Ancient and Modern Gold and Silver Smiths' Work in the South Kensington Museum (Paperback)

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 Excerpt: ...group below. Its upper surface is a small platform, backed by arches forming the centre of this stage. On the platform are Joachim and Anna: he holds out his right hand, she holds out both hers. Above this there is a rich architectural finish of pierced traceried windows and dormers in the roof. They balance each other on the two fides, but the design is not repeated, the artist seeming to have taken pleasure in varying this elaborate architectural front, perhaps in imitation of some actual buildings with which he was familiar. Below the architecture is a base of green enamel intended to represent a Hoping mountain, with recesses in various parts of its surface. In the middle is seen the Sta. Cafa of Loreto, a small building containing one room, an arched door and narrow window beside it, a chimney in the roof and another side window, the whole height being scarcely threequarters of an inch. Outside, the blessed Virgin is seated reading at a desk: there are also a lily; a knight holding a shield, gules; a dog, a hare, and flowers scattered about the recesses of this grassy hill; all on a minute scale. The elegance and variety mown in the design of this clasp are astonishing on so small a scale. The architecture is full of quaint details, which are only recognised on a minute study of the metal work. The little flowers on the hill, the house, the figures, the dog are all carefully made out. They (how how deeply the principles of the pointed architecture of the day had influence on all smaller art, not only in the wood work of churches, altars, and shrines, but in chalices and other metal work, more particularly that applied to ecclesiastical uses, such as the morses or brooches used for fastening the cope, as in this instance. Compare, e.g.., with this the c...