared with the ordinary excitement of coming upon a bit of commoner ware4 ,as the ,chelsea porcelain was of very soft paste1 the pieces do not withstand refiring1 in consequence of which it is not redecorated or patched up as often is the case with many wares4 ,the color charm of old ,chelsea is very definite4 ,where1 for instance1 in any other porcelains1 will one find just its own peculiar claret color8 ,the earliest forms were ,oriental1 undoubtedly1 but the early forms of ,chelsea within the period of its history which is clear to us were ,french4 ,under the ,georges1 ,dresden exerted its influence in form1 color1 and decoration4 ,i have seen pieces of ,chelsea that appeared comparable with ,royal ,svres1 whose influence was so distinctly in evidence from #agej to #agfe4 ,especially fine are the pieces which bear the landscape decorations painted by ,beaumont4 ,the ,chelsea figure pieces began to appear about #agej1 at least the earliest mention of them extant is dated about that time4 ,while they were influenced by the ,dresden and by ,french figurines1 they developed qualities of their own and their greater naturalness and freedom from affectation at once lends them an unmistakable distinction4 ,not only were gentle shepherds1 demure shepherdesses1 and swains and sweethearts modeled in old ,chelsea porcelain1 but portrait busts as well came into fashion4 ,field-,marshal ,conway1 ,walpole's friend1 and others intimate with the master of ,strawberry ,hill 8sat0 to ,chelsea4 ,the ,george ,,ii portrait bust is one of the best of the series4 ,the early figure pieces were usually ungilded4 ,on those that were gilded the gilt was sparingly used4 ,with the advent of #agfj gorgeous coloring and a lavish use of gilding came into play4 ,scent-bottles1 cane-handles1 knife-and fork-handles1 breloques1 bonbonnires1 and patch-boxes are a few of the many things to which ,chelsea porcelain lent itself4 ,as to the texture of the ware1 it has already been said that all genuine ,chelsea is of very soft paste1 requiring all decoration to be done at one time1 as it could not withstand a second firing4 ,in body it is uneven1 the paste having the effect of poor mixing1 as one will see by holding a piece of ,chelsea to the light1 when the spots can be detected4 ,the glaze of the earliest pieces is thick and was applied unevenly4 ,nearly all bits of ,chelsea porcelain display stilt marks4 ,a crudely drawn triangle marks the ,chelsea ware of the #agde-agea period4 ,from #agdi to #agec inclusive we find the embossed anchor1 a raised anchor upon an embossed oval4 ,then followed1 through #agei1 the anchor mark in red or gold painted on the glaze4 ,sometimes ,chelsea pieces were marked with two anchors4 ,when the ,derby ,works acquired the ,chelsea manufactory and continued the ,chelsea porcelain for a while1 the mark used was a combination capital letter ,d and an anchor4 ,from #aggc to #aghd the mark was a crown over an anchor1 or a crown over a ,d1 and a combination ,d and anchor4 ,in the early pieces1 which were copies of ,oriental ones1 various pseudo-oriental marks were used at ,chelsea1 but nearly all introduce an anchor-like mark4 ,this anchor was probably suggested by some early ,venetian workman in ,chelsea's first porcelain manufactory4 ,fine ,chelsea is rare enough to lead one to consider a few good pieces1 even four or five1 a 8collection40 ,but whether or not one is a collector1 every lover of beautiful porcelain should know something of ,chelsea's interesting story4 ,,chapter ,,xvii ,,wedgwood ,the mention of the name ,wedgwood naturally suggests to the general reader those blue-and-white pieces which made famous ,england's greatest potter--,josiah ,wedgwood4 ,we picture to ourselves the beautiful vases1 flower-holders1 jardinires1 tea-pots1 cups and saucers1 cream-ewers1 and the like1 and are not aware1 perhaps1 that many other ornamental uses were served by jasper ware 7as ,wedgwood called this ceramic product71 not only in the blue-and-white1 but in yellow-and-white1 green-and-white1 lilac-and-white1 pink-and-white1 and also in some seven solid body colors4 ,among these the small cameos in jasper1 designed mainly for settings of jewelry1 and the cameo medallions and cameo plaquettes are of particular interest to the collector of ,english earthenware4 ,while the cameos were mainly of the blue-and-white jasper1 there were also those in other colors and white4 ,the same is true of the larger cameo medallions and cameo plaquettes1 though the color pieces1 other than the blue-and-white1 are of great rarity4 ,the cameo medallions had great vogue for ornamental decorative purposes4 ,jewel-boxes1 writing-cases1 furniture1 etc41 were decorated with them4 ,an example of the sort is a drawer-and-chest cabinet in the collections of the ,metropolitan ,museum of ,art1 ,new ,york4 ,in this instance both small cameos and larger cameo medallions were employed in the decoration4 ,the cameo medallions and the cameo plaquettes were also in great demand for architectural embellishments1 for setting in mantels1 over-mantels1 door-casings1 door furniture1 etc4 ,the small cameos ranged in size from one fourth to two and a half inches in diameter4 ,josiah ,wedgwood's genius produced many useful and ornamental wares1 among them cream ware 7#agfa7 called ,queen's ware from #agfe2 white stoneware 7#agei72 black basalt ware 7#agff72 fine white ware 7#aggc-agge72 jasper ware 7#agge-agie72 rosso-antico ware 7#aggf72 pearl-lustre ware 7#aggf-aggi71 and cane-colored jasper ware 7#aghg74 ,in perfection and fineness the various colored jasper wares led them all1 and the jasper cameos were hardly surpassed by other pieces in this clay4 ,as the old firm founded by ,josiah ,wedgwood has continued in business uninterruptedly from the eighteenth century1 the recently revived modern ,wedgwood cameos which have appeared in some of the most attractive recent jewelry awaken even a greater interest on the part of the collector in the study of the old pieces4 ,beautiful as are the cameos of modern ,wedgwood jasper1 those of ,josiah's own period 7#agge-agie7 can readily be distinguished1 not only because of the somewhat less soft-to-the-feel surface but also because all foreign wares imported since #ahia are required by the tariff law to be plainly marked with the designation of the country of their manufacture4 ,josiah ,wedgwood probably was inspired to experiment with his cameos and cameo medallions and plaquettes through having come in contact with ,james ,tassie1 celebrated for his copies of engraved gems in sulphur and in vitreous compositions1 some of which ,josiah had purchased in #agfi4 ,his fertile brain set to work on the problem of creating cameo productions from his own ceramic materials4 ,after surmounting untold obstacles ,wedgwood finally achieved complete success in his undertaking4 ,immediately there was a great demand for the cameos1 by the manufacturing jewelers of ,birmingham and ,sheffield 7who employed such artists to mount them as ,boulton and ,watt71 and elsewhere4 ,the mountings were of gold1 of silver1 and of cut steel4 ,these last mountings were the most in demand4 ,this jewelry also became much sought abroad and the demand in ,america was great4 ,the name cameo was first applied by ,wedgwood in #aggb4 ,nearly four hundred and fifty objects were catalogued by #aggg4 ,their best period was from #aghj to #agie1 #aghg being the year when ,wedgwood had completely mastered the art of the jasper cameos and cameo medallions4 ,there were then one thousand and thirty-two subjects listed--subjects drawn from ,egyptian mythology1 ,roman and ,greek mythology2 sacrifices2 ancient philosophers1 poets1 and orators2 sovereigns of ,macedonia1 the fabulous age of ,greece2 the ,trojan ,war2 ,roman history2 masks1 ,chimaeras2 illustrious moderns1 and so on4 ,even originally the small cameos were not cheap in price4 ,in wholesale lots of ten some five shillings apiece was asked for them by ,wedgwood4 ,unfortunately1 all the cameo subjects are not now to be identified completely1 even where given in the old catalogue1 as no descriptions were placed on the subjects sold to the general public to identify them with the catalogue entries4 ,cameos and cameo medallions and plaquettes were made both in solid jasper and in dip jasper4 ,the former ceramic paste was colored clear through1 while the latter was surface-colored only4 ,wedgwood employed some of the most famous designers of his day1 among them ,john ,flaxman1 ,william ,hackwood1 ,roubillac1 ,james ,tassie1 ,john ,bacon1 ,thomas ,stothard1 ,webber1 ,pacetti1 ,george ,stubbs1 ,william ,greatback1 ,davaere1 ,angelini1 and ,dalmazzoni2 and such gifted amateurs as ,lady ,templeton and ,lady ,diana ,beauclerk drew for him4 ,the small cameos were fired but once2 the large cameo medallions and the plaquettes were given a second firing4 ,fine old ,wedgwood is as soft as satin to the touch1 and most of it was left with a dull matt surface1 although jasper is capable of receiving a high polish on the lapidary's wheel4 ,while some few pieces of ,wedgwood were not marked1 nearly all of it was4 ,the collector should be told that many imitated pieces have borne the name spelled with an e after the g1 thus3 ,wedgewood4 ,no genuine ,wedgwood1 old or modern1 bears other spelling of the name than 8,wedgwood40 ,,chapter ,,xviii ,,saving ,,the ,,pieces ,old porcelain and earthenware1 and even old glass1 may be skilfully mended so as almost to pass as whole2 and lost parts may be 8restored0 to a condition that will leave an object not to be a reproach to one's collection4 ,of course1 the collection should entrust such mending and restoring to the hand of an expert1 at least where broken or damaged pieces are of particular rarity4 ,probably the famous ,portland ,vase1 now in the ,british ,museum1 is the most remarkable example of mending and restoring we know of4 ,this celebrated vase1 it will be remembered1 was discovered in a sarcophagus in an ancient tomb not far from the ,frascati ,road1 near ,rome1 about the middle of the seventeenth century4 ,from its first owners1 after its discovery1 it was known as the ,barberini ,vase until it passed from the hands of ,sir ,william ,hamilton 7who had purchased it for a thousand pounds7 into the possession of the ,duchess of ,portland4 ,thenceforth it was known as the 8,portland ,vase40 ,this vase1 which was of a deep1 blue-black glass1 decorated with semi-translucent cameo figures of white1 cut in relief upon a dark ground in a truly marvelous manner1 was one day dashed to pieces in #ahde by a crank named ,lloyd1 a visitor to the museum4 ,fortunately the hundreds of fragments were immediately gathered up and placed in the hands of the official restorer1 a ,mr4 ,doubleday1 who accomplished the remarkable feat1 aided by an engraving of the vase by ,cipriani and ,bartolozzi in #aghf1 and especially by a remarkable copy of the vase which ,josiah ,wedgwood had made4 ,fifty such copies were originally made for subscribers at fifty guineas each1 and all were disposed of4 ,these first copies are among the rarest and loveliest examples of ,wedgwood's wares4 ,as the original molds survived1 recent copies have been made1 with black and also with dark-blue grounds4 ,while ,wedgwood's copies were remarkable ceramic achievements1 they may seem to lack the intrinsic beauty of the original material1 but they are pleasing and fine in themselves4 ,at the sale1 in #aghf1 of the antiques and curios collected by the ,duchess of ,portland1 her son1 then duke1 was present in the auction room as a bidder4 ,wedgwood was bidding on the ,portland ,vase and the price went soaring up4 ,finally the duke discovered that ,wedgwood's sole reason for desiring the vase was to reproduce it4 ,on condition that he was to have one of the copies1 free of charge1 the duke offered to lend ,wedgwood the treasure if ,wedgwood would withdraw from the competition and allow the duke to bid it in4 ,the matter was amicably arranged1 and the vase was handed to ,wedgwood for the purpose stipulated4 ,he himself wrote3 ,i cannot sufficiently express my obligation to his ,grace1 the ,duke of ,portland1 for his entrusting this inestimable jewel to my care1 and continuing it so long--more than twelve months--in my hands1 without which it would have been impossible to do any tolerate justice to this rare work of art4 ,i have now some reason to flatter myself with the hope of producing in a short time a copy which will not be unworthy the public notice4 ,wedgwood is said to have looked upon his copy of the ,portland ,vase as his masterpiece4 ,those who have been fortunate enough to see the original vase in the ,british ,museum--where1 restored1 it is now safely guarded in the ,gem ,room--will appreciate how much can be accomplished in the hands of a skilful mender and restorer1 and will realize1 too1 the value of 8saving the pieces0 when accident appears to have destroyed a rare specimen of pottery1 porcelain1 or glass4 ,,chapter ,,xix ,,lounging ,,furniture ,should any one with a taste for antique furniture also find interest in old-fashioned verse1 he might some day come across ,cowper's lay which elegantly hints at the evolution of lounging-furniture1 culminating in the development of the delectable sofa4 ,i suppose few read old ,cowper nowadays4 ,i myself confess to no propensity in this direction beyond a liking for the ballad of 8,john ,gilpin40 ,poor1 gentle1 melancholy ,cowper1 who tamed hares for diversion and gave to ,english poetry of the late eighteenth century a cast more earnest and more simple than had come to be its wont before his pen expressed his gift6 ,but ,cowper1 mild and quiet though he was1 had yet a keen sense of humor4 ,this crept into certain lines that the lover of antique furniture may enjoy having brought to his notice3 ,ingenious fancy1 never better pleased ,than when employed to accommodate the fair1 ,heard the sweet moan with pity and devised ,the soft ,,settee1 one elbow at each end ,and in the midst an elbow1 it received ,united1 yet divided1 twain at once4 ,so sit two kings of ,brentford on one throne2 ,and so two citizens who take the air4 ,close packed and smiling in a chaise and one1 ,but relaxation of the languid frame1 ,by soft recumbency of outstretched limbs1 ,was bliss reserved for happier days2 so slow ,the growth of what is excellent1 so hard ,to attain perfection in this nether world ,thus1 first necessity invented stools1 ,convenience next suggested elbow chairs1 ,and luxury the accomplished ,,sofa last4 ,the couch has an ancient and classical ancestry4 ,the ,egyptians1 the ,greeks1 and the ,romans utilized it extensively4 ,the settee evolved from the double chair--love-seat1 it was often called--while the 8accomplished0 sofa combined1 or was supposed to combine1 all the advantages and virtues of couch and settee1 not omitting the attractiveness of the love-seat6 ,an understanding of these relationship adds not a little to the interest of collecting4 ,the collector will not concern himself with the couches of the ancients1 but will come within the early ,english forms of this article of furniture4 ,the name 8day-bed0 was earlier used for ,english couch furniture of the ,jacobean period 7#afjc-afhh74 ,the seventeenth-century day-bed allowed a person to recline comfortably at full length4 ,it was either laced or caned for cushioning4 ,at one end the head-piece sloped back4 ,at first this head-piece appears to have been stationary1 but no doubt comfort soon suggested the later movable head-piece--a device more popular with the ,english than with the continental makers of day-beds or couches1 as far as ,i have been able to discover4 ,in height the best day-beds were slightly lower than chair seats4 ,the ,jacobean pieces have the characteristic carved or turned legs4 ,undoubtedly many of these couches found their way to the colonies during the early period of ,american history4 ,captain ,william ,tinge 7#afec7 had inventoried such a couch1 and a cane-bottomed one belonged to the ,bulkelys and is now in the ,antiquarian ,society1 ,concord1 ,massachusetts4 ,john ,cotton 7#afeb7 was another early colonial couch-owner1 and one might call attention to many others who made mention of such household objects in their carefully drawn inventories now preserved to us by the various antiquarian societies throughout the country4 ,the couches of the ,william and ,mary period 7#afhh-agjb7 conformed to the simpler forms that succeeded the ,jacobean carved furniture4 ,not only ,illustration3 ,courtesy ,metropolitan ,museum of ,art #afth ,century ,venetian ,glass ,covered ,cup1 ,skillfully ,restored by an ,expert ,mender ,illustration3 ,double ,chair-,back ,settee1 ,chippendale1 #agce-agej ,illustration3 ,settee1 ,adam ,style ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,sofa of the ,william and ,mary ,period were the rarer woods employed in their manufacture1 but as the couch had come to be looked upon as a necessity in the cottage as well as in the mansion1 the more ordinary woods were utilized also4 ,many of these couches were exported to the ,american colonies1 which1 in their turn copied their forms and otherwise adopted them4 ,upholstered couches now began to come more commonly into use than the earlier couches1 which were designed to be fitted with cushioned seats4 ,during the period of ,queen ,anne 7#agjb-agad7 the houses of the rich were1 as a rule1 beset by ultra-decorative fashions and in them luxury was expressed in much of the furniture as well as in other furnishings4 ,however1 such delightful specimens of the walnut furniture of the period exist--simple1 elegant1 and truly beautiful in line--that we may rest assured that good taste was enjoyed in the homes of the middle classes4 ,couches of this period will therefore be found to reflect the extremes4 ,the cabriole leg1 the leading characteristic of ,queen ,anne furniture1 soon made its appearance in the couch support4 ,upholstery became more popular than ever1 as enormous quantities of silks and velvets were being produced during ,anne's reign4 ,chintzes1 and printed cottons1 too1 were in demand for couch covers4 ,lacquered couches and marqueterie couches were also in vogue during this reign1 but few of these appear to have survived1 and such as have are treasured accordingly4 ,about #agbj--two years after ,anne's death--mahogany came into general use in furniture-making4 ,cabinet-makers lost no time in employing this wood in the making of couches4 ,seven years after this1 ,thomas ,chippendale and his father were established in ,london4 ,in #agdi ,chippendale opened his conduit ,street shop in the ,longacre section4 ,here he worked until his removal to ,st4 ,martin's ,lane4 ,a year after1 in #aged1 he brought out his famous book1 8,the ,gentleman and ,cabinet-,makers' ,director40 ,the couches were being supplanted to great extent by the sofa during the time of the ,georges1 in which ,chippendale lived1 but such couches as remain show the various ,chippendale lines4 ,the brothers ,adam 7#afgb-agib71 following their taste for ,italian things1 and designing for lighter woods and forms1 gave more attention to the couch1 perhaps1 than ,chippendale had done4 ,unlike the ,chippendale couches1 the ,adam couches were without the end supports4 ,george ,hepplewhite1 who died in #aghf1 gave to ,english furniture a well-defined style4 ,the first edition of 8,the ,cabinet ,maker and ,upholsterer's ,guide0 was published by his widow1 ,alice ,hepplewhite1 in #aghh4 ,hepplewhite1 as had the brothers ,adam1 came strongly under the influence of the classic4 ,hepplewhite couches employ an end such as that which upholstered sofas had suggested4 ,they also received inspiration from the ,french furniture of the time4 ,in his book ,hepplewhite gives on ,plate ,,xxxii1 8,two designs of couches or what the ,french call ,pch ,mortel40 ,it has not been my good fortune to come across a ,sheraton couch in the strict sense of the word1 though ,i presume such were made by ,thomas ,sheraton 7#agej-ahjf74 ,his 8,cabinet-maker and ,upholsterer's ,drawing ,book0 first appeared in #agia2 but it concerned itself more with settees than with dwelling particularly on true couch designs4 ,the couches of the ,french periods--,louis ,,xiv 7#afdc-agae71 ,louis ,,xv 7#agae-aggd71 ,louis ,,xvi 7#aggd-agic71 and the ,empire 7#agib-ahcj7--;all follow the well-known lines of these ,louis ,quatorze1 ,louis ,quinze1 ,louis ,seize1 and ,empire styles1 and it will not be necessary here to go into detail concerning them4 ,the ,english and ,american cabinet-makers of the years #agib to #ahcj adapted ,french ,empire styles and as a result produced furniture which we may designate as ,english ,empire or ,american ,empire1 as the case may be4 ,the settee of the ,jacobean period was a development of the double chair or love-seat4 ,it followed the general styles of the period in legs and stretchers4 ,the back usually was upholstered4 ,it was not in general use until walnut had come to supersede oak4 ,for this reason the ,jacobean settees are for greater part of walnut4 ,the ,william and ,mary period settees found the double chair back in favor1 and comfortable indeed were these settees1 many of them being provided with squab cushions in addition to their upholstered seats1 backs1 and ends4 ,the ,william and ,mary settees were somewhat shorter than the generously long settees of the ,jacobean period4 ,queen ,anne settees were designed with straight backs1 these backs doing away with the double-hoop backs of the settees of the reign that preceded ,anne's4 ,these backs were considerably lower1 and1 as with the couches1 the cabriole leg formed a distinctive characteristic4 ,in the ,queen ,anne settees of a later time the double back without upholstery came in again4 ,the seats of these settees were depended upon for occasional use at the back4 ,chippendale's settees followed the lines of his designs for chairs4 ,his window-seats did likewise4 ,colonel ,wentworth's 8,chinese ,settee0 of the ,chippendale style is now in the ,ladd ,house at ,portsmouth1 ,new ,hampshire4 ,very elegant indeed were the settees and the window-seats of the brothers ,adam4 ,both coincided in lines with ,adam chairs4 ,the window-seats1 though so often following ,chippendale forms1 were a refinement of these latter4 ,they were supported by four or by six legs1 usually1 though several window-seats of ,adam style have eight legs4 ,these settees bear the characteristic fluting on the front rail4 ,the ,hepplewhite settees are1 for the most part1 double backs or triple backs and follow in design the chair styles of this type4 ,a ,hepplewhite settee of #aghj upholstered in silk brocade has the vase detail in the arm-post and the legs are turned and reeded4 ,other ,hepplewhite settees were cane-seated and cushioned1 and with these squab cushions were used4 ,sheraton himself tells us that cane-work as applied to furniture again came into favor with cabinet-makers about the year #aggc4 ,a very fine ,sheraton two-back settee painted with medallions by ,angelica ,kauffmann is extant to test the skill of the eighteenth-century furniture-maker in the reintroduction of the use of cane for seating1 and for the backs4 ,some of the ,sheraton settees were upholstered and some were designed for cushion coverings4 ,the settees of the various ,french periods followed the general chair-furniture lines in their styles1 as did the settees of the ,english and the ,american ,empire styles4 8,ingenious fancy0 now brings us again to the 8accomplished sofa40 ,the settees and love-seats of the ,jacobeans1 and the couches that had long preceded even them1 united in the achievement that ,cowper immortalizes and which no early ,victorian novelist could have dispensed with in creating his 8atmosphere40 ,the sofas of ,william and ,mary and of ,queen ,anne were expanded and upholstered settees in effect4 ,chippendale devoted much attention to the sofa and came to use rolled-over arms in the larger one4 ,several of these are illustrated in his 8,gentleman and ,cabinet-,makers' ,director10 already referred to4 ,plate ,,xxx shows two such sofas1 and that on ,plate ,,xxxi is described by him as follows3 ,a ,design of a ,sofa for a grand ,apartment1 and will require a great ,care in the ,execution1 to make the several ,parts come in such a ,manner1 that all the ,ornaments join without the least ,fault2 and if the ,embossments all along are rightly managed1 and gilt with burnished ,gold1 the whole will have a noble ,appearance4 ,the ,carving at the ,toe is the ,emblem of ,watchfulness1 ,assiduity1 and ,rest4 ,the ,pillows and ,cushions must not be omitted1 though they are not in the ,design4 ,the ,dimensions are nine ,feet long without the ,scrolls2 the broadest ,part of the ,seat1 from ,front to ,back1 two ,feet1 six ,inches2 the ,height of the ,back from the ,seat1 three ,feet1 six ,inches2 and the ,height of the ,seat one ,foot1 two ,inches1 without ,casters4 ,i would advise workmen to make a ,model of it at large1 before he begins to execute it4 ,the ,adam sofas closely fall in with the general features of the ,adam style1 and the same may be said of the sofas of ,hepplewhite and ,sheraton4 ,hepplewhite in his book tells us that the dimensions of sofas 8should vary according to the size of the room1 but the proportion in general use is1 length between #f and #g feet2 depth about #cj inches2 heighth of the seat frame #ad inches2 total in the back1 #c feet #a inch4 ,the woodwork should be either ,mahogany or japanned to suit the chairs in the room1 and the covering must match that of the chairs40 ,four designs of sofas appear in ,hepplewhite's book4 ,plate #bg therein shows a confidante4 ,of this he says3 ,this piece of furniture is of ,french origin1 and is in pretty general request for large and spacious suites of apartments4 ,an elegant drawing-room with modern furniture is scarce complete without a confidante2 the extent of which may be about #i feet1 subject to the same regulations as sofas4 ,this piece of furniture is sometimes so constructed that the ends take away and leave a regular sofa2 the ends may be used as ,barjier chairs4 ,of the ,duchesse sofa ,hepplewhite says3 ,this piece of furniture is also derived from the ,french4 ,two ,barjier chairs of proper construction1 with a stool in the middle1 form the ,duchesse1 which is allotted to large and spacious ante-rooms2 the covering may be various as also the framework1 and made from six to eight feet long4 ,the stuffing may be of the round manner as shown in the drawing1 or low-stuffed with a loose squab or bordered cushion fitted to each part2 with a duplicate linen cover to cover the whole1 or each part separately4 ,confidantes1 sofas and chairs may be stuffed in the same manner4 ,in the rooms of the ,antiquarian ,society1 ,concord1 ,massachusetts1 is a sofa which once belonged to ,samuel ,barron and which shows mixed ,hepplewhite and ,sheraton characteristics4 ,in ,girard ,college1 ,philadelphia1 one may see a ,sheraton sofa that once belonged to ,stephen ,girard1 the founder4 ,sheraton himself describes one of his own sofas as follows3 ,a sofa done in white and gold1 or japanned4 ,four loose cushions are placed at the back4 ,they serve at times for bolsters1 being placed against the arms to loll against4 ,the seat is stuffed up in front about three inches high above the rail1 denoted by the figure of a sprig running lengthwise2 all above that is a squab1 which may be taken off occasionally4 ,sheraton also tells of the ,turkey sofa 8introduced into the most fashionable homes as a novelty1 an invention of the ,turkish mode of sitting4 ,they are1 therefore1 made very low1 scarcely exceeding a foot to the upper side of the cushion4 ,the frame may be made of beach1 and must be webbed and strained with canvas to support the cushions40 ,it would be interesting to go on dwelling upon a subject so rich in lore1 but ,i fear1 so little studied4 ,the author has generously refrained from the harrowing mention of haircloth1 as he imagines there is little he could add to a subject that all readers are probably too familiar with already4 ,,chapter ,,xx ,,sheffield ,,plate ,every one is familiar with the name 8,sheffield ,plate10 and many have a vague idea as to what1 superficially1 marks its distinction2 there are fewer1 however1 who know its story4 ,it is interesting4 ,a few years prior to the middle of the eighteenth century--#agdb is the generally accepted date--there lived in a little house on ,sycamore ,hill in the ,english town of ,sheffield an ingenious mechanic1 ,thomas ,bolsover by name4 ,his knife1 which had a handle made partly of silver and partly of copper1 had been broken1 and one day in a leisure moment ,bolsover took it to his attic room to repair it at the little work-bench he had fixed up there4 ,in the course of this operation an unusual accident brought about the fusing of the copper and silver parts of the knife-handle4 ,to ,bolsover's surprise he found the metals had cohered1 forming a copper basis with a surface of silver4 ,to a stupid mechanic this would have given rise to no reflection1 or only to futile and passing curiosity4 ,to ,bolsover it at once brought the reflection that a process developed by experiment from the results of this accident