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  • The Freemasons' Monthly Magazine
  • June 27, 1863
  • Page 7
  • ON THE ART COLLECTIONS AT SOUTH KENSINGTON, CONSIDERED IN REFERENCE TO ARCHITECTURE.
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The Freemasons' Monthly Magazine, June 27, 1863: Page 7

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    Article ON THE ART COLLECTIONS AT SOUTH KENSINGTON, CONSIDERED IN REFERENCE TO ARCHITECTURE. ← Page 3 of 3
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On The Art Collections At South Kensington, Considered In Reference To Architecture.

ation many special branches of art , in many respects as important as those we have touched upon ; the objects in the various categories of mosaics , marqueterie or intarsiatura work , wood carving , in innumerable applications , ¦ especiall y as here illustrated in the fine series of Italian carved furniture ; the cassoni , chairs , cabinets , & c .: then again the works in metal , of iron and monumental bronze , illustrations

of the various processes of repousse work , ¦ chiselling , damascene work , niello , & c , painted glass and -enamels ; processes and productions , in short , without number . I eau but alude to them in order to dismiss 'them from our consideration ; and in doing so I am conscious that my lecture to-night has been but au irregular and spasmodic attempt to grasp a subject too vast to be

treated Avithin such limits . In conclusion , then , I will ask your permission to dwell for a very brief space on the ¦ on the subject of Italian ceramic wares ; and in particular ¦ on those enamelled terra cottas , as one which has for raany . years specially engaged my attention . Our collection of Majolica and Delia Robbia wares is undoubtedly -the most important in existenceI do not separate the

. -two classes of productions , because they are in fact only different manifestations of the same art . We have , indeed , a most important and unique series of works painted on the flat , in the manner of Majolica plates , by Luca della Robbia himself ; I allude to tiie twelve large ¦ circular medallions from the Campana collection representing impersonations of the twelve months , and which

there is little doubt were portions of the famous ceiling -of the writing-cabinet of Cosmo de Medici , particularly mentioned by Vasari . My travelled hearers will here , -doubtless , be reminded of the bacili or circular painted -plates let into the walls and campaniles of so many ancient Italian churches . Now , what an admirable suggestion does this adaptation of ceramic art alone offer to

us ? In what a variety of ways might we decorate not exterior facades , but also the ceilings and interior walls ¦ of our buildings with enamel-painted pottery and terracotta relievi . ! ' Amongst the Majolica wares , what beautiful types both an design and execution may we not find for decoration of this kind : take note of the lendid lustred lates

sp p , which might now be so readily and so cheaply repro-¦ duced : what magnificent effects might not the curved surfaces of such brilliant Avares , concave or convex as the 'Case might be , be made to produce , gleaming in the ¦ rays of the sun , like diamonds , rubbies , and emeralds . Why should we not have rich architecture jewelled , as it Avere , with such novel ornaments ? And then ,

considering the Della Robbia Ware proper , what a field is "there here ! Why should not details of every kind be executed in this durable material , —doorways , pilasters , friezes , decorative medallions , & c , to any extent ? The incrustation of precious marbles , which we see iu Italy ; the panels of porphyry , serpentine , & c . ; might be imitated or rather superseded by the still more brilliant coloured surfaces of enamelled earthenware .

Not that the improved technical processes at the command of the modern potter have as yet carried enamelled terra-cotta work further than of old ; the technical perfection of tho Delia Robbia wares , indeed , is not their least remarkable characteristic : let me point to the huge medallion , 11 feet in diameter , so conspicuous an object in the north court of the Museum , displaying the arms

and devices of King Rene , of Anjou , within a noble border of fruit and foliage : this magnificent specimen , doubtless , from the hand of Luca himself , till within the last few years , had remained in its original position on the exterior of a villa , in the neighbourhood of Florence , ever since the period of its execution , —at least four hundred years ; and except where it has been wilfull

y or accidentally damaged , it is literally as perfect as the day it was made ; and the climate of Florence is , I believe , quite as inimical to the preservation of such works as that of England ; the extremes of heat and cold are , indeed , much greater than in this country . But our

On The Art Collections At South Kensington, Considered In Reference To Architecture.

modern English Delia Robbia wares as yet do not give promise of such absolute durability . Our practical potters , in fact , should come aud study the works of Della Robbia in . our Museum , technically and scientifically , just as architects and art-workmen should take them into consideration from the point of view of art .

