Ironwork V1 1000813019.Pdf

I R O N R W O K.

PA RT II.

B EING A CONTINUA TION OF THE FIRS T HA NDB O OK AND

C M R I r R D O P IS NG FR OM THE CL OS E OF THE MEDI. EVA L PE IO

TO THE E EI II EzV Y END OF TH G TE TH CENTUR , EXCL UDIIVG ENGLIS H WORK

RKIE G A RDNER. J. S TA

- WITH ONE HUNDRED AND THIRTY FO UR ILLUS TRATIO NS .

” Published or t/ze Co mm ittee o Co uncil on Edua l/i011 / f ,

B Y

HA PMAN A HALL L I I HE l ET A C ND D. NR T S TREET W .C. , , , ,

1 896 .

NH 22 0? G m;

V.Z

PREFA CE.

IN the days o f inf ant civilizations with which the ﬁrst vo lum e

o o o n I o n of the handb k ronwork was mainly c ncer ed , when might

o c m al ne onstituted right , the smith was a de igod , and the im portan ce o f ironworking was paramount. Esteemed f o r long

m o o t ages as more than an equal a ng warri rs , he only fell o the level o f o ther craftsmen when war and the chase ceased to be the sole pursuits worthy o f manhood. More than c ommon skill in forging weapo ns of attack and defence might confer resistless

o f power on the brave , while the failure a weapon at a critical pass might induce a disaster which no courage could avert .

’ m o The hunts an relied on the smith s w rk , and with the advance o f c i i m iv lizat on the wood an and quarryman , the carpenter and

c o n . mason, be ame dependent him for tools The Germanic races E f r which peopled ngland held the smith especially in esteem , o

R to however the oman and Grecian hero might trust his arms , the northern warrior made them his inseparable com panions .

’ a h s The chieftain s sword was , like his st ndard , well known to i

m o to comrades , and its fa e was traditionally handed d wn posterity ;

’ the c ustom of conferring a distinguishing name o n the knight s a sword lasting as long as the ge of romance and chivalry itself. The great value attaching to these weapons is shown by the will of Alfred the Great who left a sword o f the speciﬁed value o f a hundred and twenty marks to one o f his nobles. The venera

was c o ut tion, in which ironwork held , scar ely died among

v l Germanic races until the close o f the medize a period . 9 32 6 8 0 NWORK. v; [ R O

R The great advance in civilization known as the enaissance i broke with many relics of barbarism , and w th it the smith lost

o his excepti o nal position amo ng craftsmen. But th ugh divested of

its antique glamour, and with its mighty engineering applications

c yet unthought of, that part of the subje t still to be treated has

o c not lost intere st , and the pr sperity of nations appears to be ome more and more bound up with that of the iron crafts . Thus

S and I s with the decay of ironworking, Flanders , pain , taly ank

c S fro m their high positi o ns, while Germany, Fran e , and witzerland ’ co ntinued to ﬂourish . The proximate causes of a nation s rise

c i o r decay are immeasurably co mplicated , but , as a rule , the a t ve

working of iron seem s to be an indication of national strength .

c This aspect of the subject ould not , of course, be entered upon ’ o f in such a wo rk as the present, but the inﬂuence one nation s

o r ironworking upon that of another, through trade routes , rivalry,

c . neighbourly emulation , is briefly sket hed

E o I c Of all the countries of ur pe , taly exerted the most inﬂuen e

R c o n art in Mediaeval and enaissan e times , for, with the seat

R m c a o f the papal dignity at o e, a onst nt stream of noble and

s to learned visitors pas ed and fro, with the result that every fashion and change in art introduced in Italy spread rapidly o ver

C s . So i hri tendom little ronworking was practised, however, that , ’ c a I beyond the armourer s r ft, taly exercised slight inﬂuence on

m . o n s ithing Germany, the other hand , shut in as in a ring

c A R fen e by the lps , the hine, and the Baltic , and on the east

a o by b rbarism , devel ped the most accentuated art peculiarities ; the frequent intercourse o f its emperors with Italy af ecting the m ’ ’ , c r gold and silver s iths the armourers , and other ourtly a ts, ’ b u c c t s ar ely even tinging the folk s smithcraft . The German

o e ir nwork rs, as we have seen, drew their earliest inspirations

o c fr m Fran e, and from over the Belgian border ; and in the seventeenth and eighteenth centuries native design was wholly i c . It d scarded in favour of Fren h is remarkable to ﬁnd , at s o thi time , that h wever magniﬁcent the productions o f German PR EFA CE. vii

m to s iths might be, they had , in ceasing be designers , ceased to

a att in individually to any celebrity, and this at a time when

m o f o f who the fa e scores French smiths , were designers , was spread over half Europe. The German s chool o f ironwork natu r f L ally inﬂuenced the bordering countries o Switz erland , orraine , L r D uxembu g , enmark , and Poland ; but, apart from the indi

i c c o vidual product ons of German workmen , its inﬂuen e ann t be r c I m t a ed in taly, and we only recognize it to a li ited degree in

S . N E pain The etherlands , the most busy mart of urope in the

' A R c - Middle ges and enaissan e , was a common meeting ground

o f c c for the arts all countries , whi h were dispersed then e far and

f e c o f E S wide , to a f ct parti ularly the crafts Germany, ngland , pain , and even France.