would be of definite utility4 ,in view of the fact that the value of silver at that time was three times what it is to-day1 the discovery of a substitute for the solid precious metal was of great commercial importance4 ,bolsover was a cutler by trade and steel-working was ,sheffield's chief industry4 ,so little silver-working had been attempted in the town that there was not even an assay office there2 in fact1 one was not established until some thirty years subsequent to ,bolsover's discovery and inventions4 ,although ,bolsover was only a struggling workman1 he had the good fortune of interesting a ,mr4 ,pegge of ,beauchief1 who furnished him with the capital to set up a manufactory of articles produced by the new process4 ,buttons1 buckles1 snuff-boxes1 and knife-handles were turned out from the new shops on ,baker's ,hill4 ,this business ,bolsover conducted in conjunction with one1 ,joseph ,wilson4 ,during this period ,bolsover was probably so concerned with his work and the manufacture of the small articles mentioned that it never occurred to him that his process was capable of greater developments4 ,changing conditions open new channels that are to be anticipated only by imaginative minds4 ,bolsover's mind was1 ,i think1 less imaginative than of a generally intelligent and practical turn4 ,it was sufficient for him1 in all probability1 that he had stumbled on material which would replace silver in the manufacture of the small articles that appealed to his commercial instinct4 ,the middle of the eighteenth century was a period in which only the very well-to-do could afford articles of silver for household use4 ,the middle class still contented itself with pewter4 ,it apparently remained for ,joseph ,hancock1 a brazier who had been in ,bolsover's employ1 to realize the possibilities of ,bolsover's copper rolled-plate process 7as it was then and for a long time afterward called71 as a suitable material for silverware4 ,hancock produced tea-pots1 coffee-pots1 candlesticks1 tankards1 waiters1 and so on4 ,it may seem strange that neither ,bolsover nor ,hancock followed the new industry for long4 ,as astute business men1 they might be expected to have anticipated the vogue that the copper rolled plate was later to enjoy4 ,on the other hand1 ,i think one should take into consideration the fact that the well-to-do of the day sought no silver substitutes1 and that on the tables of the middle class such things as epergnes1 bread-baskets1 and cake-baskets were hardly to be found before #agej1 while coffee-pots and milk-jugs were rare even in silver1 and tea-kettles and tea-urns even more so4 ,as these various articles came into more extended use in silver form1 they suggested to the immediate followers of ,bolsover and ,hancock the greater commercial field that would open to their manufacture in copper rolled plate4 ,still the old ,tudor ,leader firm1 founded by ,dr4 ,sherburn in #ageh and existing till #ahad1 a firm advertising 8the best wrought silver plate10 devoted most of its attention to the making of buttons and snuff-boxes4 ,authorities generally assign to about #agfj the earliest table pieces1 except those 7and they were very few7 which ,hancock produced4 ,after this time the copper rolled plate1 the manufacture of which ,bolsover and ,hancock found less remunerative than the metal rolling business they entered1 developed rapidly4 ,by #aggd there were some sixteen firms engaged in the hollow-ware making in ,sheffield alone1 and ,boulton had established a factory for copper rolled plate in ,birmingham4 ,we may assume that ,sheffield plate1 as the ware came to be called then1 became widely popular1 for ,ashworth1 ,ellis1 ,wilson1 and ,hawksly opened branches away from ,sheffield--in ,paris and in ,dublin4 ,there were1 of course1 many improvements in ,sheffield plate1 such as the method of preparing for and applying the ornamental silver edges which was under the patents of ,mr4 ,roberts of ,roberts ,cadman in #ahbd4 ,to another discovery we may credit the decline of the fine copper rolled plate after #ahdj4 ,it seems that a medical student1 ,wright by name1 studying with ,dr4 ,shearman of ,rotherham1 near ,sheffield1 discovered a process of depositing silver on copper by electro-decomposition4 ,he sold his discovery to ,messrs4 ,elkington in ,birmingham1 who took out patents1 ,march #be1 #ahdj4 ,those who have not studied the matter usually rest under the impression that ,sheffield plate1 as collectors know it1 is an electroplated ware4 ,on the contrary1 although many of the beautiful original ,sheffield-plate forms have been imitated in electroplated articles1 it is not the latter that hold a collector's interest4 ,moreover1 the true ,sheffield plate so treasured to-day has the silver rolled on copper and not on nickel or white metal4 ,i suppose tons of machine-made copper articles1 electroplated1 pass to-day with the unknowing as true ,sheffield plate4 ,such of these as imitate the fine old forms that have been unsurpassed are certainly preferable to other modern wares that lack the beauty of form and the traditions of design4 ,however1 the electroplated wares should be declared such1 and should not be fabricated to deceive4 ,another point is that the cost of making copper rolled plate is twice the cost of making electroplate4 ,it is1 ,i think1 better for the home furnisher to pay twice as much for a few excellent things than to have twice as many inferior ones at the same price4 ,modern ,sheffield plate--that is to say1 the rolled plate of to-day--is nearly all worth having4 ,the old ,sheffield pattern-books and many of the dies for the forms survived the capricious fortune that for so many years led the older art to give way to the commercial aspect of electroplate4 ,now1 electroplating does not wear well unless it is done on nickel2 a hard copper basis1 moreover1 enhances the beauty of the silver coating1 and brings out a quality which nickel and white metal do not4 ,as it was not until #aghd that ,parliament repealed the act that prohibited marking plated ware1 no ,sheffield plate that is genuine is found with a mark antedating #aghd4 ,from #aghd1 to1 say1 #ahhj1 ,sheffield plate may bear mark and maker's name beside it4 ,the firm of ,w4 ,green ,co4 was the first to have its mark and name registered for ,sheffield plate2 this was ,september #h1 #aghd4 ,however1 the collector finds pieces bearing names and marks together very rare4 ,marks are generally so inconspicuously placed as often to be missed even when they do occur4 ,careful examination is necessary to discover them4 ,it should be borne in mind that the genuine ,sheffield-plate metal consisted of silver and copper sheets inseparably joined and pressed out to the required thinness by being run cold through rollers4 ,the metal was then cut and shaped by hand-hammering into the forms desired4 ,electroplated ware consists of a baser metal form already shaped before being coated with silver in galvanic solution4 ,the possessor of any pieces of genuine ,sheffield plate will subject them to ruin if he is1 at any time1 so ill-advised as to have them replated4 ,such a renovation will utterly destroy the beauty that intrinsically resides with even worn pieces of ,sheffield plate that show copper traces4 ,illustration3 ,sheffield ,plate ,tray and ,spoonholder ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,sheffield ,plate ,teapots and ,coffee ,pot ,illustration3 ,straw ,marqueterie ,box1 ,french1 #ahth ,century ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,straw ,marqueterie ,box1 ,english1 #agth ,century ,,chapter ,,xxi ,,straw ,,marqueterie ,on traveling to the ,adriatic coast some years ago1 ,i stopped for several days in a little ,italian town not far from ,ancona4 ,i suppose few visitors have ever alighted there2 at least that is the impression ,i got from the profuse welcome accorded me at the primitive albergo where ,i put up4 ,just why even the slow-creeping trains of the ,marche ever bothered to stop here at all ,i have yet to determine4 ,with myself ,i seem to have established a precedent4 ,no errand other than that of the spirit took me there4 ,it all happened because1 when journeying eastward1 ,i had asked a fellow-traveler what there was of interest in this town1 and1 then1 why the train made so short a stop4 8,no one ever gets out here10 he explained2 8there is nothing to see40 ,from that moment my curiosity was aroused1 for experience has taught me that the most interesting places are those which most people find uninteresting4 ,one of the things ,i found in this little town will1 perhaps1 dear reader1 interest you1 and so ,i will make mention of it as introduction to my subject4 ,the room to which ,i was assigned by my host of the inn was1 ,i have reason to believe1 the chambre de luxe of the country-side4 ,the high beamed ceiling was painted much after the manner of the great ceiling of the ,florentine church of ,san ,miniato al ,monte1 although ,i saw nothing of it all by the flickering candle which lighted my arrival at this medieval hostelry4 ,in the morning a burst of golden sunlight awakened me1 and in through the windows was wafted the fragrance of the grape flowers in blossom outside4 ,my sleepy eyes followed the walls around4 ,and then opened wide on beholding a quaintly framed canvas of beautiful freshness1 the picture of a group of saints4 ,jumping out of bed and going over to inspect the painting1 ,i observed on an old marqueterie secrtaire which stood just below it an array of curious1 golden-hued objects4 ,on closer examination ,i found some to be boxes1 some jewel-caskets1 others yarn-containers1 while needle-cases1 frames1 book-covers and the like completed this odd assemblage of curious antiques4 ,then ,i discovered that they were all examples of straw marqueterie1 but finer1 of them1 than any pieces of the sort that ever before had happened to come to my attention4 ,i suppose being a collector makes one a discoverer4 ,at any rate1 a discovery it was1 and ,i asked myself how on earth these things happened to be here4 ,that morning my host explained4 8,all these10 said he1 8,i have been collecting as a hobby for years--things made by prisoners of war1 interesting and worth preserving4 ,the inlaid straw objects are but part of what ,i have--ivories1 carved cocoanuts2 jewelry1 paper models1 embroideries1 and so on1 all made by prisoners of war1 mostly in ,italy1 ,i presume1 as ,i have picked them up here in my own country in traveling around4 ,i would not part with them for the world60 ,this declaration dashed my hopes to the ground1 but one can forgive much in a landlord who collects things more spiritual than rent1 and a landlord in ,italy who 8travels around0 also commands one's respect for his ability to be so independent4 ,that is why ,i listened instead of bargaining1 and in that morning ,i learned many interesting facts about my host's unusual collection4 ,perhaps there were few kindred collecting souls in the neighborhood who deigned to listen as sympathetically as ,i did or who made no effect to conceal an enthusiasm which these things awakened within me4 ,at any rate1 the amiable innkeeper who would not part with his treasures for the world proved finally willing to sell a few of them for considerably less than a hemisphere1 which gave me a chance to weave tales of my own in the years that were to follow4 ,dr4 ,john ,eliot ,hodgkin1 ,f4,s4,a41 a renowned ,english antiquarian1 had a collection of some eighty pieces of straw marqueterie1 a collection exceeded in extent at that time by two ,french collection only4 ,probably not over a hundred pieces of straw marqueterie are to be found in all the ,british museums combined4 ,dr4 ,hodgkin's interesting volumes under the title of 8,rariora0 are1 unfortunately1 out of print4 ,in one of these he reproduced some of the specimens of straw marqueterie in his own extensive collection1 and the reader who wishes further to interest himself in the subject is referred to the pages of those erudite tomes1 which he may be fortunate enough to find on the shelves of some of the more important art libraries in ,america4 ,in ,europe the earlier centuries brought into existence many small arts of which we have well nigh forgotten the very existence4 ,it was thus these straw marqueterie objects of the sixteenth century1 the seventeenth and the eighteenth1 objects whose form of decoration is so rare as to be almost unknown to dealers in antiques and curios4 ,indeed1 ,i have failed to find a single specimen of early straw marqueterie in any shop in ,america1 or to discover any dealer who really knew anything about it4 ,this decoration1 composed of filaments of colored wheaten or oaten straw applied to small cabinets1 pictorial panels1 mirror frames1 caskets1 bookbindings1 tuis1 bonbonnires1 plaques1 etc41 boasts of an early origin4 ,possibly it was known in the fifteenth century1 but ,i have not found any examples that can with reasonable precision be attributed to a period earlier than the first quarter of the sixteenth century4 ,in certain instances the straw filaments composing the mosaics or marqueterie covering of the objects was highly colored originally1 but time has softened and toned them down4 ,the finest specimens of this work resemble chiseled gold1 and nearly all examples of straw marqueterie show a play of light on the grain of the fabric that produces the most exquisite effects imaginable1 which one must see really to appreciate4 ,very crude modern ,japanese trays1 boxes1 etc41 are technically akin to this old marqueterie1 but are not worthy to be classed with it or placed near these rare old ,european specimens4 ,indeed1 the ,oriental artist-craftsmen have never appeared to grasp a full realization of the resources of straw as a material for producing the exquisite effects to which the earlier ,european workers attained1 except in a few instances4 ,this seems strange1 considering the ingenuity of ,oriental craftsman4 ,the ,european artist-craftsman appears to have developed the art independently of ,oriental suggestion1 or at least independently of ,oriental influence4 ,in all probability straw marqueterie started in a humble way with the peasantry4 ,the materials for working it out lay at hand without cost1 infinite patience being all that was required1 with skill and inherent taste and a sense of design1 which peasant art invariably exhibits4 ,probably the early ,italians were the first makers of objects in straw marqueterie and the ,french were probably the next ones to take it up1 borrowing the art from the ,italians4 ,as no straw-work of this sort is being made in ,europe to-day1 one can but venture to guess at the details of the process4 ,such old volumes as ,barrow's 8,dictionarium ,polygraphicum10 and the 8,handmaid of the ,arts10 in which one might reasonably look for some hint on the subject1 are strangely neglectful of the matter1 which leads to the conclusion that though straw marqueterie was at one time one of the flourishing small arts on the ,continent1 it was less generally known in ,england4 ,in fact1 nearly all the ,english work of the sort dates from the eighteenth century4 ,in the ,victoria and ,albert ,museum is an ingeniously constructed work-box of pine1 decorated on the outside and the inside with colored straw-work arranged in panels containing checkers1 diagonal lines1 and other devices4 ,the front is fitted with a revolving shutter1 behind which is a panel ornamented in the center with buildings and fitted below with a small drawer4 ,below the shutter is a larger drawer1 divided into four lidded compartments1 two of the lids being of glass2 under this drawer is another small drawer4 ,at the top of the box is a lid fitted inside with a mirror and covering two compartments with hinged lids4 ,the word 8,,hope0 appears on both the front and the back of the box4 ,there are four turned bone handles and a lozenge-shaped lock-plate of the same material4 ,in the author's collection is a cabinet of straw marqueterie1 measuring #h inches in height1 #i inches in breadth1 and #d inches in depth4 ,there is one wide1 deep drawer at the bottom1 above which six narrower1 shallower drawers are placed in two sections of three each4 ,from the shape of the handles1 the proportion of the cabinet1 the quality of the black lacquer inside finish of the drawers1 and the design of the panel across the bottom1 one is led to conclude that this is an uncommon example of ,japanese workmanship4 ,a number of small boxes with figure subjects1 all carefully and wonderfully worked out in filaments of colored straw1 are extant to attest to the durability of straw marqueterie1 which is not nearly so fragile as its name suggests it to be4 ,some of these were executed by ,french prisoners of war as ,norman ,cross in #ahaj4 ,from times immemorial1 ,i suppose1 war prisoners who have not been enslaved by their captors but have been treated without barbarity have sought to enlighten their tedium by various sorts of handicraft1 exerting to the utmost their ingenuity in the matter of tools and materials4 ,to-day the subject is one of immediate interest to us4 ,already have art objects made by prisoners of war interned in ,holland and in ,switzerland reached us4 ,in time they will come to be as treasured as the antiques made by the prisoners of war of the ,napoleonic period and of earlier times4 ,to catalogue the variety of such things would require page after page4 ,naturally1 nearly all such objects are 8handy0 in size and one does not look for particularly large specimens of war prisoners' art work4 ,one begins to realize1 after visiting the convalescents' ward of a military hospital1 what a blessing to the soldier some knowledge of an art handicraft may be4 ,i have seen several marvelous things whittled out of wood by prisoners of war--bone carvings1 beadwork1 jewelry--that indicate the godsend the work must be to the soldier prisoner detained in the enemy's camp4 ,but of all these objects ,i know of none that are more beautiful than those of straw marqueterie4 ,i do not know where the art originated4 ,mr4 ,hodgkin confessed to a like hiatus in his knowledge of the subject4 ,however1 ,i have no doubt that artistic straw inlaying was practised in the ,orient at a very early date4 ,thence it may have been brought into ,europe4 ,i feel sure that it was known and practised during the period of the ,renaissance in ,italy1 and ,i consider the old ,italian examples of this craft to be the earliest ,european ones4 ,this early ,italian straw marqueterie is distinguished by its golden hues1 suggesting the richness of ,venetian paintings4 ,the objects to be covered by the artist in straw were of various materials1 such as wood1 paper1 papier-mach1 cloth1 and occasionally glass1 metal1 or bone4 ,the design1 pattern1 or picture was worked out by pasting filaments and little sections of straw 7stained to various colors7 on the surfaces of the objects to be covered1 which were then varnished4 ,the minuteness of some of this straw-work is extraordinary4 ,it would seem to have necessitated the use of a glass of high magnifying power as well as to have required almost super-human patience and ingenuity to put it together4 ,moreover1 these early pieces in straw marqueterie were so faithfully fabricated that they have come down to us in excellent condition4 ,i imagine the ,french learned the art of straw marqueterie from their ,italian cousins4 ,i feel sure that the ,spanish craftsmen did4 ,at any rate1 ,french prisoners of war have shown themselves wonderfully proficient in this art in the past4 ,the ,french prisoners of the ,napoleonic ,wars who were quartered in ,england were prolific in their output of this sort4 ,numerous tea-caddies have ,i seen from their hands1 here and there preserved in the cottages of the country round about ,peterborough4 ,at near-by ,norman ,cross was one of the chief camps of the ,napoleonic prisoners of war4 ,we are told that a regular market for the art wares made by ,french prisoners at ,norman ,cross was held daily in the camp4 ,perth was another prisoner-of-war concentration center and contemporary writers tell us that the objects made by the ,french prisoners there were of a finer design and quality than like things produced by the ,english townsmen1 in consequence of which there was brisk market rivalry4 ,at ,dartmoor1 ,stapleton1 ,liverpool1 and ,greenland ,valleyfield the ,french war prisoners exhibited their skill4 ,at the ,liverpool prison they constructed little straw marqueterie cases to contain miniature ships and like articles4 ,what stories the objects of straw marqueterie made by prisoners of war could tell could they but speak6 ,what silent testimonies of grit1 patience1 and fortitude6 ,but perhaps we may be glad that we do not know all they might tell1 for to-day has sorrow enough and we should be grateful that time has been kind enough to leave us just the beauty and not the life details of these objects from the hands of those who suffered in the yesterdays of other wars4 ,,chapter ,,xxii ,,consoles ,at first thought it would appear both ambitious and somewhat futile--this hobby of collecting consoles4 ,but that depends on how you consider collecting in general2 on whether you realize that you may make a collection of purely practical objects or of curios with uncertain decorative value4 ,for both of these are prized by the collector4 ,thus1 one might not be inclined to consider house furnishings as collections at all4 ,but when some order enters into their selection and arrangement1 they virtually become collections1 just as1 on the other hand1 an aggregation of medals1 a cabinet of jade1 or a chest of ,georgian silver can be made to play a decorative rle in the house when well placed4 ,it would1 of course1 be absurd to expect a cottage to provide the proper setting for ,louis ,,xiv consoles1 but just how lovely some of the ,adam console tables appear in the home of moderate aspects can well be understood4 ,the use of the term console in this connection has been a matter of some dispute4 ,it is reasonable to suppose that it was borrowed1 because of the bracket supports--as distinguished from tables with four legs--from the ,french architectural term console1 a bracket support4 ,since the idea came from the ,french1 we must expect to find some of the earliest and most beautiful consoles in ,french period furniture4 ,some of the most notable ones are to be found in the great museums of ,america4 ,fortunate it is that these are available for public study2 for many modern furniture-makers have been able to reproduce with fidelity the designs of these wonderful consoles4 ,collectors1 of course1 do not primarily seek reproductions1 but many of the foremost among them realize that where originals are not obtainable1 unusually fine reproductions are to be welcomed4 ,the desirability lies not only in age but in intrinsic beauty4 ,i for one believe that much pleasure can be had from the possession of fine reproductions of certain things1 consoles among them4 ,genuine antiques are the things we naturally strive for first of all1 and consoles present a field that is1 as yet1 by no means prohibitive1 even for the moderately filled purse4 ,to be sure1 the rare ,french consoles of the early ,louis periods are not to be had at every turn 7the war has rendered them still rarer71 but there are ,english consoles and console tables and others by early ,american furniture-makers that are surely worth hunting out4 ,their appropriateness to the scheme of the small house commends their preservation and insures a revival of interest in their modern use4 ,virtually all of the eighteenth-century furniture-makers constructed console tables4 ,gilded furniture in all its gorgeousness found favor in ,england shortly before #agbj1 and the consoles and console tables were unusually well adapted to finish and decoration of the sort that suggested the magnificence of ,louis ,,xiv and1 later on1 the elegance and richness of ,louis ,,xv4 ,during the ,empire period some were elaborately decorated in white and gold4 ,with the advent of the ,napoleonic era1 the console and the console table still held sway4 ,indeed1 ,i do not think they have ever lost favor1 and the last few years have seen a remarkable increase of interest in both furniture forms on the part of decorators and collectors of fine old furniture4 ,moreover1 the console has not only interested but influenced many of our present-day architects4 ,the console and the console table are by no means confined to the furniture-makers of ,france1 ,great ,britain1 and ,america4 ,we find both forms in early eighteenth-century ,italian furniture1 and in ,spain1 ,austria1 ,germany1 and ,russia one also comes across types of consoles that1 dependent as they nearly always are on ,french models1 still exhibit occasional variations in design that link them to the art traditions of the land of their manufacture4 ,formal apartments and the smaller reception rooms of the eighteenth-century houses of more or less pretension came to feel the need of what one furniture-lover aptly called 8a table that was not a table40 ,in fact1 ,sheraton insisted that 8portables10 as he called consoles1 were indispensable in the drawing-room4 ,marble shelves the width of small--and sometimes1 indeed1 of very large--tables were supported by brackets along the wall1 bringing the shelf to the height of a table top4 ,in earlier examples the bold florid and exaggerated types in soft wood1 carved and gilded1 often carried decoration to extremes4 ,the consoles found place beneath great mirrors and1 occasionally1 beneath large paintings1 tapestries1 and the like4 ,in early consoles there was great variety in their supporting brackets1 the motifs of ornament being taken from flowers1 foliage1 parts of the human form1 animal and bird forms1 rococo vagaries1 and so on4 ,during the ,empire the eagle came to be popularly employed as a console support by the ,french furniture-designers of the time4 ,in the collection of the ,duke of ,beaufort are a number of the finest examples of the eagle consoles4 ,there are also some fine examples in the state dining-room of the ,white ,house4 ,before long the earliest forms of console supports gave way to more extensive supports and finally these reached the floor1 as in those consoles which have the cabriole form of support4 ,sideboards were unknown during the first part of the eighteenth century1 but when the console table was introduced into ,england1 it rapidly developed from the ,french idea of the luxurious console for ornament's sake into the generous console table for utility's sake1 which we soon find in the ,english dining-rooms4 ,it did not take long for this to suggest the sideboard4 ,reference has already been made to the interest in consoles on the part of the architects of to-day4 ,this brings to mind the fine console tables of the brothers ,adam--pieces which the collector will do well to acquire whenever the opportunity presents itself--for ,robert ,adam was an architect who designed furniture but was not himself a cabinet-maker1 though his influence on the classical taste in the furniture of the late eighteenth century was ,illustration3 ,french ,console1 ,louis ,,xiv ,period ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,french ,console1 ,louis ,,xv ,period ,illustration3 ,svres ,white ,bisque ,statuette of ,voltaire ,illustration3 ,svres ,white ,bisque ,bust of ,franklin ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,a ,pair of ,svres ,porcelain ,covered ,vases decided4 ,robert ,adam made exhaustive researches in ,france and ,italy and reached as far as ,spalato in ,dalmatia1 whither his interest in classic design took him4 ,in finding a place for the console in the modern house1 it is well to remember its original use4 ,under a long mirror in the drawing-room was where it was generally placed1 the tables being used in pairs to effect a studied balance4 ,it can be advantageously placed in the hallway1 where its dignity will add to the character of the entrance and at the same time take up but little room4 ,in dining-rooms consoles are arranged to serve as sideboards4 ,the type of console will naturally determine the type of mirror or decoration suitable to hang above it1 all of which the furniture-collector should bear in mind4 ,,chapter ,,xxiii ,s,,vres ,,porcelain ,there is no continental porcelain better known by name to every one than the ,french porcelain of ,svres4 ,nevertheless1 fewer chance collectors and lovers of old china appear to know as much about it as they do about old ,worcester1 ,derby1 ,chelsea1 or ,dresden4 ,over fifty marks for ,svres1 nearly two hundred and fifty marks of painters1 decorators1 and gilders of the ,svres manufactory1 as well as over thirty-five of the marks of some of the modelers are known4 ,the principal marks of fabrication from #agec to the present number some thirty-five4 ,from this it will be seen that ,svres forms a group in the history of ceramic art that requires some study to master its minuti and the indicia that will enable the collector to pass intelligent judgment on pieces that come to his notice4 ,while it is true that the collecting of ,svres can hardly be a 8poor man's hobby10 it also is