DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1310#0181
140 THE GREAT EXHIBITION
It was almost a relief to turn from the precious stones, whose intrinsic value escapes
mental evaluation, to the more tangible merits of human workmanship. Contrasted with
the bright and finished groups in silver, two works, executed by A. Vechte, in mingled
iron and silver, stood out prominently by their subdued tones. The first was a shield,
which, though unfinished, promised to be a most exquisite piece of embossed workman-
ship. It represented Shakspere, Milton, and Newton, surrounded by their embodied
conceptions. The style of the figures was a singular medley of Raphael and Buonarroti's
designs; that is, rather calling to mind the conceptions of the great Italians than closely
adhering to them. The same might be said of the " Vase of Etruscan form/' also executed
by the same artist, and representing Jupiter hurling thunder at the Titanic host. The
anatomy was worked out in a manner which would bear extension on the largest scale.
Vases, salvers, and centre ornaments, presentation cups, &c, filled up the remaining
portion. Messrs. U. and S. Garrard shone in bellicose groups, executed mainly in entire
relief by the able designer, Mr. Cotterill, who identified himself with bull fights, boar
hunts, and hunting meetings. Ever full of spirit, his groups were sometimes marred by
a want of finesse in detail-work. Mr. Cotterill was too much at the mercy of the polisher;
we need only point at the otherwise pleasant performance of the rider entrapping the
wild horse by the lasso. A perforated chandelier attracted as much notice by its size and
polish as the " Brassey testimonial" by its massive effect. In the assembled company of
engineers whose portraits were here gracefully collected together, we fancied we saw
the heroes of speed, which had its tardy counterpart in the progresses of Elizabeth, who
was evidently a favourite with the silversmith. There were two effigies of her; the first
had been somewhat modernized by B. Marochetti, for Mrs. Hancock, who had other
meritorious productions on view. The next, of somewhat exorbitant dimensions for
silver, had been worked under the direction of Mr. Morel, from the great seal of the
time. The way in which the minutiae of dress had been worked showed how far
embossed work may go. Those who were curious in technical peculiarities might notice
with satisfaction that there was no trace of subsequent soldering, her majesty being
daintily fitted, as beseemed her precious person, on the barb or state horse. Her
weight was considerably above a thousand ounces. Mr. Morel also exhibited a centre-
piece of Children Playing with a Panther, which displayed all the fancy of Poussin in
the juvenile attendants of Bacchus. The frosted imitation of the flesh texture was novel
and pleasing. Caps of agate and lapis-lazuli of unusual dimensions, and convivial
weapons, showed combined taste and art. As defenders of the powers of electro-
metallurgy, Messrs. Elkington and Mason, of course, reigned supreme. It is well known,
that in the ordinary methods of electro-plating it is usual to construct a plated article
as far as possible from plated sheet metal, while the edges and ornamental parts are
completed by soldering thereto parts either stamped in plated metal or in silver. By
this method of manufacture the design must necessarily be limited, being confined to
such ornamental forms as could be produced by stamping or otherwise fashioning sheets
of metal. The pernicious process of gilding by an amalgam of mercury and gold is
superseded by the voltaic reduction of gold; and the voltaic precipitation is effected
with far greater economy than the mercurial process. Messrs. Elkington and Co., though
their patent has received wide extension by the grant of licences even to French firms,
maintained their supremacy, and sorely puzzled their imitators by the great brilliancy of
then- gold and silver work. But it may be doubted whether the merits of the voltaic
precipitation of metals are not more conspicuous in the larger scope afforded in its
application to sculpture. In this respect it is to be regretted that fitter models than
the lively Cupids of Piamingo or the dull effigies lately applied to the houses of
parliament, were not selected to inaugurate the processes of electro-bronzing. In the
It was almost a relief to turn from the precious stones, whose intrinsic value escapes
mental evaluation, to the more tangible merits of human workmanship. Contrasted with
the bright and finished groups in silver, two works, executed by A. Vechte, in mingled
iron and silver, stood out prominently by their subdued tones. The first was a shield,
which, though unfinished, promised to be a most exquisite piece of embossed workman-
ship. It represented Shakspere, Milton, and Newton, surrounded by their embodied
conceptions. The style of the figures was a singular medley of Raphael and Buonarroti's
designs; that is, rather calling to mind the conceptions of the great Italians than closely
adhering to them. The same might be said of the " Vase of Etruscan form/' also executed
by the same artist, and representing Jupiter hurling thunder at the Titanic host. The
anatomy was worked out in a manner which would bear extension on the largest scale.
Vases, salvers, and centre ornaments, presentation cups, &c, filled up the remaining
portion. Messrs. U. and S. Garrard shone in bellicose groups, executed mainly in entire
relief by the able designer, Mr. Cotterill, who identified himself with bull fights, boar
hunts, and hunting meetings. Ever full of spirit, his groups were sometimes marred by
a want of finesse in detail-work. Mr. Cotterill was too much at the mercy of the polisher;
we need only point at the otherwise pleasant performance of the rider entrapping the
wild horse by the lasso. A perforated chandelier attracted as much notice by its size and
polish as the " Brassey testimonial" by its massive effect. In the assembled company of
engineers whose portraits were here gracefully collected together, we fancied we saw
the heroes of speed, which had its tardy counterpart in the progresses of Elizabeth, who
was evidently a favourite with the silversmith. There were two effigies of her; the first
had been somewhat modernized by B. Marochetti, for Mrs. Hancock, who had other
meritorious productions on view. The next, of somewhat exorbitant dimensions for
silver, had been worked under the direction of Mr. Morel, from the great seal of the
time. The way in which the minutiae of dress had been worked showed how far
embossed work may go. Those who were curious in technical peculiarities might notice
with satisfaction that there was no trace of subsequent soldering, her majesty being
daintily fitted, as beseemed her precious person, on the barb or state horse. Her
weight was considerably above a thousand ounces. Mr. Morel also exhibited a centre-
piece of Children Playing with a Panther, which displayed all the fancy of Poussin in
the juvenile attendants of Bacchus. The frosted imitation of the flesh texture was novel
and pleasing. Caps of agate and lapis-lazuli of unusual dimensions, and convivial
weapons, showed combined taste and art. As defenders of the powers of electro-
metallurgy, Messrs. Elkington and Mason, of course, reigned supreme. It is well known,
that in the ordinary methods of electro-plating it is usual to construct a plated article
as far as possible from plated sheet metal, while the edges and ornamental parts are
completed by soldering thereto parts either stamped in plated metal or in silver. By
this method of manufacture the design must necessarily be limited, being confined to
such ornamental forms as could be produced by stamping or otherwise fashioning sheets
of metal. The pernicious process of gilding by an amalgam of mercury and gold is
superseded by the voltaic reduction of gold; and the voltaic precipitation is effected
with far greater economy than the mercurial process. Messrs. Elkington and Co., though
their patent has received wide extension by the grant of licences even to French firms,
maintained their supremacy, and sorely puzzled their imitators by the great brilliancy of
then- gold and silver work. But it may be doubted whether the merits of the voltaic
precipitation of metals are not more conspicuous in the larger scope afforded in its
application to sculpture. In this respect it is to be regretted that fitter models than
the lively Cupids of Piamingo or the dull effigies lately applied to the houses of
parliament, were not selected to inaugurate the processes of electro-bronzing. In the