It to c is the Fren h , however, that the palm in ironworking

c o f c c must be onceded , whether in point deli a y of execution ,

o f o r n has reﬁnement design , inventive genius. Fra ce always b een geographically in closer touch with the centres of ancient c v li t E C i i za ion than ngland , and under harlemagne its relations with all that was c ultured were most intimate . Yet in some

- R - arts , particularly metal working , the Britons , omano Britons ,

E a s and nglish were the superiors , just for a time the still m ore remote Irish were superior to us. The subjugation o f So uthern Italy by the Normans made them familiar with the

o f E i most sumptuous arts Europe and the ast, and ntroduced

o E those arts into France prior to the N rman invasion of ngland , when our superiority declined. The crusades still further en

h w c ric ed their kno ledge , and the superiority of Fren h art over

E I i c German and nglish , and even over tal an in ar hitecture as

l c m we l as in minor arts , be ame increasingly arked as ages rolled

R c on . This was particularly the case after the enaissan e , and

i c in nothing s this more apparent than in the ironwork whi h, with

m o f u lavish and universal patronage , beca e the most sumpt ous

c o wn . chara ter , and possessed of an extensive literature of its Though every eff ort has been made to condense and abbreviate R ONWOR K. viii l o f the subj ect so as to ﬁnish it within the compass the present ic to in cl de t been found impract able u volume, it has unfor unately treated in a third c remains to be English ironwork , whi h thus and co ncluding handbo o k . hand o in 1 8 2 of the ﬁrst ironwork S ince the publicati n 9 not only in this smithcraft has pro gressed uninterruptedly, book , c o l in rease in the number country but in every ther, and the arge . c s i o f skilled and even artisti smiths is a mo t grat fying sign For m o to certainly n o class is mo re i p rtant the community at large craftsm an with scope to than that o f the skilled and independent , i make his talent and individuality felt, and with freedom to asp re

to c to that rank in the army o f workers whi h his qualities and him industry m ay entitle . can do All that science and technical educatio n to advance the

c c cc o f smith is being taught , but no su cin t a ount the develop c ment bearings and possibilities o f smith raft , as an art, has been , , c o f f -c c written . The mutual inﬂuen es di ferent art entres upon ea h

- o f o n , o ther, and the inter relations of the smithcraft different c u tries have not been traced ; neither has any serio us analysis of the

o f c characteristics which distinguish the iro nwo rk each ountry at

' a diﬂerent periods been hitherto attempted. The large mount of

l s research required f o r such a work has doubt e s deterred any

c ompetent writer from undertaking it. The fo ur years that have

w c c elapsed since the ﬁrst part was ritten, have in fa t, scar ely

sufﬁced to collect the data for the present slight pioneer work ,

m a f c c whi ch it is hoped , however, y su ﬁ e to lay before the bla k

m m o c s ith , his e pl yers , and teachers, so mu h as it is essential

c m c s they should have at om and , if their raft is to keep abrea t of

’ ’ o -c o m c such fell w rafts as the g ld and silver s iths , potters , abinet

’ ’ m o r . akers , weavers

o c Fo r illustrati ns of Fren h ironwork , as well as for much

f m co o f in or ation , the present work is indebted to the urtesy f M . Henri Havard , the talented and indefatigable autho r o the

’ ’ ' Dzctionna zre dz: Mobilzer , and to its publishers , the Maison PREFA CE.

. c - Quantin Though the di tionary itself is a high priced work , a

' L a S errurm e o f small volume, entitled , reproduces most the information, and many of the illustrations , contained in it pertain ing to smithing . M . Ernest Bosc has also kindly allowed the

’ ' ’ ’ use D zd zoﬂ ﬂ aire ae Z A rf of illustrations from his , published by

- M M . Firm in Didot et Cie.

‘ . no w E transla Messrs Batsford , who are publishing an nglish

’ ’ S clzmzedekum t tion of Professor Meyer s , have kindly supplied m any of the illustrations of German ironwork . All interested in the subj ect should possess this inexpensive treatise o n smithcraft as practised in Germany. The Austrian Government Printing

Ofﬁce has also again permitted the use of some engravings. For illustrations o f Italian work the handbook is indebted to

S n A h who o f ig ori li ari , have permitted the use several of the engravings whic h have appeared in their well-known art publica f tions. Finally, some illustrations o Spanish work have been lent

’ by Messrs. Murray from Street s Spain.

2 L B ER EMB NKMEN L N N 9 , A T A T , O DO ,

a m 8 6 . j , I 9

N CO TENTS .

ITAL IAN A RT RENAIS SANCE IRONWOR K

G ERMAN RENAI SSANCE IRONWORK

III.

