DOI Heft:
No. 70 (January 1899)
DOI Artikel:The decoration of the musée des beaux-arts at Neuchâtel
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19230#0288
Decorations at Neuchdtel
The panels of cloisonne
(on copper) were screwed
in place, the edges and
returns were covered with
repousse bronze, which,
treated with a warm patina,
gave the necessary com-
plementary tone without
the use of gold, and com-
pleted the metallic element
of the cloison lines.
These lines are of hand-
bent metal-work, and every
part has in consequence
a certain value, and the
colour is so disposed in
them as to form a constant
play of gradations and
" chatoyance" of colour
which takes away all harsh-
ness of effect.
Above the arches was
a low vault and small
skylight, now removed,
and the present vault, lofty
and of a sweeping curve,
was constructed with
special provision for its
decoration. The effect
desired was a broad grey-
blue expanse carrying on
the character of the pic-
tures, and panels in plaster,
coloured in the mass, were
made in low linear relief
frieze of vault in coloured relief with mascarons in faience 0f the same character as
the cloisonne below, and
the principal foliage found in the forests around so framed as to make joints which would form part
Neuchatel, thus completing the local idea of the of the scheme of ornament.
pictures. The leaves are of various tones of These panels, screwed into position, were re-
greens and yellow-greens tied with full blue rib- lieved from monotony by the use of faience in
bons on a blue ground, and dark green bordering, minute pieces, which, embedded in the plaster, are
This dark green continues throughout the archi- seen as sparkling glints in the mat ground. The
volts and cornice, and elsewhere where the cloi- stars on the ground, the fleurons and ribbons on
sonne has been used. the mouldings, the heart-shaped pieces imme-
The chief characteristic of the cloisonne is its diately over the archivolts were so formed, and all
unity of effect; its surface is mat polished, and the were made on the spot in tones harmonised by
metal lines of the cloisons are visible throughout repeated trials.
the whole. The frieze round the skylight is in linear relief
Its texture has a sense of hardness and solidity also, but of richer tones of blue, green, and yellow,
which fits it for the architectural parts, while in The mascarons are also in faience, made with the
colour it combines admirably with the paintings, glaze in use from the fourteenth century until now,
It would be difficult to find any other material but rendered slightly opaque. The quality of this
which would do this. glaze is remarkable for its softness of effect.
257
The panels of cloisonne
(on copper) were screwed
in place, the edges and
returns were covered with
repousse bronze, which,
treated with a warm patina,
gave the necessary com-
plementary tone without
the use of gold, and com-
pleted the metallic element
of the cloison lines.
These lines are of hand-
bent metal-work, and every
part has in consequence
a certain value, and the
colour is so disposed in
them as to form a constant
play of gradations and
" chatoyance" of colour
which takes away all harsh-
ness of effect.
Above the arches was
a low vault and small
skylight, now removed,
and the present vault, lofty
and of a sweeping curve,
was constructed with
special provision for its
decoration. The effect
desired was a broad grey-
blue expanse carrying on
the character of the pic-
tures, and panels in plaster,
coloured in the mass, were
made in low linear relief
frieze of vault in coloured relief with mascarons in faience 0f the same character as
the cloisonne below, and
the principal foliage found in the forests around so framed as to make joints which would form part
Neuchatel, thus completing the local idea of the of the scheme of ornament.
pictures. The leaves are of various tones of These panels, screwed into position, were re-
greens and yellow-greens tied with full blue rib- lieved from monotony by the use of faience in
bons on a blue ground, and dark green bordering, minute pieces, which, embedded in the plaster, are
This dark green continues throughout the archi- seen as sparkling glints in the mat ground. The
volts and cornice, and elsewhere where the cloi- stars on the ground, the fleurons and ribbons on
sonne has been used. the mouldings, the heart-shaped pieces imme-
The chief characteristic of the cloisonne is its diately over the archivolts were so formed, and all
unity of effect; its surface is mat polished, and the were made on the spot in tones harmonised by
metal lines of the cloisons are visible throughout repeated trials.
the whole. The frieze round the skylight is in linear relief
Its texture has a sense of hardness and solidity also, but of richer tones of blue, green, and yellow,
which fits it for the architectural parts, while in The mascarons are also in faience, made with the
colour it combines admirably with the paintings, glaze in use from the fourteenth century until now,
It would be difficult to find any other material but rendered slightly opaque. The quality of this
which would do this. glaze is remarkable for its softness of effect.
257