PROCESSES AND ART MANUFAC Part II. Several enthe "Small gravers of Passion." now trying to imitate the fifteenth century? But in addition to TECHNICAL these general reasons, and others which might be brought forward against assuming that Albert Durer was his own wood-engraver, TURES. the works themselves furnish conclusive evidence, which seems to A.D. 1844. have escaped Mr. Ottley. Let any one compare the correspond- Selections. ing engravings of the same subject executed on wood and copper: we know the latter to be the work of Albert Durer himself. The copper-engravings exhibit the exquisite sensitiveness of the artist to the expression of important parts, carried sometimes to an affected exaggeration, besides the most delicate and charming finish. In the wood-cuts, on the contrary, there is oftentimes an unnecessary coarseness, with a feebleness and misunderstanding of the lines, especially in the extremities (e. g. the left hand of Adam in the Fall of Man in the present work), which prove them to be the works of bungling and ignorant awkwardness. It is impossible not to see that it was not the same hand designing and engraving. But the question is placed beyond all doubt by an examination of the cuts themselves. They show that they must have been engraved by not less than four different persons. Mr. John Thompson, by universal concurrence, the most skilful engraver which the art has yet witnessed, and therefore the best authority on all its technicalities, has examined the blocks especially with reference to this question; and he has pointed out those varieties of mechanical execution, as apparent as the varieties of different handwritings, which conclusively prove the fact contended for. The following subjects may be instanced as exhibiting the workmanship of four different artists: 1. The Scourging. 2. Jesus nailed to the Cross. 3. Jesus appearing to his Mother after his Resurrection. 4. Jesus appearing to Mary Magdalen. And the curious may refer to the blocks themselves, and be convinced, as the Editor is, that although Albert Durer designed and drew these wood-blocks, he never engraved them. ART MANU FACTURES. A.D. 1844. Jesus parting from his Mother before his sufferings. Re-engraved by Thurston Thompson. ART MANU- A.D. 1846. SUMMERLY'S ART MANUFACTURES. HE system of producing Art-Manufactures may be said to have arisen out of the prizes offered by the Society of Arts, and the Exhibitions which began in 1846 and were continued in 1847-1848. I find the following Memorandum in the handwriting of Mr. S. Davenport, the zealous accountant and main support of the Society from 1843, which describes this Tea Service. 1 "To accompany Specimens of Earthenware marked F. S. "Model of a plain and cheap Earthenware Tea Service in one Colour, consisting of Tea-pot, Basin, Milk Jug, Cup and Saucer, Plate, and Sugar Basin. "These articles have been modelled expressly for the present purpose. They could be manufactured at a very cheap rate, as cheaply as the blue articles which accompany them, marked Z. "The white earthenware set would be even cheaper. These blue articles are sent in order to demonstrate that elegant forms may be made not to cost more than inelegant ones. Of course it must be borne in mind that all forms, where the beauty depends on the ' Mr. Davenport died in 1876. 1. The Its FACTURES. Selections. truth of the lines and variety of parts, must of necessity be some- ART MANUwhat more costly than where beauty is less considered. For instance, the handle of the Tea Cup involves the making of two Part II. mouldings and two additional operations to put it on. handle. 2. The vine leaves, which are put on separately. greater cost over the simplest kind without ornament would be, perhaps, less than a farthing for each cup in wages. "The aim in these models has been to obtain as much beauty and ornament as is commensurate with cheapness. A higher standard in the ornamental parts would have led to much greater cost. "The forms in principle are new combinations of those of the best Etruscan Pottery, with ornaments at the handles, &c., superadded and designed so as not to interfere with the simplicity of the outlines. "The Cup being deep rather than wide, offers least scope for the radiation of heat and will keep the tea warm. "The Milk Pot has three lips like some articles of Etruscan Pottery, enabling the liquid to be poured at both angles, right and left, which requires only a motion of the wrist, whilst the usual method needs the lifting of the arm. The plate is smaller than usual in the rim, because much size in that part is needless. The red clay being unglazed is calculated to exhibit the forms of the Tea Pot, Sugar Basin, and Milk Pot to most advantage. The forms are sent in 'biscuit' in order to show the difference which the nature of the body or material causes in their appearance." T1 HE following is a list of the works which were produced in 1846-7-8, and exhibited at the Society of Arts Exhibitions. The Annual Exhibition of British Manufactures of 1848, included Works in Gold, Silver, Bronze, Ivory, Glass, China, Earthenware, Mosaics, Marbles, Carved Wood, Ornamental Iron and Brass Work, and was open in the Society's Large Hall during March and April, every day except Saturday. The admission was by tickets, obtained free from Members of the Society, and of the Retailers of Art-Manufactures named in the Catalogue. On Saturday, for general convenience, and especially of those who dislike crowds, admission was obtained by payment of Is. at the Society's House, in John Street, Adelphi. A descriptive Catalogue was published. Nearly one hundred Specimens of Summerly's ArtManufactures were exhibited at the Society of Arts on this occasion. |