Chapter M: Macdonald Mackintosh

PLATE 43]

ARTHUR J. GASKIN

PLATE 44]

ARTHUR J. GASKIN

PLATE 45]

FIG. B

_A. Silver Belt_
_B. Silver Necklet, set with Pearl Blisters,
Coral and Aquamarine_

FRED S. ROBINSON

PLATE 46]

FIG. B

_A. Silver Chain and Pendants set with Stones_

ISABEL McBEAN

_B. Enamelled Silver Pendant_

MINNIE McLEISH

PLATE 47]

_Silver Clasp enriched with Enamel_
ANNIE ALABASTER

_Silver Clasp inset with Enamel_
DAVID VEAZEY

PLATE 48]

EDITH PICKETT

PLATE 49]

FIG. B

FIG. C

FIG. E

FIG. D

FIG. F

FIG. G

_A, D, G. Brooches and a Cross in Gold, set with Stones_

ANNIE McLEISH

_B. Brooch in Silver and Enamels_

DAVID VEAZEY

_C. Silver Brooch with Opals_

ETHEL M. HODGKINSON

_F. Brooch in Silver, Enamel and Pearls_

NORA EVERS-SWINDELL

PLATE 50]

Designed by ARABELLA RANKIN

Executed by J. M. TALBOT

PLATE 51]

NORA EVERS-SWINDELL

_B. Two Pins in Silver and Enamel_

WINIFRED HODGKINSON

_C. Two Silver Pins set with Enamel_

ETHEL M. HODGKINSON

PLATE 52]

MODERN AUSTRIAN JEWELLERY. By W. FRED.

Critical examination of the jewellery of any particular period cannot fail to be practically a chapter of the history of culture. The popular saying: "Every time has the poet it deserves," is superficially true, yet holds within itself a certain element of falsehood, as does pretty well every commonplace proverb of the same kind. However, if the sentence be slightly modified, as it very well may be, so that it reads, "Every time has the jewellery it deserves," there will be absolutely nothing untrue about it, for the ornaments worn, whether on the dress, the hair, or the person of the wearer, have always reflected in a marked degree the taste of their period, and are very distinctly differentiated from those of any other time, so that changes in fashion imply changes of a more radical description in popular feeling.

A history of personal ornament is open to many side issues, and unfolds itself in two different--indeed, opposite--directions. Primitive savages, as is well known, wear ornaments before they take to clothes. The Fiji islanders sport gold chains round their necks, and the African negroes in their untamed state load themselves with every glittering object they can get hold of, looking upon the multiplication of ornaments as a sign of wealth. Very different, of course, is the state of civilisation of those who look upon decoration as an evidence of art culture, and care only for such ornaments as require the exercise of technical skill in their production, valuing them in proportion to the amount of that skill displayed by their craftsmen, rather than the intrinsic value of their material. The time of the Italian Renaissance is an instance of the truth of this. As has so often before been the case in the times of transition which are of inevitable recurrence, our own modern epoch is characterised by a certain unrest and confusion, in which many tendencies are contending with each other side by side, and neutralising, to a great extent, each other's effects. In America, the Tiffany company seems to aim at producing masses of precious stones, which will give primarily the impression of the great wealth of their owner and producer; whereas, in France, Lalique the jeweller endeavours rather to throw into the background the actual value of the jewels, their artistic setting being the first thing to strike the observer. We in Austria have greater leanings to France than to America, and precious stones, however great their intrinsic value, are looked upon as of quite secondary value in modern art-work to beauty of line and of colour. French influence on Austrian work cannot fail to be recognised. Its germs fell indeed on a soil of exceptional fertility, with the result that they have taken root and borne abundant fruit. It should perhaps, however, be remarked that those races who are the heirs of a strong art tradition do not need, as do others less fortunate, to prove the wealth of their inheritance by the use of lavish ornament. Their inherent artistic culture is indeed evidenced by the fact that they expect their artists to exercise their skill on materials less costly than do those who, to a certain extent, have their reputations still to make. Benvenuto Cellini had to be content to work in silver, the Americans want to have every stick or umbrella-handle to be of gold.