We should note , for instance , what exquisite and appropriate qualities of glaze , texture of surface , and colour these old wares present : so different from the glaring whiteness and crude glossy enamels of their modern imitators . In the original specimens the white glaze is subdued to a beautiful creamy grey tint , in order that it should not contrast too vividly with the surrounding

stonework of the wall in which it was to be inserted : all the other colours , moreover , especailly the blue , are broken and subdued in like manner ; and for the same reason the enamel glaze is mat rather than too bright , the white having all the full rich texture of which it was designed to imitate . Fine specimens of Della Robbia warein shortare models of ceramic excellenceas much

, , , superior to their modern imitators in technical respects as they are as worksof art . The true secret of this excellence is that the great Florentine artist knew exactly what he wanted ; he knew the precise qualities he wished to produce ; whereas our

modern imitators , both here and abroad , are floundering about for want of his refined judgment and intelligence in art , aud not because they are uuable to master technical difficulties . I must now bring my lecture to a close : from what I have said it will , I hope , be gathered that I also , in the appropriate and suggestive words of your president , am

au advocate " for a free and scholarly art , " —for a proper use of the glorious legacy of the past ; aud I feel that we are on safe ground in commending to all , both lay and professional men , the objects and efforts of a society like the architectural Museum—inasmuch as the aim and efforts of that institution are alike definite aud practical ; its action and the spirit which animates its

its energetic supporters , moreover , eminently healthy ; a spirit especially characteristic of this free country , and scarcely possible elsewhere . . In endeavouring to illustrate the bearing which the more extensive and important Art-Collection of the Architectural Museum also housed within these walls , I have bno means insensible to the factthis collection

y , created , and mainly sustained , as it has been , by individual or private zeal and devotion to the cause of arteducation , is by no means the least useful feature of the great assemblage of monuments of art which have already made South Kensington one of the chief artcentres of the world .

Masonic Notes And Queries.

MASONIC NOTES AND QUERIES .

AKK , HAKK , LINK , AND EOYAX . AliCH . The New York papers sometimes indulge in a little Masonic enquiry a specimen of Avhich , relating to the Ark , Mark , Link , aud Royal Arch , I enclose . —Ex . Ex . THE CATITUIAE DE & EEES . Of late years the opinion has been frequently expressed , that the " Mark" originally constituted a portion of the Fellowcraftand the " Eoyal Arch " of the Master ' degreeThis

, s . theory is , we think , erroneous , as we shall presently show . The Boyal Arch degree was first introduced into the Grand Lodge of " Ancient" or seceding Masons of England , by Lawrence Dermott , in the year 174-i , or very shortly after that date ; no doubt , principally , for the reason of attracting candidates , and of building up their organisation . It was based on Rain' s continental degree of Eoyal Archthe wholewhich at

say , , was first given , as an introduction to the English degree , and was at that time conferred only on those who had actually passed the chair . About the year 1773 , Dunckerley , who it seems was in the habit of visiting the ancient lodges , induced the Grand

