Studio: international art (11.1897)

Industrial Arts of America

eclecticism, lacking in true style and in that fervour and uses them freely. But Mr. Tiffany does not
and conviction that gives mystic glow to the most belong to the great American school of tracing-
sumptuous colour. But it has distinct elements of paper that claims so many architects for its own.
originality and merit, and must e'en be taken for In the true eclectic spirit, old objects are with-
what it is—the typical outcome of a period of out hesitation incorporated into the scheme of
groping. The sense of the value of beautiful decoration. Mr. Tiffany belongs to the type of
material is, after all, the main thing now in this artist that turns everything to decorative account,
kind of work. "Style" will come when we leave On this page is shown a window of translucent beach
off looking for it, or labelling it. pebbles and metal filagree. The fireplace (p. 159)

As for the American style, that all we Europeans in Mr. Tiffany's library was inspired by the acqui-
look for so eagerly when we first come over, we sition of whole barrelfuls of Japanese swordguards.
soon learn that the elements of it, if they exist, are P. 158 shows the fireplace in the music-room of the
still in fusion. Of course there is much here that Tiffany house, designed as the setting for a panel
is more American than most Americans realise, in of specimens of old glass. To the right is a shallow
the trend of taste, in the sense of colour, in the cabinet with a small select collection of antique
distinctive feeling for line and proportion, in a glass. The mosaic of this mantel is of varying
thousand nameless nothings that go to make a tesserae, or small tiles, of pale sea-green glass,
style far more than originality of motive. Perhaps opaque, clear, clouded, or iridescent, on a platina
it is one of the real achievements of L. C. Tiffany foil. • The walls of this room, noticeable for its
that he has caught this, given it a voice. A Tiffany Greek charm of exquisite proportion and noble
room is a thing apart, with an unmistakable simplicity, are of dull gold, with groups of pictures
American note—in spite of its eclecticism. in tender green and white ; quiet effective attention

It is eclectic, of course, this Tiffany style, like on original lines is paid to details of windows and
everything else here. America is still in the stage doors, coving and frieze. The studio (p. 163) is still
of assimilation. Tiffany's main sources of inspira- more eclectic, as the whole street front of a house
tion have been the Oriental and transitional styles in India has been taken and combined with a truly
that have something colouristic in their very treat- gorgeous American window, with lamps, chains,
ment of lines and masses. He knows them well ' plants of many lands, with a kind of decorative

jungle. The panel on p. 165, part of a
door in this same studio, illustrates Mr.
Tiffany's fondness for combining metal-
work and glass in various interesting ways.
It may be mentioned in passing that the
metal workshops were first started, because
it was found impossible to get the manu-
facturers to carry out the designs given.
Their presence in the building has natu-
rally proved full of happy temptations to
Mr. Tiffany's experimental turn of mind
and tasteful ingenuity. In this case the
gilt scrollwork is made of the lead ribbons
used for leading windows. By the courtesy
of Mr. Tiffany I am also allowed to pub-
lish a specimen of a work still in the inte-
resting tentative stage (p. 157).

The metal work of this piece is put
together first, and the glass then blown
into it. In another piece that I saw, to
be used as a lamp, the metal work pre-
dominated, and a rich ruby opalescent
glass was blown into the perforations of
an open-work brass globe. These and
window made of beach pebbles other similar pieces are only to be seen

designed and executed by louis c. tiffany upstairs in the inner sanctum, half-studio

161