DOI Heft:
No. 98 (May, 1901)
DOI Artikel:Fisher, Alexander: The art of true enamelling upon metals, [1]
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19787#0289
Enamelling
get such qualities of radiant preciousness as charm by fine gold lines, and rich with fortunate con-
like gems. trasts of opaque, pearly-white and translucent
Among the antique enamels still extant, there shades of turquoise and emerald, are as precious
are some wherein the magic of this preciousness in their refinement as needs be. The whole work
comes to me like a wind that has passed over far- is a gorgeous example of the goldsmith's art,
distant lands of flowers, bringing with it their fresh- adorned not with enamels only, and with filigree,
ness and fragrance. Such to me is the famous but with plaques of interlaced ornament in
Kings' Gold Cup now treasured in the British repousse, and also with large stones set about the
Museum; such, too, are the Jewel Casket and the enthroned figure of Christ.
Textus Cover in the Art Museum at South Ken- There are parts of later enamels, in what is
sington. In the Kings' Cup the result is mainly known as the Limoges style, that do not lack the
due to excellence of process and of craftsmanship, high quality of preciousness. This is true in the
But I do not find that the colour-arrangement as a case of the Jewel Casket, to which reference has
whole is on a par with the exceeding high merit already been made. This casket, the work of
displayed in the technical skilfulness. Leonard Limousin, belonged to Queen Margot,
This beautiful cup, "a relic of the sacred treasures wife of the French King Henry IV.; and, to my
of England," seems to have belonged to Henry V.'s mind, it deserves to be looked upon as perhaps
treasury. It is enamelled with many scenes from the finest work of its style at South Kensington,
the life of St. Agnes. Not
ten years ago it was ac-
quired for the nation from
Messrs. Wertheimer, who
sold it for _p£8,ooo, the
price at which they pur-
chased it from Baron Pichon.
The Baron, who bought it
from a Spaniard in Paris, got
at the cup's identity from an
inscription on the cup itself.
It is said to have belonged
to Charles V. of France, and
through his granddaughter
to have come into the
possession of Henry V. of
England. The cup was cer-
tainly in the Royal Treasury
before the days of the
Tudors, and is mentioned
in the inventories of Henry
VIII. and Elizabeth. It is
thought that James I. gave
the cup to Velasco, the
Spanish ambassador, as a
memento of the friendly
understanding between
Spain and England that
existed in the early part
of his reign.
As regards the Textus
Cover, illustrated on page
251, is it not a surprising
work of art ? In its border,
and around the figure, some plaque in painted enamels
pieces of cloisonne, separated "crucifixion" (xvii. century) by jean Limousin
252
get such qualities of radiant preciousness as charm by fine gold lines, and rich with fortunate con-
like gems. trasts of opaque, pearly-white and translucent
Among the antique enamels still extant, there shades of turquoise and emerald, are as precious
are some wherein the magic of this preciousness in their refinement as needs be. The whole work
comes to me like a wind that has passed over far- is a gorgeous example of the goldsmith's art,
distant lands of flowers, bringing with it their fresh- adorned not with enamels only, and with filigree,
ness and fragrance. Such to me is the famous but with plaques of interlaced ornament in
Kings' Gold Cup now treasured in the British repousse, and also with large stones set about the
Museum; such, too, are the Jewel Casket and the enthroned figure of Christ.
Textus Cover in the Art Museum at South Ken- There are parts of later enamels, in what is
sington. In the Kings' Cup the result is mainly known as the Limoges style, that do not lack the
due to excellence of process and of craftsmanship, high quality of preciousness. This is true in the
But I do not find that the colour-arrangement as a case of the Jewel Casket, to which reference has
whole is on a par with the exceeding high merit already been made. This casket, the work of
displayed in the technical skilfulness. Leonard Limousin, belonged to Queen Margot,
This beautiful cup, "a relic of the sacred treasures wife of the French King Henry IV.; and, to my
of England," seems to have belonged to Henry V.'s mind, it deserves to be looked upon as perhaps
treasury. It is enamelled with many scenes from the finest work of its style at South Kensington,
the life of St. Agnes. Not
ten years ago it was ac-
quired for the nation from
Messrs. Wertheimer, who
sold it for _p£8,ooo, the
price at which they pur-
chased it from Baron Pichon.
The Baron, who bought it
from a Spaniard in Paris, got
at the cup's identity from an
inscription on the cup itself.
It is said to have belonged
to Charles V. of France, and
through his granddaughter
to have come into the
possession of Henry V. of
England. The cup was cer-
tainly in the Royal Treasury
before the days of the
Tudors, and is mentioned
in the inventories of Henry
VIII. and Elizabeth. It is
thought that James I. gave
the cup to Velasco, the
Spanish ambassador, as a
memento of the friendly
understanding between
Spain and England that
existed in the early part
of his reign.
As regards the Textus
Cover, illustrated on page
251, is it not a surprising
work of art ? In its border,
and around the figure, some plaque in painted enamels
pieces of cloisonne, separated "crucifixion" (xvii. century) by jean Limousin
252