DOI Page / Citation link:
https://doi.org/10.11588/diglit.1397#0161
PLATE 46.
ENAMELLED WARE,
BY C. CRISTOFLE & CO., PAEIS.
/^\F all the decorative processes which have been revived of late years through the enterprise
and good taste of the French manufacturers, not one has been more judiciously applied
and adapted to its purpose than the art of enamelling.
The earlier specimens of this class which emanated from the ateliers of Sevres, and those of
Messrs. Froment Morice, 0. Wagner, Morel, and others, were all more or less in the Renaissance
style, and were generally designed in imitation of the Limoges work of the 16th century. In the
present Exhibition, M. Barbedienne contributed magnificent examples in the Byzantine style, and
M. Cristofle shows in the accompanying subjects how well adapted the Moorish style is for this
purpose; indeed, to our mind, there is no style so fitted for enamel-work, from the essentially
flat character of the design, its apparent complexity, yet real simplicity of pattern, and its
adaptability for varied application of colour. All the pieces exhibited were executed on silver,
and presented a rich and harmonious appearance, unrivalled by anything of the kind in the
Exhibition. M. Cristofle, who is so well known for his application of the electrotype process
(see Plate 192), received gold medals at Paris in 1844 and 1849 ; a prize medal at London,
1851; a great medal of honour, in 1855; and a medal in 1862 : he is also a chevalier of the
Legion of Honour.
Among the important works exhibited by M. Cristofle we would put on record, besides the
.subjects we have illustrated, his statues of "The Spring of Life," by Maillet, a life-size female
figure, electro-silvered, with the drapery gilt; a fawn and goat, by Fesquet, in oxydized bronze;
and small figures of gladiators, by Gerome, modelled and coloured by the artist himself. These last
struck us as the most remarkable specimens of artistic treatment of a particular type to be found
in all the bronzes d'art exhibited. Among the table services, most notable were the Celadon vases,
with seated allegorical figures at the base, forming part of 100 covers for the Emperor's table,
commemorative of his journey through the North of France in 1854. A tazza and vase in silver,
illustrative of agriculture, given by the Emperor as a prize for agricultural competitions. Two
little fawns, standing on tortoises, parcel gilt, formed into candlesticks, peculiarly pretty and
well composed. And, finally, the great centre piece of a dessert service, in the Pompeian style,
for Prince Napoleon. In the middle of this rose a square column, from which hung pendent lamps,
and at the base were grouped the nine Muses, represented by Cerito as Terpsichore, Brohan as
Clio, Stolz as Euterpe, Delphine Girardin as Calliope, Doze as Erato, Augustine Brohan as Polhymnia,
Georges Sand as TJrania, Arnould Plessy as Thalia, and Pachel as Melpomene. The heads, hands,
and feet of these statues were all of ivory, coloured after the life, and they rested on porcelain
pedestals. The design was by Dieterle. They were beautifully executed by M. Barre, under the
superintendence of M. Rossigneux, the architect by whom the Pompeian house of the Prince was
built. For the Prince's use also, M. Cristofle executed a breakfast service in enamel, one piece
of which is given in our illustration.
A vase and plateau, enamelled in the same style by M. Rouvenat, are given in Plate 70:
these also belonged to Prince Napoleon.
ENAMELLED WARE,
BY C. CRISTOFLE & CO., PAEIS.
/^\F all the decorative processes which have been revived of late years through the enterprise
and good taste of the French manufacturers, not one has been more judiciously applied
and adapted to its purpose than the art of enamelling.
The earlier specimens of this class which emanated from the ateliers of Sevres, and those of
Messrs. Froment Morice, 0. Wagner, Morel, and others, were all more or less in the Renaissance
style, and were generally designed in imitation of the Limoges work of the 16th century. In the
present Exhibition, M. Barbedienne contributed magnificent examples in the Byzantine style, and
M. Cristofle shows in the accompanying subjects how well adapted the Moorish style is for this
purpose; indeed, to our mind, there is no style so fitted for enamel-work, from the essentially
flat character of the design, its apparent complexity, yet real simplicity of pattern, and its
adaptability for varied application of colour. All the pieces exhibited were executed on silver,
and presented a rich and harmonious appearance, unrivalled by anything of the kind in the
Exhibition. M. Cristofle, who is so well known for his application of the electrotype process
(see Plate 192), received gold medals at Paris in 1844 and 1849 ; a prize medal at London,
1851; a great medal of honour, in 1855; and a medal in 1862 : he is also a chevalier of the
Legion of Honour.
Among the important works exhibited by M. Cristofle we would put on record, besides the
.subjects we have illustrated, his statues of "The Spring of Life," by Maillet, a life-size female
figure, electro-silvered, with the drapery gilt; a fawn and goat, by Fesquet, in oxydized bronze;
and small figures of gladiators, by Gerome, modelled and coloured by the artist himself. These last
struck us as the most remarkable specimens of artistic treatment of a particular type to be found
in all the bronzes d'art exhibited. Among the table services, most notable were the Celadon vases,
with seated allegorical figures at the base, forming part of 100 covers for the Emperor's table,
commemorative of his journey through the North of France in 1854. A tazza and vase in silver,
illustrative of agriculture, given by the Emperor as a prize for agricultural competitions. Two
little fawns, standing on tortoises, parcel gilt, formed into candlesticks, peculiarly pretty and
well composed. And, finally, the great centre piece of a dessert service, in the Pompeian style,
for Prince Napoleon. In the middle of this rose a square column, from which hung pendent lamps,
and at the base were grouped the nine Muses, represented by Cerito as Terpsichore, Brohan as
Clio, Stolz as Euterpe, Delphine Girardin as Calliope, Doze as Erato, Augustine Brohan as Polhymnia,
Georges Sand as TJrania, Arnould Plessy as Thalia, and Pachel as Melpomene. The heads, hands,
and feet of these statues were all of ivory, coloured after the life, and they rested on porcelain
pedestals. The design was by Dieterle. They were beautifully executed by M. Barre, under the
superintendence of M. Rossigneux, the architect by whom the Pompeian house of the Prince was
built. For the Prince's use also, M. Cristofle executed a breakfast service in enamel, one piece
of which is given in our illustration.
A vase and plateau, enamelled in the same style by M. Rouvenat, are given in Plate 70:
these also belonged to Prince Napoleon.