R ENAI SSANCE IRONWORK IN THE NETH ERLAND S

S PANI S H IRONWORK

V .

RENAI SSANCE IRONWORK IN FRANCE

VI.

THE B R UE A ND R c co ER S N FR NCE AND E R A OQ o o P IOD I A , TH I INFLUENCE

A PPENDIX .

A LPHAB ETI CAL LI S T OF ILLUST RATIONS OF IRONWORK PUB L I S H ED R NCE AND IN G ERM NY B E EEN THE S X EEN A D IN F A , A , TW I T TH N

’ ‘ EIGHTEENII—I C ENTUR I ES

IND EX ' FIG . r.— as and oc - a e o r Mo ra zllan in H p l k pl t . , cised and chased iron . French tim e o f , enri . In the S H I I o uth Kensington Museum . T N L IS T O F IL L US RATIO S .

' ' ' ' From Alznarz plwtograp/zs. 1 From Ho ward s works. F ’ I rom Meyers work . From tﬁe A ustrian Governmen t . ' ’ “ ” ’ “ ’ ” From B osc s Dictzonar o A rt etc . From S treet s azrz II , 1T SP .

FIG . Germ an lo ck-wo rk in the S o uth Kensingto n M useum

I.— I Incised o c - a e. Frenc o f the eriod o f Henri II l k pl t h , p ’ 2 S creen to the reasur in S t. Mar s enice. A o u A .D. t y k , V b t

. in the a azzo u ico Siena. Fi een cen ur 3 P l P bl , ft th t y - ' - . Fi een cen ur a e wo r Marini co ec ion eni 4 1 ft th t y pl t k , ll t , V ce

. i r in th o u ensin o n 5 Cresset l ght h o lde e S t h K gt M useum . No rth I a ian ﬁ een cen ur t l , ft th t y

6 . B razier I a ian . Fo ur een cen ur . [ bid , t l t t h t y

’

. and es ic Pisto a . Ear si een c n ur Ibzd. 7 C l t k , j ly xt th e t y . 1 0

8 — ierced cas e No r I a ian. La e ﬁf een cen ur . f P k t , th t l t t th t y 1 2 ' 9 .— 1 Dam ascened mirro r in the S o uth Kensington Museum I6

Io .— Car ed and c ased ha erd. I a ian si een cen ur 2 0 I v h lb t l , xt th t y ' I I — 1 Gilt Venetian lantern. In the Clun y Museum . S eventeenth cent ury 2 1

1 2 . n i o ndo a In th n Pro w o f V e et an g l . e S o uth K ensi gton Museum . S eventeenth cen t ury 2 3

- 1 3. I Venetian t ripo d. S even t eenth o r eight eenth century 2 4

1 . S r n rom the S cuo a deiL aneri. ene ian se en een c n u 4 c ee f l V t , v t th e t ry 2 5 i o ’ I5 . Palazz o Graden g . Io . 2 6

1 6 . S an Bo ldo . 1d. 2 7

he zz n . en 1 7 . t Pala o Co ntin. Ve etian S ixt e th cen tury 2 7

I . 1 8 . Palazz o Marcelli. d 2 8

u enheim co ec io n . ene ian se en e n 1 9 . J gg ll t V t , v t e th cen tury 2 9

n Fo sca. Id. 2 0 . S a 2 9 ’ ri o u e I . 2 1 . a p vate h s . o 2 9 i n h u n in 2 2 . the Peyre co llect o in t e S o th Ke s gton Museum 31 ’ S an Giaco m o de Orio enice 2 3. ll , V 32

2 . — Lam is e and tracer desi n In the unic Museum 4 I p, th tl y g , M h 35

— a e o the S i erne C a e e Francxscaner- irc e Inns ru 2 5 . 1 G t t lb p ll , K h , b ck . Six teenth century 38

— d 2 6 . 1 S creen fro m Augsburg . I . 2 W -cano at Neu irc en In S ria 1 6 7 . ell py k h ty , 5 4 4 1 NS . xiv LIS T OF ILL US TR A TIO

FIG . l ro m the same 2 8. Pane f 62 6 - no at B ruc o n the Mur, I 2 9 . Well ca py k - S alz ur 1 68 to o un ain in the mar e ace, , 7 30 . Rail f t k t pl b g ’ 1 88 t. U ric s at u s ur , 5 — creen to the Fu er C a e , S , 3I. t S gg h p l l h A g b g ran he Em ero r a imi ian in the F — m o num ent o f t M x l 32 . I p - - irc e Inns ruc 1 80 8 ciscanerK h , b k , 5 5 Am erlin co ec ion. Ear Windo w -gra ting fro m nearVienna. g ll t ly eighteenth cent ury eum . Ei een h Windo w-screen in the So u R em in o n us 34 . th gt M ght t century Be - ram e us rian 35 . l l f , A t ’ - se en een cen ur — ira co i cand es ic . G erman 36 . 1 Sp l l l t k , v t th t y