“The Freemasons' Monthly Magazine: 1863-06-27, Page 7” Masonic Periodicals Online, Library and Museum of Freemasonry, 28 May 2025, django:8000/periodicals/mmr/issues/mmr_27061863/page/7/.
  • List
  • Grid
Title Category Page
THE HIDDEN MYSTERIES OF NATURE AND SCIENCE.—PART 3. Article 1
ARCHITECTURE, ITS PURPOSE AND PLACE AMONGST THE ARTS. Article 2
ON THE ART COLLECTIONS AT SOUTH KENSINGTON, CONSIDERED IN REFERENCE TO ARCHITECTURE. Article 5
MASONIC NOTES AND QUERIES. Article 7
CORRESPONDENCE. Article 8
BOOK OF CONSTITUTIONS. Article 9
THE MASONIC MIRROR. Article 10
THE BOYS' SCHOOL. Article 10
THE GIRLS' SCHOOL. Article 10
METROPOLITAN. Article 10
PROVINCIAL. Article 10
SCOTLAND. Article 13
AUSTRALIA. Article 13
ROYAL ARCH. Article 16
FRIENDSHIP. Article 16
THE QUEEN AND THE SCOTCH FREEMASONS. Article 16
Poetry. Article 17
THE WEEK. Article 17
TO CORRESPONDENTS. Article 20
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Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.

On The Art Collections At South Kensington, Considered In Reference To Architecture.

ation many special branches of art , in many respects as important as those we have touched upon ; the objects in the various categories of mosaics , marqueterie or intarsiatura work , wood carving , in innumerable applications , ¦ especiall y as here illustrated in the fine series of Italian carved furniture ; the cassoni , chairs , cabinets , & c .: then again the works in metal , of iron and monumental bronze , illustrations

of the various processes of repousse work , ¦ chiselling , damascene work , niello , & c , painted glass and -enamels ; processes and productions , in short , without number . I eau but alude to them in order to dismiss 'them from our consideration ; and in doing so I am conscious that my lecture to-night has been but au irregular and spasmodic attempt to grasp a subject too vast to be

treated Avithin such limits . In conclusion , then , I will ask your permission to dwell for a very brief space on the ¦ on the subject of Italian ceramic wares ; and in particular ¦ on those enamelled terra cottas , as one which has for raany . years specially engaged my attention . Our collection of Majolica and Delia Robbia wares is undoubtedly -the most important in existenceI do not separate the

. -two classes of productions , because they are in fact only different manifestations of the same art . We have , indeed , a most important and unique series of works painted on the flat , in the manner of Majolica plates , by Luca della Robbia himself ; I allude to tiie twelve large ¦ circular medallions from the Campana collection representing impersonations of the twelve months , and which

there is little doubt were portions of the famous ceiling -of the writing-cabinet of Cosmo de Medici , particularly mentioned by Vasari . My travelled hearers will here , -doubtless , be reminded of the bacili or circular painted -plates let into the walls and campaniles of so many ancient Italian churches . Now , what an admirable suggestion does this adaptation of ceramic art alone offer to

us ? In what a variety of ways might we decorate not exterior facades , but also the ceilings and interior walls ¦ of our buildings with enamel-painted pottery and terracotta relievi . ! ' Amongst the Majolica wares , what beautiful types both an design and execution may we not find for decoration of this kind : take note of the lendid lustred lates

sp p , which might now be so readily and so cheaply repro-¦ duced : what magnificent effects might not the curved surfaces of such brilliant Avares , concave or convex as the 'Case might be , be made to produce , gleaming in the ¦ rays of the sun , like diamonds , rubbies , and emeralds . Why should we not have rich architecture jewelled , as it Avere , with such novel ornaments ? And then ,

considering the Della Robbia Ware proper , what a field is "there here ! Why should not details of every kind be executed in this durable material , —doorways , pilasters , friezes , decorative medallions , & c , to any extent ? The incrustation of precious marbles , which we see iu Italy ; the panels of porphyry , serpentine , & c . ; might be imitated or rather superseded by the still more brilliant coloured surfaces of enamelled earthenware .