true that knowing something about even a single piece in one's general collection of old china1 or of less specialized antiques and curios1 justifies giving attention to the ramifications of the particular phase of the subject that may1 for the moment1 more definitely apply to the piece in hand4 ,thus if one possesses a bit of modern ,svres of fine quality1 the interest of that possession cannot but be intensified by a knowledge of earlier examples of the fabrique to which it is allied4 ,fatal improvements have often marked the progress of the arts4 ,it was so with that of the ,royal ,porcelain of ,svres4 ,the early pieces were of soft paste1 but in #ahjd the director1 ,monsieur ,brogniart1 was so pleased with the introduction of the hard paste instead that he utterly banished the soft paste1 going so far as to destroy the secret formula for its making1 and burying alive1 as one might say1 all the soft-paste material then on hand in the ,parc de ,versailles6 ,poor1 deluded mortal6 ,probably he died unaware of having murdered the ,svres porcelain of the finest type6 ,thus one begins to understand why the examples of the pte tendre of the year #agec through to the change for the hard pte are so rare and so highly prized4 ,by old ,svres we comprehend the pieces made from #agec to #ahjd4 ,this is the true vieux ,svres4 ,from #agec to #aggg inclusive the letters of the alphabet1 singly1 from ,a to ,z1 7,w omitted71 indicate the years of manufacture4 ,the year letters were placed between the two script ,l's 7one reversed74 ,the letters ,a1 ,b1 and ,c indicate the pieces made at ,vincennes 7the original site of the manufactory7 in #agec1 #aged1 and #agee respectively1 while the year of the removal of the manufactory to ,svres1 near ,st4 ,cloud1 #agef1 is indicated by the letter ,d between the double ,l's4 ,the ,l's1 of course1 stood for the royal cipher of ,louis ,,xv1 the first year1 and then of ,louis ,,xvi of ,france from #aged to ,september1 #agib1 when the ,french ,republic was proclaimed and ,r4,f4 in monogram or in capital letters took its place4 ,in the study of any porcelain pieces the amateur should acquaint himself with the difference between soft and hard porcelain of any sort4 ,the eighteenth-century porcelain has a soft1 velvety 8feel10 the glaze not being so glassy as that of hard porcelain4 ,a pen-knife can cause abrasion on soft-paste porcelain1 while hard paste will nearly always repel even the pressure of a steel point drawn over it4 ,with soft paste one can see through the glaze1 as it were2 with hard paste one cannot4 ,the enamel of the soft paste of ,svres presents a delicate1 milky glaze1 exquisitely distinctive4 ,the colors1 too1 show forth with velvety freshness4 ,bleu du roi--king's blue--is the name given the cobalt blue of the decoration2 turquoise designates the sky-blue which dates from #ageb1 when ,helbot first compounded it2 rose ,pompadour and rose ,dubarry are the names given the reds during the domination of those court favorites2 violet pense1 the name for the pansy color2 jaune clair1 the name for the pale yellow 7jonquille was as often used72 vert pomme and vert jaune designated the apple-green1 while vert anglais and vert pr was applied to the color we term grass-green4 ,there is also a velvety 8feel0 about the unenameled portions of porcelain1 owing to its fine texture1 which distinguishes it from hard porcelain4 ,looked at obliquely against the light so that a portion of the white surface and a portion of the painted surface equally receive a beam1 there appear no differences in surfaces4 ,with a soft porcelain the enamel seems so to incorporate with the soft paste as to present a surface of identical substance4 ,hard porcelain will exhibit a distinct difference in the lustre of the white surface and in the colored glazed surface4 ,the color surface will invariably appear less brilliant4 ,in ,svres porcelain of the first period the white ground predominates4 ,the flowers and wreathes1 etc41 are delicately scattered over but do not crowd the white field4 ,in later pieces the decorations came by degree to be the more assertive4 ,likewise1 more gilding was employed4 ,after #aggj portraits came into the decoration1 and the designs of the ,louis ,quinze and those of the ,louis ,quatorze periods were superseded by designs which followed more along ,egyptian and ,etruscan lines4 ,with the soft porcelain of ,svres very large pieces could not be produced1 but of the later hard-paste porcelain huge vases were often fabricated1 marvels indeed of ceramic skill1 though seldom as artistic and perfect in technical qualities4 ,the bisque statuettes of early ,svres eagerly sought by museums and collectors are one of the interesting phases of this manufacture1 though these objects scarcely can be said to approach those of ,saxony4 ,their manufacture at ,svres was almost given up after #aggg4 ,we have1 however1 from our own day1 the much-treasured statuettes modeled for ,svres by modern sculptors1 among whom was the late ,auguste ,rodin4 ,from #aggh to #agib1 inclusive1 the year mark was indicated by the double letters ,,aa to ,,oo1 within the interlaced ,l's4 ,during the period of the ,first ,republic 7#agib-ahjd7 the mark was1 first1 the interlaced ,f4,r4 7for ,rpublique ,franaise71 then the letters ,r4,f4 with the word 8,svres0 below 78,svres0 being written with or without the accent mark71 or just the word 8,svres10 and finally in the ,consular period of this epoch 8,m,nle0 over the word 8,svres0 7from #ahjc-ahjd74 ,the years ,,ix 7#ahja71 ,x 7#ahjb71 and ,,xi 7#ahjc7 were designated by 8,t#i10 8,x10 and 8,,ii0 in addition4 ,the mark of the first imperial epoch 7#ahjd-ahad7 was 8,m4 ,imple0 over 8de ,svres10 two ornamental strokes below without accent mark1 and then1 later1 the imperial eagle crowned with the legend1 8,manufacture ,imperiale4 ,sevres10 without accent mark 7#ahaj74 ,the years ,,xii 7#ahjd71 ,,xiii 7#ahje7 and ,,xiv 7#ahjf7 were marked by distinguishing symbols 7#ahjd by two horizontal dashes1 a dot above and one below2 #ahje by two short lines aslant1 a horizontal dash to the left and one to the right2 the year #ahjf by a mark resembling the prong of a trident1 point upward74 ,the ,svres marks of the second royal epoch consisted of the restored interlaced ,l's of ,louis ,,xviii and the fleur-de-lys between 7#ahad-ahbc72 of the interlaced ,c's of ,charles ,x1 with the ,x between1 or the fleur-de-lys or without 7#ahbd-ahbi72 of just the fleur-de-lys 7,august #cjth to ,december1 #ahcj7 and other marks in circles 7#ahca-ahcd7 and the cipher ,l4,p4 of ,louis ,philippe 7#ahcd-ahdh74 ,with the advent of the second republican epoch1 #ahdh-ahea1 the 8,r4,f40 was restored1 only to be displaced by the imperial eagle 7#aheb7 with the letter ,s to left and 8#eb0 to the right of the eagle1 and the crowned ,n of #ahed of the second imperial epoch 7#aheb-ahgb71 with the letter ,s to left and the year numeral to right of the ,n4 ,the ,third ,republic brought back the 8,r4,f40 again1 followed by other marks1 the one introduced in #ahhh showing a potter at work1 the whole within a double circle bearing the legend ,nationale ,svres ,manufacture4 ,from #ahag date marks were designated by the last two numerals of the year number only1 as the date #ahjg1 #ahjh1 #ahji1 and #ahaj had been designated by #g1 #h1 #i1 and #aj4 ,the years #ahaa to #ahag1 inclusive1 had been designated by the small letters o4z1 d4z1 t4z1 q4z1 q4n1 s4z1 and d4s1 standing1 respectively1 for the ,french onze1 douze1 treize1 quatorze1 quize1 seize1 and dix-sept4 ,the output of the ,svres works in recent years has been very small1 that institution having become a place for the education and training of ,french potters who will carry on the ,svres traditions in other lines of their work4 ,such examples as are being made to-day take the form of presentation sets of ware especially designed and made as a gift to a potentate1 a diplomat1 or as a token of the ,french ,government's regard on such occasions as the marriage of a princess or a president's daughter4 ,various quantities of it have been brought to this country at the time of expositions1 and much of that has passed into the hands of the ,american collectors4 ,it is still possible to pick up here and there good pieces that are genuine and thoroughly worth while4 ,notwithstanding the advanced collector's greater eagerness to collect ,svres of the pte-tendre period1 later ,svres is an alluring1 interesting1 entertaining1 and possible field for the collector to enter without discouragement1 and the pieces of this later fabrique well deserve a place in the cabinet or as a decorative feature in the home of good taste4 ,,chapter ,,xxiv ,,european ,,enamels ,while it is true that few collectors of the present day can aspire to any goodly number of really fine examples of ,european enamels1 the subject is nevertheless one of great interest1 and the author believes there are many who will find pleasure in a study of the enamels of ,european fabrication1 particularly those objects familiarly known as ,limoges enamels but more properly to be called painted enamels to distinguish them from the cloisonn and the champlev enamels4 ,it may be well to indicate here the characteristics of the several groups4 ,cloisonn3 ,as early as the time of the ancients it was found that to prevent the running together of molten glass enamels1 little boundaries of metal wire could be devised for soldering on to the metal base to mark the divisions of the pattern1 or merely to bound areas1 thus forming a number of diminutive shallow 8pans10 into which the melted flux expanded1 and when cooled and polished revealed a surface level with the height of the wire cloisons1 giving them the appearance of being metal wires that had been imbedded in the glass4 ,gold1 being neutral to every known color1 is the harmonizer paramount1 and thus when gold cloisons were used1 the various colors were knit together into esthetically pleasing surfaces4 ,the little metal threads running through modern ,japanese enamels are such cloisons4 ,cloisonn enamel is the earliest sort of true enamel known to us4 ,it was the favorite ,byzantine process1 and also that of the ,greeks1 the ,anglo-,saxons1 the ,chinese1 and later of the ,japanese and the ,russians4 ,relief ,cloisonn4 ,this term is used to designate those pieces wherein the enamel either is below or above the tops of the cloisons1 or where only certain cloisons enclose enamel1 or a combination of the three sorts1 giving to the surface of an object completed in this manner an interesting uneven ground of smooth but unpolished enamel4 ,the cloisons of much of this work1 especially the ,hungarian and the ,russian1 are of filigree wire1 or twisted wire1 instead of flat wire such as was used for this purpose by ,byzantine craftsmen4 ,champlev4 ,this is the name given to the process of gouging out of a field 7champ7 of metal a number of hollows 7lves7 or 8ditches0 for the pattern1 in which cut-out depressions the vitreous color is fused and becomes enamel4 ,it is akin to the ancient ,egyptian method of scooping out surfaces in gold1 soapstone1 wool1 and other materials1 inserting therein bits of colored glass4 ,had the ,egyptians practised true enameling1 doubtless their process would have begun with champlev1 for they did not anticipate the ,greek goldsmiths1 who worked patterns on gold in cloisons long before they had any idea of applying vitreous color thereto4 ,indeed1 the early ,greeks and the ,etruscans were wonderfully skilful at soldering gold4 ,this champlev process might be termed ,gothic1 succeeding in introduction though not superseding the ,byzantine cloisonn4 ,however1 centuries before ,byzantine or ,gothic works appeared1 the ,celts produced champlev enamels4 ,repouss4 ,this term is applied to the base of those objects wherein the ornament is beaten out1 in silhouette as it were1 in the metal and the details marked by cloisons let in4 ,much of this work is easily mistaken for champlev1 but where the pattern is scooped out in champlev1 it is beaten out in repouss4 ,one who has visited the treasury of ,st4 ,mark's in ,venice will recall that the plaquettes from a ,gospel cover to be found there were executed in repouss--the pattern simply hammered in the silver1 which afterward was filled with translucent enamel4 ,in ,oriental repouss work the metal divisions between the fields of enamel are beaten up1 the reverse of the process just described4 ,in modern ,chinese enamel-work the repouss process has superseded champlev for effects of the sort4 ,basse ,taille4 ,this is the process of engraving the ground1 which is to receive translucent enamel1 so that the lines made by the graver will show up through the translucent vitrified coating and produce a greater play of light1 or define patterns1 the veining of leaves1 the marking of petals1 the lines of draperies1 etc4 ,the ,french enamelers of the eighteenth century habitually employed the process1 and ,indian enamelers preceded them by at least a century1 while its invention is ascribed to an ,italian1 ,john of ,pisa1 in #abhf4 ,this chasing or engraving upon gold or silver for the purpose of showing graduation in the vitreous color to be applied is akin to champlev4 ,plique ,jour4 ,enamels of this sort consist of certain screen-like objects in filigree with their unbacked cloison divisions filled up with translucent enamel4 ,plique ,jour enamel may be compared to stained-glass windows1 the principle being the same1 only carried out on a miniature scale4 ,an excellent example of this is a fifteenth-century cup in the ,victoria and ,albert ,museum1 while the ,crown of ,st4 ,stephen1 dating from #ajgb ,a4,d41 would appear to be the earliest known work of the sort that has survived4 ,the ,russians of the nineteenth century so perfected the process that plique jour enamel is often called ,russian enamel4 ,doubtless the forming of cups1 caskets1 and other precious objects of gems in unbacked mosaic suggested the style1 and the jeweled cup of ,chosroes to be seen in the ,bibliothque ,nationale1 ,paris1 may well be considered a forerunner of it4 ,encrusted ,enamel4 ,this may be defined as enamel used to enrich raised and modeled gold-work where this vitreous color is neither entrenched1 as in cloisonn or in champlev1 nor painted1 like ,limoges work1 on a flat field4 ,the craftsmen of the ,renaissance1 both in ,italy and in ,france1 produced exquisite jewels of encrusted enamel1 imitated by the ,florentine jewelers of to-day who display their wares along the shops of the ,ponte ,vecchio4 ,painted enamels in this group may be sub-divided as follows3 7,a7 ,those works which have vitreous colors added here and there to subdue1 to correct1 or to outline and decorate enamel surfaces1 such as the pale yellows added to soften glaring whites1 red to restore a color unsuccessful in the firing1 outlines of plants and other forms and inscriptions4 ,used in combination with both cloisonn and champlev1 and later to add further decorations to basse taille surfaces4 7,b7 ,those works painted with successive firings of translucent or transparent colored enamels over a primary enamel ground that first has been fused to its metal field of gold1 silver1 or copper4 ,limoges enamels of this sort1 whether in color or in grisaille 7gray71 as also are the much-neglected enamels known as ,venetian enamels4 99 99 99 99 99 ,so much for the general broad divisions of enamels1 though it must be borne in mind that there was often employed in the working out of a single object more than a single process4 ,as color plays so important a part in the evolution of the history of enamels1 the following table may prove useful to the collector as determining the more important colors of the enameler's palette at different periods in the history of the art3 ,,colors ,,and ,,periods ,greek ,work4 ,the colors used by the ,greeks were opaque white1 blue1 and green4 ,barbaric ,work4 ,british1 ,gallic1 ,celtic1 and ,roman-,provincial enamelers used scarlet1 cobalt blue1 dark green1 yellows through light shades to orange and to ochre2 white1 black1 and possibly turquoise4 ,early ,byzantine ,work employed opaque scarlet1 coral1 white1 black1 and translucent sapphire blue1 emerald1 green1 ruby red1 and manganese violet4 ,later ,byzantine ,work4 ,added to the above colors1 toward the eleventh century1 cobalt blue and turquoise1 pale yellow1 and a flesh tint4 ,early ,limoges ,work relied upon blue1 green1 red1 with purple and iron gray1 and the lighter half-tones known before the twelfth century4 ,later ,limoges ,work4 ,its full palette is composed of deep blue to lapis blue and light blue2 scarlet1 a red approaching chocolate1 green1 greenish yellow1 white1 and a semi-translucent manganese purple4 ,in thirteenth-century work blue is the dominating color4 ,the twelfth-century translucent colors give way to the consistent use of opaque ones in the years following4 ,germanic ,work4 ,this contains less cobalt blue1 but employes the colors of the ,limoges workers1 introducing1 however1 a great deal of turquoise and much more green and pale yellow than the ,french enamelers used4 ,the ,german enamelers were fond of black1 also4 ,nearly every writer upon enamels quotes the convenient commendation of the ,greek sophist1 ,philostratus1 who went to ,rome in the reign of the ,emperor ,severus1 about #bjj ,a4,d41 to teach rhetoric4 ,in the description of a boar hunt in his 8,icones10 wherein he describes the trappings of the horses of the barbarians 7,gauls or ,britons71 ,philostratus writes3 8,for the barbarians of the region of the ocean islanders8 are skilled1 as it is said1 in fusing colors upon heated brass copper8 which become as hard as stone and render the ornament thus produced durable40 ,the ,romans in ,italy knew nothing of such things4 ,labarte and other authorities would have it that this passage refers to ,gallo-,roman work1 though such is rarely to be met with2 while others claim for it reference to the work of ,british craftsmen1 perhaps under design-influence of the ,romans4 ,probably enameling was known to the ,celts and to the ,britons independent of ,roman occupation4 ,certainly the ,scoto-,celtic and the ,britanno-,celtic tendency in design has little in common with that of the ancient civilized world of ,greece1 of ,rome1 or of ,egypt4 ,it is just possible the ingenious ,celts invented champlev4 ,with the rise of the ,eastern ,empire in the fourth century ,a4,d41 with its capital at ,byzantium1 came in that style of art known to us as the ,byzantine1 just as the ,north ,italians produced the ,lombardic style and western ,europe the ,gothic4 ,byzantine enamel was rigid and conventional in design but highly decorative and symbolical4 ,at first the direct influence of ,greek and ,roman art affected their pictorial representations1 as we see ,christus in earlier work depicted as a clean-shaven1 beautiful young man1 an ideal that soon gave way to the sad representation of the ,man of ,sorrows4 ,from the tenth century on1 ,byzantine ecclesiastical art was barren of invention4 ,with the waning of the empire in #ajeg1 the art of the ,byzantine enamelers declined1 and that of the ,italians and the western ,europeans blossomed forth untrammeled by stiff convention4 ,lombardic architecture and ,gothic carving had helped to pave the way for the broader art of the ,middle ,ages1 which no longer confined itself to cloisonn but began to put forth champlev enamels of great beauty likewise4 ,indeed1 in ,gothic times western craftsmen rarely made use of cloisonn except for personal ornaments and jewelry4 ,the famous 8,lindauer ,evangeliar10 one of the chief treasures collected by the late ,j4 ,pierpont ,morgan1 exhibits upon its covers superb examples of early enameling4 ,with the revival of classical learning which brought about the ,renaissance1 and the subsequent development of secular thought1 art ceased to be what it had been throughout the ,middle ,ages--merely the handmaid of the church4 ,no longer did the enamelers1 ,byzantine1 ,gothic1 or ,lombardic1 work solely to adorn religious works2 and ecclesiastical design broadened into secular application1 a return of classical usages to a heritage of beauty and unrestraint from which1 for some centuries1 art had been kept by ecclesiasticism4 ,by the twelfth century the art was well established to ,cologne1 ,trves1 ,huy1 ,maestricht1 and ,verdun1 thence traveling perhaps to ,paris4 ,limoges and the ,rhenish provinces of ,france became prolific in champlev enamels by the end of the twelfth century4 ,it is to #aahi ,a4,d4 that the earliest known enamels of ,limoges are ascribed4 ,there an enormous quantity of work1 good1 bad1 and indifferent1 was turned out during the thirteenth century1 an art turning to a trade thereafter1 and declining to neglect in the fourteenth1 and then going out of fashion altogether4 ,however1 toward the end of the fifteenth century the public in general had broken through ,byzantine1 ,gothic1 and ,lombardic esthetic domination and breathed the clearer air of the ,renaissance1 becoming imbued with a desire for gentler1 more beautiful things2 and the old town of ,limoges1 ever awake to the commerce of demand1 again started up her enameling ovens and went at the art with renewed vigor1 retaining a supremacy that has handed down to us priceless treasures of the sort1 exquisite and satisfying4 ,this fine style may be said to date from #aecj to #aehj 7being preceded by the early style #adge-aecj71 followed by a minute style1 #aehj-afcj preceding the decadence that dated from #afcj to the close of the manufactory in the eighteenth century4 ,limoges enamels immediately bring to mind the names of such great artists in enamels as the ,pnicauds1 ,courtoys1 ,limousin1 ,raymond1 ,martin ,didier and ,jean ,court1 dit ,vigier1 and in the decline ,jean ,laudin4 ,the painted enamels of the early style are executed with much white painting over purplish-brown grounds1 the figures bearing strong resemblance to the ,flemish type4 ,the coloring in these examples is very beautiful4 ,the painted enamels of the fine style exhibit the great advance achieved by draftsmen under ,italian influence4 ,the glazes are finer and the finishing process a more careful one4 ,at this period painting in grisaille became popular4 ,by this term is meant monochrome painting in enamel the light being worked up over a dark ,illustration3 ,oval ,dish by ,bernard ,palissy1 #aeaj-aehi ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,lumires by ,bernard ,palissy1 #aedj-aeij ,illustration3 ,limoges ,enamel ,covered ,cup ,attributed to ,pierre ,raymond ,illustration3 ,courtesy ,metropolitan ,museum of ,art4 ,champlev ,enamel ,casket1 ,french1 #acth ,century ground1 stage by stage1 in white1 leaving the chiaroscuro to be determined by the effect of the ground showing through4 ,shading was often further emphasized by black lines or hatchings4 ,the resulting gray tone gives the style its name4 ,later1 relief from the monotony of gray was found by the addition of one or two tints1 such as flesh tint1 as may be seen in the work of ,jean ,pnicaud1 ,pierre ,raymond1 and ,lonard ,limousin4 ,perhaps ,pierre ,raymond distinguishes himself as exhibiting the finest color sense1 though he may not have possessed ,lonard ,limousin's qualities of bold and direct handling4 ,this latter artist1 who worked from #aecb to #aegd and advertised himself in a little panel introduced into one of his works as 8,enameller and ,painter to the ,chamber of the ,king10 was a consummate portraitist1 and executed some splendid portraits in enamel4 ,any one who is acquainted with ,italian faience will be struck by the relationships in effect between maiolica ware and ,limoges enamels4 ,after ,jean ,limousin1 descendant of the great ,lonard1 and his school1 enameling as a truly fine art began to die out at ,limoges1 in #afaj4 ,colin1 ,martin1 ,poncet1 ,laudin1 and the ,noalhers carried on the work1 but ,jean ,limousin stood shoulders above them all4 ,toutin introduced enamel-painting on gold in #agcb and the products became daintily and insipidly delicate1 quite in the taste of ,louis ,,xiv and his successors1 until at last enameling became little better than a rivaling imitation of china-painting4 ,,chapter ,,xxv ,,the ,,romance ,,of ,a ,,potter3 ,,bernard ,,palissy ,far better it is that one man or a small number of men should make their profit from some art by living honestly1 than that a large number of men should struggle1 one against the other1 so that they cannot gain a livelihood save by profaning the arts1 leaving things half done4 ,so said ,master ,bernard ,palissy1 born some four hundred years ago--in #aeaj1 to be exact--near ,chteau ,biron in ,prigord1 ,france4 ,where in the whole history of the arts will a more interesting figure be found8 ,his was not the swashbuckling career of a ,cellini2 nevertheless the serious-minded would not exchange him for the volatile ,italian who seemed ever and anon to be swallowing diamond dust or crossing a cardinal for copy4 ,palissy's was romance of a different sort1 but romance of a fine type4 ,i have often wondered why we of to-day have almost forgotten about ,master ,bernard1 ,master ,bernard whom the readers of our grandmothers' generation immortalized4 ,i suppose the cultivated virtue of novelty which in this restless era demands incessant changing of school-books from term to term failed to bring old ,palissy along with it4 ,in earlier days it was part and parcel of one's polite education to know something of ,master ,bernard1 at least to know that there had once lived such a person4 ,in those less curriculumed yesterdays the story of ,palissy the ,potter was always a welcome one4 ,perhaps we ourselves have merely overlooked the matter1 and so ,i make here this venture1 believing time has intended no slight to ,master ,bernard's memory4 ,how well ,i recall a certain lower shelf in a library which regaled a rainy autumn day in my tender years6 ,there were treasures here convenient to the hand of one aged nine1 treasures fitting the advancement of learning laboriously attained under the unflinching persistence of an all-too-faithful governess4 ,in this sanctuary ,i chanced in childhood to come upon a tiny octavo bound in blue1 stamped with gilt morning-glories1 morning-glories such as ,i have always associated1 for some unexplained reason1 with the long-late ,prince ,albert and the equally long-late ,lucy ,larcom6 ,within the covers of this little book was a highly embellished frontispiece1 hand-stenciled in colors of saffron1 scarlet1 and azure1 with an overwhelmingly deep dash of bottle-green4 ,i imagine this volume emerged from the press at a time when aniline dyes self-proclaimed their advent to the mediocrity of the day4 ,beyond that ,i do not venture a date4 ,this giddy frontispiece seemed1 even in my childish eyes1 profanely gay for the subject it presented4 ,here was depicted the figure of a bearded man in foreign dress1 visage forlorn1 person unkempt4 ,the artist pictured him in the act of destroying a quantity of furniture of a sort that might have given distinction to an early ,victorian parlor4 ,just what seemed so terrifying about the situation ,i do not know1 unless it was that1 as ,i distinctly recall1 ,i myself had occasionally been regarded as somewhat destructive in the furniture line--as when1 quite unintentionally1 ,i scratched my great-aunt's mahogany sofa in making a desperate attempt not to slide off its hair-covered plateau at a moment when the peculiarly poignant texture of this revered fabric had caused me unwittingly to squirm about in manvering for a less irritating bit of the area4 ,from that time on a certain ,miss ,solander1 occupying the important post of governess1 could not adjust her perspective to considering me other than a menace to mahogany in the front of the house or black walnut in the rear4 ,thus you can well imagine how heroically there loomed forth from that frontispiece the figure of one who was deliberately breaking up chairs1 tables1 stools1 four-posters1 and what not--and a grown man at that6 ,but the thrillingness of the situation was further enhanced by the fact that not only was he breaking up the furniture but he was feeding it to the flames6 ,there was no doubt of it3 a copious employment of carmine and saffron made that point clear4 ,that any one should have dared to be so deliberately destructive at once awakened my curiosity1 and ,i am not sure it did not awaken my admiration as well4 ,i hope not1 for as we grow older we like to think that our ,golden ,days were paragon in their virtues4 ,it was not long before ,i discovered in the background of the picture the figure of a woman in a ,breton cap--inexcusable anachronism1 though ,i did not know it then4 ,who was she8 ,the furniture-breaker's governess1 perhaps2 no1 that could not be1 for he was older than she4 ,from the corner of my eye ,i took a swift visual dart at ,miss ,solander4 ,the lady in the picture appeared timid and weeping4 ,no1 it would not be a governess4 ,just then a voice interrupted3 8,what are you looking at1 child80 8,i do not know10 ,i replied4 8,you do not know60 exclaimed ,miss ,solander in expected disapproval4 8,pray1 why do you not know80 ,she moved