If we cast a glance, however hasty and cursory it may be, over the development of jewellery in Vienna, noting the forms most popular in that city in past times, it is impossible not to be struck with the way in which every historical phase of art is reflected in these forms. The favourite style with Viennese jewellers, and that in which the most effective, and at the same time the most characteristic, results have been achieved was undoubtedly the so-called _baroque_, a term originally restricted to a precise architecture or art-style alone, but now loosely applied to characterise any ornamental design of an unusual kind. It is in this half-serious, half-sportive style, with its grotesque yet bold effects and its complete freedom from convention, that the finest pieces of Austrian jewellery have been produced. At the time of the great Congress of Vienna, when the representatives of the Powers met in that city to settle the affairs of Europe after the fall of Napoleon--that is to say, about one hundred years later than the first introduction of the _baroque_ style from Italy, French work, though it was of a crude description, exercised an influence over Austrian jewellers, and what seemed like a second renaissance of the art of ornament began in Austria.

The art of jewellery in Austria remained under French influence almost until the present day--in fact, throughout the whole of the 19th century--and it has only been in the last year that Austrian art-industries have been set free from the foreign yoke which so long oppressed them, so that the true Viennese style of jewellery has but rarely come to the fore. Now at last, however, the liberating influence of the modern spirit is making itself felt in the art of jewellery, as in everything else; and every ornament produced, whether in precious stones or in enamel, bears the unmistakable impress of the distinctive psychic character of our capital city, which even foreigners do not fail to recognise. The result of this individuality is that a work of art is indissolubly bound up with the personality of its creator, and with the idiosyncrasies of the town which was its birthplace.

In Austria men wear very little jewellery, and the only noteworthy examples of ornaments made for them which can be quoted are a few rings and charms, the former perhaps adorned with designs in low-relief. The flat gold circle of the wedding-ring, which can be easily carried in the waistcoat pocket, and the engagement-ring, the psychic meaning of which is clear enough, the latter generally bearing one large diamond or other precious stone, do not afford much scope for the æsthetic feeling of their makers. A man who ventures to wear much jewellery is called old-fashioned, but there are still people who dare to sport a single great diamond or some other simple ornament on their shirt fronts. A pearl without setting, an emerald, or so-called sapphire _en cabochon_, are still frequently seen. The present fashion allowing men to tie their cravats in all manner of different styles to suit their own particular fancy, has led to the manufacture of a few varieties of scarf rings which admit of a certain amount of artistic intertwining of the gold, if it be gold of which they are made. When the making of jewellery for men is left to the unfettered imagination of the artist, he generally produces something quaintly original and fantastic, such as queer figurals, grotesque masks, comic caricatures of human or half-human figures or faces, etc.

On the other hand, there is no doubt that there is far more activity in the production of jewellery for women in Vienna than in almost any other city. The culture of our town is, indeed, essentially feminine. The graceful and witty, yet dreamy and passionate, girls and women of Vienna give to it its distinctive character. A foreigner who once spent two days only in our capital was yet able to say of it, that all through his wanderings in its streets and alleys the rhythm of female culture was sounding in his ears. The men of Vienna pride themselves more than the French, more even than the people of Northern Europe, on their women, and as a result of this pride there is sure to be plenty of beautiful jewellery of varied design to be met with in the town in which they live.

Amongst jewels and precious stones the spotless white pearl is perhaps the favourite, but, as proved at the last great Exhibition in Paris, the pale rose-coloured coral from the East runs it very close. Diamonds are still set in the old-fashioned way--that is to say, after simple designs, the best of which are copies from Renaissance or _baroque_ models. Only now and then is any attempt made to produce lightly incised representations direct from Nature of flowers, birds, or leaves. Of course, bouquets of brilliants and leaves consisting entirely of diamonds have always been easily made at any period; but what is now aimed at for that very reason is the evolution of designs which shall be essentially true to Nature, but at the same time really artistic. Crude masses of naturalistic flowers are really of no account whatever, for a bouquet of diamonds can never have the exquisite charm of a fresh, sweet-smelling bunch of real blossoms. Only a fairly good design, founded on some flower or leaf which can be satisfactorily reproduced in, and is, so to speak, _en rapport_ with, the jewels to be used, can succeed in pleasing through beauty of form alone, independently of any association. Good examples of the best style of ornament in which precious stones are used are the necklace, figured herewith, with the earrings to match, by Roset and Fischmeister. In them the natural form, which has been the motive from which the design was evolved, was the fruit and leaf of the rare plant known in Germany as the Gingopflanze. The delicate separate stems are worked in dull gold, and the way the joining is managed cannot fail to be admired, whilst the single stems are in platinum. The charm and distinction of this piece of jewellery is due above all to its beauty of form, in other words it is not the gross value of the precious stones with which it is set which makes it a worthy possession, but the skill with which the motive has been worked out.

