DOI Page / Citation link:
https://doi.org/10.11588/diglit.32044#0019
INTRODUCTION.
*3
It consists of no less than five layers or shrata of glass. The interior
kyer is the usual blue sapphire colour. The colours of the numerous
ilrata are separated from and contrasted with each other by layers of
white enamel, skilfully arranged by some eminent artist of the Grecian
school, for the embosiment of his cameo subjed:, as well as blending them
artiilically into each other. The subjeit is, a female reposing upon a
settee. It is executed in the highefi: fiyle of art, and is an admirable
specimen of gem engraving.*
Venice, for a long period, excelled all Europe in the fineness and
beauty of its glass ; but as the leading proceises employed by the Vene-
tians are given with the description of the three elegant examples in the
present work taken from the colleótion of Felix Slade, Esq., it is unne-
cesiary to repeat them here.
The Germans most probably followed the Venetians in the manufac-
ture of ornamental glass vessels, as the earliest are painted in enamel, and
none are known of a date prior to the year 1553. They seem to have
negledted some of the Venetian proceises ; but to others they gave an
extenfion, particularly by favouring enamel-painting and schmelze, and
by praétising the ancient art of tracing subjeéts on gold leaf, and after-
wards enclosing them between layers of transparent glass. The lost art
of engraving glass by the lathe was also revived by Caspar Lehmann, in
1609. He worked at Prague, the capital of Bohemia, under the pro-
tedtion of Rudolph II. Half a century later, Henry Schwanhard, a
pupil of Lehmann, who praitised at Nuremberg, discovered a peculiar
mode of etching on glass, but he kept his secret to himself, and carried
it with him to his grave.
3llumtnateii 2DratmngjSu
The limited nature of my present work has only enabled me to in-
troduce two engravings from Illuminated Drawings ; both very choice
specimens of Italian art. Having, however, in a previous publication,
given coloured examples, ihowing the peculiarities of style, and modes
of design, adopted in this department of art in the various countries of
Europe, from the earliest authorities known till its decline in the seven-
teenth century, it is. unnecessary to pursue the subjed further on the pre-
sent occasion.
* A coloured engraving of this interesting fragment i's given in the “ Curiostties of Glass-
making,” before quoted.
C
*3
It consists of no less than five layers or shrata of glass. The interior
kyer is the usual blue sapphire colour. The colours of the numerous
ilrata are separated from and contrasted with each other by layers of
white enamel, skilfully arranged by some eminent artist of the Grecian
school, for the embosiment of his cameo subjed:, as well as blending them
artiilically into each other. The subjeit is, a female reposing upon a
settee. It is executed in the highefi: fiyle of art, and is an admirable
specimen of gem engraving.*
Venice, for a long period, excelled all Europe in the fineness and
beauty of its glass ; but as the leading proceises employed by the Vene-
tians are given with the description of the three elegant examples in the
present work taken from the colleótion of Felix Slade, Esq., it is unne-
cesiary to repeat them here.
The Germans most probably followed the Venetians in the manufac-
ture of ornamental glass vessels, as the earliest are painted in enamel, and
none are known of a date prior to the year 1553. They seem to have
negledted some of the Venetian proceises ; but to others they gave an
extenfion, particularly by favouring enamel-painting and schmelze, and
by praétising the ancient art of tracing subjeéts on gold leaf, and after-
wards enclosing them between layers of transparent glass. The lost art
of engraving glass by the lathe was also revived by Caspar Lehmann, in
1609. He worked at Prague, the capital of Bohemia, under the pro-
tedtion of Rudolph II. Half a century later, Henry Schwanhard, a
pupil of Lehmann, who praitised at Nuremberg, discovered a peculiar
mode of etching on glass, but he kept his secret to himself, and carried
it with him to his grave.
3llumtnateii 2DratmngjSu
The limited nature of my present work has only enabled me to in-
troduce two engravings from Illuminated Drawings ; both very choice
specimens of Italian art. Having, however, in a previous publication,
given coloured examples, ihowing the peculiarities of style, and modes
of design, adopted in this department of art in the various countries of
Europe, from the earliest authorities known till its decline in the seven-
teenth century, it is. unnecessary to pursue the subjed further on the pre-
sent occasion.
* A coloured engraving of this interesting fragment i's given in the “ Curiostties of Glass-
making,” before quoted.
C