near1 to be serviceable4 ,now1 ,miss ,solander never cared for pictures1 at least only for painted ones of forget-me-nots and buttercups in water-color and sheep by ,mauve in oil1 so ,i hurried on to spell out the title-page4 ,i gave it up4 8,p-a-l-i-s-sy1--,palissy4 ,master ,bernard ,palissy the ,potter10 coached ,miss ,solander4 8,what is a potter80 ,i asked4 ,and then it began4 ,in these after years ,i have always been glad that ,miss ,solander's embroidery chenille gave out at the first question1 and that a gentle rain kept us indoors4 ,undoubtedly1 too1 this little book had been known to her childhood1 for she extended it a more approving greeting than it was her wont to vouchsafe many of my other early literary discoveries4 ,at any rate1 ,i have forgiven her much1 for that afternoon she read me the story of ,master ,bernard from beginning to end4 ,how it all came back to me yesterday when my friend ,cleon1 at whose house ,i was dining1 took me into his library and showed me1 not a book about the old potter but an actual bit of his craft1 a sauce-boat in the enameled faience which ,palissy struggled through so many years of vicissitude to produce4 ,tenderly ,i took it in my hands and gazed intimately upon its lovely soft blues1 grays1 browns1 wonderful greens1 and the soft and well-fused marbled colors on the back of the piece1 all of which1 together with the sharp modeling of the relief and 8neatness0 of its workmanship gave unmistakable evidence of its authenticity4 ,it had not the crude greens1 the glaring yellows or the bright purples that betray imitations of ,palissy's ware4 ,i have seen the fine collections of ,master ,bernard's handiwork in the ,louvre1 the ,htel ,cluny1 the ,svres ,museum1 the ,victoria and ,albert ,museum and the ,wallace ,collection in ,london1 the ,metropolitan ,museum of ,art in ,new ,york1 and the other collections of note1 public and private1 at home and abroad1 but the little saucire which my friend ,cleon permitted me to gaze upon--nay1 dear reader1 to hold in my hands6--there was not a finer bit anywhere4 ,master ,bernard must have given a chuckle of contentment when he drew it from the kiln6 ,one might1 with a princely purse1 collect a few examples of ,palissy ware in the course of a lifetime keenly devoted to collecting6 ,but so rare is ,palissy ware that even in ,cleon's house ,i had not expected to see such a treasure4 ,strangely enough1 it had been discovered1 not just bought2 discovered in ,london1 and1 unromantically enough1 though exultingly1 in a shop whose keeper ought to have known what it was1 who ought to have known enough not to let it go for the mere pittance of--but that is ,cleon's secret6 ,my own flair for collecting has often fed my pride1 but it is tempered with a happy contentment from an interest in the things ,i cannot have1 may never hope to have6 ,i cannot1 perhaps1 describe to you the delight ,i experienced in coming upon that saucire at ,cleon's or the joy ,i felt in being permitted to take my time in gloating over it unhurried by a museum curator1 whose official anxiety must of necessity ever play false to his kindly attempt to conceal it4 ,when ,i came home ,i looked over all my photographs of ,palissy ware1 and took down from its shelf in my library a volume in ,french of the ,works of ,master ,bernard1 a volume of the date of #afcf1 followed by one of #aggg and one of #ahhd4 ,master ,bernard was not only a notable potter1 but1 as both ,lamartine and ,anatole ,france observed1 he holds a high position among ,french writers in the field of natural philosophy1 agriculture1 and religion4 ,master ,bernard's early life is wrapped in mystery4 ,we know nothing of his parentage or of his early education4 ,probably1 as ,henry ,morley observed1 8,as a child he rolled upon the moss and ripened with the chestnuts40 ,in later life ,palissy himself declared that he had had 8no other books than heaven and earth1 which were open to all40 ,yet he learned reading1 writing1 and something of figuring1 besides something of design and also of geometry1 after the simple methods of his time4 ,it is doubtful if any of the learning of his day was communicated to him in his youth1 and it seems more probable that he drew inspiration for his philosophy from the trees and the earth1 and that nature herself taught him those many lessons he applied so perfectly to future problems which confronted him4 ,but we know that at an early age he became apprenticed to the art of painting and working at glass4 ,inasmuch as this art was considered very honorable in those days and practised by members of the lesser nobility1 it is possible that ,palissy may have sprung from that class who did not lose their dignity of station by following this vocation4 ,but under ,francis ,i there came a certain disassociation in the crafts4 ,the architect separated from the builder1 the sculptor from the stone-worker1 and the glass-painter from the glass-worker4 ,it was then the art fell into decay somewhat1 and like many another disappointed worker1 ,palissy turned aside to seek some other field for his abilities1 as now he was scarcely able to eke out a living by the old means4 ,for a time he commanded better fortune4 ,in a document by him preserved in the ,bibliothque ,nationale we read3 8,they thought me a better painter than ,i was1 which caused me to be often summoned to draw plans for use in courts of law4 ,then when ,i had such commissions ,i was very well paid40 ,however1 his superb improvidence--for one may almost call it such--delayed anything like his establishment in life1 for we find him at the age of twenty-one years journeying through ,france as a sort of free-lance2 at the very time1 indeed1 when ,paracelsus the philosopher at thirty-seven was wandering1 quite as ragged1 through ,germany4 ,finally he returned to his own country and settled in ,saintes1 about #aedb1 promptly married1 and in the course of time became father to a goodly family1 which he supported by his work of surveying the salt marshes of ,saintonge when his skill as a worker in glass and in designing was not in demand4 ,i imagine that ,master ,palissy1 ,madame and the little ,palissys got on very comfortably for a time4 ,had not the ,council of ,king ,francis decided to impose a salt tax on the ,saintonge1 and had not ,master ,bernard been commissioned to make the surveys of the salt marshes in the neighborhood of ,saintes8 ,probably he spent much of his time in 8tracing lines of geometry10 of which things he wrote1 8,it is well known that1 thanks be to ,god1 ,i am not altogether ignorant40 ,he had also added portrait-painting to his accomplishments4 ,a more provident man than he might have prospered and his name have been forgotten4 ,while the impecunious are not always to be rated wise1 it is certain that ,palissy's poverty drove him to the achievement of his fame as a potter in his desperate struggle to be free from its bonds4 ,one day as ,palissy sat disconsolate outside his door1 no work in hand1 nothing ahead and the larder growing empty through his own extravagances and likewise those of his wife1 he remembered to have seen1 sometime about the year #aeda1 during his wanderings at ,avignon or at ,nmes1 a cup which1 as he described it afterward1 8was turned and enamelled with so much beauty that from that time ,i entered into controversy with my own thoughts1 recalling to mind several suggestions some people had made to me in fun when ,i was painting portraits4 ,then10 continued he1 8seeing that these were falling out of request in the country where ,i dwelt1 and that glass painting also was little patronized1 ,i began to think that if ,i should discover how to make enamels ,i could make earthen vessels and other things very prettily1 because ,god had gifted me with some knowledge of drawing40 ,now1 ,luca della ,robbia had been dead some twenty-eight years1 but not only was his work well known throughout ,tuscany and other ,italian states but specimens of it and of other ,italian faience had been brought into ,france by ,leonardo da ,vinci1 who died when ,palissy was in his eighth year1 and later by ,benvenuto ,cellini1 who was but nine years ,palissy's senior4 ,however1 ,palissy had not visited ,paris before this and probably he knew nothing of the ,della ,robbias1 of ,leonardo1 or of ,cellini1 and less of the ,italian faience4 ,it was enough for him that he had seen a wonderful cup1 made he knew not how1 but produced by a process which1 it is quite possible1 he imagined to be a lost one1 a process which now his ingenious imagination was seeking to recover4 ,had fate or fortune taken him to ,reims instead of to ,avignon1 he would never have thought of competing with the work introduced by the ,florentines4 ,but in those days of different intercourse he had seen only the one cup1 and that he imagined to be unique2 consequently1 as we have seen1 he resolved to set about becoming a potter himself4 ,how the imagination wreaths around that mysterious cup which inspired ,master ,bernard6 ,what was it1 maiolica of ,italy or of ,spain1 or an enameled cup of southern ,france8 ,neither of these1 ,i think4 ,i cannot imagine it could have been anything short of some such treasure as a porcelain cup fetched from ,china by some ,marco ,polo6 ,at any rate1 ,master ,bernard set about the business diligently and persistently4 ,once he had made up his mind to a thing there was no changing him1 so long as the thing he had set his mind to appeared to him better1 more wise1 or more righteous than that which would take its place4 ,he became as persistent a potter as he had been 7and as he was67 persistent a ,protestant4 ,luckily it was for him that the ,constable de ,montmorency1 who was sent by the king to quell an uprising in ,saintes1 was later to come across ,master ,bernard and to take up with his ingenious compositions4 ,eight long1 tedious1 heartbreaking years succeeded this resolution1 during the course of which his powers of endurance and splendid physical strength were put to a severe test in his attempts to find a suitable enamel for the objects he made out of the earth of the neighborhood1 a sort of pipe-clay4 ,month after month and year after year came sorrowful failures when he was seemingly just on the point of success4 ,without caring that he knew nothing concerning argillaceous earths1 he set himself to search out enamels1 like a man who gropes in the darkness4 ,whatever else he may have been1 we can rest assured that he was thorough and practical in his craft4 ,that so long a time elapsed before the results he hoped to attain were reached seems a proof to confute the theory often advanced that he had learned the secret of his enamel from the ,hirschvogels in ,nuremberg4 ,if they disclosed any part of their craft to him when he was roving through ,germany1 they zealously guarded that of making white enamel1 since for this he sought so long and arduously--indeed1 through fifteen years of patient toil and discouragement4 ,abaquesne1 at ,rouen1 had anticipated him1 it is true1 but it is just because it chanced to be his lot to have to seek out these things for himself that his works were endowed with marked originality4 ,all this time his family suffered in poverty4 ,we can sympathize with his wife1 certainly4 ,that ,palissy was quite out of his right mind she had no doubt4 ,was he not sacrificing everything for--what seemed in the face of his failures--nothing8 ,it is hard enough to believe in genius in our own day1 when miracles are no longer surprises4 ,what1 then1 must have been the alienating doubts of ,master ,bernard's whole family as they saw him1 day after day1 absorbed with his clays1 his enamels1 and his ovens1 while they stood by1 hungry and neglected6 ,the colossal selfishness of the men who win against all odds is forgotten afterward and forgiven1 and one is inclined to think ,palissy's plaint about the lack of encouragement of his friends and family more of a screen to his troubled conscience than anything else4 ,when a man gives up the employment which supports his wife and children for the sake of obstinately attempting to discover the secret of making ornamental dishes like one he has seen years before1 is there any wonder he is thought to be mad8 ,even in these days a family would ask that a commission in lunacy be appointed to look into his sanity4 ,and listen to his own testimony3 8,another misfortune befell me1 causing me great annoyance1 which was that1 running short of wood1 ,i was obliged to burn the palings which maintained the boundaries of my garden1 the which after being burned ,i had to burn the tables and the flooring of my house in order to cause the melting of the second composition4 ,i was in such agony as ,i cannot express0--not a word about the agony of wife and children6--8for ,i was utterly exhausted and withered up by my work and the heat of the furnace2 during more than a month my shirt had never been dry upon me2 even those who ought to have helped me ran crying through the town that ,i was burning the planks of the floors1 so that ,i was made to lose my credit and was thought to be mad4 ,others said that ,i was trying to coin false money1 and ,i went about crouching to the earth1 like one ashamed40 ,i think that what ,madame ,palissy did not say places her in the hierarchy of our marveling esteem6 ,howbeit ,i write of a hero and not of heroines4 ,here1 surely seemed to be a second ,columbus tossed on the stormy seas of derision4 ,but finally1 in #aedi1 the success of the secret formula for which he had been striving was attained as the fires of his experimental oven cooled4 ,it had been his agonized hope--the last straw held out by ,providence4 ,how differently they all regarded him now6 ,wife and children forgave him1 friends returned to him1 tradesmen were eager to give him credit1 for ,bernard ,palissy had brought renown to their town1 and they hailed him as a great man where but the day before they would have driven him to a madhouse4 ,quickly the fame of his achievements spread far and near1 and almost immediately he found a munificent patron in ,anne de ,montmorency1 the great constable1 while to the king and the queen mother he became 8worker in earth and inventor of figulines0 by royal patent4 ,is it any wonder he felt justified for all his sacrifices8 ,he could now give his wife a prouder place than any she had ever dreamed of1 and his children would be educated beyond all their companions4 ,surely it was worth these fifteen years of sorrow and suffering1 he argued4 ,ah1 little blue book with the gilt morning-glories1 the aniline frontispiece6 ,courageous1 unflinching ,master ,bernard2 brave1 suffering madame6 ,when one remembers all these things every bit of ,palissy ware becomes endowed with a double interest4 ,it is distinguished in the earlier examples by its close adherence to natural forms1 not1 perhaps1 to be considered exactly beautiful according to the canons of art in our day1 nevertheless admirable in many of its qualities2 and its fidelity to nature is so remarkable often that one forgives it its lack of esthetic attributes4 ,one of the extant examples is a large plate executed in enamel faience4 ,it is covered with fishes1 reptiles1 crustacea1 and mollusks in the midst of the modeled representation of water1 together with herbs and marine plants4 ,it is remarkable for the minute execution of its details and also for the richness of the enamel giving life to these wonderful studies from nature4 ,indeed1 these rustic pieces1 so admirable in their original way1 exhibit ,palissy's tendency to imitate nature with exquisite realism and a naturalist's love for accuracy of detail4 ,he himself was so pleased with his success that he tells us live lizards often came to admire his fabrications1 and that a dog which he made 7the same is now in the ,dresden ,museum71 caused many real dogs 8to growl on coming near it1 thinking it to be alive40 ,palissy's work was eagerly sought by all the great nobles1 and the illustrious constable gave into his hands the task of decorating the ,chteau d'couen1 thereafter one of the marvels of its time4 ,alas6 there remains nothing of this work1 nor of the famous grotto in the gardens of the ,tuileries1 with the decoration of which ,catherine de' ,medici had intrusted him4 ,this was about the year #aefe1 after ,palissy had taken his family from ,la ,rochelle 7where he had been for several years after leaving ,saintes71 to ,paris to live4 ,it was during the period that ,master ,bernard discoursed to the learned on topics in natural philosophy and was respectfully listened to at a crown a head1 a large lecture entrance fee for those days4 ,palissy's sons1 ,nicolas and ,mathurin1 were working with him in ,paris1 as entries in the royal accounts for the year #aegj show4 ,only a few decades ago workmen excavating in the gardens of the ,tuileries unearthed the remains of ,palissy's old workshop1 and later discovered some of his ovens4 ,but ,master ,bernard was to fall upon evil days4 ,he was a ,huguenot1 and a former coreligionist denounced him1 which led to his arrest in #aehh4 ,his property had previously been destroyed4 ,owing to royal protection he survived the terrible ,massacre of ,st4 ,bartholomew's ,eve4 ,but the manner in which a man should say his prayers was of more importance to ,henry ,,iii than the making of 8figulines of earth10 so ,master ,bernard traveled from the ,tuileries to the ,bastille4 ,his friend the ,duc de ,mayence obtained respite for him through clever artifice2 finally the king agreed to grant him a pardon if he would recant the heresy of his ,huguenot faith4 ,palissy indignantly scorned these ignoble terms4 ,shortly after ,henry ,,iv succeeded ,henry ,,iii4 ,probably kings had ceased to be interested in gray-haired potters and their expenses4 ,at any rate1 ,master ,bernard was condemned to death4 ,before the fragile clay that ,god had modeled into the cup of his life had a chance to be dashed to earth by hideous bigotry1 his soul was liberated from his worn-out body1 and the headsman's block was cheated of the grace of being ,master ,bernard's last pillow on earth4 ,may heaven rest his soul6 ,i shall never forget1 little blue book1 how ,miss ,solander shed a tear over those last pages1 how my own eyes were not dry4 ,somehow ,i think everything must have its story1 and when ,i am in ,cleon's house or in my own1 looking at this thing or at that with the love a collector holds for the things of yesterday1 ,i am not content with the thing alone1 but my thoughts seek out the memory of its story4 ,at least it was so with that inimitable saucire of ,master ,bernard of blessed memory6 ,,chapter ,,xxvi ,,italian ,,maiolica ,whether one is a general collector or a collector of pottery and porcelain in particular1 ,italian maiolica will be found to be one of the most interesting of 8lines10 historically as well as intrinsically4 ,pottery1 both soft and hard1 is distinct from porcelain1 although the term 8old china0 is commonly used to embrace the whole field of ceramics--unfortunately1 ,i think1 as it is of importance to the collector to be precise in the matter of definitions4 ,pottery1 as distinguished from porcelain1 is formed of potter's clay with which an argillaceous and calcareous marl and sand have been mixed4 ,the wares usually designated as earthenware are soft pottery4 ,it may be scratched with a knife or file1 and it is1 generally speaking1 fusible at porcelain furnace heat4 ,soft pottery may be divided into four sorts3 unglazed1 lustrous1 glazed1 and enameled4 ,the greater part of ,egyptian1 ,greek ,etruscan1 ,roman medieval and modern pottery is unglazed1 lustrous1 or glazed1 while the centuries-later maiolica of ,italy is of the fourth sort2 that is1 an enameled or stanniferous glazed ware1 the art of making which was originally learned1 we may suppose1 from either ,moorish potters of ,majorca 7one of the ,balearic ,islands7 or perhaps from certain ,persian sources4 ,italian maiolica was originally called maiorica1 a name which later gave way to maiolica1 as the ,tuscans more often wrote it that way1 even when referring to the ,island of ,majorca1 as one may guess from the rime of ,dante1 where is to be found reference to 8,tra l'isola di ,cipri ,maiolica40 ,the coarser ware of half-maiolica--mezza-maiolica--is not to be confused with the true maiolica1 which is a tin-enameled pottery1 lustred1 although the term maiolica is generally used to designate the ware of both sorts4 ,the ,italians ascribe to ,luca della ,robbia the discovery of the tin-glaze sometime prior to #adch4 ,we have no dated piece of ,florentine or ,tuscan maiolica antedating #adgg1 and of this year but one dated example4 ,the next earliest dates--#aejg and #aeji--;appear on maiolica of the ,cafaggiolo fabrique4 ,in the eighteenth century1 as ,chaffers tells us1 ,italian maiolica was called ,raphael ,ware1 as it was believed1 for a time1 that ,raphael himself had taken a hand at decorating some of it--an idea which quite naturally originated1 as a great many designs from compositions by ,raphael and other great masters appeared on maiolica ware4 ,these1 however1 were copied from drawings and engravings4 ,the best period of this pottery was subsequent to ,raphael's death1 which took place in #aebj4 ,a ,cafaggiolo plate in the ,victoria and ,albert ,museum possibly depicts ,raphael and ,la ,fornarina watching a maiolica-decorator at work1 suggesting1 ,i think1 that had ,raphael himself taken a hand at maiolica-painting that fact would have led the artist of the plate to show ,raphael at such occupation instead of portraying him merely as an onlooker4 ,again1 ,raffaello dal ,colle1 who designed maiolica for the wife of ,guidobaldo ,i1 ,duke of ,urbino1 may have been confused by early students with ,raffaello ,sanzio1 the great ,raphael4 ,of the development of maiolica in ,italy1 ,fortnum says3 8,in the twelfth1 thirteenth1 and fourteenth centuries native wares were produced in various places1 some of which still exist in the towers and faades of churches1 and in the faade of a palace at ,bologna4 ,these are lead-glazed1 rudely painted or with single colors1 and in some instances #8sgraffiato1' proving that the use of a white #8slip' or #8engobe' was known in ,italy at that period1 as affirmed by ,passeri1 who further asserts that in #acjj the art assumed a more decorative character under the lords of ,pesaro1 the ,malatestas4 ,an even1 opaque white surface having been obtained1 the development of its artistic decoration steadily advanced4 ,the colors used were yellow1 green1 blue1 and black1 to which we may add a dull brownish red1 noticed in some of the ,pisan #8bacini4' ,passeri states that the reflection of the sun's rays from the concave surfaces of these #8bacini' at ,pesaro was most brilliant1 and hence it has been wrongly inferred that they were enriched with metallic lustre40 ,for many years after the discovery or at least the application of tin-glaze to pottery in ,italy1 large works were popular4 ,but before the end of the first half of the sixteenth century this practice had lost its vogue4 ,there was1 on the other hand1 an increased demand for the tiles1 plates1 etc41 of the maiolica1 an encouragement that led to the establishment of numerous maiolica potteries throughout northern and central ,italy1 ,romagna and ,tuscany leading1 and ,urbino and ,pesaro rising to importance in the manufacture of this enameled ware4 ,both ,pesaro and1 later1 ,gubbio1 had attained fame for the pearly1 the golden1 and the ruby lustre glaze given their wares1 that of ,gubbio proving the finest in this respect4 ,deruta has also laid claim to the introduction of the beautiful madreperla lustre4 ,a few years ago the author visited this tiny1 out-of-the-way village to inspect the botega of the modern maiolica-makers1 and well recalls the ingenious arguments advanced by the gifted director in support of ,deruta's claim1 which left one convinced until ,pesaro savants in turn sought to appropriate the glory for their own town4 ,fortnum says 8the ,piedmontese and ,lombard cities do not appear to have encouraged the potter's art to an equal extent in the fifteenth and the sixteenth century1 and that neither can we learn of any excellence attained in ,venice till the establishment of ,deruta and ,pesaro artists in that city in the middle of the latter period40 ,fortnum says3 8,perhaps commerce did for the ,queen of the ,adriatic by the importation of ,rhodian1 ,damascus1 and other eastern wares what native industry supplied to the pomp and luxury of the hill cities of ,umbria2 for it must be borne in mind that the finer sorts of enameled or glazed pottery1 decorated by artistic hands1 were attainable only by the richer class of purchasers1 more modest wares or wooden trenchers and ancestral copper vessels contenting the middle class40 ,the art of maiolica flourished likewise in ,ferrara1 ,rimini1 and ,ravenna4 ,the ,umbrian potters probably did not adopt the use of white stanniferous glaze before the close of the fifteenth century4 ,federigo1 who succeeded to the ,duchy of ,urbino in #addd1 was a patron of the arts and a great collector4 ,after his death1 in #adhb1 his son ,guidobaldo continued ,federigo's patronage of the ceramic art4 ,the introduction of the maiolica enamel did not1 happily1 lead to the abandonment of the metallic colors and prismatic glazes of the earlier potters4 ,authorities are agreed that the retention of these metallic colors and prismatic glazes stimulated maiolica manufacture in other localities4 ,the botega which ,maestro ,giorgio established in ,gubbio at this period was probably the great center for the golden and ruby metallic lustre maiolica4 ,in his handbook1 8,maiolica10 ,fortnum says3 8,some technicality in the process of the manufacture1 some local advantage1 or some secret in the composition1 almost a monopoly of its use was established at ,gubbio1 for we have the evidence of well-known examples that from the end of the first to the beginning of the last quarter of the fifteenth century many pieces painted by the artists of ,pesaro1 ,urbino1 and ,castel ,durante were taken there for the lustre embellishment40 ,in ,urbino the manufacture of maiolica reached its culminating point in #aedj1 in which year ,orazio ,fontana1 ,urbino's greatest maiolica artist1 entered the service of the duke4 ,from #aehj ,urbino maiolica declined4 ,there are exceptionally fine examples of early ,italian maiolica in the ,metropolitan ,museum of ,art and in other public and private collections in ,america4 ,these the collector may study to advantage4 ,while the pieces of supreme importance1 like the canvases of the old masters1 are not to be had for a song1 still1 8finds0 are possible1 and even later pieces of maiolica are beautiful and fully worth while4 ,such pieces1 too1 with the interesting history of the earlier objects that inspired them1 should appeal to the collector4 ,perhaps if ,italian maiolica were more studied and understood in this country it would be more popular with collectors1 but just because so few of them are versed in its evolution the advantage accrues to the collector who is wide awake enough to look about him in time4 ,in passing it ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,early ,italian ,maiolica ,plates ,pesaro1 #aebj-aece ,deruta1 #afth ,century ,urbino1 #afth ,century ,gubbio1 #afth ,century ,castel ,durante1 #afth ,century ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,copies of ,roman ,millefiori ,glass ,made in ,murano1 #aith ,century ,two ,ancient ,roman ,millefiore ,glass ,bowls should be noted that there is much--one may well say quantities--of modern maiolica to be found in the shops4 ,much of this is very beautiful1 but the collector will soon have no trouble in distinguishing it from the old1 even when the modern happens to reproduce the forms and designs of the early pieces4 ,,chapter ,,xxvii ,,glass ,,of ,a ,,thousand ,,flowers ,time has crumbled many a granite monument erected to the memory of monarchs of early ,egyptian dynasties1 but a tiny scent-bottle of yellow glass1 with the name ,amenophis worked upon it in blue1 has come down to us from the ,golden ,age of the ,pharaohs4 ,king ,amenophis little guessed that his fragile gift at life's parting from his ,queen ,thi would survive the vicissitudes of the unguessed ages that have treated the pedestal of his ,colossus at ,thebes with such scant courtesy4 ,yet here we may hold it in the palm of a hand1 a lovely trinket whose fragility has defied the boast of bronze or the strength of stone6 ,as ,pliny says1 it is no easy matter to give novelty to old subjects1 authority to new1 to impart lustre to rusty things1 light to the obscure and mysterious4 ,yet he who writes of antiques and curios may find the subject of old glass so wide a field in which to browse that its restraints seem few indeed and its interest of broad appeal4 ,the millefiori glass of yesterday and to-day offers to the collector a fascinating study4 ,it is the 8,glass of a ,thousand ,flowers10 a pretty name the ,italians gave it centuries ago--mille1 a thousand1 and fiori1 flowers4 ,don't you remember when you were little1 very little1 the round1 heavy glass paper-weights into which you could look like a crystal-gazer