Viennese jewellers do not use the colourless precious stones much. They generally combine jewels with enamel, and also with what they themselves call the coloured Halbedelsteine, or half-jewels, such as the agate, onyx, cornelian, and other less valuable precious stones. The modern tendency is in every case to rely upon colour and line for effect rather than upon massive form, so that the greater number of new designs, or of revived designs of the past, require for their satisfactory treatment what may be almost characterised as a new technique.

First of all, the modern buckle for the belt or girdle claims attention. The lately revived custom of wearing the blouse led, as a matter of course, to the use of the belt with a more or less ornate buckle, just as, a few years ago, the long necklace came into general use again. The young women of the present day found both all ready for use in the jewel-chests of their grandmothers. It seems likely, too, that there will presently be a revival of the costly shoulder-clasps which used to be the fashion in the time of the Empire, and if this be the case, the new fancy will probably, to some extent, oust the belt buckle from popular favour. In the designing of ornaments for the neck, art jewellers have far more scope than formerly for the exercise of their imagination, and they are disposed, to some extent, to follow the French mode, that is to say, they make necklaces flat and broad, so as to give an effect of slenderness to the throat of the wearer. It is a matter of course that combs and pins for the hair are often of very fine workmanship, showing much skill and taste on the part of their designers. Strange to say, however, even in Vienna, few rings for women of real art value are produced. In certain cases, however, the pendants in gold relief, in crystal, or in enamel, are of pleasing, though not particularly original design.

Working in enamel is of course an independent art in itself, and to begin with, I must remark that, as a general rule, beautiful as are the colour effects produced by Viennese craftsmen, it is impossible to reproduce exactly the delicate charm of the original sketches from which the designs are worked out. Very good results can, however, be obtained in what the French call _émail à jour_, or _émail translucide_, as well as in the old-fashioned opaque enamel. It would, however, be out of place here to attempt to describe the various modifications of what may now be called an international art.

Gustav Gurschner is a sculptor _par excellence_. His fingers are accustomed to moulding clay or plaster designs in such a manner as to be readily reproduced in bronze. His slim and graceful statuettes holding candles or gongs, and other artistically designed objects for household use, have all a distinctly Viennese character. His charming nude figures are full alike of childlike innocence and nervous strength, and are moreover instinct with the spiritual expression which naturally belonged to their originals. Gurschner's designs for jewellery have very much the same effect upon a true judge. The great thing distinguishing his work from that of his contemporaries is the fact that it is modelled from the living figure, not as is generally the case, from mere water-colour sketches. The difference cannot fail to strike the most superficial observer. Elsewhere, colour is often the chief consideration; with Gurschner it is form.

In modern decorative work, silver is now very largely used and appreciated. It is her skilful use of this material which has won so high a position for Elsa Unger, a daughter of the wonderfully successful etcher, Professor William Unger. Elsa Unger has a very great predilection for silver, and has attained to rare skill in expressing herself in that material. She herself knows perfectly well how to deal with it at every stage of its progress as art material. She can hammer it out and chisel it; she can engrave it, and combine with it beautiful _émail à jour_ of soft, harmonious colouring. One of the most noteworthy peculiarities of Elsa Unger's work is, indeed, her mastery of her material. She is not content, as are unfortunately most of her contemporaries, with delegating to others the working out of her designs, but she herself sees to every detail, doing all the work with her own hands. Some of her articles, such as gentlemen's studs and sleeve-links, in beaten silver, relieved with blue enamel, are alike simple and elegant, and have the rare advantage of being also cheap.

