. The grammar of ornament . , and in France at the accession of Henry IV., caused an increased demand forthe goldsmiths productions; and subsequently the magnificence of the Cardinals Richelieu andMazarin paved the way for the age of Louis le Grand in France, for whom numerous fine worksof art were executed by the Parisian goldsmith, Claude Ballin, who, together with Labarre, VincentPetit, Julian Desfontaines, and others, worked in the Louvre. One of the objects which greatlyerupted the ingenuity of the jeweller at this period was the aigrette, which was generally wornby the nobility. From thi
. The grammar of ornament . , and in France at the accession of Henry IV., caused an increased demand forthe goldsmiths productions; and subsequently the magnificence of the Cardinals Richelieu andMazarin paved the way for the age of Louis le Grand in France, for whom numerous fine worksof art were executed by the Parisian goldsmith, Claude Ballin, who, together with Labarre, VincentPetit, Julian Desfontaines, and others, worked in the Louvre. One of the objects which greatlyerupted the ingenuity of the jeweller at this period was the aigrette, which was generally wornby the nobility. From this time the style of the French jewellery rapidly declined, perfection ofworkmanship in metal-work having been transferred to bronze and brass, in which last alloy thechasings of the celebrated Gouthier, in the days of Louis XVI., were above all praise. Of designsfor such work we engrave two pleasing specimens of the Parisian burin. The wiriness and frivolityof this class of ornament were redeemed by its faultless Arabesque by Theodore;de Bry, one of the Petits-Maitres. The details of the art, and its popularity, were not without their^ influence upon general design; 147 I 1 jL,,j I t a i- : i t ? ITALIAN ORNAMENT. ? I for since the delicate draughtsmen and engravers of the day were much employed by the goldsmithsin working out their designs and patterns, it followed, as no unnatural consequence, that many ofthe forms peculiar to jewellers work were introduced into decorations designed for altogether differentpurposes. This was especially the case in Germany, and more particularly in Saxony, where a greatdeal of a mixed style of Eenaissance and bastard Italian, with strap and ribbon-work, cartouches, andintricate complications of architectural members, was executed for the Electors. The engraving wepresent of a decoration composed by Theodore de Bry affords no bad illustration of the way in which motives expressly adapted for enamelling in the style of Cellini were t
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Keywords: ., bookcentury1800, booksubjectde, booksubjectdecorationandornament
