DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.66025#0021
GARDEN ORNAMENT
3
ENTRANCE GATEWAYS
DURING the time of the English Renaissance, beginning in the days of
Henry VIII. and reaching its full development in the succeeding Tudor
and Jacobean reigns, the most usual form of gateway piers, whether of
brick or stone, was a structure of square section, finished with a cornice
surmounted by a stone ball. In the more important examples, instead of a cornice
only, there was often a whole entablature with a top ornament, which might be either
a vase of lead or stone or some heraldic form or other sculptured figure. There were
also architectural additions on either side, forming lesser gateways, or with niches
only. The piers themselves often had niches in the lower portions, with sculptured
ornament above, as in the flower-pot gates at Hampton Court. These niches were
not necessarily for the placing of sculpture, but to gain the advantage of light and
shade, an effect which is specially valuable where they occur in the flanking screens.
It was not till early in the 17th century that iron was used for any part of secular
entrance gates in England, or indeed for any ornamental work connected with
architecture other than ecclesiastical. In earlier times gates were of wood, strapped
and bolted with iron, then of wooden framing with bars only of iron, and perhaps
an iron cresting on the top. Gates of iron alone were only sparingly used in the
time of Elizabeth and James I., and it was not till near the end of the 17th century
that the finest examples of such gates were made in England, when that remarkable
master in smith’s work, Jean Tijou, was in England in the time of William and Mary.
He left as memorials of his surprising genius the iron gates and screens at Hampton
Court, and much other work either of his own, or produced under his immediate
influence, at many of the great houses of the country. The fine drawing and wealth
of detail, extremely rich and yet never over-crowded, distinguishes his work from
all else in England. His designs are embellished with grotesque masks of a quality
never equalled in iron, and his conventional treatment of natural form, as in the noble
rendering of acanthus leaf, the simpler shapes of lily and tulip foliage, and the waved
edge of bay, show not only his reverent admiration for these beautiful forms, but
his exact perception of their right treatment in his material. Tijou was followed
by Bakewell of Derby early in the 18th century, and a little later by the brothers
Roberts, Welsh smiths of distinguished ability ; by Edney of Bristol about 1734,
and by several noted smiths of London, among whom Robinson, a contemporary of
Tijou, Partidge, Coalburn, Warren, and Buncker were those whose names are known
as the producers of the best work of the 18th century. It did not necessarily follow
that the great iron gates and screens had piers of brick or stone ; in many cases the
pier was replaced by an iron pilaster, though the solidity of masonry has always a
satisfying effect. Smaller examples throughout the land of equal merit remain to
us of the work of these fine smiths in connexion with the entrances and gardens of
manor houses and even of those of lesser consequence.
3
ENTRANCE GATEWAYS
DURING the time of the English Renaissance, beginning in the days of
Henry VIII. and reaching its full development in the succeeding Tudor
and Jacobean reigns, the most usual form of gateway piers, whether of
brick or stone, was a structure of square section, finished with a cornice
surmounted by a stone ball. In the more important examples, instead of a cornice
only, there was often a whole entablature with a top ornament, which might be either
a vase of lead or stone or some heraldic form or other sculptured figure. There were
also architectural additions on either side, forming lesser gateways, or with niches
only. The piers themselves often had niches in the lower portions, with sculptured
ornament above, as in the flower-pot gates at Hampton Court. These niches were
not necessarily for the placing of sculpture, but to gain the advantage of light and
shade, an effect which is specially valuable where they occur in the flanking screens.
It was not till early in the 17th century that iron was used for any part of secular
entrance gates in England, or indeed for any ornamental work connected with
architecture other than ecclesiastical. In earlier times gates were of wood, strapped
and bolted with iron, then of wooden framing with bars only of iron, and perhaps
an iron cresting on the top. Gates of iron alone were only sparingly used in the
time of Elizabeth and James I., and it was not till near the end of the 17th century
that the finest examples of such gates were made in England, when that remarkable
master in smith’s work, Jean Tijou, was in England in the time of William and Mary.
He left as memorials of his surprising genius the iron gates and screens at Hampton
Court, and much other work either of his own, or produced under his immediate
influence, at many of the great houses of the country. The fine drawing and wealth
of detail, extremely rich and yet never over-crowded, distinguishes his work from
all else in England. His designs are embellished with grotesque masks of a quality
never equalled in iron, and his conventional treatment of natural form, as in the noble
rendering of acanthus leaf, the simpler shapes of lily and tulip foliage, and the waved
edge of bay, show not only his reverent admiration for these beautiful forms, but
his exact perception of their right treatment in his material. Tijou was followed
by Bakewell of Derby early in the 18th century, and a little later by the brothers
Roberts, Welsh smiths of distinguished ability ; by Edney of Bristol about 1734,
and by several noted smiths of London, among whom Robinson, a contemporary of
Tijou, Partidge, Coalburn, Warren, and Buncker were those whose names are known
as the producers of the best work of the 18th century. It did not necessarily follow
that the great iron gates and screens had piers of brick or stone ; in many cases the
pier was replaced by an iron pilaster, though the solidity of masonry has always a
satisfying effect. Smaller examples throughout the land of equal merit remain to
us of the work of these fine smiths in connexion with the entrances and gardens of
manor houses and even of those of lesser consequence.