With Elsa Unger may be classed another woman worker in silver, Anna Wagner, who has produced amongst other tasteful work a beautiful silver buckle, relieved with enamel. Amongst men who have won a reputation as skilful workers in silver maybe named E. Holzinger and Franz Mesmer, who were trained in the same institution as Elsa Unger and Anna Wagner, the School of Art Craftsmanship connected with the Museum of Vienna, well known for the thoroughness of the instruction given in it. In this academy, which was thoroughly reformed a few years ago, and is now under the able direction of Baron Myrbach, the students learn to esteem skill in art craftsmanship as it deserves, and become thoroughly familiar with the materials employed in it. In the course of their training, feeling for true beauty and elegance is mixed, so to speak, with their very blood, becoming part of their natures, so that they cannot go far wrong. Look, for instance, at some of the combs made by Elsa Unger. How delicately harmonised are the beaten silver and the pale lilac-coloured enamel, and how well the gracefully curving lines of the two materials blend with and melt into each other! How chastely effective, moreover, is the way in which the leaf-motive is worked out in the pins for the hair designed by Mesmer, and what a happy thought it was to make the many-coloured half-jewels, or jewels of minor value, emerge as they do from the beaten silver. These works are, moreover, a very striking example of how necessity may sometimes become a virtue. The cheapness of material, so essential in an educational establishment, has not been allowed to detract in the very slightest degree from the beauty of the work produced; so that it is possible to have a real work of art, of which but few examples are produced, at a very low price--say from about thirty-five shillings; and that work is not a machine-made article, but one the production of which, by his or her own hand, has been a true labour of love to the designer, marking a real progress in art culture.

To the Technical Academy of Vienna the architect, Otto Prutscher, and the painter, V. Schoenthoner, also owe much, but the charm of their work consists rather in its colour than in its form. Much is to be hoped in the future from both of these talented artists, and what they have already produced proves that there has been no sacrifice of individuality, no cramping of special tendencies, such as is so much to be deprecated elsewhere, in the training they have received.

Otto Prutscher's necklaces and rings are remarkable alike for the beauty and harmonious variety of their colouring. He uses enamel to a great extent, and also quite small precious stones. Very uncommon, too, is the way in which he employs metal, though only enough of it to hold the enamel in its place. It would appear as if the artist had in his mind a vision of the women who are to wear his work, who are too tender and frail to carry any weight, so that the use of much metal in ornaments for them would be quite unsuitable. For a Salome or a Queen of Sheba that sort of thing is scarcely appropriate--but it is done for the softly nurtured Mignonne of the present day. The little coloured pins designed by F. Schoenthoner are also noticeable for their elegance and suitability for the purpose for which they are intended.

A word of unstinted praise must be accorded to the graceful designs of the talented Fräulein Eugenie Munk, whose skill and good taste have been devoted to the production of a great deal of very beautiful and refined jewellery.

I have already spoken of the work in diamonds of Roset and Fischmeister, and I should like to refer to those two master craftsmen again in connection with some of their figural ornaments, such as buckles for belts, rings, studs for shirt fronts and cuffs, etc., worked in dull or bright gold, all of which I consider worthy to be spoken of as Viennese works of art. The different masks on the studs, each with its own individual expression, really display quite remarkable talent in their designer, for they are not only thoroughly artistic but most amusing studies in physiognomy. Unfortunately it is impossible to give in reproductions of such work any true idea of the subtle manner in which the blue-green colours of the enamels, the gleaming white of the diamonds, and the pearly opaline tints of the moonstones, harmonize with each other and with the gold of their setting in the beautiful necklaces of Messrs. Roset and Fischmeister. The watch-chains for men, with their finely-modelled and characteristic ornaments, manufactured by the firm of F. Hofstetter, must also be mentioned on account of the skill with which the links are interwoven. The pendant is designed from a sketch made by Professor Stephan Schwartz. Two other designs from the same firm show very considerable skill.

Very interesting is the way in which the materials are combined in the belt-buckles by Franz Hauptmann. The water-lily buckle is of greenish gold, and the enamel, which is of the translucid variety, is also of a green hue, as are the onyx stones worked into the design. The motive is the flower and seed of the water-lily, and from the water, represented in enamel, rise up the delicate flowers in the same material of a snowy whiteness.

An examination of the sketches of designs for jewellery, reproduced here, cannot fail to bring one fact forcibly before the mind. Mechanical repetition is most carefully avoided, and as a result every example retains its own unique charm--the mark of the artist's hand.

