Class XXX.] GRAPHIC REPRESEXTATIOXS OF TLAXE SURFACES.—AWARDS.
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attractive. But it is of the greatest importance not tomix the two styles. This lias been done in many win-dows executed in the 15th and 16th centuries, in whichthe artist, abandoning the Architectonic laws, which oughtto be his guide, has attempted those higher artistic effects,which are only to be achieved in other materials, such asoil or fresco, and has consequently fallen very for shortof his aim.
Very good works in both kinds of glass-painting wereto be seen in the Exhibition, but these must by no meansbe taken as the best specimens which the art of our ageis capable of producing. It is much to be regretted thatthe Exhibition did not contain any examples either ofthe ecclesiastical glass-paintings of the Royal Manufac-tory at Muuich, or of the imitation of pictures by Messrs.BofssenSe, of Bonn ; in both of which establishmentsworks have been executed which have hardly been sur-passed in the present age. It is right to add, that thelatter manufactory has judiciously availed itself of artiststrained in the establishment at Munich .
It is of the greatest importance in the imitation ofancient glass, which is now so generally attempted, thatthe characteristics of different periods should be faith-fully rendered. The number of churches now built inthe Gothic style makes this discrimination of styles allthe more necessary. But the study of ancient examplesmay lead to the perversion of taste, if the artist persist inadhering to the conventional forms of the medievalstyles, and choose to ignore the superior knowledge ofdrawing of his own day. If, however, the laws abovestated 'be observed, they will be found perfectly com-patible with natural forms.
(a.) Ecclesiastical Style.*
.T. Hardman and Co., of Birmingham (Class XXVI.,532, p. 761). In the window-glass exhibited by thisestablishment in the Mediaeval Court, the true principlesof the style have been faithfully observed ; and the exe-cution of the work is very careful. It may be noticed,however, as a defect in these windows, that the glass ofthe backgrounds between the figures is too transparent;they are consequently inferior in repose and harmony ofcolouring to the mediaeval windows of the best time.Prize Medal.
Chance Brothers and Co., of Birmingham (ClassXXIV., 60, p. 706). Two Gothic windows also executedaccording to correct principles. Honourable Mention.
The three following artists also deserve the Honour-able Mention which they’ have received: Holland andSon, of Warwick, for their “Life of Christ” (ibid., 63,p. 706). I. G. Howe, of London (ibid., G7, p. 707), forhis imitation of an ancient painted window. W. Waii.es(ibid., 73, p. 707), for the decorative part in his design.The figures are not equal in merit to the rest of thework.
(i b ) Pictorial Style.
M. and A. O’Connor, of London (ibid., 67, p. 707).In his Raising of Lazarus, this artist has been very suc-cessful in giving the characteristics of an oil painting;everything is in perfect keeping, and is drawn with greattruth and care. In the richness of the colouring, he hasturned his material to very good account. HonourableMention.
In this kiud of art, which received the name of“ Niello ” work in the middle ages, figures or ornamentsare first engraved on a silver plate, and. the incised linesare then filled up with a paste compounded of silver,copper, lead, sulphur, and borax. The dark colours soinlaid contrasting with the bright surface of the silver,produce an effect not unlike that of a print from a copperplate.
This art, which had been for a long time neglected,was revived in the present day with great success by
* This style of glass-painting might be termed Archi-tectonic, as it is applicable not only to churches, hut tomany other edifices, civil as well as religious.
Wagner, a silversmith from Berlin, established at Paris .In the exhibition was a gauntlet, on which a design by'Maclise was engraved in niello, by S. II. and D. Gass, ofLondon (Class XXIII., 63, p. 683). The work is veryskilfully executed. Honourable Mention.
5. Designs for Printed and Woven Fabrics, for Embroi-dery, and for JSook-covers.
The primary law of all such designs is, that they mustnot disturb the flatness of the surface on which they aredraw’n, but only diversify' it with lines agreeable to theeye, and with harmonious masses of colour. Ilencc noforeshortenings should he attempted in such designs, andall perspective views are to be absolutely rejected, as atvariance with the principles of a true style of ornament.It is obvious that the character of the pattern will beessentially affected by the quality of the materials andthe purpose for which it is intended. Thus, for instance,shawls, though of a yielding texture, rather follow themovements of the body in a general sense; hence thepatterns of shawls should be of considerable size, withsoft, flowing outlines. Cottons , on the contrary, andother similar clothing fabrics, which cling more to thebody, require smaller and more symmetrical patterns.
M. Digry Wyatt, of London (Class XXX., 30, p. 822),exhibits a considerable number of designs for variouspurposes. They are in very good taste, and in perfectaccordance with the principles here laid down. PrizeMedal.
John Leighton, jun., of London (Class XVII., 24,p. 538). The designs for book-covers exhibited underthis name have very remarkable merit, from the varietyof forms in the patterns, and the happy choice of thecolours. Prize Medal.
C. J. Richardson (Class XXVI., p. 208, p. 751). Outof the multitude of designs exhibited by this artist, someshow a good taste. Prize Medal.
The following names have also been Honourably Men-tioned : John Carter, of Cray ford in Kent (10, p. 821);J. K. Harvey (Class XIX., 197, p. 567), for the designof a carpet with a rich pattern; and Benj. IIeald, forhis design for lace (269, p. 570). Prize Medal.
The Government Head School of Design in Lon-don (10, p. 821). The designs for textile fabrics contri-buted by the pupils, both male and female, of this esta-blishment, were executed in such good taste, and withsuch correct knowledge of principles, that a Prize MedalMas awarded to the Institution, and the names of severalof the pupils were mentioned with approbation. Thesenames will be found in the Report of Mr. Panizzi.
This seems to be the most fitting place to notice thepatterns of the Oriental stuffs which India , Turkey, andTunis contributed to the Exhibition in such rich variety.
In the fabrics of India the correct principle already'laid doM-n, namely, that patterns and colours shoulddiversify plain surfaces ■without destroying or disturbingthe impression of flatness, is as carefully observed as it■was in the middle ages, when the decoration of walls,pavements, and carpets M-as brought to such perfection bythe Arabs . But it is not only the observance of thisprinciple which distinguishes the Indian stuffs in theExhibition; they' are remarkable for the rich inventionshown in the patterns, in which the beauty, distinctness,and variety of the forms, and the harmonious blending ofsevere colours, called forth the admiration of all truejudges of art.
What a lesson such designs afford to manufacturers,even in those nations of Europe which have made thegreatest progress in industry!
In these remarks I have specially referred to the pro-ductions of India . Some of the fabrics exhibited byTurkey and Tunis display analogous qualities, but in thegreater part of these we trace in the patterns an European influence, which has overlaid or partly superseded thetrue characteristics of the national style of ornament.
6. Architectural Designs.
G. Truefitt, of London (75, p. 834). A design for aGothic tomb and canopy, to be executed in iron; the pro*