DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.56557#0020
XVIII
„The lately deceased Mr. J. N. Vincent has frequently told me how his father’s
„business-tours were often interrupted by his visiting far away houses and mansions to
„hunt up such forgotten things. But his hobby was not limited to glass-paintings, he
„had also made a collection of armour, which consisted chiefly of ancient Swiss arms.
„About 50 years ago this Collection found its way to England. Beside this he acquired
„everything he could find that was ancient, curions and valuable. To-day’s Inventory
„contains Minerals, Antlers, Coins, Jewellery and other metal articles, Sculptures in
„wood and ivory, oil paintings, old prints, European and Oriental porcelain. Among
„the Majolicas which come from the Episcopal Palace of Meersburg, there are some pieces
„of high value.
„The whole of this Collection is now on view. Since April 1833 Mr. Vincent hat
„rented the Capitelsaal near the Cathedral to lodge the varions Collections. — The entrance
„to the Chamber is on the East wing through on arched doorway by a dark stairease.
„The building dates from 1480 and consists of a nave with two aisles, the beautiful
„vaulting of which is supported by slender columns appearing to spread like the leaves
„of a palm-tree. On both sides, as well as at each end are windows, so that the full
„daylight flows through the apartment, and increases the glow of the colours. And what
„a beautiful sight is here, — a world of peerless treasures delighting the eye and
„gladdening the heart of a lover of such things.
„But the chief value of this Collection consists in its glass-paintings, and here a
„particular circumstance is to be mentioned. When these treasures were collected, pain-
ting on glass was like a newly discovered art. Restorers there were none yet, and
„those who recommended themselves later on, Mr. Vincent kept at arms length during
„all his life. And with the same jealousy his successor has watched over and guarded
„these things, and he was proud to show the glass to those taking an interest in it, when
„it came into his possession. No reflection is here intended upon our modern painters
„on glass. Their art is highly developed and it may be readily resorted to when it is
„a question of finishing incomplete or of restoring damaged articles. But how often
„is this system of restoring too liberally applied and in a manner rather intended for
„show than for the satisfaction of an art. connoisseur? I have seen paintings on glass
„which, although they had been entrusted to most clever hands, had been spoilt by over
„restoration, whereby their historical value was entirely lost. Against such work the
„untouched window, even if incomplete, or made up by old pieces must in the eye of a
„real connoisseu rand art critic always have the preference. In that state the Vincent
„glass -paintings have remained — no hand of a restorer has ever
„touched them.“
Even if, as the writer of the above correctly remarks, the chief value of the Vincent
Collection consists in the glass paintings, and notably in the unequalled series of ancient Swiss
art, the rest of the Collection is scarcely less remarkable. The good luck which the indefatigable
Mr. Vincent invariably had in all his peregrinations in search of such articles, was never crowned
with more success than when about 50 ar 55 years ago he succeeded in acquiring the more interesting
portion of the inventory of the former episcopal palace at Meersburg. Nearly everything which this
„The lately deceased Mr. J. N. Vincent has frequently told me how his father’s
„business-tours were often interrupted by his visiting far away houses and mansions to
„hunt up such forgotten things. But his hobby was not limited to glass-paintings, he
„had also made a collection of armour, which consisted chiefly of ancient Swiss arms.
„About 50 years ago this Collection found its way to England. Beside this he acquired
„everything he could find that was ancient, curions and valuable. To-day’s Inventory
„contains Minerals, Antlers, Coins, Jewellery and other metal articles, Sculptures in
„wood and ivory, oil paintings, old prints, European and Oriental porcelain. Among
„the Majolicas which come from the Episcopal Palace of Meersburg, there are some pieces
„of high value.
„The whole of this Collection is now on view. Since April 1833 Mr. Vincent hat
„rented the Capitelsaal near the Cathedral to lodge the varions Collections. — The entrance
„to the Chamber is on the East wing through on arched doorway by a dark stairease.
„The building dates from 1480 and consists of a nave with two aisles, the beautiful
„vaulting of which is supported by slender columns appearing to spread like the leaves
„of a palm-tree. On both sides, as well as at each end are windows, so that the full
„daylight flows through the apartment, and increases the glow of the colours. And what
„a beautiful sight is here, — a world of peerless treasures delighting the eye and
„gladdening the heart of a lover of such things.
„But the chief value of this Collection consists in its glass-paintings, and here a
„particular circumstance is to be mentioned. When these treasures were collected, pain-
ting on glass was like a newly discovered art. Restorers there were none yet, and
„those who recommended themselves later on, Mr. Vincent kept at arms length during
„all his life. And with the same jealousy his successor has watched over and guarded
„these things, and he was proud to show the glass to those taking an interest in it, when
„it came into his possession. No reflection is here intended upon our modern painters
„on glass. Their art is highly developed and it may be readily resorted to when it is
„a question of finishing incomplete or of restoring damaged articles. But how often
„is this system of restoring too liberally applied and in a manner rather intended for
„show than for the satisfaction of an art. connoisseur? I have seen paintings on glass
„which, although they had been entrusted to most clever hands, had been spoilt by over
„restoration, whereby their historical value was entirely lost. Against such work the
„untouched window, even if incomplete, or made up by old pieces must in the eye of a
„real connoisseu rand art critic always have the preference. In that state the Vincent
„glass -paintings have remained — no hand of a restorer has ever
„touched them.“
Even if, as the writer of the above correctly remarks, the chief value of the Vincent
Collection consists in the glass paintings, and notably in the unequalled series of ancient Swiss
art, the rest of the Collection is scarcely less remarkable. The good luck which the indefatigable
Mr. Vincent invariably had in all his peregrinations in search of such articles, was never crowned
with more success than when about 50 ar 55 years ago he succeeded in acquiring the more interesting
portion of the inventory of the former episcopal palace at Meersburg. Nearly everything which this