W. FRED.

_Scarf Pin_
V. SCHÖNTHONER

_Scarf Pin_
V. SCHÖNTHONER

_Scarf Pin_
V. SCHÖNTHONER

_Silver Brooch with Enamel_
F. MESMER

_Pendant in Gold, Enamel and Pearls_
OTTO PRUTSCHER

_Silver Brooch with Enamel_
JOSEF HOFSTETTER

_Scarf Pin_
V. SCHÖNTHONER

_Head of Scarf Pin_
V. SCHÖNTHONER

_Head of Scarf Pin_
OTTO PRUTSCHER

_Silver Brooch with Enamel_
F. MESMER

_Gold Brooch with Enamel_
OTTO PRUTSCHER

PLATE 1.]

ROSET & FISCHMEISTER

PLATE 2]

ROSET & FISCHMEISTER

PLATE 3]

FRANZ HAUPTMANN

PLATE 4]

FIG. B

FIGS. C & D

_A. Silver Pendant and Chain_
The Chain by J. HOFSTETTER
The Pendant by PROF. SCHWARTZ

_B. A Comb in Silver and Horn_
J. HOFSTETTER

_C and D. Gold Pendants set with Precious Stones_
OTTO PRUTSCHER

PLATE 5 ]

OTTO PRUTSCHER

PLATE 6]

FIG. B

FIG. C

_A. Belt and Silver Clasp_
EMIL GRINGOLD

_B and C. Silver-mounted Combs_
ELSA UNGER

PLATE 7 ]

_Necklace_ E. HOLZINGER & ELSA UNGER
_Threefold Clasp, Upper Central Clasp_ E. HOLZINGER & F. MESMER
_Large Twofold Silver Clasp_ ANNA WAGNER
_Brooches and Links_ E. HOLZINGER, E. UNGER & A. WAGNER

PLATE 8]

MODERN GERMAN JEWELLERY. BY CHR. FERDINAND MORAWE.

My opportunities of surveying the German jewellery market, and of making acquaintance with the ins and outs of the jewellers' business, have been limited; but it is certain that both are flourishing; at least, the German jewellers do not look as if they starved! Moreover, the demand for precious ornaments seems to increase year by year, and the display in the jewellers' windows grows more and more luxurious, as is the case with most other businesses. Nobody will store superfluous and unmarketable goods, least of all the jeweller, who is always a business man. You will be thoroughly aware of this fact if you start discussing art with him. He is cautious and suspicious of anything in the shape of novelty. He seems to say to himself: "This artist has ideas; he wants to show something new; but we cannot agree with these ideas, for we do not know if we shall be able to do business." This is a great pity, for the trade in women's ornaments offers more artistic scope than almost any other. It is not enough nowadays just to set some nicely polished stones neatly, or to be so lavish of material that the ornament produced represents an immense value; for the result will probably be something not at all artistic. Indeed, this generally occurs. The lot of the artist who designs women's ornaments is not a happy one, and it is almost like a message from heaven when a jeweller tells him that he will really condescend to carry out an original design. Even then he must sometimes put up with the fact that his design, which was intended for one person or purpose only, is repeated, like a manufactured article, a hundred and a thousand times again.

Happily there are some artists in Germany, as in England, France, and Belgium, who are above the fashion, and whose artistic individuality is so strong that they are bound to succeed in other spheres of art as well as in that of women's jewellery.

Two of the first to show activity in this direction were the Berlin artists, Hirzel and Möhring. Both chose for their ornaments the same manner and methods which Eckmann and his fellow-workers had previously employed in decorative art; they adhered as closely as possible to simple natural plant-forms, especially Hirzel. Thallmayr, of Munich, is still working in the same style, but with more individuality than Hirzel. Thallmayr will certainly spend his life studying the leaves and blossoms of the trees and the flowers in his garden, while the other will doubtless produce new results, departing somewhat from the real forms of nature. Möhring's works already showed this tendency when he produced them nearly at the same time as Hirzel his. Subsequently these artists were occupied less with women's ornaments than with other things coming within the category of decorative art,--this owing to lack of intelligence and enterprise on the part of the jewellers and manufacturers. Tables, chairs, and other necessary household articles found a much wider market. But we are now dealing exclusively with women's ornaments. Two circumstances in this connection are very strange. In the first place, it seems that the artists of the present time (I speak of Germany) are not successful in designing finger-rings. Here and there one sees an attempt made to design characteristic shapes, but the sphere of the ring is so confined that nobody has succeeded in producing anything really elegant and novel. Mostly one sees extravagant examples, of confused design. The second peculiar fact is, that one very seldom finds an artist devoting himself to designing earrings. The whole artistic movement in relation to women's ornaments is still somewhat puerile. This may be recognised by the absence of the ear-ring, that most superior ornament, which, unlike all others, has an independent language of its own. Although in the list of female ornaments the clasp and the brooch occupy the foremost place, the pendant for the breast should not be forgotten. The mission of the pendant is to show by its fancy and its tastefulness how and in what degree the German is distinguished from the Englishman and from the Frenchman.