Not that the improved technical processes at the command of the modern potter have as yet carried enamelled terra-cotta work further than of old ; the technical perfection of tho Delia Robbia wares , indeed , is not their least remarkable characteristic : let me point to the huge medallion , 11 feet in diameter , so conspicuous an object in the north court of the Museum , displaying the arms

and devices of King Rene , of Anjou , within a noble border of fruit and foliage : this magnificent specimen , doubtless , from the hand of Luca himself , till within the last few years , had remained in its original position on the exterior of a villa , in the neighbourhood of Florence , ever since the period of its execution , —at least four hundred years ; and except where it has been wilfull

y or accidentally damaged , it is literally as perfect as the day it was made ; and the climate of Florence is , I believe , quite as inimical to the preservation of such works as that of England ; the extremes of heat and cold are , indeed , much greater than in this country . But our

On The Art Collections At South Kensington, Considered In Reference To Architecture.

modern English Delia Robbia wares as yet do not give promise of such absolute durability . Our practical potters , in fact , should come aud study the works of Della Robbia in . our Museum , technically and scientifically , just as architects and art-workmen should take them into consideration from the point of view of art .

We should note , for instance , what exquisite and appropriate qualities of glaze , texture of surface , and colour these old wares present : so different from the glaring whiteness and crude glossy enamels of their modern imitators . In the original specimens the white glaze is subdued to a beautiful creamy grey tint , in order that it should not contrast too vividly with the surrounding

stonework of the wall in which it was to be inserted : all the other colours , moreover , especailly the blue , are broken and subdued in like manner ; and for the same reason the enamel glaze is mat rather than too bright , the white having all the full rich texture of which it was designed to imitate . Fine specimens of Della Robbia warein shortare models of ceramic excellenceas much

, , , superior to their modern imitators in technical respects as they are as worksof art . The true secret of this excellence is that the great Florentine artist knew exactly what he wanted ; he knew the precise qualities he wished to produce ; whereas our

modern imitators , both here and abroad , are floundering about for want of his refined judgment and intelligence in art , aud not because they are uuable to master technical difficulties . I must now bring my lecture to a close : from what I have said it will , I hope , be gathered that I also , in the appropriate and suggestive words of your president , am

au advocate " for a free and scholarly art , " —for a proper use of the glorious legacy of the past ; aud I feel that we are on safe ground in commending to all , both lay and professional men , the objects and efforts of a society like the architectural Museum—inasmuch as the aim and efforts of that institution are alike definite aud practical ; its action and the spirit which animates its

its energetic supporters , moreover , eminently healthy ; a spirit especially characteristic of this free country , and scarcely possible elsewhere . . In endeavouring to illustrate the bearing which the more extensive and important Art-Collection of the Architectural Museum also housed within these walls , I have bno means insensible to the factthis collection

y , created , and mainly sustained , as it has been , by individual or private zeal and devotion to the cause of arteducation , is by no means the least useful feature of the great assemblage of monuments of art which have already made South Kensington one of the chief artcentres of the world .

Masonic Notes And Queries.

MASONIC NOTES AND QUERIES .

AKK , HAKK , LINK , AND EOYAX . AliCH . The New York papers sometimes indulge in a little Masonic enquiry a specimen of Avhich , relating to the Ark , Mark , Link , aud Royal Arch , I enclose . —Ex . Ex . THE CATITUIAE DE & EEES . Of late years the opinion has been frequently expressed , that the " Mark" originally constituted a portion of the Fellowcraftand the " Eoyal Arch " of the Master ' degreeThis

, s . theory is , we think , erroneous , as we shall presently show . The Boyal Arch degree was first introduced into the Grand Lodge of " Ancient" or seceding Masons of England , by Lawrence Dermott , in the year 174-i , or very shortly after that date ; no doubt , principally , for the reason of attracting candidates , and of building up their organisation . It was based on Rain' s continental degree of Eoyal Archthe wholewhich at

say , , was first given , as an introduction to the English degree , and was at that time conferred only on those who had actually passed the chair . About the year 1773 , Dunckerley , who it seems was in the habit of visiting the ancient lodges , induced the Grand

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