DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1397#0026
PLATE 1.
A SILYEE VASE,
BY F. J. KUDOLPHI, PAEIS.
A T the Great Bxliibition of 1851 M. Rudolphi received a council medal, and his works were
admired as amongst the most artistic contributed by France. He fully sustained his high
reputation in 1862 ; and the Jury awarded him a medal for excellence of design and workmanship.
The noble vase of which we give an illustration was made in oxydized silver, height about 2 feet
6 inches, and valued at 25,000 francs (£1,000). It was designed by M. Stennel, and executed
under the immediate superintendence of M. Rudolphi.
The idea which has inspired the artist in his composition is an epitome of the evils which
afflict the human race : rather a gloomy subject, but which only forms a pendant to another
vase illustrative of the joys and pleasures of life. The subject commences with blind "Fortune
and Poverty; in the centre of the vase, as seen in the plate, Pride is on horseback, followed by
Envy, who seeks to drag him from his seat and to mount in his place ; Avarice grasping a bag
of gold comes next; and to him succeed Luxury and Debauch, riding on a goat, accompanied
by Drunkenness and Gluttony ; Anger follows as a Fury lashing with her scourge; Idleness lies
supine and somnolent; and then comes Disease, a veiled figure, accompanied by Death and an
executioner, who, leaning on his sword, looks with a savage leer upon his victims. Dancing
figures of children, representing the four quarters of the world, surround the neck of the vase ;
the handles spring from busts of Tragedy and Comedy; the interlaced open-worked ornament of
the lower part of the vase contains animals devouring each other; and the pedestal is enriched
with chain-like bands, with crouching figures of a man and woman imprisoned. The leaves and
foliage are taken from nature, and the general character of the entire design is Renaissance.
The subject was one which afforded much scope for imagination, and, in a measure, illustrates
some well-known lines of Gray in his ode on Eton College, the whole of which would form a
most inspiring theme for the powers of a sculptor.
We shall have occasion in future numbers to return to M. Rudolphi's works; at present we
will only add, that he most worthily sustains the high artistic character which originally marked
the productions of Carl Wagner, one of the well-known Berlin goldsmith's family who settled in
Paris, and was in great vogue there during the reign of Louis Philippe. M. Rudolphi, at that time
working at Copenhagen, entered into M. Wagner's establishment as chef d'atelier, and on the death
of his employer carried on the business of the establishment, which in his hands has been worthily
sustained. The French Government has recognized M. Rudolphi's merits by making him a chevalier
of the Legion of Honour.
It is a very great advantage for the gold and silversmiths of Paris, and indeed of the Continent
generally, that they are practical artists themselves. Thus the works proceeding from their
ateliers have the benefit of their own manual finish; and as they are constantly in communication
with men of the highest taste and education, they bring to bear on their productions an artistic
knowledge and ability which stands them in good stead. For other examples of M. Rudolphi's
workmanship in the mediasval style, the reader is referred to Plates 254 and 275.
A SILYEE VASE,
BY F. J. KUDOLPHI, PAEIS.
A T the Great Bxliibition of 1851 M. Rudolphi received a council medal, and his works were
admired as amongst the most artistic contributed by France. He fully sustained his high
reputation in 1862 ; and the Jury awarded him a medal for excellence of design and workmanship.
The noble vase of which we give an illustration was made in oxydized silver, height about 2 feet
6 inches, and valued at 25,000 francs (£1,000). It was designed by M. Stennel, and executed
under the immediate superintendence of M. Rudolphi.
The idea which has inspired the artist in his composition is an epitome of the evils which
afflict the human race : rather a gloomy subject, but which only forms a pendant to another
vase illustrative of the joys and pleasures of life. The subject commences with blind "Fortune
and Poverty; in the centre of the vase, as seen in the plate, Pride is on horseback, followed by
Envy, who seeks to drag him from his seat and to mount in his place ; Avarice grasping a bag
of gold comes next; and to him succeed Luxury and Debauch, riding on a goat, accompanied
by Drunkenness and Gluttony ; Anger follows as a Fury lashing with her scourge; Idleness lies
supine and somnolent; and then comes Disease, a veiled figure, accompanied by Death and an
executioner, who, leaning on his sword, looks with a savage leer upon his victims. Dancing
figures of children, representing the four quarters of the world, surround the neck of the vase ;
the handles spring from busts of Tragedy and Comedy; the interlaced open-worked ornament of
the lower part of the vase contains animals devouring each other; and the pedestal is enriched
with chain-like bands, with crouching figures of a man and woman imprisoned. The leaves and
foliage are taken from nature, and the general character of the entire design is Renaissance.
The subject was one which afforded much scope for imagination, and, in a measure, illustrates
some well-known lines of Gray in his ode on Eton College, the whole of which would form a
most inspiring theme for the powers of a sculptor.
We shall have occasion in future numbers to return to M. Rudolphi's works; at present we
will only add, that he most worthily sustains the high artistic character which originally marked
the productions of Carl Wagner, one of the well-known Berlin goldsmith's family who settled in
Paris, and was in great vogue there during the reign of Louis Philippe. M. Rudolphi, at that time
working at Copenhagen, entered into M. Wagner's establishment as chef d'atelier, and on the death
of his employer carried on the business of the establishment, which in his hands has been worthily
sustained. The French Government has recognized M. Rudolphi's merits by making him a chevalier
of the Legion of Honour.
It is a very great advantage for the gold and silversmiths of Paris, and indeed of the Continent
generally, that they are practical artists themselves. Thus the works proceeding from their
ateliers have the benefit of their own manual finish; and as they are constantly in communication
with men of the highest taste and education, they bring to bear on their productions an artistic
knowledge and ability which stands them in good stead. For other examples of M. Rudolphi's
workmanship in the mediasval style, the reader is referred to Plates 254 and 275.