— i cand es ic . Id. 37 . TCl p l t k - — Doo r noc er. Id. 38 . t k k ’ w Ear se en een cen ur — Wa ens ein s s irru ro n ie . 39 . Il ll t t p, f t v ly v t th t y side view

- — ed o rse muzz e 160 4 I. |i Pierc h l , 4 ’ en cen ur r na in S t. e ers B asto n es. S i e 42 . Co o P t , g xt th t y Fo n -crane Di m ude 162 6 43. t , x , ’ ensin to n S creen ro m S t. B a on s G en . In the S o ut 44 . f v , h t h K g M useum . Sixteenth century Finia in the Rue du Fil B ru es 1 62 8 45 . l , g , e in the arc de endredi Bru es. S i een cen ur 46 . Brack t M hé V , g xt th t y

Wa -anc o rat Z a om me . Id. 47. ll h ltb l

‘ — ndier in the B russe s useum . S e en een cen ur 48 . l La l M v t th t y

- — fire do s C un useum . S i een h cen ur 49 . f Cresset g , l y M xt t t y ' ‘‘ — l remai ere Id. 50 . C ll ,

‘ — Gridiro n B russe s useum . S e en een cen ur 5 1 . 1 , l M v t th t y ’ ‘ — uro nne d o ﬂice C un useum . Id. 5 2 . i Co , l y M

mis c ande ierat the o e S e . Id. 53. Fle h h l M t , lby ierced s u er ro m the ancien c a e o f the Coun s o f F anders 54 . P h tt f t h p l t l , at G h ent . S o uth Kensingto n M useum . S ixteenth cen tury

- u er in es and ca c es. o ut ensin o n Museum . 5 5 . S h tt h g t h S h K gt

- 6 .— Fire ac wi ﬁ ure and m o o o f C ares . u um 5 t b k , th g tt h l V M se ,

— - Fire uard in the Lou re S anis . 1d. 57 . t g v , p h

— u i in S t. G il B ur os. L a ﬁ r 58 . ﬁIP l p t , g t e fteenth cen tu y in e u 59 . Casket th So th Kensingt o n M useum . Sixt een th cen tury

Var u ﬁ o ca ine . 60 . g e b t S o uth Kensin gto n M useum . S ixteenth o r sevent eenth cent ury

6 I.— noc erand nai s To edo . Fi n o r si n r WIK k l , l ftee th xtee th centu y

62 . Nai eads S ou ensin to n us um n l h , th K g M e . Six tee th century 63 — 1 Lock o n a screen in Barcel o na Cath edral . Fifteenth cen tury

6 . Dam ascened c air S o u ensin o n Museum . S 4 h , th K gt event eenth o r eighteen th century IR ONWOR K. XV

PA G E Part o f a screen fro m A vila C ath edral . S o uth Kensington Museum. Fift eenth o rsixteenth century

- Do o r noc er S anis . S o u ensin on Museum . S i een k k , p h th K gt xt th cent ury ‘ ’ — 6 ~ no c er ro m ac ues C oeurs o use B o ur es. Fi een 7 rK k f J q h , g ft th cen t ury ' — 68 Cas e Frenc . o u ensin o n useum . Id. 1 k t , h S th K gt M

69 — 1 Id. ' 0 — Bo In ierced ﬂ am o an case Cluri useum . Id. 7 l lt p b y t , y M

‘ — 7 1 . 1 Ch est lo ck f o rm erly In the Spitz er co llectio n. S ixteenth century ' — 72 . 1 in the Cluny Museum . Fifteenth century

— ‘ 73. l S ixteenth cen tury

— - 74 I Cl o ck o f pierced iron tracery . Fifteenth century - — Em o ssed o case Lo u re. Si een cen ur 75 t b b lt , v xt th t y

— 6 . t o c eriod o f Henri II C un us m . Id. 7 l k , p . l y M eu

’ — 7 7~ 1 Id. ’ — 78 . r from the Ch ateau o f Eco uen. Id.

‘’ — - Do o r no c er wi h arms. o f Henri II ro m h hﬁteau 79 l k k , t , f t e C

o f ne I 2 . C un Museum A t , 55 l y

- 8o . The tro zz i k e rio d o f Henri III. S i n cen ur f S y, pe xtee th t y

8 1 .— Ke b o w 1 y , ' — 8 2 . 1

83 — 1 Key with t riangularbarrel . S event eenth century ' 84 — r and do lph in b o w . S ixt eenth century ' 85 .— 1 ' 86 . — Ke r m t ndr 1 y f o he wo rk o f A o uet du C erceau. Id. ‘ — 8 7 . r ' 8 - 8 . r A nt o ine J acquard o f Po itiers. S even teenth century

— 89 . t Key b o w by Daniel M aro t . Id. ’ — 90 r Id. ’ ' ' 9 1 .— t C/zef d o mvre de m aitrzre lo ck . Id. “ — R m - w 9 2 1 i lo ck ith pierced and c h ased o rnam ent . Id. Lo c in onte mall/able o u ensin o n useum Ei een 9 3. T k f , S th K gt M . ght th cent ury