I will mention in this connection two artists living in Germany who are not Germans, but by their manner of life and work might be such. Both these artists, in their several ways, will exercise great influence on the development of our ornaments. I refer to Van der Velde and Olbrich. It is well known that the first is a Belgian, while the other is a foreigner, inasmuch as he comes from Austria.

Olbrich's pendants and pins are very characteristic. He takes a hammered gold-plate, enriches it with precious stones and enamel, and adds a rim set with long pearls. It is easy to see that he is fond of rummaging among the treasures of the old cathedrals and convents; he knows the secret of their effect, and, besides this, he has an extraordinary talent for inventing new things himself. His jewellery is the best we have now in Germany, because it is superior to fashions and periods. His jewels are pure, thoughtful works of art. When worn, they produce a most sumptuous effect; but their richness has nothing tawdry about it. These jewels show us how we ought to deck our wives, both at home and at the theatre; moreover, they suggest things fit for the lady superiors of religious orders, for abbesses, even for our queens. They show us too how our burgomasters' chains, with their insignificant crosses and stars, might be improved. These ideas are perhaps at present as intangible as a beautiful dream, but that is no reason why we should not indulge our fancy in this direction. For the moment, however, we must be satisfied if the jeweller is inclined to carry out our designs.

Looking further among our artists, we find Karl Gross, of Dresden. Mr. Gross, who formerly lived in Munich, delighted us while there with a good many beautiful designs for jewellery. He produced not only female ornaments, but also paper-cutters, seals, and so on. He always displayed good taste and a fine sense of form, having, like Olbrich, the capacity to carry out his designs quite independently, without consideration of his predecessors' effects. A hair-pin of Gross's may be regarded as quite an independent work, although it relies on an old tradition. Those artists, indeed, show the most freedom who have adapted the beautiful examples of past generations.

Examining our new jewellery, we find very little work which has the appearance of having been done by a strong hand. Most of it in time becomes unbearably monotonous. Still, it is something that we in Germany have at least two artists who design in so fresh and characteristic a manner that their works are always looked at with the greatest interest. I already have mentioned them--Olbrich and Van der Velde--and I fall back again upon them, though I have already taken them in consideration.

We have other artists, too, who follow sound principles in other branches of decorative art. One of the most individual of these is Riemerschmid, of Munich. Others there are who are nearly on the right way, but whose personal artistic sense is not broad enough to make them produce something really good. This general mention is, therefore, all their work demands.

In addition to finger and earrings our jewellery artists are responsible for other objects, such as the bracelet, the watch, and the fan. I think it is very difficult to rescue the bracelet from conventionality. We must hope the best for the future. But what about watch-cases, especially those of ladies' watches? This art is quite neglected, not so much by the manufacturers as by the artists. At this year's Darmstadt Exhibition there were two watches displayed. One of them had the case enamelled, if I mistake not, in the form of a chrysanthemum, and on the other was modelled the figure of one of the "Fates." The effect of the chrysanthemum watch was fairly good, but the less said about the "Fate" the better. Why is it not possible to design an ornament with taste and furnish it with precious stones and enamel? It is the greatest pity that our sculptors have no imagination. Having arrived at the determination to think of a watch, the artist has no idea beyond depicting one of the "Fates" with the thread and the scissors. I said just now that the watch was neglected less by the manufacturers than by the artists. Nowadays you may find watches indeed with gaily-coloured cases, but the decorations are miserable, like everything else that is invented by the manufacturers. They don't want to pay a good price for the artist's sketch, and they are proud of the inspiration of their own Muse. In this case one cannot avoid the conclusion that the artists are themselves to blame for their neglect of this branch of the jeweller's art.

