SI)l’PLEMENT.—FOKEIOX STATES.

lf>27

introduced in the same work; the above is an illus-tfatiou of tlie style and its peculiarities. Its most gracefulPoints are the exquisite specimens of carving in low relief,^nl the peculiar treatment of the foliage when introduced."'V. C. A.]

The sideboard, carved in walnut, ns here shown, and^nich is exhibited in the French Court, by FoijbuinoisjPrance, 1231, p. 1230), is an apt illustration of ornament'aving a just and characteristic significance. This piece’u furniture is of rare excellence and merit in design, and'‘‘ skilful and artistic execution as to carving, ami,^though of a highly decorative character, is fitted forlii purpose for which it is intended. Six dogs, emhle-^ttical of the clmce, resting on a floor of inlaid wood,f^Pport the slab, which has a simple carved moulding, 0I1 g its front, and is inlaid in geomet ric tonus. Theare not merely imitative, hut are treated as a partan ornamented bracket or console, thus composedf'chitecturally for hearing and support. Above the slab,adding on four pedestals, are female figures, gracefullySigned as emblems of the four quarters of the world,, Uc ‘i be; iring the most useful production of her climate, s u contribution to the feast. Thus Europe has wine;j s,a > tea ; Africa, cotfce ; and America , the sugar-cane.(j l ‘central space between the pedestals, which is rather‘ e widest of the three, the products of the eliace arej, 'U'od out on the very hoard, and above this the space isted with a framed picture of rare fruits, giving an op-v Uunity to enliven the work by the addition of colour,jwtout militating against good taste. Above the figures,a 'tell are treated ns statues, the cornice is bracketed,a, , n l>l>orts hoys with the implements of the vineyarde,. 0 agriculture. It rises into a pediment in the

a I t’ct this is broken in the manner of the Kenuissance,q.| decorated with a figure of Plenty crowning the group,siih* 'Tt'tglit line of the hack is gracefully varied at theah es ’ ai| d constructively strengthened by carved brackets,'ifr' 6 "'"ch are terminal figures hearing the implementsTl * s ler y on the one side and of the cliace on the other,hi.] l’ lu 'cls of the pedestals and of the side compartmentsV a V w are. filled with carvings formed of the fruits of'“>« countries, grouped with the instruments of horti-l, a ur c and agriculture. Two brackets on the side coni-Ma .!" eu,s between the figures give an opportunity fortti t . 0111 ^ s 'lvor plate in a position for display. The orna-Out'd.td parts of this piece of furniture are carved through-it; * u a masterly manner, and in a hold and free style ;WlijA'l’tsistent as a whole, and free from puerilities, and,it j e *1 is thoroughly fitted for its purpose as a sideboard,"itl at satne time of a highly ornamental character,a *«ut any of its decoration being overdone or thrown1{„ It corresponds in its constructive form with thec ar v r ISB!lUcu ‘tf the 15th century—in the style of itsfather with the works of the l.'ltli; the gates of„tV«i having- evidently supplied the idea of the groupslie r ', llt ail, i implements which fill the panels : and it maytil,, parked as a fault, that it has been overlooked thatOru ’■‘‘"‘l in Ghiberti 's work was suiter1'iiie]!™ 1 standing beyond the face of the framing of the'ifi'dit;’ | ‘ i 11 adapting it to wood this should have beenth e s , 'if s<) as to bring the impost of the carving within°thei' 11 . *■’ ’ BU ch faults, however, are trilling in a work

>uk vl ' Vlse of great ability. The care which has beentin..: 1 keen all the ornnineiitiil details in the same scale

th:

iuiii

r »i .i kec P aM the ornamental details in the same scale,.ughoat is nil additional merit, and the wood lias been

grain."-— Juries* lie -

J l( ‘iciV a 1 ainiuioiuu merii, am

ixiru >U - chosen us to colour and’ 1»1>. 722, 723.

' Moutiku l.ii Pack, 11 line llichclicu, Paris -Shiei.i . . Proprietor.

“in] i : fepresenting the Murder of the Innocents; chasedthe *’y M. Veclitd; the designs are taken from

or| is of lialfneUe, Poussin , &c.—1>. 1241—Plate 307.

.tlVahov '

«> Sll

kii * s ^oftncil out of thin metal, punched up irom he-ft ' to give the several convexities displayed in the11 es and ornaments introduced. The process may he

v c is executed in the repousse method; that is

thus described:—The design is sketched upon the reverseside of the metal, after which a series of punches (cor-responding to the form of projection on the right side ofthe work) is struck with a small hammer, which pro-duces the necessary relief; the back of the work is thenfilled with pitch, and the workman, with his small steeltools, adds the details of the figures and foliage on thefront: any roughness is removed with peculiarly-shapedsmall files, called “rifles;” the whole is then polished,burnished, or gilt. This is a class of art in which theItalian gold and silver smiths of the 15th and ltth centurieswere adepts; and of the many who laboured so success-fully, none surpassed the Florentine artist, llenvenatoCellini, who, in his peculiar autobiography, has left animperishable record of the works executed by him.—W. C. A.]

“A. Veclitd has also exhibited a shield, which, havingbeen executed in France , is therefore in the Frenchdepartment. In its design the artist has harmonizedwith great skill the celebrated composition of the Murderof the Innocents; that by Kaphael; preserved to us inthe engraving by Mare Antonio, nml in the tapestry ofthe Vatican , and that known to us in the picture byNicolas Poussin . Honourable Mention (Cl. 23, 97).”—■Juries’ llepurts, p. <193.

1407 PitADii-ut, Jacques, Member of the Institute ofParis—Sculptor.

l’hryne, statue in marble.

Statue of girl and butterfly.—P. 1213.- -Plate 357.

l’hryne, when accused of impiety and brought beforethe tribunal, after urging several reasons for her acquittal,finding she is about to be condemned, uncovered her bosom,which so influenced her judges, that it procured her animmediate release and pardon.

'Fhe moment chosen by the sculptor is that where sheproceeds to unveil.

“J. l’radier, Member of the Institute, Phryne (1407,p. 1243). In this youthful female figure, the beauty offeature, the subtle refinement of form, nml the sprightlygrace of the attitude, alike corresponds with the name ofthe celebrated lletaira which M. l’radier has given to hiswork. The careful chiselling of the surface, and thegeneral breadth of the treatment, show that the sculptorhas not studied the masterpieces of Creek art in vain.—Juries* lieportSf p. 700.

1405 Kunoi.mn, J. F., 3 line Tmnchet, Paris —Manufacturer.

lieliquary in silver filigree; subject, Charity, llroocli,bracelet, and chatelaine, in oxidized silver.—P. 1240.—Piute 308.

[“ In the higher works of art in silver, the foreign artisthas had the boldness to regard the material, rich andcostly as it is, merely as the vehicle of the art he adds toit; and that lustre and brilliancy, which is one of thegreat excellences of the rarer metals, he subdues by acidsto prevent the glare from interfering with the forms ofart. To the eye, silver, so treated, might he so muchzinc, did not the informing mind anil the beautiful artenshrined in it at once bespeak the valuable metal whichalone is capable of rendering such a noble return for theartist’s labour.”]

“ Kudolphi, J. F., 3 line Tronchet, Paris (1405,France , p. 1240). The articles exhibited are of a mostvaried description. Among others is a bracelet of oxi-dised silver, representing three children contending forsome birds, which one of them is carrying off. M. I.eKoi is the author of this beautiful design. Anotherbracelet in oxidized silver, from the design of M. Masson,