and find mysteriously embedded flower-like forms of colored glass8 ,how you puzzled grandfather's head1 too1 when you asked him questions about it4 ,these old millefiori paper-weights--long out of fashion1 alas6--were bought on faith as curiosities1 and only the sophisticated age that decreed such marvels unfitting the dignity of maturity relegated them to hiding-places now for the most part forgotten4 ,the wonderful striated marbles1 the attractive 8glassies0 of our own ,golden ,age1 maintained with us the tradition of attachment2 and now we have once more begun to display the paper-weights of the ,thousand ,flowers1 and antiquarians are doing such brisk business in them that manufacturers are almost encouraged to place on the market again these interesting objects of millefiori glass4 ,since the time when the observing ,herodotus wrote that the sacred crocodiles of ,memphis wore ear-rings of melted stone1 the collecting of glass has encouraged its finer development4 ,the ancient glass-workers were proud enough to sign fine pieces1 though these are excessively rare4 ,there was1 for instance1 8,africanus1 citizen of ,carthage1 artist in glass40 ,nero was an ardent collector of fine pieces of glass1 collecting them in his own peculiar manner1 as we may infer from such anecdotes as that which has already been related of ,petronius having broken a precious bowl 7probably of murrhine7 to atoms just before his death1 to prevent the possibility of its falling into the grasp of the ,emperor4 ,so greatly was it prized at the time that its value had been placed at a sum now equivalent to #bej1jjj6 ,the very high prices paid to-day by museums for bits of antique glass are very likely to be far less than the same objects brought in ,roman times2 this1 of course1 refers only to glass of high artistic quality1 such as would have commanded the attention of connoisseurs contemporary with its product4 8,who10 says ,dr4 ,johnson in 8,the ,rambler10 8when he saw the first sand or ashes by a casual intenseness of heat melted into metallic form1 rugged with excrescences and crowded with impurities1 would have imagined that in the shapeless lump lay concealed so many conveniences of life as would in time constitute a great part of the happiness of the world8 ,thus was the first artificer of glass occupied1 though without his own knowledge or expectation4 ,he was facilitating and prolonging enjoyment of light1 enlarging the avenues of science and conferring the highest and most lasting pleasure2 he was enabling the student to contemplate nature and the beauty to behold herself40 ,we need not go into the early history of glass here1 more than to say the ancients were highly skilled in the making of mosaic and millefiori glass1 their products inspiring the millefiori glass of the ,venetians and their followers in ,europe and ,america4 ,one cannot do better than to quote here ,m4 ,a4 ,wallace-,dunlop's 8,glass in the ,old ,world10 a most interesting and instructive work1 unfortunately long out of print4 ,in this volume the author says3 ,no method of glass working has probably excited more attention than the wonderfully minute mosaics found scattered over the world both in beads and amulets4 ,old writers have exhausted their ingenuity in conjecturing the secret of their manufacture4 ,many of them are far too minute for human eyes to have executed1 but like many other marvels the explanation is simple when once discovered4 ,they were made 7and are now successfully imitated in ,murano7 by arranging long slender glass rods of various colors so as to form a pattern1 a picture1 or the letters of a name1 and then fusing them together and while still warm the rod or cane so formed could be drawn out to almost any length1 the pattern becoming perhaps microscopically small1 but always retaining its distinctiveness4 ,a tube of glass treated in the same manner never loses a minute hole in the middle4 ,thin slices cut off such a rod would present on each side 7face7 the exact picture 7just as the pattern appears when slicing a cucumber7 or pattern originally arranged4 ,when this idea had been once suggested1 thousands of patterns could have been invented1 and slices from these rods placed in liquid blue or other colored glass1 and cast in a mould and ground into shape1 gave rise to the endless combinations of ,greek or ,roman workers--,the ,millefiori glass of the ,venetian republic was simply a revival of this old industry4444 ,under the ,ptolemies the ,egyptians acquired a rare perfection in mosaic6 ,we have1 so far as ,i know1 no ,roman mosaic or millefiori glass antedating the reign of ,augustus4 ,it is in the ,augustan age that we first learn the name of a mosaic glass artist1 ,proculus of ,perinthus1 to whom the ,alexandrian merchants erected a statue4 ,the building of ,st4 ,mark's in ,venice1 begun in #aaei1 gave impetus to ,italian glass manufacture4 ,with the fall of ,constantinople nearly a half-century later1 many ,greeks1 skilled artists in glass1 undoubtedly made their way to ,venice and took thither the secrets of their trade4 ,certain it is that the early glass-workers of ,venice and of ,murano1 where later the glass industry centered1 gave curious and interested study to the old mosaics of the ancients and in due course rediscovered the art of millefiori and perfected it in a manner that would have caused the ,romans to open their eyes in astonishment4 ,we must not forget that with the ancients a crystalline glass was of great rarity1 though colored glass was common enough4 ,thus the crystalline products of the ,venetians were an achievement reserved for later centuries1 and this white glass1 in combination with the colored glasses was so skilfully employed by the workmen and artists of the ,murano glass factories that nothing has surpassed the ,venetian products in millefiori for sheer ingenuity and beauty4 ,often1 of course1 millefiori work was carried to the extreme of becoming less a thing of beauty than a tour de force4 ,however1 the collector will find interest in all pieces of the sort1 and their range was enormous4 ,the glass of ,venice was famous for its extraordinary lightness and this added to its vogue4 ,the ,chaplain of ,louis ,,xiv1 ,rn ,franois1 amusingly warned the world that ,murano was filling ,europe with its fantasies of glass2 but rare enough are the early specimens of ,venetian manufacture1 more precious now than their weight in gold4 ,after all1 there must always remain the zest of the chase in the spirit of the true collector1 without which wonderful finds would never have been made1 though we need not to go to the extent of the ,countess of ,fiesque1 a lady of ,louis ,,xiv's court4 ,this lady died at ,fontainebleau in great poverty at an advanced age4 ,historians of the gossip of the day have laid her indigent circumstances at the door of the rascally man of business1 but ,i fancy her passion for mirrors had something to do with it4 ,when almost in need of bread she astonished her friends by purchasing an enormously expensive mirror4 8,i had a piece of land10 she said in extenuation1 8which brought me in nothing but corn4 ,i sold it1 and the money procured this mirror4 ,have ,i not managed wonderfully to possess this beautiful glass instead of dull corn80 ,doubtless the countess did manage wonderfully2 contentment is a great thing6 ,seven hundred years of glass-making in ,venice produced an experience that was useful to the rest of ,europe and finally to ,america4 ,much millefiore glass has been manufactured in the ,united ,states4 ,the ,pennsylvania ,museum in ,philadelphia is especially rich in examples of it4 ,there are also many private collectors of millefiore glass in this country1 some collecting specimens in general1 others confining themselves to examples of ,american manufacture1 while others specialize in millefiore paper-weights already referred to4 ,the late ,dr4 ,edwin ,atlee ,barber1 a noted authority on ,american glass1 gave in the ,pennsylvania ,museum ,bulletin the following information concerning the process of its making3 ,the glass rods used in the preparation of modern millefiori glass are usually made in metal moulds of comparatively large size4 ,the interior may be circular or scalloped4 ,into one of these moulds ropes of colored glass are arranged in the pattern desired1 to which1 when taken out1 two workmen attach iron rods1 one at each end of the mass1 and draw it out until it is of the requisite slenderness4 ,the design retains its exact proportions through the entire length and is as perfect in a rod of an eighth of an inch diameter as in the original thick cylinder4 ,if an animal is to be represented the mould is cut into the exact shape and when the glass is released and drawn out each detail of legs1 tail1 ears and other parts is uniformly reproduced in solid color so that even in the tiniest representation of the figure every part appears to be perfectly formed4 ,sometimes a cane will be composed of many threads of various colors and designs1 each of which has been formed in this manner1 arranged around a central rod and welded together4 ,when the rods are finished they are broken into small pieces1 or cut into uniform lengths or into thin slices1 according to the sort of paper-weights or other objects to be made4 ,into an iron ring the size of a paperweight a cushion of molten glass is dropped and while soft1 the sections of rods are laid on the surface or stuck in it side by side in a regular pattern1 the tops of the rods being pressed into a rounded or convex form4 ,over all more of the melted glass is poured and the surface rounded into hemispherical shape by means of concave spatula of moistened wood4 ,the last process consists in polishing the surface of the curved top and the flat base after the ball has been again heated4 ,dr4 ,barber was authority for the statement that the millefiore paper-weights found their way into ,america from ,st4 ,louis in ,alsace-,lorraine 7first to produce paper-weights of the sort1 circa #ahdj7 and from ,baccarat in ,france4 ,to the manufactories of the latter town we look for the finest of the ,european millefiore paper-weights4 ,at first the filigree rods1 cut or uncut1 were imported2 but soon ,american glass-workers turned their attention to the complete production1 and we may mark the period of #ahfj to #ahge as that of the heyday of ,american-made millefiori glass4 ,it must not be thought that all the ,american millefiori glass has been picked up or picked over2 there is much of it remaining to reward vigilant search and the collector will find it well worth going after4 ,out-of-the-way villages in the ,east and ,south still secrete many such pieces1 and so does the householder of the ,middle ,west2 while one finds ,pacific-ward examples of the old ,glass of a ,thousand ,flowers that had so great a popularity before the ,centennial turned the country to fresh ingenuities4 ,,chapter ,,xxviii ,,antiques ,,of ,,persia ,,and ,,of ,,india ,once upon a time an old gentleman moved into the house across the street4 ,whence he came no one knew1 no one ever came to know4 ,his name was ,kyttyle--,major ,kyttyle4 ,as midsummer marked his advent1 he probably felt properly attired when he appeared on the lawn that first day1 to survey his new domain1 in a basket-shaped hat of straw and a suit of ,east-,india-looking stuff4 ,major ,kyttyle's face was seamed and bronzed4 ,i imagine his hair would have been as white as the snows of ,dhawalaghiri had it not been as extinct as the ,hippuritid1 revealing a shining pink dome as reflecting as the pool of ,anuradhapura at sunset1 visible as now and then he would lift his hat to mop his brow4 ,major ,kyttyle's installation was followed by the arrival of countless foreign-looking trunks and boxes and the neighborhood naturally wondered what on earth the major had in them4 ,mrs4 ,minch was of the opinion that a lone man could have no use for such a lot of truck4 ,mrs4 ,bittles ventured the opinion that ,major ,kyttyle might not be so 8lone0 after all2 he might have a family and it might arrive later4 8,families0 usually did4 ,mrs4 ,minch only sniffed4 8,i can tell a bachelor anywhere10 she declared with conviction4 ,and she could4 ,however1 although no family came upon the scene1 a whole menagerie arrived one by one1 from distant parts1 to keep the major company and to scandalize the town4 ,there was a pet monkey1 a poll parrot1 a ,persian cat1 and a globe of diaphanous-tailed goldfish the like of which had never been dreamed of thereabouts and which quite put to rout the two gilded minnows owned by the ,pickhams1 which till then had been the only exotics in the district and had lent a certain distinction to the ,pickhams to which1 socially1 their breeding did not entitle them4 ,as time went on ,major ,kyttyle brought to him a few congenial spirits and yet the little group really found out nothing about the major's past beyond the fact that he had lived in the ,far ,east for years4 ,why he had come to ,america no one knew4 ,why he had settled in our uneventful valley no one could guess4 ,in fact1 deliberately to choose the spot was thought to be an indication of mental weakness4 ,but if there is anything that the major was not1 that thing is mentally weak4 ,no one else could have had the will power and ingenuity to evade as successfully as did this gentleman of mystery1 the life-history disclosures sought by the ,minches and others who came to 8know0 the major4 ,notwithstanding ,mrs4 ,minch's earlier disapproval of the number of trunks and boxes which the 8lone man0 appeared to have accumulated1 she came in time to revise her opinion when it was discovered that1 though decent1 the major's wardrobe had not comprised his luggage1 whereas wonderful objects of ,oriental art at once made it clear that the trunks and boxes had been put to a very excellent and approved good use when their unpacking found the major's house adorned with treasures in the way of pottery1 brasses1 rugs1 damascened arms1 ,persian miniatures1 ,indian enamels1 gem-encrusted jades1 and what not4 ,frankly1 ,major ,kyttyle might have been as miserable with his treasures as was ,midas with his enchantment had it not been that some of his neighbors were persons of culture and themselves not only appreciative of art but versed in some of its branches4 ,otherwise the major would have had to depend on whist1 which1 by the way1 he played poorly and to which he was devoted4 ,as for the menagerie1 it served to bring out the fact that the major adored children4 ,his yard was always full of them after school let out4 ,at first those fond mothers who could not be persuaded that the major's several ,east-,indian servants were not one and the same with the tribe of the son of ,hagar1 were much distressed1 but when these did not steal forth like pied pipers1 they concluded that perhaps they weren't gypsies after all4 ,good old ,major ,kyttyle1 how grateful ,i am that1 mysterious though you were1 you permitted me to browse for hours among the curious and beautiful things of the ,orient that appealed to my child-fancy6 ,and the marvelous tales you would tell us of their history6 ,how patient you were with our eager queries6 ,you should have been attached to some great museum1 to interpret its hoardings to the soul of the people4 ,it was in your house1 in the house of the stranger who had come among us1 that ,i formed some knowledge of the arts of ,india and of ,persia1 a knowledge that made some of the beautiful things which had found their way from the ,far ,east into my own home greater joys to behold than ever before4 ,i suppose ,i might have taken down one of the heavy volumes of that vast encyclopedia which so formidably thwarted youth's enterprise though advertised to foster it1 and have read therein much of what was told me in less pedantic and less academic style by the major4 ,if ,i have seemed to linger beyond the limits of a preface it is not that ,i started out to write a eulogy of ,major ,kyttyle1 but rather that in what ,i am saying ,i hope there can be found some hint of the truest sort of collecting1 the noblest sort of a collector--one who uses his collection as a preacher uses his text1 happily discoursing to attentive ears and not shutting himself up with his treasures1 like a medieval monk of old with book in cell4 ,the good major went to his rest long since4 ,we had supposed him out of the land of ,india1 not only because we gleaned from his stories that he had spent long years in service there1 but also because of his attachment for the arts of ,india1 which he seemed to hold above those of ,persia4 ,but when his grave was marked1 the granite shaft provided in his will as a last luxury bore simply this legend1 8,kyttyle of ,khorassan40 ,mrs4 ,minch was jubilant4 8,what did ,i tell you8 ,a ,persian6 ,one never knows what with these mysterious people40 ,it is only within the last half-dozen years that the arts of ,india and of ,persia have attracted much attention with ,americans in general4 ,happily1 we are out of that stage where everything ,asiatic is classed as either 8,turkish0 or 8,chinese40 ,the field here for collection is a broad one and naturally embraces a myriad of objects4 ,private collections and public collections of the arts of ,persia and of ,india1 including those of ,ceylon1 are growing apace4 ,good things and fine things are appearing in public sales and are still to be picked up in antique-shops by the discriminating one who has taken the trouble to study the subject4 ,fortunately1 the collector now has at hand such excellent books for reference as the various works by ,ananda ,coomaraswamy1 ,vincent ,smith1 ,martin1 ,birdwood1 ,havell1 ,hendley1 and others4 ,of ,persian objets d'art an anoymous writer in the article on ,persia in 8,the ,everyman ,encyclopdia0 has said3 ,the arts and crafts of ,persia have suffered terribly from the state of misrule4 ,always artistic by nature1 many beautiful arts were theirs1 the secret of which has been forgotten through the years of civil war and trouble4 ,among them the exquisite lustre-ware1 charming in design and coloring1 is now difficult to obtain4 ,the enamel work for which they were once famous is a lost art2 formerly tiles of this work1 exquisite in color and beautiful in pattern1 were freely produced1 and many wonderful specimens have been saved from ancient ruins1 and many are still the glory of mosques and shrines2 the predominating color was a very beautiful turquoise blue in various shades1 and a red-golden lustre which gave the work a peculiar iridescence4 ,jugs and basins in this enamel work have been saved1 exceedingly beautiful in form and pattern4 ,silver work and brass work was an ancient industry2 very little is done now4 ,carved wood1 inlaid with ivory and mother-of-pearl1 is still made to some extent1 also seal-cutting4 ,the ,persian art which flourished in ancient times influenced ,greek1 ,roman and ,byzantine art1 and was the father of ,saracenic art and architecture1 which has travelled far since its birth4 ,persia has ever been famed for its textiles--not only embroideries and printed cottons but marvelous rugs which stand supreme in beauty4 ,the old rugs of ,persia were ancestors of the carpet of other lands4 ,in this connection it is worth noting that the ,persians never made themselves ridiculous by the application of inappropriate design4 ,you will not find an old ,persian rug patterned with formal bouquets tied with blue ribbons1 suggesting a gift being trodden underfoot4 ,a ,persian floral patterned carpet will suggest flowers and verdue in their wild state as the stroller might chance to find them4 ,although the impress of the art of the ,chinese ceramicist and of the shawl-weavers of ,cashmere exerted some influence upon the ,persians1 still the art of ,persia from earliest times has retained a national distinction4 ,nearly all are objects from the earlier periods now to be met with date from the reign of the shah ,abbas the ,great 7#aehf-afbh7 when the native art manufacturers reached their greatest degree of excellence4 ,thence onward came the decline4 ,we have only to consider the fact that artistic ornamentation was applied to innumerable objects in daily service to realize how widely diffused was the taste for art among the ,persians4 ,they have truly been always an art-loving people4 ,some one has aptly remarked that every home in ,india is a nursery of art1 and ,i think this must once have been true of the home in ,persia4 ,apropos of ,persian ornament it may be remarked that the native artists have always delighted in varied and symmetrical patterns of great intricacy4 ,external beauty1 too1 seems to have been sought1 rather than intrinsic thorough excellence of fabrique1 excepting1 of course1 the products of the ,persian looms and the works of the masters in metal4 ,as to ,persian pottery1 it has always been more or less of a puzzle to antiquarians4 ,the ancient pieces in a perfect state of preservation are exceedingly few and rare1 and all have been recovered from ruined areas4 ,there yet remain vast areas to be excavated by enterprising antiquarian expeditions and later efforts are sure to be productive4 ,the ancient lustre faience dates back many centuries4 ,its genre was carried down as late as #aehf4 ,the finest ,persian ware resembles ,chinese porcelain somewhat1 having a white ground with azure-blue decoration in bold1 free designs4 ,the paste is hard and the color is not blended with the glaze4 ,later specimens of this genre have less good design1 blending color1 and a glaze showing greater vitrification4 ,a second sort of ,persian faience is thicker1 shows a departure from ,chinese influence somewhat1 has a softer and more porous paste1 is brighter in the blue1 has a less even glaze1 and a less well-drawn design4 ,red enters1 as also relief and gaufrures4 ,a third sort of ware is denser and harder1 of blackish color on a white ground1 with thick glaze1 and some pieces have been varnished with single color4 ,such pieces in this genre as exhibit figures in the decoration show these without faces1 which would suggest that this class of pottery was the product of ,persian potters of the ,mussulman ,sunnis sect1 a sect more rigidly opposed to presenting the human face in art than that of the ,shiahs4 ,a fourth sort of ware is white and translucent1 of still harder paste1 and bearing no marks or makers4 ,i have seen this ware only in small pieces4 ,it is rare and is usually styled porcelaine blanche de ,perse4 ,a fifth sort of faience is also translucid1 very thin1 and ornamented with lacy designs4 ,the ruins of ,rhages have yielded examples of the sixth sort of faience1 a common pottery of reddish clay varnished with single color1 and all somewhat in imitation of the celadon porcelain of ,china4 ,the green and bronze varnish is often very beautiful4 ,some of these pieces have designs in relief and gaufrure4 ,the faience tiles of ,persia are among its most interesting and beautiful ceramic remains4 ,most of these tiles date from such ,seljuk or ,mogul rulers as ,malik-,shah 7#ajgb71 ,hulagu ,khan 7#abef71 and ,ghazan ,khan 7#abie74 ,india has never produced anything like a porcelain4 ,even pottery of the glazed sort rarely appeared previous to the ,mussulman tile products1 which tile products were the forerunners of the modern glazed wares fabricated in ,multan1 ,jeypore1 and ,bombay4 ,however1 unglazed pottery has been common throughout ,india for countless centuries4 ,in speaking of ,hindu and ,buddhist art ,ananda ,comaraswamy writes 78,the ,arts and ,crafts of ,india and ,ceylon073 ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,ewer and ,basin ,bindri ,ware1 ,india1 #ahth ,century ,polychrome ,persian ,tiles1 #agth ,century ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,chinese ,porcelain of ,the ,kang ,h'si ,period1 #affb-agbc ,jar1 ,famille ,rose ,jar1 ,blue ,hawthorn ,vase1 ,famille ,noire ,vase1 ,celadon ,i do not forget that in almost every art and craft1 as also in music1 there exists in ,hindustan a complete and friendly fusion of the two cultures4 ,the non-sectarian character of the styles of ,indian art has indeed always been conspicuous2 so that it is often only by special details that one can distinguish ,jain from ,buddhist stupas1 ,buddhist from ,hindu sculpture1 or the ,hindu from the ,mussulman minor crafts4 ,the one great distinction of ,mughal from ,hindu art is not so much racial as social2 the former is an art of courts and connoisseurs1 owing much to individual patronage2 the latter belongs as much to the folk as to the kings4 ,the alluring arts of the ,east are well worth one's study1 well deserving of one's enthusiasm4 ,perhaps the illustrations of some of the antiques of ,persia and of ,india here reproduced from photographs of some of the fine examples to be found will awaken an interest in the subject in some who chance upon them4 ,i only hope the world holds more ,major ,kyttyles of revered memory1 and that you1 too1 may have the good fortune to be brought into communion with such treasures as made the major's home vie with our conceptions of the palace of ,aladdin1 treasures which in time brought even the ,pickhams to forgive the major his diaphanous-tailed goldfish1 to feel no longer the sting of the insignificance of their poor little gilded minnows4 ,,chapter ,,xxix ,,chinese ,,porcelains ,not to know something of ,chinese porcelains1 their history and their periods1 is to be denied a pleasurable interest4 ,the old porcelains of ,china are the ancestors of all china-wares of the world1 and never have the finest antique fabriques of the ,celestial ,kingdom been surpassed or even equaled in beauty and texture4 ,the potter's craft1 as we all know1 had its origin in the dim ages of the past4 ,even the discovery of true porcelain must be dated so far back that we have no authentic record of the era of its origin4 ,the literature of ,china ascribes the invention of true porcelain to some twenty-five hundred years before ,christ1 but we cannot be certain that the art of porcelain-making was known and practised until1 perhaps1 after the seventh century4 ,while ,chinese literature of the early periods abounds in references to porcelain1 we have not a single authentic dated piece of the very early dynasties4 ,it seems plausible to advance the theory that true porcelain was an invention or discovery of the ,han dynasty 7#bjf ,b4,c474 ,the ,japanese writer ,okakura-,kakuzo has suggested that to the alchemists of the ,han dynasty came accidentally the discovery of the wonderful porcelain glaze4 ,the literature by ,chinese authors of the ,t'ang dynasty is rich in references to porcelain4 ,the poet ,tu 7#hjc-heb71 for instance1 says3 ,the porcelain of the ,ta-yi kilns is light yet strong1 ,it rings with a low jade note and is famed throughout the city4 ,the fine white bowls surpass hoar frost and snow4 ,the white bowls of ,hsing-chou in ,chihli and the blue bowls of ,yuen-chou in ,che-kiang were highly esteemed and celebrated in song and story4 ,their resonance of tone was such that musicians were said to have utilized them4 ,the ,arabs and ,chinese were conducting a flourishing trade during the eighth and ninth centuries4 ,to ,soleyman1 one of the early ,arabian traders who wrote an account of his journeyings1 we owe the first mention of ,china in the literature of the world outside the empire4 8,in ,china10 said he1 8they have a very fine clay which they manufacture vases from1 as transparent as glass2 water is seen through them40 ,bushell 78,chinese ,art10 vol4 ,,ii7 tells us that in the time of the ,emperor ,shi ,tsung 7#ied-iei7 of the brief ,posterior ,chou dynasty established at ,k'ai-fng-fu prior to the ,sung dynasty1 an imperial rescript ordered porcelain 8as blue as the sky1 as clear as a mirror1 as thin as paper and as resonant as a musical stone of jade40 ,all the porcelains of the times we have referred to seem long since to have disappeared and the only knowledge of them which we have to-day is through the literature of their contemporary writers4 ,the ,sung dynasty 7#ifj-abhj71 the ,yuan dynasty 7#abhj-acfg71 and the ,ming dynasty 7#acfh-afdc7 open up to us surer knowledge as specimens of the time are available to students4 ,the porcelains of the ,sung and ,yuan dynasties may be classed together4 ,the ceramic production 7yao7 made in the province of ,honan in the town now called ,ju-chou-fu--a ,sung dynasty porcelain therefore designated as ,ju-,yao--stands famous for the qualities of its blues1 which ,chinese poets assure us rival the blue blossoms of the ,vitex incisa1 the ,chinese 8,sky ,blue ,flower40 ,the imperial ware of the ,sung dynasty was the ,kuan ,yao 7two ,chinese words signifying 8official ceramic kiln074 ,then there was the ,yo ,yao porcelain1 the early crackled ware2 and the ,ting ,yao1 a porcelain having a delicate resonant body4 ,this seems to be the most commonly met with among the wares of the ,sung period4 ,the ,lung-ch'an ,yao of the ,sung wares is the famed ,celadon ware made in the province of ,che-kiang4 ,the ,celadon ware of this dynasty is distinguished by its onion-sprout green color4 ,the ,celadon wares of later periods turn more either to greyish greens or to sea-green hues4 ,the ,chn yao faience