DOI Page / Citation link:
https://doi.org/10.11588/diglit.66024#0249
ANGELICA’S DECORATIVE WORK
137
It will be seen that there is a circular piece of decoration in Angelica’s manner
on the mantelpiece, and there is some decoration in her style on the side-tables.
The two candlesticks were not decorated by her, but are illustrated, because
they are of unusual character, and the fact that they formed part of the suite of
furniture; but on the mantelpiece there is a rectangular panel, two circular
panels, and four others, all of which have designs upon them very much in
Angelica’s manner.
It has been a task of no little difficulty to trace really authentic specimens
of decorative works from Angelica’s brush. It is certainly curious that, while
floods of literature have been devoted to the description of the architecture of
Adam houses, the decorative paintings in them have never received the careful
care and attention that their merit deserves. If owners of these paintings
would only have them photographed it is possible that, by careful comparison
with the drawings and prints of the various contemporary artists, much informa-
tion would be gained concerning the subjects and authorship of these works;
while a search in private archives should produce information in the way of
bills and letters which would throw light on a rather difficult and obscure
subject.
Owners of these beautiful mural decorations ought to realise that, owing to
their immovable position, they are especially exposed to serious danger from
two causes—fire and the breakage of water-pipes.
Were these paintings well photographed, if slight damage were done, it
would be possible to restore them to their original design, but very few owners
have taken the trouble to have a record of such decorative paintings prepared,
and every few years fire and water take their dismal toll of Angelica’s delicate
world of dryad, faun, and nymph.
The writer of the biographical notice of her in the Dictionary of National
Biography has these sympathetic and just words concerning her. He says:
“ The grace and charm of her work are undeniable, her colouring, though often
crude, is warm and fresh, and she excelled in house decoration of the ornamental
type in vogue in her day.”
137
It will be seen that there is a circular piece of decoration in Angelica’s manner
on the mantelpiece, and there is some decoration in her style on the side-tables.
The two candlesticks were not decorated by her, but are illustrated, because
they are of unusual character, and the fact that they formed part of the suite of
furniture; but on the mantelpiece there is a rectangular panel, two circular
panels, and four others, all of which have designs upon them very much in
Angelica’s manner.
It has been a task of no little difficulty to trace really authentic specimens
of decorative works from Angelica’s brush. It is certainly curious that, while
floods of literature have been devoted to the description of the architecture of
Adam houses, the decorative paintings in them have never received the careful
care and attention that their merit deserves. If owners of these paintings
would only have them photographed it is possible that, by careful comparison
with the drawings and prints of the various contemporary artists, much informa-
tion would be gained concerning the subjects and authorship of these works;
while a search in private archives should produce information in the way of
bills and letters which would throw light on a rather difficult and obscure
subject.
Owners of these beautiful mural decorations ought to realise that, owing to
their immovable position, they are especially exposed to serious danger from
two causes—fire and the breakage of water-pipes.
Were these paintings well photographed, if slight damage were done, it
would be possible to restore them to their original design, but very few owners
have taken the trouble to have a record of such decorative paintings prepared,
and every few years fire and water take their dismal toll of Angelica’s delicate
world of dryad, faun, and nymph.
The writer of the biographical notice of her in the Dictionary of National
Biography has these sympathetic and just words concerning her. He says:
“ The grace and charm of her work are undeniable, her colouring, though often
crude, is warm and fresh, and she excelled in house decoration of the ornamental
type in vogue in her day.”