DOI Heft:
No. 91 (Oct., 1900)
DOI Artikel:Suggestions for the improvement of sporting cups and trophies, part III
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19786#0040
Sporting Cups
on whom it acts constantly, most English people
would, I believe, have a strong natural desire to
introduce gay and delightful tints into their archi-
tecture, their sculpture, their metal-work, and what
not besides. To counteract the influence in
question will not be easy, but something may be
done by every artist who remembers that form,
however beautiful, may be made more attractive by
a discreet use of fine colour.
" As to the colour decoration of metal-work in
copper, bronze, silver, and gold, it is best obtained,
I think, by the use of enamel, because enamel,
more than any other decorative substance, becomes
a part of the metal employed, being fused by fire
on to its surface. Not that I wish to discredit the
use of stones, shells, and inlays of metal. All these
good things are invaluable when wisely employed,
but it pleases me to think that the art of enamel
reigns as a queen over them.
" For the rest, none can think seriously of this art
without wishing to get a few practical hints as to
the distinctive value in metal decoration of trans-
lucent and opaque enamels. The opaque are most
admirable to me when applied to a surface that is
viewed at some distance, that is to say, not close at
hand. The translucent enamels, when employed
in little pieces, are to my eyes incomparably more
precious and more beautiful than the opaque; but
when used on comparatively large surfaces they
absorb the light and look dark without colour, except
where the light is focussed, so to speak. Here the
gem-like brilliance of a transparent enamel gleams
and sparkles; elsewhere it is not effective. Thus
we lose much when we squander translucent
enamels over the whole surface of an object that
we wish to decorate. They are seen to the best
advantage when they are as gems surrounded by a
finely-treated surface of silver or of gold. How
exquisite then is the contrast between the
enamelled part and the metal!"
Mr. Fisher's remarks ought to be helpful to
goldsmiths and silversmiths, and we hope that
they will help to bring about a judicious practice
of employing both translucent and opaque enamels
in the making of sporting cups and trophies.
As for the characteristic yachting cup designed
by Mr. Fisher, it has been reproduced in colours
from a drawing in pastels. Seated on the lid, with
waves surrounding her, is a figure of Amphitrite,
goddess of the sea, who holds in her right hand a
tiny archaic statuette of Victory. The figure of
Amphitrite would be carved out of Connemara
marble, popularly so-called, or else out of onyx
marble, a banded variety of calcium carbonate
resembling onyx. Translucent enamel would be
used for the blue waves, Burmese gold—it has a
25
on whom it acts constantly, most English people
would, I believe, have a strong natural desire to
introduce gay and delightful tints into their archi-
tecture, their sculpture, their metal-work, and what
not besides. To counteract the influence in
question will not be easy, but something may be
done by every artist who remembers that form,
however beautiful, may be made more attractive by
a discreet use of fine colour.
" As to the colour decoration of metal-work in
copper, bronze, silver, and gold, it is best obtained,
I think, by the use of enamel, because enamel,
more than any other decorative substance, becomes
a part of the metal employed, being fused by fire
on to its surface. Not that I wish to discredit the
use of stones, shells, and inlays of metal. All these
good things are invaluable when wisely employed,
but it pleases me to think that the art of enamel
reigns as a queen over them.
" For the rest, none can think seriously of this art
without wishing to get a few practical hints as to
the distinctive value in metal decoration of trans-
lucent and opaque enamels. The opaque are most
admirable to me when applied to a surface that is
viewed at some distance, that is to say, not close at
hand. The translucent enamels, when employed
in little pieces, are to my eyes incomparably more
precious and more beautiful than the opaque; but
when used on comparatively large surfaces they
absorb the light and look dark without colour, except
where the light is focussed, so to speak. Here the
gem-like brilliance of a transparent enamel gleams
and sparkles; elsewhere it is not effective. Thus
we lose much when we squander translucent
enamels over the whole surface of an object that
we wish to decorate. They are seen to the best
advantage when they are as gems surrounded by a
finely-treated surface of silver or of gold. How
exquisite then is the contrast between the
enamelled part and the metal!"
Mr. Fisher's remarks ought to be helpful to
goldsmiths and silversmiths, and we hope that
they will help to bring about a judicious practice
of employing both translucent and opaque enamels
in the making of sporting cups and trophies.
As for the characteristic yachting cup designed
by Mr. Fisher, it has been reproduced in colours
from a drawing in pastels. Seated on the lid, with
waves surrounding her, is a figure of Amphitrite,
goddess of the sea, who holds in her right hand a
tiny archaic statuette of Victory. The figure of
Amphitrite would be carved out of Connemara
marble, popularly so-called, or else out of onyx
marble, a banded variety of calcium carbonate
resembling onyx. Translucent enamel would be
used for the blue waves, Burmese gold—it has a
25