'‘ 9 4 — l Kno ckers fro m the w o rk o f A ndro uet du C erceau. S ixteenth cent ury

’ — . Lan ern c ased and o is ed. S e en een cen ur 9 5 1 t , h p l h v t th t y ’ 6 . — in the HOtel de o u Di o n. Id. 9 r V g é, j

‘ — o C ande ier o is ed wi the ro a arms. C un useum . Id. 9 7 l h l , p l h , th y l l y M - D 98 . l am ascened casket . S ixteen th cent ury

. — r ue us o c the wo r o f Henne uin e z . S e en een 99 T A q b l k , k q , M t v t th century 1 00 n l n . a diers e re Museum ix L co ec io S o u ensinon . , P y l t th K gt S teenth cent ury

10 1 .— La i r h s nd e erio d o f ran i n use m . Id 1 F o s I. S o u en in o u . , p c t K gt M xvi LIS T OF ILL US TRA TIONS .

FIG .

— r ro a S anis . S i een cen ur . 10 2 . l| B raz ie , p b bly p h x t th t y

— i teen cen ur — iro n ﬁre do C un useum . F 103. f Cast g, l y M f th t y

1d. 104 . — f

' 1d. 105 . — r ' — Id. 106 . 1

‘ - n centur — ﬁre ac S i ee 107 . 1 b k , xt th y ‘ eriod o f — ro m the C a eau o f il ero of the 108 . 1 f h t V l y , p m e n een cen ur Lo uis XIII. Cluny M useu . S ve t th t y n — am e S o u ensin o n Museum . S e en ee 109 1 Cantine de g , th K gt v t th o reighteenth century - n een cen ur 1 10 . S ign brack et . S eve t th t y ' — - h wo r o f Danie aro . Id. 1 1 1 . 1 S tairrails fro m t e k l M t ' — - Id. 1 12 . 1 B alco ny rail

_ Id. I I3. I 9

— Id. 1 14 . f - ' n to the C a eau o f aiso ns 16 8 1 1 5 1 Scree h t M , 5

’ — m he wo r o f tre e een h cen ur 1 16 . 1 B al co ny fro t k Lepau . S vent t t y

‘ — Id 1 1 7 . 1 Part o f a balco ny . . ' ' ’ — ril e ro m Fo rdrin s S erra rerze c . 1 2 1 18 . 1 G l , f , 7 3 ' — i n rac e c. 1 2 1 19 . 1 S g b k t , 7 3 ' ’ — r 2 20 . B a con f ro m Fo rdrin s S erm erte c . 1 1 1 l y , , 7 3 ' - 1 2 1 — rS tairrail . Eight eenth cen t ury ' 1 2 2 .— B a co n Lam o uro f Nanc c. 1 1 l y by y , 753 ' - — tair rai In S t R ii r m a i 1 2 . S . oc aris Do r and Gallie o des n 3 1 l h , P , by é , f g by Ch alle. Eighteenth century

‘ 1 2 — Ga e to the a ais de us ice Bi o nnet. Ei 4. 1 t P l J t , by g ght eenth century ' 1 2 .— 1 G a e to the HOtel Dieu T 5 t , ro yes. Id.

’ — - 1 2 6 . S air rai at Co m ie ne a . 1 t l p g , by G briel Id. ' — 1 2 . the C aeau Bo re i arseil es. Id. 7 l h t ll , M l - 1 2 8. Si n rac e Femis . g b k t , l h S outh K ensington Museum . Eigh teenth century

— - 1 2 . Lune e ﬁllin German ar d 9 I tt g, B o a Eighteenth century I 0 — S i n- rac ets in th 3 ll g b k e Black Fo rest . Id.

1 1 — 3 II Id.

— - 1 2 . v e cro ss in the s 3 I tyle o f Lo uis XVI. Id. 1 . S creen In the a azzo Ca i 33 P l pod lista, Padua . Id. IRO NWO RK.

ITALIAN ART R ENAISSANCE IRONWOR K.

’ NE ER r c V in the world s histo y, ex ept perhaps for a brief period

c I in an ient Greece, has art been esteemed as in taly during

’ R . It no t and E the enaissance was , as in France ngland, that a monarch and his court made art a fashion , but the whole t people, pa rician and plebeian , lay and clerical , were imbued with its S pirit . The emancipation from almost Byzantine stiff ness was witnessed by a single generation , amazed to see painters and

u c sculptors introd ce suc essively facial expression , natural pose, everyday costume, foreshortening, anatomy, the nude, forcible

c : action, perspe tive, realistic landscape , contrasts of light in short,

‘ all the eff ects known to modern art. These increasing eff orts were popularly acclaimed, and the artists were not merely

c patronized by, but became intimate ompanions of sovereigns,

o f princes of the church, heads religious houses , nobles, and wealthy burghers , who showered rewards and honours on them ,