was the product of ,chn-chou1 now ,y-chou1 a town of the province of ,honan4 ,marvelous indeed were its glazes of unsurpassed brilliancy and beauty of color4 ,the transmutation flambs were especially notable4 ,in the reign of ,yung ,cheng 7#agbc7 the emperor sent a list of ,chn-chou pieces to be reproduced by the imperial potteries in ,chung-te-chen1 from which 7record of this being extant7 we are able to glean some knowledge of the great variety of glaze colors of the earlier period4 ,in this list appeared crimson-rose1 japonica-pink1 sky-blue1 plum-color1 dark purple1 millet-yellow1 flambs1 etc4 ,early in the eighteenth century all these glazes and colors were reproduced with marvelous skill1 but the new white body was probably infinitely superior to the early body4 ,the ,chien ,yao ,ware of the ,sung dynasty was produced in ,fu-kien province1 where lustrous black-enameled tea ceremonial cups were manufactured4 ,these were dappled with specks of white resembling the effect of hare's fur and partridge breasts4 ,the ,japanese treasure these pieces1 to which they have given the name 8,hare-fur ,cups10 above almost any other varieties of ,chinese porcelain4 ,we now come to the ,ming dynasty1 and in the reign of ,wan-li 7#aegc-afai7 the art of making and decorating porcelain had so advanced that native contemporaries were fond of declaring there was nothing that could not be made of the porcelain4 ,the cobalt blues came into favor in this period1 and it is also the time of the famed 8,mohammedan blue40 ,european and ,american collectors have given a great deal of attention to the blue-and-white porcelains that came in with the close of the ,ming dynasty4 ,it was between #affb and #agbb1 however1 that the very flower of the blue-and-white porcelain was produced4 ,this marks the reign of ,k'ang ,hsi4 ,the ,k'ang ,hsi period 7#affb-agbb7 was the culminating one of ,chinese ceramic art4 ,of this porcelain1 ,bushell says3 ,the brilliant renaissance of the art which distinguishes the reign of ,k'ang ,hsi is shown in every class2 in the single-colored glazes1 la qualit matresse de la cramique2 in the painted decorations of the grand feu1 of the jewel-like enamels of the muffle-kiln1 and of their manifold combinations2 in the pulsating vigour of every shade of blue in the inimitable 8blue and white40 ,he also tells us porcelains of the famille verte class pervade the period while those of the famille rose class may be said to have ushered in its close4 ,the greens that give the porcelains of the famille verte and the famille rose classes their names are indeed gem-like in their beauty4 ,precious1 too1 to the collector are the ,blue-and ,white or the ,black ,hawthorn ,jars of the period4 ,hawthorn is a misnomer1 for the prunus blossom and not the ,hawthorn blossom furnishes the motif of the decoration4 ,it is interesting to note that the ,prunus blossoms in the white on the blue ground crossed by white zigzag lines represents to the ,oriental fancy the flowers falling on ice breaking up in the springtime4 ,the master quality of fine porcelain is its glaze and the glazes of old ,chinese porcelains have never been surpassed4 ,the reigns of ,yung ,chng and his celebrated son1 ,ch'ien ,lung1 who lend name to the period from #agbc to #agif1 sustained the perfection of ,chinese porcelain4 ,the decadence of the art begins with the modern period1 from #agif to the present4 ,the marks on ,chinese porcelains are various in character and come under one or more of the following divisions3 marks of date1 hall-marks1 marks of dedication and good wishes1 marks in praise of the piece of porcelain inscribed1 symbols1 and other pictorial marks and potters' marks4 ,it is not necessary here to go into the intricacies of these1 but they furnish a fascinating study4 ,this1 too1 is true of the designs that are to be found on the decorated pieces of ,chinese porcelain4 ,the casual observer will pick up a piece and admire or dismiss it on the judgment of the general impression it makes upon his artistic sensibilities4 ,not so with the connoisseur1 who takes into consideration color1 texture1 glaze1 and1 quite as much as these 7so far as intellectual interest is concerned71 the story the design tells4 ,the porcelains of ,china1 like the sword-guards of ,japan1 offer the native artists a vast wealth of mythological and folklore subjects4 ,then symbolism and occasion are closely cemented in ,oriental thought1 and if the collector of old ,chinese porcelains finds their decoration puzzling at times in its significance1 how absorbing are its unravelings6 ,since the time of ,queen ,elizabeth the ,western world has recognized the beauty and the decorative value of the porcelains of ,china1 and at no time have they sunk in regard4 ,rarities are no longer likely to be found hidden away1 or acquired for a posy4 ,at the same time1 the possession of a single object and some knowledge of the evolution in ceramics that led to it are interesting4 ,,chapter ,,xxx ,,chinese ,,and ,,japanese ,,lacquer ,few pieces of the lacquer of ,china and of ,japan reached the hands of collectors before the beginning of foreign trade by ,china and the opening of ,japan in the mid-nineteenth century4 ,just how few may be guessed from the fact that the ,orientals who allowed over sixteen thousand pieces of porcelain to be exported to ,europe in one of the years of the eighteenth century permitted but twelve pieces of lacquer to leave their shores4 ,and how eagerly these bits were sought by the collectors of the time6 ,marie ,antoinette was one of them1 and the ,marquise de ,pompadour another4 ,the collection of the former of some hundred pieces is preserved in the ,museum of the ,louvre4 ,madame de ,pompadour was1 in all probability1 a collector of greater discrimination4 ,she possessed rare artistic sense1 and the hundred and ten thousand livres the marquise expended on her collection tempted even the shut doors of ,asia6 ,lacquer undoubtedly originated in ,china4 ,just when1 we may not know1 but it is of ancient ancestry4 ,in fact1 lacquer as a material has been used for centuries by the ,chinese in industrial art4 ,we can imagine that lacquer was at first employed as a preservative for the woodwork on which it was used as a coating1 developing as time went on into a medium for artistic work of the highest order4 ,lacquer is not an artificial mixture such as our copal and other varnishes but is principally the natural product of the ,rhus vernicifera1 the ,chinese lac tree1 ,ch'i shu4 ,therefore it is virtually 8ready-made0 when extracted4 ,the tree abounds in central and southern ,china and is assiduously cultivated for its valuable sap4 ,usually wood1 most frequently cedar or magnolia1 thoroughly dried and seasoned1 forms the basis of lacquered objects4 ,the form is thinly but securely constructed and primed4 ,the surface is carefully ground down and coated thickly with a prepared varnish4 ,this surface1 when dry1 is in turn made smooth by abrasion4 ,next this base is very skilfully covered with a layer of specially prepared silk1 paper1 or a cloth woven of hemp fibers1 all depending upon the size and projected quality of the article4 ,successive coats of the prepared varnish are then applied1 each being allowed thoroughly to dry4 ,finally the lac is applied1 layer after layer1 spread on at first1 and then added to by means of fine brushes of human hair4 ,those parts of lacquer-work which stand forth in relief are first built up with a lacquer 8putty0 of special preparation4 ,there are never less than three or more than eighteen layers of lacquer employed1 thorough drying requisite to each separate layer4 ,it is interesting to note that several hundred hours may be taken up with the preparation of the grounding before the actual lacquering is begun6 ,with a paste of white lead the artist outlines his design4 ,next he fills in the detail with gold and colors1 over which a coat of transparent lacquer is applied4 ,in the reign of the founder of the ,ming dynasty in ,china1 ,hung ,wu1 there was published the 8,ko ku yao lun0 7,a4,d4 #achg71 a learned antiquarian1 art1 and literary work written by ,tsao ,ch'ao1 and comprised in thirteen books4 ,from this we learn of the following sorts of lacquer then held in esteem3 ancient rhinoceros horn reproductions1 carved red lacquer1 painted red lacquer1 lacquer with gold reliefs1 pierced lacquer1 and lacquer with mother-of-pearl incrustations4 ,tsao ,ch'ao's erudition enables us1 ,i think1 to trace ,chinese lacquer-work back to the ,sung dynasty with reasonable certainty4 ,another ,chinese writer1 ,chang ,ying-wen1 wrote a little book1 the 8,ch'ing pi ts'ang0 or 8,collections of ,artistic ,rarities10 which describes objects shown in an art exhibition held in the province of ,kiang-su in the spring of #aegj4 ,after references to lacquers of the ,yuan and the ,sung dynasties he says in effect3 ,in this our ,ming ,dynasty carved lacquer of the reign of ,yung ,lo in the ,kuo ,yuan ,ch'ang factory1 and that made in the reign of ,hsan ,t was surpassing in its color of cinnabar hue and also in its craftsmanship as well as in characters of the calligraphic inscriptions incised underneath the pieces4 ,there was a notable revival of interest in lacquer-work in the years that followed the upset condition of ,china during the close of the ,ming period1 when lacquer-work was of necessity neglected4 ,during the lifetime of ,emperor ,ch'ien ,lung 7#agcf-agif71 ,pre d',incarville1 a member of the ,french ,academy and a ,jesuit savant of note1 wrote a 8,memoire sur le ,vernis de la ,chine10 published with illustrations in #agfj4 ,we find him saying3 8,si en ,chine les ,princes et les grands ont de belles pices de vernis1 ce sont des pices faites pour l',empereur1 qui en donne1 ou ne reoit pas toutes celles qu'on lui prsente40 ,this1 in itself1 stimulated ,european interest in collecting lacquer at the time4 ,in recent years ,canton and ,fuchow have been centers for the manufacture of painted lacquer1 called hua ch'i1 and ,peking and ,suchow for carved lacquer1 or tiao ch'i4 ,however1 the collector must not look for any pieces of finest quality in the tiao ch'i since the reign of ,ch'ien ,lung1 who lent carved lacquer-work his warmest approbation4 ,we are told of a certain celebrated ,arabian traveler1 ,ibn ,batuta by name1 who was in ,canton about the year #acde and made note of the excellence of the lacquer-work he found there at that time4 ,that of ,fuchow is described in the words of ,monsieur ,palologue as 8most seductive to the eye from the purity of its substance1 the perfect evenness of its varnished coat1 the lustrous or deep intensity of its shades and the power of its reliefs1 the breath of the composition and the harmonious tones of the gold grounds and painted brushwork40 ,of late years the collecting of the lacquers of ,japan has engaged many of the most enthusiastic and discriminating connoisseurs1 and there are many public as well as private collections of lacquer objects in ,america4 ,probably the favorite objects in ,japanese lacquer are those interesting and beautiful little inr or compartment box1 indispensable to every ,japanese gentleman's attire in earlier days1 and to which was attached by a silken cord the netsuke1 or button1 by means of which it was suspended from the obi1 or sash4 ,these lacquered inr have not been surpassed for their beauty and are of literary interest4 ,of the varieties of ,japanese lacquer one may make mention of the nashiji1 generally known to ,western collectors as 8avanturine10 so named by ,europeans from its resemblance to avanturine ,venetian glass4 ,when kirikan 7torn gold leaf7 is employed the lacquer is called ,giobunashiji4 ,the togidashi lacquer is that in which the pattern is produced by grinding and polishing1 revealing the gold ground4 ,hiramaki-ye is the ,japanese term used for all those lacquers which have design not raised above the surface more than the thickness of the lines that trace it4 ,then there is to be found a combination of the flat-gold lacquer with the relief-gold lacquer4 ,the red ,japanese lacquer is known by the native name of tsuishu1 and the black lacquer is called tsuikoku2 those in which the design is carved out of the lacquer-formed or superimposed layers which are exposed by the incisions of the graver are called guri4 ,the chinkinbori lacquer1 in imitation of the ,chinese lacquer1 is a sort of patterned lacquer1 the design of which is produced with a rat-tooth graver and the incision filled up with gold4 ,honnami ,kyetsu 7#aeef-afcg7 is one of the earliest ,japanese lacquerers of importance whose work has come down to us4 ,koma ,kiuhaka1 who died in #agae1 was another lacquerer of great distinction1 the founder1 in fact1 of a 8school40 ,bunsai1 ,krin1 ,yastuda1 and ,yasunari were brilliant followers4 ,krin 7#affa-agaf7 was the most famous lacquerer ,japan has ever produced4 ,it was he who first extensively used mother-of-pearl and pewter ornament in ,japanese lacquer in combination with the decoration4 ,collectors will find few signatures on pieces of lacquer2 the work itself must be the guide4 ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,chinese ,red ,cinnabar ,lacquer ,vase1 #ahth ,century ,illustration3 ,japanese ,gold ,lacquer ,toilet ,stand1 #agth ,century ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,chinese ,snuff-,bottles of the ,ch'ien ,lung ,period1 #agcf-agif ,,chapter ,,xxxi ,,chinese ,,snuff-,,bottles ,fifteen hundred years ago there lived a ,chinese painter1 ,wu ,tao-tzu1 famous in ,celestial lore1 of whom it was said that it seemed as if a god possessed him and wielded the brush in his hand4 ,this greatest of all ,chinese masters was held in high esteem by the emperor4 ,one day1 wishing to possess a landscape of one of his favorite bits of scenery1 the emperor directed ,wu ,tao-tzu to go forth and paint it4 ,in the evening ,wu ,tao-tzu returned1 but empty-handed4 8,why60 exclaimed the emperor2 8where is the landscape8 ,you have nothing60 8,o august ,serenity1 ,son of ,heaven60 replied ,wu ,tao-tzu1 8,i have it all1 all the landscape1 here in my heart40 ,perhaps he made some discreet concession to the material side of the adventure1 for straightway he proceeded to cover a wall of one of the apartments in the palace with a marvelous scene1 such as the one he had spent the day in contemplating4 ,the next morning it was finished4 ,delighted1 the emperor came to view it4 8,ah10 said he1 8wonderful1 wonderful6 ,it is the river1 the bamboo1 and there those majestic rocks60 ,at the word1 ,wu ,tao-tzu clapped his hands1 and lo6 there in the rocks of the picture a cavern appeared4 ,wu ,tao-tzu stepped into it1 the entrance closed1 and ,wu ,tao-tzu disappeared from earth4 ,surely no legend better illustrates the ,chinese point of view1 that a painting is the home of the painter's soul4 ,that is the story which was told to me one day when1 happening into a ,chinese shop where some antiques and curios were offered for sale1 ,i chanced to pick up a tiny bottle4 ,it was not over two and a half inches high4 ,its weight proclaimed it crystal4 ,a miniature scene and inscription were skilfully and beautifully painted inside4 8,this10 said the intelligent ,chinese attendant1 in answer to my question1 8is little bit painting4 ,story one man artist man very much great4 ,him name ,wu ,tao-tzu40 ,then he told me the story1 a golden nail on which to hang a bottle6 ,surely enough1 there was depicted ,wu ,tao-tzu entering the cavern4 ,the inscription vouched for the incident4 8,but what a tiny bottle6 ,what was it used for80 8,much little bottle ,china old time fine like this4 ,more other bottle kinds use snuff for1 medicine for4 ,look yes you please40 ,the ,celestial showed me how the ivory 8spoon10 running the depth of the bottle and fastened in the coral stopper1 was manipulated to fetch forth portions of anything a vial of this sort might contain4 ,in snuff-taking the 8spoon0 was emptied on the thumb nail and the 8sniff0 deftly taken4 ,that was my introduction to the fact that snuff-taking in the ,orient had fostered a fashion that produced objects of virtue fully as interesting and beautiful as1 and certainly more curious than the snuff-boxes affected by the ,europeans of the seventeenth and eighteenth centuries4 ,after this is it any wonder that the collector's instinct should have led me to be enthusiastic about ,chinese snuff-bottles as a field for browsing8 ,and soon ,i found that the fascination of these little objects of art had exerted no small influence on other collectors4 ,fine snuff-bottles were not to be found at every turning4 ,nevertheless they were not so rare as one might imagine1 although1 as with any other class of art objects1 supreme examples were difficult to obtain at any price4 ,if ,china has a population of four hundred million souls it must not be assumed that her craftsmen have produced anything like four hundred million snuff-bottles4 ,true it is that men1 women1 and children of ,china smoke1 but they do not all take snuff4 ,nearly all of these bottles that we see in collections are1 perhaps1 snuff-bottles1 though many of them were used for medicines1 as the ,chinese were great medicine-consumers4 ,they used medicines when well--which was most of the time--in diminutive doses1 perhaps as charms1 and when ill in quantities that would amaze and frighten us4 ,hecate and her witches never prepared caldron more terrific than the ,chinese physician of yesterday devised for his certainly suffering patient4 ,the famous materia medica of herbal which ,li ,shi-chin spent thirty years in preparing1 a work published in #aeij1 contained over eighteen hundred prescriptions dear to the heart1 though ,i fear disastrous to the well-being of the ,chinese invalid pro-tem4 ,gallon containers would not have sufficed for some of these prescriptions1 while others--the least virulent1 and therefore to be toyed with--were harbored in the tiny bottles that snuff was1 later1 to usurp4 ,miniature ,chinese bottles found in ,egypt and in ,asia ,minor--bottles of porcelain bearing inscriptions in ,chinese from the ,chinese poets--show that in the tenth century communication already existed between the extreme boundaries of ,asia4 ,arabs traded at ,canton and ,hangchow to the end of the ,sung dynasty1 #abgi4 ,these little bottles were probably used by the ,arabs for kohl1 the black substance with which they painted their eyelashes4 ,sixty years before ,li ,shi-chin's herbal--8,pun tsao0 was its title--tobacco was introduced into ,china1 and before long tobacco as snuff became popular and fashionable4 ,among the ornamental articles of ,chinese adornment1 says an authority on eastern costume1 in none do they go to so much expense and style as in the snuff-bottle1 which is often carved from stone1 amber1 agate1 and other rare minerals with most exquisite taste4 ,jade1 of course1 was most precious of all and often imitated in glass1 as were topaz1 amethyst1 tourmaline1 amber1 and other stones and substances4 ,collectors in ,europe and ,america are beginning to realize what interesting things in the way of snuff-bottles the ,chinese glass-worker produced4 ,all ,occidental methods of glass-working have long been known to the ,chinese4 ,they have proved themselves skilful with blown1 pressed1 and molded glass4 ,however1 their fame as glass-workers rests chiefly with their cutting1 deep chiseling1 and undercutting objects of glass4 ,in this respect they have not been surpassed4 ,their work in this field was undoubtedly inspired by their wide and varied experience with glyptic work1 a field in which their accomplishments in fashioning jade and other hard stones served them a good turn4 ,as glass presented a somewhat less resisting mass than that of nephrite1 jadeite1 or rock crystal1 the ,chinese lapidary found in it ready response to his craftsmanship4 ,the carved glass objects of the ,chinese usually are small4 ,they generally suggest by skilful coloring and tinting the hard stones they imitate4 ,the ,chinese snuff-bottles are especially remarkable in this respect1 as they are also in the marvelous fertility of invention bestowed on their decoration1 though in form they are nearly of one general type and do not vary greatly in size4 ,from the plain crystalline glass bottles decorated with landscape or figure subjects 7by deftly painting the interior walls of the bottle so that the scene shows through7 to the much-bejeweled bottles1 all these gems of ,chinese fabrication are triumphs of the art1 patience1 and ingenuity of the ,oriental hand and mind4 ,it is interesting to note that the ,chinese have never made claim to the discovery of glass4 ,the historical work1 8,wei ,luo10 based on third-century records1 chronicles that ten colors of opaque glass were imported by the ,chinese from ,rome between the years #bba and #bfd4 ,the ,chinese themselves did not learn the art of glass-making until the fifth century4 ,the fine porcelain snuff-bottles of the ,celestials are indeed things to be treasured4 ,we find them in endless colors and designs4 ,some are plain1 some with under-glaze decoration1 some cased with pierced porcelain casing1 others with molded decoration1 and still others with painted decoration4 ,occasionally one finds a porcelain bottle whose glaze intentionally simulates glass4 ,the ,chinese are skilful lapidaries4 ,their work in shaping jade and other hard stones has not been surpassed4 ,the ,celestial craftsman likewise shows great ingenuity in taking advantage of any irregularity in form or color of the stone he is working4 ,the various quartzes are worked by the ,chinese on the same treadle bench which they use in fashioning jade1 and they work quartz stones along the same general lines4 ,a study of ,chinese snuff-bottles will indicate the unlimited range in the decoration1 form1 etc41 of these objects4 ,it will be seen1 however1 that they are all nearly of a size dictated by general convenience in carrying in pockets and pouches4 ,the stoppers of these ,chinese snuff-bottles are scarcely less beautiful in many instances than the bottles themselves4 ,as a general rule the stoppers are of material more precious than that used for the bottle4 ,pearls and precious stones are less often employed1 and ,i have never seen a ,chinese snuff-bottle stopper inset with diamonds4 ,the diamond is a stone the ,chinese have never appeared to regard highly except for its utilitarian possibilities4 ,coral is a favorite for the snuff-bottle stoppers4 ,ivory is not uncommon for stoppers1 but fine ivory snuff-bottles are very rare1 as likewise are fine cloisonn enamel bottles4 ,there is no gainsaying that ,chinese snuff-bottles cannot fail to attract the collector by reason of their esthetic interest4 ,at the same time1 few objects open up a more interesting intellectual treat than is afforded by a study of these tiny bottles in respect to the subject of their decoration4 ,colors1 too1 are to be studied4 ,five colors enter popular ,chinese tradition3 black1 white--the ,chinese regard these as colors--blue1 yellow1 and red1 to each of which is attached definite symbolism4 ,colors are1 for instance1 associated with the points of the compass--black with north1 red with south1 blue with east1 and white with west4 ,yellow is the color associated with the earth1 and so on4 ,surely the treasured snuff-bottles of the ,celestials offer the collector much that is intellectually delectable2 and as really interesting specimens are not beyond the moderate purse1 their enjoyment does not necessitate the sacrifices that might deter the collector since these little objects of art are not as hopelessly out of reach as were the grapes to ,tantalus6 ,,chapter ,,xxxii ,,cloisonn ,,enamels ,,of ,,china ,,and ,,japan ,the art of the enameler throughout the ages has ever proved to be a subject of interest to connoisseurs and collectors4 ,while learned monographs in many languages have been written on the fascinating subject of ,european enamels1 less appears to have been written concerning those of ,asia and particularly those of ,china and ,japan4 ,the real collector1 as distinguished from the mere gatherer or hoarder of art objects1 finds a great part of his pleasure in acquainting himself with the processes of manufacture as well as with the history of the things he collects4 ,it is this acquaintanceship with the minuti of a subject that enables one to collect with judgment4 ,the basis of all enamels is the application of fusible silicate or glass1 colored with metallic oxides1 all upon a metal ground4 ,the varieties of enamels have already been described at length in the chapter on ,european enamels1 but it will be convenient to summarize the processes here as they apply to ,oriental as well as to ,occidental enamels4 ,in cloisonn enamel-work a metal base--of gold1 silver1 copper1 or some other metal--has its design traced upon it by means of thin metal wires or strips soldered to the base and forming a number of divisions4 ,these1 when filled with the colored silicate 7subjected to amalgamation by heat1 and afterward polished7 produce a beautiful patterned surface1 the design of which appears traced in metal filaments4 ,the ,byzantine and the ,greek enamelers executed their cloisonn enamels in gold1 as likewise did the ,anglo-,saxons1 the ,russians1 the ,chinese1 and the ,japanese in their finest work4 ,in the plique jour enamels we find what is really a variety of cloisonn rather than a class1 as the plique jour is cloisonn unbacked by a metal ground but much like a leaded stained-glass window in miniature4 ,that is1 if one holds a piece of plique jour work to the light he will find it allows the light to pass through1 whence its name4 ,champlev enamel resembles cloisonn1 but its pattern1 instead of being traced by cloisons soldered on a metal base1 is scooped out by a sort of deep engraving upon the metal base1 these depressions being filled up with enamel1 which is fired and then polished4 ,the ,celts1 the ,persians1 and the enamelers of ,india worked in this manner4 ,respouss enamel is1 one may say1 a variety of champlev1 or at least so closely akin to it that it is seldom considered as composing a class by itself1 though ,i think it should be4 ,in such enamel-work the design is wrought upon the metal base1 not with cloisons as in cloisonn1 nor by scooping out by a graver1 as in true champlev4 ,instead1 the design is worked upon the metal by hammering out--respouss--the depressions to be filled with the enamel4 ,this is then fired and polished1 as all enamel of any class has to be4 ,some of the enamels of ,india are such fine examples of work of this sort that they have passed as true champlev4 ,finally1 we come to the painted enamels1 such as those of ,limoges4 ,in the earliest examples of the painted class one finds the design applied directly to the metal base1 grain by grain and layer by layer1 in such a manner that the various fusings and glazings produce the results one finds in the marvelous old ,limoges enamels2 while in later work the enamel is fused upon the metal base1 the designs being painted 7in some instances printed7 on the enamel4 ,this brief survey of the characteristics of the different classes of old enamels will the better enable the collector to confine his attention for the moment to the subject of cloisonn enamels1 and in particular to those of ,china and ,japan4 ,of late years the cloisonn enamels of these countries have been extensively exported1 more especially to ,america4 ,many of these modern examples are very beautiful1 some of them very trashy1 and none of them comparable in beauty with early ,chinese work1 though1 from a technical point of view and an individuality of their own1 ,i fancy some of the modern specimens would have made the seventeenth-century enamel-workers of ,china rub their eyes in wonderment4 ,this great and difficult art is surely one of the glories of ,chinese craftsmanship4 ,one might not think that the outlook for collecting these old enamels in ,america very encouraging4 ,nevertheless it is a line of collecting that has not been overdone1 and genuine old objects are to be found1 here and there1 by those who know them when they see them4 ,as color is the very soul of enamel1 the rich1 soft colors of the early ,chinese work help to distinguish it4 ,this is especially true of the varied and beautiful blues employed by the ,chinese enamelers4 ,occasionally the ,chinese employed both cloisonn and champlev in the same piece as certain pieces of the ,ch'ien ,lung period 7#agcf-agif7 show4 ,in genuine old pieces it often happens that corrosion has made its appearance around the cloisons4 ,while the early history of ,chinese cloisonn is lost to us1 we know it to have been in favor in the early fifteenth century1 as a vase in the ,victoria and ,albert ,museum attests4 ,not only for its blues is ,chinese cloisonn noted1 but it possesses characteristic reds1 lilacs1 violets1 pinks1 greens1 and orange as well4 ,the ,chinese enameler's palette was medieval in its selection4 ,the blues of turquoise and of lapis lazuli were great favorites likewise4 ,a sang-de-buf and a sealing-wax red1 opaque in quality1 were further employed4 ,in fact1 the ,chinese enamelers employed the colors of the early ,european cloisonn workers4 ,their whites1 however1 were always inferior and in early work exhibit air-hole pit marks4 ,the collector will understand from this how necessary it is for him to give careful attention to the subject of color in determining the early enamels4 ,the metals employed by the cloisonn-workers should also be studied4 ,where gold was used it had to be fine gold1 as alloys would not withstand the heat of the enameler's furnace4 ,enamel does not hold so well to silver as to gold or copper4 ,then there is the distinctive polish of the earlier enamels4 ,these were polished by hand1 in consequence of which their surfaces did not present the mirror-like polish which modern contemporary cloisonn enamels exhibit4 ,the surfaces of the old pieces is more like that of an egg-shell4 ,again1 few of the antique cloisonn enamels show any transparency1 a fact probably due to the oxide of tin in the solder4 ,in recent work the cloisons have1 in many instances1 been fastened to the metal bases by means of a paste instead of by the soldering method--surely a shifty mode1 and one marking the decline of the true excellence of the ancient art4 ,rudyard ,kipling's 8,from ,sea to ,sea0 gives us a careful account of the art of enameling as he saw it practised by the minakari or enamelers of ,kyto4 ,this account is worth looking up4 ,while the work described by ,kipling was that of the modern ,japanese craftsmen of some thirty years ago1 the process was the same as practised in earlier times not only in ,japan but likewise in ,china1 and everywhere that cloisonn enamel has been made4 ,the process in use to-day follows the same tradition4 ,the ,koreans probably acquired the art of cloisonn from the ,chinese1 and the ,japanese from the ,koreans 7perhaps not before the fifteenth century74 ,captain ,brinkley says3 8,one thing is certain1 that until the nineteenth century enamels were employed by ,japanese decorators for accessory purposes only on wood and porcelain as well as on metal4 ,no such things as vases1 plaques or bowls having their surface covered with enamel in either style40 ,this at once enables the collector to understand at how late a period1 comparatively1 cloisonn enamel became popular in ,japan4 ,it is believed that early in the nineteenth century a ,japanese craftsman1 ,kaji ,tsunekechi1 produced the first vessel covered completely with cloisonn in ,japan4 ,this was at ,nagoya4 ,it won him great fame and many pupils4 ,the earlier pieces of ,japanese cloisonn followed in pattern1 to a great extent1 the ,chinese enamels1 and though they are somewhat less fine in color1 they often excel in technique4 ,until #ahij the cloisons of ,japanese work were soldered to the metal4 ,since that date a vegetable gum has often been employed for the purpose4 ,in some modern work there appears to be no evidence of cloisons whatsoever1 but some of these pieces have hidden cloisons4 ,the ,japanese cloisonn objects are usually enameled on the back or on the inside with blue enamel ,tky1 ,yokohama1 and ,kyto are the main sources of the modern product4 ,thirty years ago ,louis ,gonse1 a ,french authority1 wrote that the ,japanese had done little in cloisonn1 ,illustration3 ,courtesy ,brooklyn ,museum of ,art ,chinese ,cloissonn ,palace ,censer1 ,chia ,ching ,period1 #aeeb-aefg ,illustration3 ,courtesy ,metropolitan ,museum of ,art ,japanese ,armour of the ,feudal ,period1 showing ,swords with their ,sword-,guards 7,tsuba7 but since that time its production has increased enormously4 ,while much of this modern work is inferior in quality1 that which is truly fine is well worth the collector's attention4 ,with the rapidly changing conditions1 both in ,china and ,japan1 such objects will greatly enhance in value in a few years hence and come to be properly esteemed4 ,,chapter ,,xxxiii ,,japanese ,,sword-,,guards ,small objects beautiful to contemplate1 exquisite in workmanship1 intrinsically valuable1 and at the same time rich in historical associations have attracted men of all ages4 ,little wonder it is that the collector of the objects for art of the ,japanese craftsmen finds in them an ever refreshing delight4 ,the tsuba1 or sword-guards of ,japan1 are famed for their workmanship1 beauty of design1 and historic interest1 while their rarity is not such as to discourage the collector4 ,a few years ago1 indeed1 these remarkable examples of the skill of the old-time ,japanese metal-workers could have been picked up in the ,japanese shops in ,america and ,europe for a song4 ,though the price has advanced precipitously1 fine specimens of sword-guards may still be had at far from prohibitive prices1 when one considers that almost every tsuba can be counted a supreme example of the metal-worker's art4 ,there are no two genuine ,japanese sword-guards precisely alike4 ,each is distinctly an original and unique object into whose fashioning has gone the best effort of those tirelessly patient and conscientious craftsmen of the ,flowery ,kingdom4 ,feudal ,japan has disappeared1 and with it the need of the old armorers' art4 ,fifty-eight years ago a noted ,japanese official sought in vain throughout ,yedo--now ,tky--for a countryman who might prove to be conversant with the ,english language1 a fact that gives one an intimation of the rapidity with which the old order of things has been thrown off and the new taken on4 ,it was just forty years ago that an imperial edict abolished the wearing of swords4 ,the edict was obeyed without a single known instance of resistance1 and the shops of ,kyto1 ,tky1 and ,ozaka dealing in art objects soon bristled with ancient swords and sword 8furniture0 from those samurai who a few months before held their swords as sacred as their persons4 ,it is clear that1 as a result of this edict1 a vast number of swords were brought into the market4 ,naturally enough1 as collectors had not then discovered the tsuba1 countless sword-guards were thrown into the melting-pot4 ,later1 when ,european1 ,american1 and ,japanese connoisseurs came to rescue the tsuba from oblivion1 the native craftsmen1 still possessors of a recent heritage of skill1 fell to making sword-guards for the market4 ,yet even these late nineteenth-and1 one must suspect1 twentieth-century tsuba are often beautiful1 ingenious1 and interesting enough to be desirable acquisitions on their own account4 ,in a land where the regard for the honor of the sword had evolved an etiquette and almost a religion it is not strange that the art-loving nation which conceived this regard should have applied its finest ability to the decoration of the sword accessories1 until finally these became veritable treasure-troves recording the history and traditions of the country as well as its symbolism and even its physical aspect4 ,the 8furniture0 of a ,japanese sword consists primarily of the tsuba1 or guard1--a circular or oval 7sometimes square and occasionally irregular7 piece of metal1 with a triangular aperture to receive the sword-blade4 ,on each side is a smaller opening to receive the top of each of the two smaller implements that accompany many of the ,japanese swords--the kozuka or handle of the short dagger1 or kokatana1 and the kogai1 a skewer-shaped instrument4 ,after the tsuba or sword-guard come the smaller ornaments placed one on each side of the hilt to enable the wielder of the sword to have a firmer grasp of it4 ,these small metal ornaments are called menuki4 ,we find them1 too1 on the scabbards of swords1 especially on the daggers or wakizashi4 ,of great beauty and interest are the kashira1 metal caps fitting the heads of the sword-handles1 secured in place by means of cords laterally placed4 ,the fuchi are oval rings through which the blade passes2 they encircle the bases of the handles where the blade is secured4 ,the kurikata are cleats for securing the cords 7sageo7 which held back the warrior's sleeve whilst he was fighting4 ,and finally there is the kojiri1 the metal endpiece of the scabbard4 ,there is not one of the ornamental decorations of a ,japanese sword that would not have awakened the admiration and envy of ,benvenuto ,cellini4 ,and to think that after the edict of #ahgg there were1 literally1 millions of them relegated to the rubbish heaps of the ,japanese junkmen6 ,too few of the menuki escaped being melted up4 ,theirs is a fascination difficult to resist2 but the tsuba more directly engages our attention for the present1 and the smaller ornaments have been referred to here only in order that the reader may have some suggestion of their relationship to the tsuba4 ,the earliest name of a sword-guard maker to be met with is that of ,mitsutsune 7#acij71 ,kaneiye of ,fushimi1 ,umetada1 ,shigeyoshi 7a renowned swordsmith71 ,gt ,yj 7died #aejd71 ,miochin ,nobuiye 7#aejg-aeee71 ,iranken ,yamakichi 7#aegj7 and ,hoan were all renowned for their tsuba at a later period4 ,nobuiye's work was distinguished for the thin soft iron with a thick patina1 reddish in hue4 ,his tsuba bear traces of the hammer1 as do the tsuba of his followers for a considerable period4 ,to ,gt ,yj 7#adbf-aejd7 and other members of the ,gt family ,japanese connoisseurs give preference4 ,a ,japanese expert at once recognizes in the ,gt tsuba the iybori or style of the family whose genius produced them4 ,the work on those sword-guards whose surface is punched into a texture of small dots until it resembles fish roe is called nanakoji1 and for tsuba so finished the ,gt family were without rivals4 ,mosl suggests that one of the requisites in the ,japanese connoisseur's education is to recognize the iybori 7personal style7 of the first thirteen generations of the ,gt6 ,piercing1 chasing1 and1 in a few instances1 inlaying and damascening came into the practice of the metal-workers with the advent of the sixteenth century4 ,umetada ,shigeyoshi1 who has been called the 8master of masters10 began the free use of the graver in ornamentation4 ,to him mainly are due the decorative changes that marked the tsuba which were made during this period4 ,the close of the sixteenth century brought a stretch of two hundred and fifty peaceful years after the turbulence that had shaken ,japan until then4 ,naturally1 in the years of war the sword of the ,japanese fighter called for guards practical and tough in texture1 something that would deflect the powerful blow of an opponent4 ,in the years of peace the tsuba were mainly adapted to court use and for the adornment of the person4 ,the tsuba-makers of saka produced marvels of damascening in gold and silver on iron4 ,the second ,kaneiye encrusted his sword-guards with copper ornament1 and ,hirata ,dnin introduced the use of translucent enamels4 ,the pierced work of ,kinai of ,echizen is supreme in its elegance of form4 ,the close of the seventeenth century gave rise to three schools of tsuba decoration--the ,nara ,school1 revolting against the academic style of the ,gt1 as did the ,yokoya ,school1 and the ,omori ,school4 ,in the work of the masters of all three of these schools1 the ,gt influence may still be traced1 even though these metal-workers tried to get away from it4 ,the ,school of ,ishiguro1 ,yedo1 of the early part of the nineteenth century came to be famous for its flat incised work1 introducing colored surfaces4 ,kano ,natsuo may be mentioned as the last tsuba-maker of distinction4 ,the tsuba of the period between #ahdj and #ahgj were very elaborately decorated1 and obviously could never have been used for their professed purpose4 ,however1 the collector will wish to acquire specimens of them1 if only as examples of the marvelous handicraft of the ,japanese metal-workers4 ,nearly all of the imitations of genuine old tsuba can be detected by holding the guard on one's fingertip and striking it sharply with another piece of metal4 ,the genuine tsuba will emit a bell-like sound1 the cast imitation a dull one4 ,a perfect patina is always to be sought for in a tsuba4 ,one of the most important styles of ornamenting metal is ,zogan1 a process which includes damascening and is sub-divided into3 ,honzogan work1 in which an undercutting retains the hammered-in inlay 7if flush with the surface1 this is called ,hirazogan1 and if it is in relief1 ,takazogan71 and ,nunomezogan work1 which derives its name from a surface incised to represent linen mesh4 ,the second style of ornamental working is included under the names ,kebori and ,katakiri4 ,with kebori work the lines are finely cut1 and the word designating this class of work signifies 8hair lines engraved40 ,katakiri work produces engraved lines varying in depth to produce the effect of painting4 ,the ,japanese hold this style in high favor4 ,the third style of ornamental metal-work is ,nikubori2 work in this style is carved in relief1 low relief being distinguished by the name1 ,unsunikubori1 and high relief1 ,takabori4 ,the final style is ,uchidashi4 ,this metal-work is repouss1 and is often to be found in combination with nikobori4 ,the subject of ,japanese metal-work must ever prove one of fascination to the student or collector1 and even a very small collection of tsuba will serve to cover the general field of representative styles4 ,like so many other articles of collection appeal1 they combine the two interests of former utility and present beauty4 ,,chapter ,,xxxiv ,,medallic ,,art ,what a marvelous field for enjoyment is opened to the collector by medallic art6 ,to the uninitiated any coin or medal a hundred years old will seem instantly to suggest an almost prohibitive value4 ,nothing could be more of a mistake4 ,as a matter of fact interesting coins and medals are within the reach of almost any one for a remarkably small outlay4 ,of course tremendous prices are given for tremendous rarities1 but coin-and medal-collectors in ,america seem more interested in early coined ,united ,states cents which exhibit this slight variation or that1 than in collecting for purely the beauty and the historic charm medallic art exhibits4 ,perhaps ,i should not quarrel with such1 for this state of affairs has1 in times past1 permitted my acquiring for pennies lovely medals and marvelously beautiful coins1 while they were paying out1 in the same sales1 small fortunes for ugly broken-down coppers whose sole virtue 7in my sight7 lay in their containing half their face-value of pure copper6 ,but we need not linger over these4 ,let us take thought of the real masterpieces of the times that were and the times that are4 ,we must include the remarkable productions of our contemporary medalists1 inheritors of the skill and best traditions of past masters4 ,in the first place1 medallic art1 more than any other1 perhaps1 nearly always displays prominent national characteristics2 so it is comparatively easy to distinguish between the medals of various countries4 ,the debt history owes to coins and medals1 for the clues to the past they have given it1 is enormous4 ,cities and sites have been identified by their means1 dates of dynasties made certain by their evidence1 and forgotten deeds of heroes recalled through their records4 ,a few years ago a ,sicilian peasant is said to have discovered the only specimen extant of a rare coin of antiquity that adds certainty to our knowledge of the site of ,abacnum1 whose ruins lie outside the walls of ,tripi4 ,as ,vasari observed1 the art of the medalist is 8a work most difficult by artists as it holds the mean between painting and sculpture40 ,that it does1 truly1 as any collection of early medals and the best medals of to-day conclusively proves4 ,at the end of the fifteenth century the making of dies as it was then practised permitted only designs for very low relief to be struck and of small circumference--such a size as we see in the coins of that time4 ,coins like the ,united ,states double eagle designed by ,saint-,gaudens could not then have been attempted4 ,stamping from the die was a process yet in its infancy and was not then able to meet the requirements of striking the larger medal forms2 hence these were invariably cast4 ,first a model in wax was made and embedded in some fine molding-substance1 such as earth or charcoal4 ,having fitted itself perfectly into every crevice of the wax model1 this mold of earth was stiffened by a lye solution2 the wax was melted out1 and molten metal was poured from a crucible into the mold which was left behind4 ,whether or not replicas were made from the same mold is a question that remains unsolved4 ,probably not1 but instead they may have been made from the new molds of new wax models formed in plaster molds from plaster casts of the originals4 ,when removed from its mold the medal was worked over with a fine gritty substance1 and often with finishing instruments4 ,moreover1 the edges had to be filed smooth1 as the casting always left them rough4 ,in many cases it is apparent that engraving was resorted to in order that outlines might be emphasized1 especially in indicating hair4 ,in very early days medals afforded a convenient kind of portrait for transmission to distant friends2 large numbers of medals1 too1 were buried under the foundations of buildings erected by a prince or a state1 as in our own time coins are placed under the corner-stone of a public edifice4 ,for instance1 in the cellar walls of the ,palazzo ,venezia in ,rome1 built by ,pope ,paul ,,ii1 twenty medals of that pope were found4 ,some bore on the reverse a representation of the palace1 others the arms of the pope with the legend3 8,has des ,condidit40 ,they were enclosed in an earthenware case that had to be broken in order to release the contents4 ,it is safe to assume that nearly all early medals bearing representations of buildings were cast for like commemorative purposes4 ,it remained for the beginning of the sixteenth century to witness the inauguration of the art of striking medals from engraved dies4 ,in the ,british ,museum there is an example of a medal of ,pope ,julius ,,ii by ,francesco ,francia the painter1 who besides being a painter and a medalist was also a goldsmith and likewise designed the font of italic type for ,aldus ,manutius the printer4 ,this medal of ,pope ,julius was probably struck about the year #aejf4 ,it and the medals of ,benvenuto ,cellini in the ,museo ,nazionali in ,florence 7which latter medals are perhaps the finest examples of struck medals of the period1 though by no means the most artistic7 occasionally turn up in public sales4 ,they1 of course1 command top-notch prices1 although a truly fine gold coin from ,cellini's dies1 a coin of undoubted authenticity1 was purchased in ,london by the author for two pounds1 and from a dealer of international reputation4 ,when ,francia and ,cellini were engraving their dies the new method was still confined to medals of smaller circumference1 for all the larger ones as yet continued to be cast1 even down to the end of the sixteenth century2 and of course casting is a method in very general use to-day4 ,the modern process of reducing models by means of a clever mechanical instrument enables the medalist to work out the relief without size restrictions1 from which the reduced size desired for the medal is finally obtained with absolute fidelity4 ,in fact1 modern medals are often produced in various sizes by an ingenious mechanical process1 without any loss in effect from the same original4 ,roty's medal for the ,french ,alpine ,club is such an example4 ,one may see that the change from casting to striking medals greatly affected the art of the medalist4 ,the preparation of the model for casting required a technique almost identical with that of the sculptor preparing for a bronze statue1 the sculptor in marble of course having to take into account further matters incident to the substance he was finally to work in4 ,on the other hand1 the die-engraver's art required a totally different technique1 a skill akin to the requirements of gem-engraving and also to the craft of a goldsmith4 ,when cast medals became reduced to the size of struck medals1 the reduction required finer workmanship in the original modeling and in the finishing4 ,this again brought the medalist nearer the goldsmith4 ,accordingly1 we find ,francia1 ,cellini1 ,valerio ,belli1 ,cesati1 ,annibale ,fontana1 ,leone ,leoni1 and others at once goldsmiths or gem-engravers and medalists4 ,it is interesting to visit some museum collection and compare a cast medal by ,pisano with a struck medal by ,cellini1 or with one by ,bernardi1 in order to note their differences4 ,very often the extreme fineness in finish of early ,italian medals makes them appear at first sight struck when in reality they have been cast4 ,this is especially noticeable in the medals of ,pastorino of ,siena1 who very nearly brought medallic portraiture to its perfection4 ,his manner is full of delicacy and beauty1 but it just misses the mark in requisite vigor4 ,there are various medals intimately connected with ,american history1 though many of them have been executed by alien artists4 ,however1 with the example set by ,augustus ,saint-,gaudens1 ,frederick ,mac ,monnies1 ,victor ,d4 ,brenner1 ,paul ,manship1 ,james ,earle ,fraser1 ,john ,flanagan1 and others1 it is to be hoped that more of our artists will turn to this field and that more encouragement1 public and private1 will be given in it4 ,we might well emulate the attention that has been given to the subject in ,france4 ,fine medals and coins should be tenderly treated4 ,every scratch mars their beauty4 ,each should be kept protected from abrasion4 ,it is vandalism to subject a medal or coin to an unskilled scouring or scraping4 ,the early ,italians were greatly interested in medallic art and appreciated beautiful medals as perhaps no other people has ever done4 ,there are1 of course1 those soulless persons who find in a medal or an uncurrent coin only a suggestion of something that might once have been spent but which cannot be now1 and who1 with a shrug1 refuse to share the enthusiast's pleasure4 ,the collector must not hope to win such to the interest with which medallic art is invested4 ,,chapter ,,xxxv ,,engraved ,,gems ,in ,beau ,brummel's time not to know all about gem-engraving1 the intaglio and the cameo1 was thought to be devoid of one of the most important cultural attributes of every eighteenth-century gentleman4 ,those were the picturesque days of post-riders and sealing-wax1 days that scarcely anticipated the letter-writing necessities of our own time1 when we can scarcely stop to put on the stamp and one lick of the flap has taken the place of the perfumed elegance of yesterday's wafer1 leisurely impressed with some exquisite seal4 ,it was only natural then that the seal should be a factor in the diversions of polite society while possessing a utility not yet exterminated by demands on man's time4 ,not only did every gentleman have a seal ring1 but often he had several1 and sometimes many for different occasions4 ,frequently these seals or sigilii1 as the ,latins called them1 were engraved with devices directly upon metal4 ,however1 the far more popular method was that which is one of our chief heritages from antiquity--engraving on gems or on semi-precious stones by means of the intaglio process4 ,intaglio1 derived from the ,italian intagliere 7to cut into71 means incised engraving1 as opposed to the cameo process1 or engraving in relief4 ,cameo-engraving is a later art1 as generally practised1 and cannot compare with that of intaglio-engraving1 with which it has nothing in common but its subject and the material on which it is cut4 ,an intaglio is the product of a reverse and much more difficult process than that by which the cameo is evolved4 ,an impression from a well-cut intaglio leaves a very fine design in relief1 and it is marvelous to behold the results obtained by the infinite pains of gem-engravers4 ,in our own day the masters of the art can be counted on the fingers of one hand1 so greatly has the demand for work of the sort diminished4 ,indeed1 there is almost no call for it in ,america4 ,probably this is due to the fact that so few people really either understand the importance of the subject1 the history of glyptic art1 or realize the beauty of the fine works of the sort4 ,it should be borne in mind that although engraved gems1 unlike ,greek painted vases1 are chiefly valuable as handmaids to history in preserving to us contemporary portraits of their times1 they still make known to us1 as ,collingnon says1 a whole phase of ,greek thought that was developed in the ,macedonian epoch4 ,the ,greeks never greatly favored the ,egyptian scarab beetle-form for engraved gems and later introduced the oval1 which is known as the scaraboid form1 especially popular from #fjj ,b4,c4 to #ejj ,b4,c41 in the ,archaic ,period4 ,with primitive engraved gems and scarabs 7#bejj ,b4,c4 to #ijj ,b4,c47 as well as with later ones1 the archologist has to move cautiously1 since imitations were manufactured at a very early time4 ,the researches in ,crete by ,arthur ,evans brought to light great numbers of engraved seals and stones that are unquestionably of remote antiquity1 and1 by the form of their engraved characters1 indicate the existence of a system of writing of a far earlier date than had been assigned to calligraphy on ,greek soil4 ,the most interesting examples of this class were found in the ,palace of ,minos at ,cnossos1 and were used for sealing documents in the ,cretan script1 while others were used in sealing storage vessels4 ,that there is nothing new under the sun seems again to have been demonstrated in the discovery at ,mycen of a massive engraved signet portraying three ladies in modern-looking divided skirts1 a subject quite as up-to-date as the beflounced corseted1 frilled1 and bonneted ladies that the ,cretan frescos disclosed a few years ago1 to the bewilderment of the ,parisian dressmakers4 ,however1 the intaglii which typically mark the early ,mycenan period are the ,island ,stones 7#ijj ,b4,c4 to #fjj ,b4,c471 a name given to a lenticular stone of steatite1 rock crystal1 carnelian1 or chalcedony1 such stones being chiefly found in the ,greek islands and in the ,mediterranean region1 where ,mycenan remains are to be found4 ,the decorative devices employed were nearly always animals1 such as the lion1 deer1 bull1 goat1 singly or quasi-heraldically arranged in pairs1 facing in or facing out4 ,their artistic merit was often of a high order1 though this excellence was somewhat over-balanced by the figures being arranged to occupy the entire area of a gem's surface4 ,as ,dr4 ,walters of the ,british ,museum observed1 8this horror vacui1 or dread of leaving a vacant space1 was characteristic of ,greek artists at all periods40 ,the ,transitional ,period proper1 from #ejj ,b4,c4 to #dej ,b4,c41 produced very fine gems with genre subjects4 ,these were probably influenced somewhat by the freedom acquired by the ,greek vase-painters1 whose art reached its perfection in that era4 ,from thence onward no subject seems to have daunted the gem-engraver who reproduced the most intricate details and reduced to miniature marvelously well the beauties of those groups of colossal statuary that particularly inspired him1 subjects from paintings or his own devices1 or figures1 heads and portraits of his contemporaries1 men1 women and children--portraits which must have been possessed of the virtue of likenesses to an extraordinary degree1 else they would not for centuries have continued in such favor4 ,as ,renton says1 8we are forcefully reminded of the extreme durability of engraved gems when we reflect that some at the present time contained in our museums and collections have been buried in tombs or in the earth2 others have been thrown upon the shore1 washed by the sea or exposed to fire1 pillage1 and other dangers1 but still appearing with the engraving in some instances as clear1 sharp1 and defined as it was the day they left the artist's hands40 ,it is this careful and peculiar finish to the work that distinguishes the truly antique gems from the spurious4 ,we have little reliable data concerning the artists in glyptic art from the primitive period represented by the ,samian ,theodorus1 who made the famous ring for ,polycrates1 to the period of the art's perfection1 #dej ,b4,c4 to around #djj ,b4,c4 ,to the latter period belongs1 by right of his excellence1 ,pyrgoteles1 who engraved the seals of ,alexander4 ,the least doubtful names1 perhaps1 are those of ,agathopous1 ,apollonides1 ,aspasios1 ,athnin1 ,bothos1 ,dexamenos1 ,dioskourids1 ,epitynchanos1 ,hrakleides1 ,hrophilos1 ,hyllos1 ,mykon1 ,nikandrus1 ,onsus1 ,pamphilos1 ,prtarchos1 ,soln1 and ,teukrus1 tedious to catalogue perhaps1 still a small number out of proportion to the vast quantity of intaglii that have been recovered from the past4 ,we are sure of ,dioskourides under ,augustus1 but even in antiquity names were forged upon gems at a later date or by an alien hand1 such forgeries being especially common from the time of the ,renaissance on4 ,indeed1 it became quite as much the fashion to mutilate antique gems by adding bogus signatures as it did later to imitate the glyptic art of the ancients and attempt to pawn off forgeries and fabrications on the enthusiastic but indiscriminating4 ,of this the reader will find further mention in the chapter on ,fraudulent ,art1 