DOI Heft:
No. 270 (September 1915)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21213#0305
Studio-Talk
National Gallery of Ireland mention should be
made of his two important “ finds ” in the cellars
of the Gallery—an interesting portrait by Van
Dyck, a Head of a Young Man, which is evidently
a work of the painter’s early Flemish period; and
a Holy Family by Jordaens, which is simply treated
and full of charm. The entire collection in the
Gallery was rearranged by the late Director, the
Milltown pictures which were formerly hung
together having been dispersed according to their
schools and periods. Thus an immense improve-
ment has been effected both from the aesthetic and
the educational points of view.
An interesting experiment in fresco decoration
is now being carried out in the circular entrance
hall of the Dublin City Hall by Mr. James Ward,
A.R.C.A., Headmaster of the Metropolitan School
of Art, Dublin, and his pupils. The scheme of
decoration comprises a series of twelve panels,
eight illustrating the history of Dublin and four
occupied by decorative treatments of the Arms of
the Four Provinces of Ireland. The interior of
the hall is of stone, in the Renaissance style of
Architecture, and the panels are divided from the
cupola above by the stone entablature, and are
separated by classic columns. The painting is
executed directly on the stone ground in the spirit-
fresco medium, and the work, which is carried out
in a light scheme of colour, is effective and broad
in treatment. We illustrate the two finished panels,
The Baptism of Alphin, King of Leinster, by St.
Patrick a.d. 434, and An Irish Chieftain opposing
the landing of the Danes on the Shores of the Li fey
A.D. 800. E. D.
FLORENCE.—The war, which has affected
most forms of art production very pre-
judicially, has been especially severe on
those branches of art which were just
seeking to establish themselves; and from this
point of view the most attractive art industry
which Count Nicola Marcello has recently revived
at Florence has a special claim on our interest and
sympathy. Isay “revived,” because this art of
tapestry is a very old one at Florence : it came
there from the rich Renaissance cities of north
Italy, from Mantua—where it was practised under
the patronage of the Gonzaghi—from Ferrara, and
also more directly later from Flanders, for Cosimo I,
when he had established himself in his Grand
Duchy, brought to Florence in 1545 a company of
Flemish weavers who worked from the designs of
Salviati and Pontormo ; and the Grand Duke also
bought, in 1553, from Vanderwelt those magnificent
tapestries of The Creation of Man and Woman which
are still to be seen in the Galleries of Florence.
“THE PARTING OF ROMEO AND JULIET.” TAPESTRY DESIGNED BY F.LIO MAZZI AND WOVEN IN COUNT MARCELLO’S
SCHOOL OF WEAVING IN FLORENCE
285
National Gallery of Ireland mention should be
made of his two important “ finds ” in the cellars
of the Gallery—an interesting portrait by Van
Dyck, a Head of a Young Man, which is evidently
a work of the painter’s early Flemish period; and
a Holy Family by Jordaens, which is simply treated
and full of charm. The entire collection in the
Gallery was rearranged by the late Director, the
Milltown pictures which were formerly hung
together having been dispersed according to their
schools and periods. Thus an immense improve-
ment has been effected both from the aesthetic and
the educational points of view.
An interesting experiment in fresco decoration
is now being carried out in the circular entrance
hall of the Dublin City Hall by Mr. James Ward,
A.R.C.A., Headmaster of the Metropolitan School
of Art, Dublin, and his pupils. The scheme of
decoration comprises a series of twelve panels,
eight illustrating the history of Dublin and four
occupied by decorative treatments of the Arms of
the Four Provinces of Ireland. The interior of
the hall is of stone, in the Renaissance style of
Architecture, and the panels are divided from the
cupola above by the stone entablature, and are
separated by classic columns. The painting is
executed directly on the stone ground in the spirit-
fresco medium, and the work, which is carried out
in a light scheme of colour, is effective and broad
in treatment. We illustrate the two finished panels,
The Baptism of Alphin, King of Leinster, by St.
Patrick a.d. 434, and An Irish Chieftain opposing
the landing of the Danes on the Shores of the Li fey
A.D. 800. E. D.
FLORENCE.—The war, which has affected
most forms of art production very pre-
judicially, has been especially severe on
those branches of art which were just
seeking to establish themselves; and from this
point of view the most attractive art industry
which Count Nicola Marcello has recently revived
at Florence has a special claim on our interest and
sympathy. Isay “revived,” because this art of
tapestry is a very old one at Florence : it came
there from the rich Renaissance cities of north
Italy, from Mantua—where it was practised under
the patronage of the Gonzaghi—from Ferrara, and
also more directly later from Flanders, for Cosimo I,
when he had established himself in his Grand
Duchy, brought to Florence in 1545 a company of
Flemish weavers who worked from the designs of
Salviati and Pontormo ; and the Grand Duke also
bought, in 1553, from Vanderwelt those magnificent
tapestries of The Creation of Man and Woman which
are still to be seen in the Galleries of Florence.
“THE PARTING OF ROMEO AND JULIET.” TAPESTRY DESIGNED BY F.LIO MAZZI AND WOVEN IN COUNT MARCELLO’S
SCHOOL OF WEAVING IN FLORENCE
285