- and outbid each other for their servi ces. Had iron working been a popular art, what glorious results might under such circumstances

achieved l have been But, unfortunately, bronze was the metal favoured, and the decorative value of iron was recognized only

' so f aras the alien architecture of the Tedesc/zz penetrated . Though

Transalpine forms were not unknown , the ironwork in Italian buildings is for the most part peculiar. The design most favoured

II. B IRONWORK.

u , c c , gates , and bal strades was for upwards of a entury , for s reens conspicuous an ornament In the the quatrefoil (Figs. 2 and so ironwork in t ch It pointed architecture of Ve ni ce . There , c c produ ed , and then e the fo rmed the leading idea, was largely i introduced in the design spread, until we ﬁnd quatrefoil ronwork A Pisano Giotto , and ndrea works of such masters as Andrea ,

c , rca na magniﬁcent borders and restings O g , to whose inﬂuence the

. At ﬁrst, all was made which often enrich it, must be attributed

’ .— S re e n to the reasur in S t. ar s enice . o u A 4 ) . 1 00 . 2 c t y M k , V Ab t 3

from stout plate , or robustly fashioned by the hammer and heat, the rival smiths revelling in the difﬁculties of their craft until a

lu u tra a ne p s l was att ined , when emulation slackened and fashion

looked coldly o n their work. This progress is most readily seen in

c the crestings and borders of the more important hurch screens, from the rude and purely defensive spike or trident of the early

. 2 Venetian (Fig )and Veronese, to the enriched pricket, blossom

cc ing su essively into the leafy cluster, the lily, and still more elaborate

c ﬂower spikes, with the increasingly ri h borders and friezes seen in

x c O S e amples at Floren e , rvieto, Prato, and iena (Fig. 37, vol.

S c c everal introdu e realisti foliage and fruit, a note of that love o f nature at tim es discernible in the best Italian art ; while frequently

IR ONWORK.

S Novella, in screens in the Spanish Chapel of anta Maria 1 66. decorations, in 3 Florence, produced, perhaps , with other

The study of the antique was , however, the real road to

R unfortunately, the fame in Italy during the enaissance, when , f reverence for ancient precedent practically precluded the use o much con decorative ironwork in architecture. Thus, though o f structive use was made of it, as in building the dome Florence

c Cathedral , s arcely any decorative work appears in the buildings ignored erected during the classic revival. The great architects

- en r a e - reen ro m the arini co ec io . F10 . 4. Fifteenth c tu y pl t work sc , f M ll t n.Venice

c it , since its use was not within the canons of Vitruvius, whi h for

a time they entirely followed. Palladio, indeed, limits the ﬁtness

c s c of iron to ramps , spike , nails , hinges, bolts , hains, locks, and

. S i c c the like objects t ll , prote tive gratings of verti al iron bars I m must have been used in taly from very ancient ti es, and there ,

as elsewhere , it must have been apparent that passing these at intervals through horizontal b ars gave a very material increase of

strength . The confinement and exposure of enemies in iron I cages in taly to gratify revenge, carries back the use of the l meta , for this purpose , to the thirteenth century . The forbid ding gratings to the ground-flo o r windows of palaces were first ITA L IAN A R T R ENAIS S ANCE IR ONWOR K. 5

W D A introduced in Florence by alter de Brienne, uke of thens ,

1 . during his brief rule in 343 Pliny , however, mentions that windows were always barred in his time on account of the

a numerous burgl ries committed . Perhaps merely for variety , perhaps for greater resistance, they were sometimes threaded l diagonally, especia ly in Venice , where old pictures Show most of

w . It no t the houses with windo s so guarded does appear , however, that any decorative quality was recognized in such gratings before

1 8 a San 4 3, when a richly c rved marble chapel screen in Petronio ,

Bologna, was ﬁlled with panels and gates, formed of simple round d A bars, threaded iagonally in the German fashion. second

B arb azzo o f c chapel, the , slightly later date, has a s reen of ﬂat

c twisted bars, similarly threaded , under a corni e enriched with

u c A iron mouldings, rosettes, a la rel border, and ins riptions.

l Vero cchio 1 2 bronze screen , ike netted rope , made by , in 47 ,

’ o f De S an Lo for the tomb Piero and Giovanni Medici , in renzo ,

c so- Floren e, may have suggested the twist. The projecting, called

” c A kneeling, window gratings were introdu ed by Michel ngelo, in

1 0 6 a c 5 , he not disd ining, ac ording to Vasari , to himself make the

R c model for some for the Medici , afterwards i cardi, Palace in

E C o f San L Florence. xcellent examples are in the loisters orenzo,

c . whi h he frequented Bronze , however, had the preference , and , away from the Gothic inﬂuence, iron was regarded , at any rate , for decorative purposes , as , at best, but an inferior substitute. Few, if

m c any, onumental works were designed for exe ution in iron , but

o f S purely iron designs, like the quatrefoil screens the acra

C o r o f Or San Cintola in Prato athedral , Michele, at Florence, ut were even carried o in bronze, when their producers were

o f c . extolled , while the names ironworkers are rarely re orded The striking ex ception needed to prove a rule is found in that

c m N o ?) most apable s ith and artist , ic l Grosso, who was born in “ 1 1 0 . l Il 45 5 , and died in 5 9 Vasari relates that he was ca led, ” L D ’ Caparra by orenzo e Medici , from his habit of demanding

m c a pay ent in advan e , and adds that he was unique in his c lling, 6 IR O./VWOR K.