THE condition of affairs with regard to the fan is also very astonishing. Why do our artists not supply our ladies with nice fans? Please do not confound "nice" with "precious." The fan as we know it now is so utterly "played out" that scarcely anything can be done with it. New arrangements of the feathers are invented; the handle is trimmed in different ways; new materials are used, but a really new and artistic idea cannot be devised. Titian's "Lady with the Fan" is admired; the fan is known very well, but nobody thinks of making use of it. Meanwhile another kind of fan is being more and more extensively employed. I refer to the palm-leaf of the Japanese and the Chinese. People are very fond of being fanned by these leaves, but nobody observes their artistic possibilities. An artist who can afford to be independent of mere fashion is therefore wanted to give new life to the fan. Such an artist will win lasting success.

FIG. B

_A. Collar Ornament in Gold, Enamel, Onyx, and Brilliants_

_B. Collar Ornament in Gold, Enamel, and Brilliants_

ROBERT KOCH

PLATE 1]

_Silver Pendant, set with Bloodstones and a large Pearl_ Executed by D. & M. LOEWENTHAL

PLATE 2]

_Gold Pendant set with Amethysts and Pearls_ Executed by D. & M. LOEWENTHAL

Both designed by J. M. OLBRICH

PLATE 3]

Designed by HERMANN R. C. HIRZEL

Executed by LOUIS WERNER

PLATE 4]

Designed by THEODOR VON GOSEN
Executed by "VEREINIGTE WERKSTAETTEN," MUNICH

PLATE 5]

Designed by BRUNO MÖHRING
Executed by F. H. WERNER

PLATE 6]

_A and C. Gold Pendants set with a Turquoise_
_B. Gold Pendant set with Turquoises and Moss-Agates_

CHR. FERDINAND MORAWE

PLATE 7]

FIG. B

_A. Silver Brooch set with Turquoise and Enamel_

Executed by THEODOR FAHRNER

_B. Gold Pendant set with Pearls and Sapphires_

Executed by D. & M. LOEWENTHAL

Both designed by JOSEPH M. OLBRICH

PLATE 8]

MODERN BELGIAN JEWELLERY AND FANS. By F. KHNOPFF.

Recent _Salons_ in Belgium have been notoriously unsuccessful, and it cannot be disputed that the public is becoming less and less interested in the large exhibitions of Fine Arts. Notable artists have been conspicuously absent; new works have been as scarce as old ones have been abundant; and, lastly, the general arrangements have been altogether lacking in attractiveness. Despite the violent opposition of interested persons, official and otherwise, the type of display started some time ago in Brussels by the "XX" club, and continued by the "Libre Esthétique" and "Pour L'Art" societies, has succeeded in attracting the attention of _connoisseurs_ and art lovers generally, with, apparently, every prospect of retaining it.

The combination of works of painting and sculpture with the most exquisite productions of ceramic art, glass-ware, and all that is most delicate in jewellery and goldsmith's work, adds a special attraction to these exhibitions, which are always looked for with the utmost interest. It is, indeed, the jewellers, who, among all our Belgian art workers, have succeeded in making themselves and their productions the best known and most widely appreciated; the more so as in their case one was able to compare their works closely and determine their relative merits. It may truly be said that their most notable characteristic is diversity--a diversity which is shown, not only by the amateurs, so to speak, but also among the professionals.

No remarks on Belgian sculpture--particularly in its decorative sense--are complete without mention being made of Charles Van der Stappen. True, he has executed but a small number of detached ornaments, but in the arrangement of the hair in his exquisitely fanciful busts he has lavished a wealth of fine modelling, the influence of which is still widely felt.

In the works of M. Paul Dubois we discover the sculptor modelling the details of his buckles and clasps as he would so many powerful muscles. M. Fernand Dubois seems to be a _chercheur_ of a more subtle kind; but this very excess of ingenuity sometimes mars the plastic effect of his jewels.

From Victor Rousseau we have had so far nothing more than a gold bracelet. The subject is quite simple--two hands holding a pearl; but the work is in every way worthy of the young Brussels artist, whom I regard as one of the most remarkable personalities in the domain of contemporary Belgian sculpture.

The decorator Van de Velde, who has left Brussels, and is now settled in Berlin, exhibited at some of the "Libre Esthétique" _salons_ a series of jewels remarkable for their firm and consistent construction.

The jewels displayed recently by M. Feys are distinguished by grace and felicitous appropriateness; but even more striking is the perfection of their execution, which is really extraordinary in its suggestion of suppleness.