which follows4 ,in ancient times intaglii were also imitated in glass and much affected by the poorer classes1 so early had the idea of cheap imitation jewelry taken root4 ,however1 such work was obviously false1 while there have been some very clever imitations engraved on very fine gems4 ,the famous ,poniatowski ,collection was the greatest of the gigantic frauds of the sort perpetrated4 ,in the happier days of the ,first ,empire the patronage of the ,empress ,josephine had brought appreciation of the glyptic art to a pinnacle1 whence it fell from mere discouragement by the exposition of the ,poniatowski ,collection fraud in a ,london market4 ,these gems might best be described as regular pictures in stone and portraits of all the celebrated men of antiquity1 each blandly 8authenticated0 with his proper name and the artist's signature6 ,no wonder collectors and amateurs turned1 frightened1 to scan their own collections4 ,if such traffic was fostered by dealers of their time1 what recourse had they outside careful and arduous scholarship8 ,still1 minute rudimentary knowledge of gem-engraving and its chronological phases should at once have set them at ease4 ,the amateur of to-day knows that a signed gem is an exception to the rule and rests secure in the knowledge4 ,although the various periods of ,greek glyptic art have been indicated1 it may be helpful to repeat them here in tabulated form1 following mainly ,walter's scheme of classification4 ,i ,prehistoric ,period--#bejj to #ijj ,b4,c4 ,primitive seal stones1 imported cylinders4 ,,ii ,early ,period--#ijj to #fjj ,b4,c4 ,island gems4 ,mycenan era4 ,,iii ,archaic ,period--#fjj to #ejj ,b4,c4 ,scaraboids supersede scarabs4 ,,iv ,transitional ,period--#ejj to #dej ,b4,c4 ,finely engraved gems and prevalence of genre subjects4 ,v ,culminating ,period--#dej to #djj ,b4,c4 ,perfection in engraved gems4 ,greek gems of the latest period are rare in comparison with those of periods preceding and following4 ,that ,greek influence reached ,etruria has been shown by full evidence in many ways1 and we have large numbers of engraved gems from ,etruscan tombs of the fifth and fourth centuries1 these intaglii having for their subjects most commonly incidents from legends of the ,greek heroes4 ,it is well to note that deities are rarely portrayed on ,etruscan gems1 whose form was usually that of the scarab4 ,the fourth century finds their workmanship greatly deteriorating4 ,the ,romans were very fond of engraved gems and practised the glyptic art from early times4 ,when ,constantine the ,great removed the seat of the ,roman ,empire to ,constantinople in #cbi ,a4,d4 this art1 like the other arts1 followed him thither1 of course2 but for over a thousand years succeeding the intaglii produced seldom attained great excellence and the taste for engraved gems followed other esthetic tendencies into the obscure retirement of the dark ages4 ,in fact1 the glyptic art almost became extinct1 but with the expulsion of the ,greeks from ,constantinople by ,mahomet in #adec ,a4,d4 it found itself again on ,italian soil1 thereafter to grow strong and flourish from the root it had taken4 ,just as the ecclesiastics converted ,greek painted vases to altar use and sculptured sarcophagi into containers of holy water1 they now turned their attention to engraved gems and rescued these baubles from the reproach of being mere vanities by clothing their subjects with ,christian legends4 ,probably to this fact we owe the preservation of some of our finest examples4 ,it was a difficult task to rechristen the gems and endow them with a sacred character quite out of keeping with their conception4 ,however1 the early church was ingenious and gave to ,jupiter with his eagle the significance of ,st4 ,john the ,evangelist1 while ,melpomene did very well for ,salome with ,john the ,baptist's head4 ,however1 gem-engravers arose to help truth out with veritable subjects1 and the church became a powerful patron of the art of gem-engraving4 ,prelates and princes hastened to have their fancies carried out in intaglii1 until the cinquecento produced a host of clever engravers capable of catering to any taste or to any fad or fancy4 ,about this time the forms of intaglii were greatly enlarged4 ,lorenzo de' ,medici and his successors were munificent patrons of the gem-engraver1 and not only formed splendid collections of intaglii but encouraged engravers in ,florence1 and by the middle of the fifteenth century a graceful classic style had been revived4 ,giovanni1 surnamed ,della ,corniole1 was one of the most excellent artists of the time1 and in his everlastingly entertaining 8,memoirs0 ,benvenuto ,cellini speaks of ,micheletto1 who was 8very clever at engraving carnelians1 an old man and of great celebrity40 ,this was the engraver whom ,vasari calls by the affectionate diminutive 8,michelino10 but ,cellini himself later calls him 8,michele40 ,the gem-engravers of the sixteenth century were prolific1 and their work appealed immensely to the ,french taste4 ,francis ,i was a liberal patron of the glyptic art and had at his court the renowned gem-engraver1 ,matteo del ,nassaro of ,verona4 ,probably the first ,french gem-engraver of note was ,julien de ,fontenay1 sometimes known as ,coldore1 who executed an intaglio portrait of ,henry ,,iv1 and was later invited to ,england by ,queen ,elizabeth4 ,subsequently a taste for the art developed in ,england1 although the culmination of encouragement was not reached until the middle of the eighteenth century1 when collecting engraved gems became a mania with many and good examples brought huge prices4 ,up to the beginning of the nineteenth century the influence of classic designs obtained4 ,king ,george ,,iii was a liberal patron of gem-engravers1 and to the foresight of the ,duke of ,devonshire and ,marlborough the world owes the preservation of some of the finest examples extant of intaglii of any time4 ,the works of such classicists as ,marchant1 who studied in ,rome many years1 and of his successor1 ,burch1 a ,royal ,academician1 extending over a period of years from #agej to #ahae or thereabouts1 are well worth while1 and would reveal an excellence of execution unsurpassed4 ,then followed such men as ,weigall1 ,bragg1 ,grew1 and in our own day the ,rentons1 who engraved intaglii for members of the royal family4 ,since the heraldic style has followed the classic1 interest in the art of intaglio-engraving has waned tremendously and can be brought back only by the revival of that classic spirit which1 after all1 underlies everything that is best the world over1 in art or in literature4 ,the substances employed by the gem-engravers are amethyst1 hyacinth1 agate1 carnelian1 chalcedony1 crystal1 and other precious gems4 ,in our own day almost every stone is employed4 ,the lapidary must not be confused with the gem-engraver4 ,the first prepares the stone to receive the work of the second1 just as the wood-sawyer prepares the material for the carpenter1 or the man at the quarry the block for the sculptor4 ,pliny described at some length the process of gem-engraving in his day4 ,as to the ancient mode of engraving gems1 in which the drill wheel and diamond point were used1 the use of the wheel is especially noticeable in the lenticular ,island gems2 it was a small bronze disk set on a shaft of metal worked like the drill with a bow and tube of emery powder2 its purpose was for cutting lines to connect the points made by the drill1 or else for broad1 sunken surfaces4 ,the diamond point1 on the other hand1 was used like a pencil1 with the hand alone2 it resembles the modern glass-cutting diamond and was employed for giving an artistic finish to the design1 which could of course be best done with the free hand4 ,the use of this tool required great technical skill1 the results of which may clearly be seen on some gems of the best period4 ,in passing it is interesting to note the devices to which makers of fraudulent 8antique0 intaglii have been known to resort4 ,as an instance1 that misty dullness of the stone which only age is supposed to give is produced in ,italy by forcing the smaller engraved gems down the unwilling gullets of defenceless turkeys1 whereupon the action of the gastric juice and the gritty substances in the gizzard outdo the devices of ,time himself1 as the funeral of the unhappy bird reveals to the dissecting and dishonest fabricator4 ,,chapter ,,xxxvi ,,fraudulent ,,art ,,objects ,the detection of fraudulent antiques and curios and other bogus works of art has become a science4 ,phdrus1 who lived and wrote in the time of ,tiberius ,csar1 tells in his fiftieth fable of how his contemporaries carved the name of ,praxiteles on their marbles and the name of ,myron on everything they wrought in silver1 in order that their productions might pass as masterpieces of those supreme ,hellenic artists4 ,though the ,romans were an art-loving people1 they openly connived at art-fraud1 but for esthetic reasons1 as we learn from ,pliny4 ,he tells us that in his time the coins of ,rome were so clumsily modeled and so basely cast that several artists made new molds1 treating the designs of the mint more carefully1 and produced spurious coins which were eagerly sought in place of the inartistic legal tender4 ,michelangelo1 piqued at the extravagant attention paid the antiques 7to the exclusion of interest in his early struggles for recognition71 conceived the clever idea of doing an ,eros in marble after his own design1 burying the work in mud for some months1 and then digging it up in the presence of certain noble collectors4 ,these gentlemen went mad over its beauty1 proclaiming it to be the greatest relic antiquity had left them4 ,michelangelo finally disclosed to them his own initials1 which he had carved in a hidden fold of the wings1 and was highly amused at the discomfiture of his companions4 ,they1 however1 came to their senses and had the good grace to recognize the towering genius who stood laughing before them4 ,indeed1 one of them became his foremost patron4 ,this was a harmless trick conceived for salutary purposes1 and not at all to be classed with the exploits of ,gambello1 ,bassiano1 or ,giovanni del ,cavino1 whose forgeries of ,roman medals were particularly skilful1 though not proof against modern scientific methods of uncovering frauds4 ,no wonder one of the ancient writers declared that1 8the very nerves and sinews of knowledge consist of believing nothing rashly40 ,this was especially true in the days of the ,renaissance1 when a study of the antique came so quickly into fashion1 and in the train of it such efforts to collect ancient objects of art that some of the unscrupulous but skilful artists and artisans of the time could scarcely resist the temptations offered by the ease with which clever art-forgeries were palmed off upon the gullible1 who paid enormous prices for them4 ,we know how ,andreini of old-time ,florence forged ,greek signatures to ancient unsigned intaglii and how ,flavio ,sirletti lent his skill to it with the aid of ,pliny's record of ancient sculptors4 ,the collection of ,prince ,poniatowski1 nephew of the last ,king of ,poland1 contained some three thousand fraudulent engraved gems6 ,as all of these gems were very beautiful in themselves1 and as nearly all of their subjects were original with their engravers1 it is unfortunate that such excellent and exquisitely done work could not have stood forth on its own merits to cast fame and not shame on the cunning hands that produced them4 ,some counterfeiting is too laborious for profit1 but it is marvelous to see some of the things that emanated in the early days from the shameless fake-factories of ,pietro ,fondi and others at ,venice and in ,corfu4 ,the ,sienese1 too1 were skilful copyists of the various trecento1 quattrocento1 and cinquecento objects of art4 ,terra-cotta figurines and ,greek and ,etruscan vases have ever been subjects for the hand of the forger and fabricator of antiques4 ,pottery and porcelain have always seemed to tempt art-forgers and imitators4 ,the way of the collector of ,chinese and other ,oriental porcelains and pottery has been made especially difficult in consequence4 ,even ,bernard ,palissy is believed by some to have imitated the wares of ,briot1 and in turn imitations of these imitations were once acquired by a museum4 ,in our own day ,palissy's own ware has been imitated by ,lesnes1 ,barbizet1 and ,m4 ,pall4 ,perhaps the ,london ,jarman was the prince of fakers4 ,he obtained undecorated ,svres pieces from ,france and had a ,quaker potter from ,staffordshire1 one ,randall by name1 add all sorts of delightful scenes4 ,they were purchased by the royal family1 who took the pieces on good faith as being ,svres decorations4 ,european enamels and early ivories have not escaped attention at the forger's hand4 ,when ,sir ,a4 ,w4 ,franks was innocently attempting to arrange the purchase of the ,diptychion ,leodiense for eight hundred pounds in ,england1 he discovered that this object was nothing more than a clever combination of copies of two other panels of unquestioned authenticity4 ,and so things go merrily on1 even in this day and generation4 ,but your true collector is one who studies the objects he collects and he is not likely to be easily deceived4 ,photography has stretched forward a helping hand and by means of enlarged photographic prints of a subject in dispute1 the minute comparisons between authenticated and merely attributed works of a period may be studied4 ,it was ,juvenal who coined the name 8rara avis02 and the impatient collector who would acquire a 8rare bird0 of art as it flies toward him from the horizon of opportunity must be sure he knows something of its 8ornithology0 before he rushes recklessly forth1 perchance to put the salt of good money on some worthless tail4 ,there is told the story of a certain ,bavarian collector who began to doubt the authenticity of a little statuette in his possession4 ,finally he sent for a noted authority on the subject1 who tried to reassure him4 ,as the collector did not seem convinced1 the expert1 as a last resort1 made mention of a certain test that might1 though with danger to the object1 be applied4 ,the collector insisted on the attempt1 in the course of which the statuette was hopelessly defaced1 though the accident confirmed the expert's opinion4 8,ah10 moaned the owner1 8why did ,i let you touch it60 8,ingrate60 replied the other with grim humor4 8,have you not now the satisfaction of knowing your fears to be groundless1 and my own knowledge to be trustworthy8 ,look at the pieces--without doubt the statuette was genuine60 ,,bibliography ,i4 ,,the ,,pleasures ,,of ,,collecting ,the ,connoisseur4 ,by ,frederick ,s4 ,robinson4 ,new ,york4 #ahig4 ,the ,a ,b ,c ,about ,collecting4 ,by ,sir ,james ,yoxall1 ,m4 ,p4 ,philadelphia4 n4 d4 ,first ,steps in ,collecting4 ,by ,grace ,m4 ,vallois4 ,london4 n4 d4 ,antiques and ,curios in the ,home4 ,by ,grace ,m4 ,vallois4 ,new ,york4 n4 d4 ,by-,paths in ,collecting4 ,by ,virginia ,h4 ,robie4 ,new ,york4 #aiab4 ,the ,lure of the ,antique4 ,by ,walter ,a4 ,dyer4 ,new ,york4 #aiaf4 ,,ii4 ,,collectors ,,of ,,yesterday ,the ,lives of ,the ,twelve ,caesars4 ,by ,c4 ,suetonius ,tranquillus4 ,bohn ,edition4 ,london4 #aiji4 ,horace ,walpole4 ,by ,austin ,dobson4 ,new ,york4 #ahic4 ,the ,lives of the ,painters1 ,sculptors and ,architects4 ,by ,giorgio ,vasari4 ,translated by ,a4 ,m4 ,hinds4 ,london4 n4 d4 ,the ,connoisseur4 ,by ,frederick ,s4 ,robinson4 ,new ,york4 #ahig4 ,anecdotes of ,painting in ,england4 ,by ,horace ,walpole4 ,london4 #ahdi4 ,,iii4 ,,american ,,tables ,early ,american ,craftsmen4 ,by ,walter ,a4 ,dyer4 ,new ,york4 #aiae4 ,old ,furniture ,book4 ,by ,n4 ,hudson ,moore4 ,new ,york4 #aijc4 ,the ,practical ,book of ,period ,furniture4 ,by ,harold ,donaldson ,eberlein and ,abbot ,mc,clure4 ,philadelphia4 ,,iv4 ,,tea ,,and ,,antiquity ,the ,book of ,tea4 ,by ,okakura-,kakuzo4 ,new ,york4 #aiai4 ,the ,gentleman and ,cabinet-,makers' ,director4 ,by ,thomas ,chippendale4 ,london4 #agfb4 ,tea ,leaves4 ,by ,francis ,s4 ,drake4 ,boston4 #ahhd4 ,v4 ,,cup-,,plates ,old ,china ,book4 ,by ,n4 ,hudson ,moore4 ,new ,york4 #aijc4 ,chats on ,old ,earthenware4 ,by ,arthur ,hayden4 ,new ,york4 #aiji4 ,the ,earthenware ,collector4 ,by ,g4 ,woolliscroft ,rhead4 ,new ,york4 #aibj4 ,staffordshire ,pots and ,potters4 ,by ,g4 ,woolliscroft ,rhead and ,frederick ,alfred4 ,london4 #aijf4 ,the ,art of the ,old ,english ,potter4 ,by ,l4 ,m4 ,solon4 ,london4 #ahhc4 ,,vi4 ,,chintz ,chats on ,cottage and ,farmhouse ,furniture4 ,by ,arthur ,hayden4 ,new ,york4 n4 d4 ,,vii4 ,,pewter ,pewter and the ,amateur ,collector4 ,by ,edwards ,j4 ,gale4 ,new ,york4 #aiji4 ,chats on ,pewter4 ,by ,h4 ,j4 ,l4 ,j4 ,mass1 ,m4 ,a4 ,,viii4 ,,samplers ,english ,embroideries4 ,by ,a4 ,f4 ,kendrick4 ,london4 n4 d4 ,samplers and ,tapestry ,embroideries4 ,by ,marcus ,b4 ,huish4 ,london4 #aijj4 ,the ,lace ,book4 ,by ,n4 ,hudson ,moore4 ,new ,york4 #aijd4 ,history of ,english ,secular ,embroidery4 ,by ,m4 ,jourdain4 ,london4 #aiaj4 ,,ix4 ,,wax ,,portraits ,wax ,portraits and ,silhouettes4 ,by ,ethel ,stanwood ,bolton4 ,boston4 #aiad4 ,x4 ,,hand-,,woven ,,coverlets ,quilts4 ,by ,marie ,d4 ,webster4 ,garden ,city4 #aiae4 ,,xi4 ,,chairs ,chats on ,old ,furniture4 ,by ,arthur ,hayden4 ,london4 #aije4 ,the ,furniture of our ,forefathers4 ,by ,esther ,singleton4 ,new ,york4 #aijj4 ,the ,practical ,book of ,period ,furniture4 ,by ,harold ,donaldsen ,eberlein and ,abbot ,mc,clure4 ,philadelphia4 ,decorative ,styles and ,periods4 ,by ,helen ,churchill ,candee4 ,new ,york4 #aijf4 ,chats on ,cottage and ,farmhouse ,furniture4 ,by ,arthur ,hayden4 ,new ,york4 n4 d4 ,antique ,furniture4 ,by ,fred ,w4 ,burgess4 ,new ,york4 #aiae4 ,,xii4 ,,english ,,drinking-,,glasses ,the ,glass ,collector4 ,by ,maciver ,percival4 ,early ,english ,glass4 ,by ,daisy ,wilmer4 #aiaj4 ,glass4 ,by ,edward ,dillon4 ,london4 #aijg4 ,collecting ,old ,glass4 ,by ,sir ,james ,yoxall4 ,london4 #aiaf4 ,old ,english ,glasses4 ,by ,albert ,hartshorne1 ,f4 ,s4 ,a4 ,london4 #ahig4 ,english ,table ,glass4 ,by ,percy ,bate4 ,london4 n4 d4 ,,xiii4 ,,stuart ,,embroideries ,english ,embroideries4 ,by ,a4 ,f4 ,kendrick4 ,london4 n4 d4 ,history of ,english ,secular ,embroideries4 ,m4 ,jourdain4 ,london4 #aiaj4 ,,xiv4 ,,delft ,the ,earthenware ,collector4 ,by ,g4 ,woolliscroft ,rhead4 ,new ,york4 #aibj4 ,a ,b ,c of ,collecting ,old ,continental ,pottery4 ,by ,j4 ,f4 ,blacker4 ,philadelphia4 n4 d4 ,dutch ,pottery and ,porcelain4 ,by ,w4 ,pitcairn ,knowles4 ,london4 n4 d4 ,delftware3 ,dutch and ,english4 ,by ,n4 ,hudson ,moore4 ,new ,york4 #aijh4 ,,xv4 ,,early ,,desk ,,furniture ,old ,furniture ,book4 ,by ,n4 ,hudson ,moore4 ,new ,york4 #aijc4 ,chats on ,old ,furniture4 ,by ,arthur ,hayden4 ,london4 #aije4 ,antique ,furniture4 ,by ,fred4 ,w4 ,burgess4 ,new ,york4 #aiae4 ,,xvi4 ,,chelsea ,chelsea and ,chelsea-,derby ,china4 ,by ,egan ,mew4 ,london4 n4 d4 ,bow1 ,chelsea1 and ,derby ,porcelain4 ,by ,william ,bemrose1 ,f4 ,s4 ,a4 ,london1 #ahih4 ,porcelain3 a ,sketch of its ,nature1 ,art and ,manufacture4 ,by ,william ,burton1 ,f4 ,c4 ,s4 ,london4 #aijf4 ,english ,porcelain ,made ,during the ,eighteenth ,century4 ,by ,sir ,arthur ,herbert ,church4 ,london4 #aijd4 ,chats on ,english ,china4 ,by ,arthur ,hayden4 ,new ,york4 n4 d4 ,the ,china ,collector4 ,by ,h4 ,william ,lewer1 ,f4 ,s4 ,a4 ,new ,york4 n4 d4 ,,xvii4 ,,wedgwood ,chats on ,old ,earthenware4 ,by ,arthur ,hayden4 ,new ,york4 #aiji4 ,the ,earthenware ,collector4 ,by ,g4 ,woolliscroft ,rhead4 ,new ,york4 #aibj4 ,the ,ceramic ,gallery4 ,by ,william ,chaffers4 ,london4 #aijg4 ,josiah ,wedgwood1 ,master ,potter4 ,by ,a4 ,h4 ,church1 ,f4 ,r4 ,s4 ,london4 #ahid4 ,the ,wedgwoods4 ,by ,llewellyn ,jewitt1 ,f4 ,s4 ,a4 ,london4 #ahfe4 ,the ,life of ,josiah ,wedgwood4 ,by ,eliza ,meteyard4 ,london4 #ahfe4 ,a ,catalogue of ,plaques1 ,medallions1 ,vases1 ,figures1 etc41 in ,coloured ,jasper and ,basalte1 produced by ,josiah ,wedgwood1 ,f4 ,r4 ,s4 ,by ,arthur ,sanderson4 ,london4 #aija4 ,the ,art of the ,old ,english ,potter4 ,by ,l4 ,m4 ,solon4 ,london4 #ahhc4 ,staffordshire ,pottery and ,its ,history4 ,by ,josiah ,c4 ,wedgwood4 ,london4 n4 d4 ,,xviii4 ,,saving ,,the ,,pieces ,glues and ,cements4 ,by ,h4 ,a4 ,s4 ,cassal4 ,the ,barberini ,vase4 ,tiffany ,co4 ,new ,york4 #aijd4 ,,xix4 ,,lounging ,,furniture ,old ,furniture ,book4 ,by ,n4 ,hudson ,moore4 ,new ,york4 #aijc4 ,chats on ,old ,furniture4 ,by ,arthur ,hayden4 ,london4 #aije4 ,the ,practical ,book of ,period ,furniture4 ,by ,harold ,donaldson ,eberlein and ,abbot ,mc,clure4 ,philadelphia4 ,decorative ,styles and ,periods4 ,by ,helen ,churchill ,candee4 ,new ,york4 #aijf4 ,the ,furniture of ,our ,forefathers4 ,by ,esther ,singleton4 ,new ,york4 #aijj4 ,antique ,furniture4 ,by ,fred ,w4 ,burgess4 ,new ,york4 #aiae4 ,,xx4 ,,sheffield ,,plate ,sheffield ,plate4 ,by ,bertie ,wyllie4 ,london4 n4 d4 ,sheffield ,plate4 ,by ,h4 ,n4 ,veith4 ,london4 #aijh4 ,old ,sheffield ,plate4 ,by ,julia ,w4 ,torrey4 ,boston4 #aiah4 ,the ,history of ,old ,sheffield ,plate4 ,by ,frederick ,bradbury4 ,london4 #aiab4 ,,xxi4 ,,straw ,,marqueterie ,rariora4 ,by ,john ,eliot ,hodgkin1 ,f4 ,s4 ,a4 ,london4 #aijj4 ,chats on ,military ,curios4 ,by ,stanley ,c4 ,johnson1 ,m4 ,a41 ,d4 ,sc41 ,f4 ,r4 ,e4 ,s4 ,new ,york4 n4 d4 ,,xxii4 ,,consoles ,decorative ,styles and ,periods4 ,by ,helen ,churchill ,candee4 ,new ,york4 #aijf4 ,chats on ,old ,furniture4 ,by ,arthur ,hayden4 ,london4 #aije4 ,a ,history of ,furniture4 ,by ,albert ,jacquemart4 ,translated by ,mrs4 ,bury ,palliser4 ,london4 ,,xxiii4 ,s,,vres ,,porcelain ,pottery and ,porcelain4 ,by ,frederick ,litchfield4 ,london4 #ahhj4 ,porcelain1 ,oriental1 ,continental and ,british4 ,by ,r4 ,l4 ,hobson1 ,b4 ,a4 ,new ,york4 #aijf4 ,the ,new ,chaffers4 ,by ,william ,chaffers4 ,london4 #aiab4 ,history of the ,ceramic ,art4 ,by ,albert ,jacquemart4 ,translated by ,mrs4 ,bury ,palliser4 ,london4 #ahgc4 ,royal ,svres4 ,by ,egan ,mew4 ,london4 n4 d4 ,french ,pottery and ,porcelain4 ,by ,henri ,frantz4 ,london4 #aijf4 ,,xxiv4 ,,european ,,enamels ,enamels4 ,by ,mrs4 ,nelson ,dawson4 ,london4 #aijf4 ,jewellery4 ,by ,cyril ,davenport4 ,london4 #aije4 ,art of ,enamelling on ,metals4 ,by ,h4 ,cunynghame4 ,london4 #aijf4 ,art of ,enamelling on ,metals4 ,by ,a4 ,fisher4 ,london4 #aijf4 ,chats on ,old ,jewellery and ,trinkets4 ,by ,mac,iver ,percival4 ,handbook of the ,benjamin ,altman ,collection4 ,metropolitan ,museum of ,art4 ,new ,york4 #aiae4 ,,xxv4 ,,the ,,romance ,,of ,a ,,potter3 ,,bernard ,,palissy ,a ,history of ,old ,french ,faence4 ,by ,l4 ,h4 ,solon4 ,london4 #aijc4 uvres ,compltes4 ,by ,bernard ,palissy4 ,paris4 #ahhj4 ,bernard ,palissy4 ,by ,philippe ,burty4 ,paris4 #ahhf4 ,palissy the ,potter4 ,by ,henry ,morley4 ,london4 #aheb4 ,monographie l'uvre de ,bernard ,palissy4 ,by ,,mm4 ,c4 ,delange and ,c4 ,borneau4 ,paris4 ,french ,pottery and ,porcelain4 ,by ,henri ,frantz4 ,london4 #aijf4 ,,xxvi4 ,,italian ,,maiolica ,a ,history and ,description of ,italian ,maiolica4 ,by ,m4 ,l4 ,solon4 ,london4 #aijg4 ,maiolica4 ,by ,c4 ,drury ,e4 ,fortnum1 ,f4 ,s4 ,a4 ,london4 #ahib4 ,maiolica4 ,by ,c4 ,drury ,e4 ,fortnum1 ,f4 ,s4 ,a4 ,oxford4 #ahif4 ,a ,b ,c of ,collecting ,old ,continental ,pottery4 ,by ,j4 ,f4 ,blacker4 ,philadelphia4 n4 d4 ,maiolica4 ,by ,l4 ,h4 ,solon4 ,london4 ,,xxvii4 ,,glass ,,of ,a ,,thousand ,,flowers ,glass4 ,by ,edward ,dillon1 ,m4 ,a4 ,london4 #aijg4 ,glass in the ,old ,world4 ,by ,m4 ,a4 ,wallace-,dunlop4 ,london4 #ahhb4 ,,xxviii4 ,,antiques ,,of ,,persia ,,and ,,of ,,india ,the ,arts ,crafts of ,india ,ceylon4 ,by ,ananda ,k4 ,coomaraswamy4 ,a ,b ,c of ,collecting ,old ,continental ,pottery4 ,by ,j4 ,f4 ,blacker4 ,philadelphia4 n4 d4 ,chats on ,old ,copper and ,brass4 ,by ,fred ,w4 ,burgess4 ,new ,york4 n4 d4 ,the ,industrial ,arts of ,india4 ,by ,sir ,george ,c4 ,molesworth4 ,london4 #ahhj4 ,persian ,art4 ,by ,major ,r4 ,murdock ,smith1 ,r4 ,e4 ,london4 ,indian ,painting4 ,by ,percy ,brown4 ,london4 n4 d4 ,a ,catalogue of the ,collection of ,persian ,manuscripts4444 ,presented to the ,metropolitan ,museum of ,art1 ,new ,york1 by ,alexander ,smith ,cochran4 ,by ,a4 ,v4 ,williams ,jackson and ,abraham ,yohannan4 ,new ,york4 #aiad4 ,miniature ,painting and ,painters of ,persia1 ,india and ,turkey4 ,by ,f4 ,r4 ,martin4 ,london4 #aiab4 ,a ,history of ,fine ,art in ,india and ,ceylon4 ,oxford4 #aiaa4 ,porcelain1 ,oriental1 ,continental and ,british4 ,by ,r4 ,l4 ,hobson1 ,b4 ,a4 ,new ,york4 #aijf4 ,,xxix4 ,,chinese ,,porcelains ,chinese ,art4 ,by ,stephen ,w4 ,bushell1 ,c4 ,m4 ,g41 ,b4 ,sc41 ,m4 ,d4 ,london4 #aiad4 ,chinese ,porcelain4 ,by ,w4 ,g4 ,gulland4 ,london4 #aiaa4 ,porcelain1 ,oriental1 ,continental and ,british4 ,by ,r4 ,l4 ,hobson1 ,b4 ,a4 ,new ,york4 #aijf4 ,description of ,chinese ,pottery and ,porcelain4 ,being a ,translation of the ,t'ao ,shuo4 ,by ,stephen ,w4 ,bushell1 ,c4 ,m4 ,g41 ,b4 ,sc41 ,m4 ,d4 ,oxford4 #aiaj4 ,handbook of the ,benjamin ,altman ,collection4 ,metropolitan ,museum of ,art4 ,new ,york4 #aiae4 ,catalogue of ,the ,morgan ,collection of ,chinese ,porcelains4 ,by ,stephen ,w4 ,bushell and ,william ,m4 ,laffan4 ,new ,york4 #aiji4 ,chats on ,oriental ,china4 ,by ,j4 ,f4 ,blacker4 ,new ,york4 #aijh4 ,,xxx4 ,,chinese ,,and ,,japanese ,,lacquer ,chinese ,art4 ,by ,stephen ,w4 ,bushell1 ,c4 ,m4 ,g41 ,b4 ,sc41 ,m4 ,d4 ,london4 #aiaj4 ,japan and ,its ,art4 ,by ,marcus ,b4 ,huish1 ,,ll4 ,b4 ,london4 #ahib4 ,the ,arts of ,japan4 ,by ,edward ,dillon4 ,chicago4 #aiaa4 ,l',art ,japonais4 ,l4 ,gonse4 ,paris4 #ahhc4 ,handbook of the ,benjamin ,altman ,collection4 ,metropolitan ,museum of ,art4 ,new ,york4 #aiae4 ,le ,japon ,illustr4 ,by ,flicien ,challaye4 ,paris4 n4 d4 ,,xxxi4 ,,chinese ,,snuff-,,bottles ,chinese ,art4 ,by ,stephen ,w4 ,bushell1 ,c4 ,m4 ,g41 ,b4 ,sc41 ,m4 ,d4 ,london4 #aiaj4 ,chinese ,art ,motives ,interpreted4 ,by ,winifred ,reed ,tredwell4 ,new ,york4 #aiae4 ,handbook of the ,benjamin ,altman ,collection4 ,metropolitan ,museum of ,art4 ,new ,york4 #aiae4 ,,xxxii4 ,,cloisonn ,,enamels ,,of ,,china ,,and ,,japan ,enamels4 ,by ,mrs4 ,nelson ,dawson4 ,london4 #aijf4 ,the ,arts of ,japan4 ,by ,edward ,dillon4 ,chicago4 #aiaa4 ,japan and ,its ,art4 ,by ,marcus ,b4 ,huish1 ,,ll4 ,b4 ,london4 #aiab4 ,chinese ,art4 ,by ,stephen ,w4 ,bushell1 ,c4 ,m4 ,c41 ,b4 ,sc41 ,m4 ,d4 ,london4 #aiaj4 ,japanese ,enamels4 ,by ,james ,lord ,bowes4 ,london4 #ahhf4 ,notes on ,shippo4 ,by ,james ,lord ,bowes4 ,london4 #ahie4 ,arts and ,crafts of ,old ,japan4 ,by ,stewart ,dick4 ,chicago4 #aije4 ,from ,sea to ,sea4 ,by ,rudyard ,kipling4 ,london4 #ahii4 ,le ,japon ,illustr4 ,by ,flicien ,challaye4 ,paris4 n4 d4 ,,xxxiii4 ,,japanese ,,sword-,,guards ,the ,arts of ,japan4 ,by ,edward ,dillon4 ,chicago4 #aiaa4 ,japan and ,its ,art4 ,by ,marcus ,b4 ,huish1 ,,ll4,b4 ,london4 #aiab4 ,japanese ,art ,motives4 ,by ,maude ,rex ,allen4 ,chicago4 #aiag4 ,japanese ,sword-,mounts4 ,by ,henri ,l4 ,joly4 ,london4 #aiaj4 ,japanese ,sword-,guards4 ,by ,kakuya ,okabe4 ,boston4 #aijh4 ,japanese ,sword-,fittings4 ,by ,henri ,l4 ,joly4 ,london4 #aiab4 ,japanese ,marks and ,seals4 ,by ,james ,l4 ,bowes4 ,london4 #ahhb4 ,legend in ,japanese ,art4 ,by ,henri ,l4 ,joly4 ,london and ,new ,york4 #aijh4 ,le ,japon ,illustr4 ,by ,flicien ,challaye4 ,paris4 n4 d4 ,,xxxiv4 ,,medallic ,,art ,portrait ,medals of ,italian ,artists of the ,renaissance4 ,by ,g4 ,f4 ,hill4 ,london4 #aiab4 ,select ,italian ,medals of the ,renaissance in the ,british ,museum4 ,london4 #aiae4 ,pisanello4 ,by ,g4 ,f4 ,hill4 ,london4 #aije4 ,biographical ,dictionary of ,medallists1 ,coin-1 ,gem-1 and ,seal-,engravers1 etc41 ,ancient and ,modern4 ,by ,l4 ,forrer4 ,london4 #aijb4 ,coins and ,medals2 ,their ,place in ,history4 ,by the ,authorities of the ,british ,museum ,official ,catalogues4 ,edited by ,stanley ,lane-,poole4 ,london4 #ahid4 ,coins1 ,medals and ,seals4 ,by ,w4 ,c4 ,prime4 ,new ,york4 #ahfa4 ,the ,art of the ,medal4 ,by ,victor ,d4 ,brenner4 ,new ,york4 #aiaj4 ,catalogue of the ,international ,exhibition of ,contemporary ,medals4 ,american ,numismatic ,society4 ,new ,york4 #aiaa4 ,,xxxv4 ,,engraved ,,gems ,intaglio ,engraving4 ,by ,edward ,renton4 ,london4 #ahif4 ,greek ,art4 ,by ,h4 ,b4 ,walters4 ,london4 #aijc4 ,engraved ,gems4 ,by ,duffield ,osborne4 ,new ,york4 #aiab4 ,,xxxvi4 ,,fraudulent ,,art ,,objects ,trucs et ,truqueurs4 ,by ,paul ,eudel4 ,paris1 n4 d4 ,the ,connoisseur4 ,by ,frederick ,s4 ,robinson4 ,new ,york4 #ahig4 ,l'art de reconnatre les fraudes4 ,by mile ,bayard4 ,paris4 #aiad4 ,the following magazines devote pages monthly to articles of especial interest to collectors3 ,house ,garden4 ,new ,york4 ,arts ,decoration4 ,new ,york4 ,the ,house ,beautiful4 ,boston4 ,the ,connoisseur4 ,london4 ,the ,burlington ,magazine4 ,london4 ,,index ,a ,abacnum1 site of1 #bgi ,abaquesne1 #bjc ,abbas the ,great1 ,shah of ,persia1 #bcd ,abondio1 ,antonio1 #gj ,adam1 ,robert1 #afh ,adam1 the brothers1 #ach ,africanus1 glass-worker1 #bbj ,agathopus1 gem-engraver1 #bia ,albi1 ,council of1 #ei ,aldus ,manutius1 #bhb ,alexander the ,great1 #bia ,amenophis1 ,king of ,egypt1 #bah ,ancona1 ,italy1 #aec ,andrieni1 art-forger1 #cja ,angelini1 #abi ,anne1 ,queen of ,england1 #aah ,apollonides1 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