no t o without an equal in the past, and probably t be excelled in the future. Conspicuous among his productions are the celebrated

’ o no lz o f S f , or lanterns, still remaining at the angles the old trozzi f and Guadagni Palaces in Florence. These lanterns di fer in design ,

to and in speaking of them , Vasari says that in each are be seen

o c c rnices , columns, and capitals in iron , constru ted with the

artiﬁcer most surprising and masterly skill , and that no modern

in f c has executed works iron so large and so di ﬁ ult, with knowledge and ability equal to that displayed by Caparra. The numerou s

ﬁnely forged banner-holders and horse-rings are by the same hands .

' o notz uaratesi F yet remain on the old Pazzi , afterwards Q , Palace

’ B o r herini c d A nol and by Brunelleschi, the g by Bac io g o , the

R o iccardi, once Medici , built for Cosimo Vecchi , from designs

Michelo z z i. A s - by these , and the banner holders, were only

o f to f allowed as a mark great distinction the ew, they are generally richly worked , and it is a happy circumstance that the South Kensington Museum possesses no less than four examples

. no t (Fig 5) of them, which , if simpler, are inferior in design to

o f S . A those the trozzi few others are still to be seen in Florence, o L and in such t wns as ucca, Perugia, etc ., where similar c ustoms

- . c - prevailed The banner holders, often ombined with horse rings,

S are less rare, and are sometimes imple, or, like those o f the

S - devils o r trozzi, in the forms of sea horses, sphinxes, , _ grotesques .

. A c S They are frequently of bronze pi ture by andro Botticelli ,

1 1 0 who died in 5 , shows some exquisite specimens in polished iron , o o f r h lding large branches olive , myrtle , o orange, at a wedding

R . L feast in avenna ess distinguished were the long, slender, serpentine brackets with dangling horse-rings and the shorter - f snake like heads gripping rings with incised ornament , o the

. - Bargello These were, perhaps, the kind of wall rings which the L great strength of eonardo da Vinci bent like lead . With these

o - s and the d or knockers , u ually plain and severe, but occasionally

in c o of richer work, and the large nails that, su h t wns as Genoa, M P m u ilan , and adua, so etimes st d the doors, the exteriors o f the T IAN A R R ENAI I AL T S S ANCE IR ONIVORK. 7 sixteenth - century palaces o f Northern Italy were frequently

’ FIG . .— s i - o ders a ua lz in the So u ensin o n s m . 5 One o f t h e fourcre s e t l ght h l , f , th K gt M u eu No r a ian een cen ur . th It l , ﬁft th t y

ﬁnials al graced. Vanes and in iron are very unusu , but a par

ticularl c - y pi turesque banner shaped ﬁnial , with cross , supports 8 IR ONWORK.

’ the hell o n the turrets of Colleo ni s castle of Malpaga. In many

iaz a c n c p z and courtyards, wells , with harmi gly simple ar hing

. supports for the pulleys, may still be discovered The interiors were warmed by braziers and lighted from candle

sticks such as those so well represented at S outh Kensington . In

the larger tripods (Fig. dating back to the fourteenth century , the chaﬁng dish is supported on brackets springing from the

do - central stem , and ending in g like heads gripping rings ; the

S pandrels are ﬁlled with thick plates , pierced into foliage sur

rounding a shield, while a few strong leaves are riveted to the

. stem , relieved with forged knobs , and standing on three claw feet

S c m c o ne - A pe i en , almost a fa simile of the ﬁgured , is a well known

c C S. C a S obje t in the asa di aterin , iena, but ours has in addition a

standing bracket and hook to suspend a lamp or perfume-dish .

A co - S c se nd well known form is imilar, but mu h smaller and more

c - deli ate, and without plate work , being designed to take a basin

o f . A instead a ﬂattened dish third type has the stem , either

o r plain , dressed with robust welded leaves and ﬂowers , without

’ c - o r c bra kets , dogs heads, ring handles, law feet. The legs to

o o f the trip d are sharply bent , with a small tuft iron ribbons

welded in , a peculiar feature shared by many objects that are

probably by the same hand . The ﬁne specimen in the Museum

co the c tw mbin es , with brazier, a high removable andelabrum of o

c m o f bran hes, and a hook sur ounted by a spray welded ﬂowers .

c Pisto a The high andlestick (Fig. 7) in the Museum , from j, is

o f c another splendid example this work, whi h was doubtless

d c c pro u ed in Floren e, or its vicinity, during the ﬁfteenth o r

sixteenth century .