Other jewels displayed recently at the "Libre Esthétique" by M. Morren and Mlle. de Bronckère also deserve notice.

In the course of a very interesting study on M. Ph. Wolfers, M. Sander Pièrron, the sagacious Brussels critic, thus described the work of this remarkable specialist in the "Revue des Arts Décoratifs":--

"M. Wolfers seeks his inspiration in the study of the nature and the forms of his marvellous domain, and his vision of things is specially defined in his jewels. The detail therein contributes largely to the spirit of the entire work, which borrows its character from the decoration itself or from the subject of that decoration. He never allows himself to stray into the regions of fancy; at most, he permits his imagination to approach the confines of ornamental abstraction. Nevertheless, he interprets Nature, but is never dominated by it. He has too true, too exact a sense of the decorative principle to conform to the absolute reality of the things he admires and reproduces. His art, by virtue of this rule, is thus a modified translation of real forms. He has too much taste to introduce into the composition of one and the same jewel flowers or animals which have no parallel symbol or, at least, some family likeness or significance. He will associate swans with water-lilies--the flowers which frame, as it were, the life of those grand poetic birds; or he will put the owl or the bat with the poppy--that triple evocation of Night and Mystery; or the heron with the eel--symbols of distant, melancholy streams. He rightly judges that in art one must endeavour to reconcile everything, both the idea and the materials whereby one tries to make that idea live and speak. Inspired, doubtless, by the fact that the ancients chose black stones for the carving of the infernal or fatal deities, M. Wolfers uses a dark amethyst for his owls, which gives them a special significance. The Grecians used the aqua-marina exclusively for the engraving of their marine gods, by reason of its similarity to the colour of the sea, just as they never carved the features of Bacchus in anything but amethyst--that stone whose essence suggests the purple flow of wine."

M. van Strydonck expresses himself to me in the following terms on the subject of his art:--

"I am of opinion that the jewel can be produced without the aid of stones, enamels, etc. I do not exclude them entirely, but they should not be used unless it be to give the finishing touch, or occasionally to relieve an _ensemble_ lacking in vigour of colour. My preference is for oxydations, for in general effect they are more harmonious to the eye, and by careful seeking one can find all the tones required. I think you will share my opinion that it is much easier to use enamels, by means of which one's object is instantly attained. Yet it is seldom one produces a beautiful symphony of colour. Enamel can only be employed in small quantities. Why? Because, in the first place, he who uses it must have a profound knowledge of colours and a special colourist's eye; he must remember, moreover, that he is appealing to a _clientèle_ composed principally of ladies, who in most cases regard the jewel simply as a means to complete such and such a toilette.

"It seems to me, indeed," continues M. van Strydonck, "that translucent enamel is the most suitable because it simply serves as an auxiliary--a basis necessary to the completion of the _ensemble_--and adds value to workmanship and design; and there is nothing to prevent its alliance with the beautiful oxydations which come almost naturally from gold."

Note how, little by little, enamel is being abandoned in favour of stones, such as onyx, agate, and malachite, materials of no special value, which can be cut in different ways, and whose colour gives fine effects infinitely preferable to those of inferior enamels.

Of course, I do not despise the fine stone, which, by its bold colour, often relieves the work, but this is not altogether the object of the jewel, unless profit be the sole object of the maker; and I ought to add that the revival of the jewel in recent years has not been favourably regarded by certain firms, who saw therein a distinct diminution of gain, the fact being that their large stock of fine stones--beautiful in themselves, but out of place in works such as I have mentioned--threatens to remain on their hands.

One cannot truly say that Belgian _eventaillistes_ exist, for it is only very occasionally that such water-colour painters as MM. Cassiers, Stacquet, and Uytterschaut carry out their delightful landscapes and seascapes in the shape required for a fan.

Something has been done in lacework in connection with the fan, and on this point I should mention in terms of praise M. Van Cutsem, a Brussels designer, who has made numerous models for M. Bart and M. Sacré, amongst which may be noted several happy experiments in the direction of the "modern style."

To conclude, let me refer to the lace by Mlle. Bienaimé, admirably mounted by M. Goosens, of Brussels.

(_Belgian_)

A FAN PAINTED ON SILK

BY

H. CASSIERS.

PLATE 1]