A o to I ndir ns seem not have been indispensable in taly, except

c perhaps , in the north , and were, until the seventeenth entury ,

- absent from all but the larger living and reception rooms . Fo r

the most part, they were simple and massive forgings, the front

o n c nsisting of a stro g vertical bar, incised with some ornament , on two spreading feet, and ﬁnishing, as in France , in a crook o ITA LIA N AR T R ENAIS S ANCE IR ONWORK. 9

‘ 4 - N a i z i r 6 , } o uneenth cen ur o r an ra e . In the S o u ens t y th It l b th K ingto n Museum .

1 2 IR ONWORK

- etc. with similar circles, and the hinges, angle plates, , are as richly pierced. The designs are based on ﬂamboyant tracery ,

c modiﬁed almost beyond recognition , and also introdu e rows

S c c- . A c of small, pointed , ara eni looking window Openings hest c I C S K , in the talian ourt, at outh ensington , has its ironwork perfe t , and there are several detached locks and plates in the ironwork collection . f The genuine Italian key is usually o ﬂimsy work , the barrel being merely of sheet iron , lapped and soldered , with a circular

FIG . 8 . — ierced cas e . In the C un useum . No r a ian a e een cen ur . P k t l y M th It l , l t ﬁft th t y

o c c o o f o f b o w, ﬁtted with G thi tra ery f rmed morsels bent iron held

c together by solder, to imitate the solid pierced tracery of Fran e .

c The circle is surmounted with something like a oronet, or only

a ring, and the wards are often numerous repeats to act on a

c . I to spring lo k , as in Germany talian heraldry shows this have

n R been the recog ized type of key, at least in the north . ather

c m c n I o f c lumsy i itations, whi h probably origi ated in taly, Fren h

R c c c c enaissan e keys , are ommon in olle tions, and in the

I R l c ndustrial Museum , at ome , is a large embossed o k with

ﬁgures similarly inspired. ITA LIAN A R T R ENA IS S ANCE I R ONWORK. 1 3

o f ~ The poverty the lock work is the more remarkable, because

I u c talian steel and armo r have been renowned sin e, at least , the

o f beginning the fourteenth century, when Bolingbroke sent to

Du f o r ke Galeazzo, of Milan , the armour in which to combat the

’ D o f N . L le a 1 1 6 uke orfolk ouis Huti s inventory, in 3 , comprised armour from Lombardy ; and Italian armourers were established in a 1 2 . In c Paris as e rly as 33 the following entury, we ﬁnd both L ouis XI. and the Duke o f Burg undy settling Italian armourers in their dominions, and a heavy convoy of arm our o n its way

I to Du o f r from taly the ke B itanny seized by the King. At

S 1 o a great panish tournament held in 434, nly Italian armour

In c and weapons were permitted. his brief day, Ja k Cade “ L a proclaimed that all umb rds and strangers being merchants,

Genoese , Venetians , Florentines , and others, this day do draw

w v them together, and do ordain for us t el e harness complete of

” w - b ri and nes - the best fashion , t enty four g y , twelve battle axes, and so forth . Milan especially had always m aintained its claim to be the

- metropolis o f armourers and steel workers . Matthe w o f Paris

1 2 c mentions that, in 37 , it was able, with its dependen ies , to turn out six thousand armed men o n iron - clad horses ; and its power of

1 2 production was such in 4 7, that, after the battle of Macado, it

f ew furnished , within a days, four thousand suits of armour for cavalry and two thousand for infantry. Henry V III. sent to “ ” Milan to purchase ﬁve thousand suits of almain rivets . At what precise period Milanese weapons and armour were ﬁrst

c ornam ented with engraving and damas ening is unknown , but i etching was introduced f o r this purpo se in the s xteenth century.

A s o c lexi the Piedm o ntese has left c pious re ipes for the armourer, in whi ch the pro cesses used in the six teenth century are

eu described , including etching, gilding , bronzing, blacking,

c . As rusting, and embossing armour was rarely stamped with a

’ s c to c maker name , it is difﬁ ult dis over where , even in what c s s . Ne rolo s ountry , some of the ﬁne t uits were made The g , who 1 4 IR ONWOR K.

o carried on work for more than a century , are among the m st celebrated of the Milanese armourers and Filipo, an engraver o f h ﬁgures and fo liage on arms, is known to ave made several suits

A - f o r Francis I. and Charles V. ﬁne breast plate from the Magniac collection is signed Paul/ts do and a helmet

8 6 2 . o f the same suit was exhibited with it at Kensington in 1

III. The suit of Henry V , in the Tower, with the order of the

c garter engraved round the ne k , has the mark of Missaglia, a

o n c . m S acini Milanese, the bas inet Hierony us p , of Milan , made

V 1 0 e n o a sum ptuo us target for Charles ., in 5 5 , adorn d with less

- o n . than forty eight engravings , gilt, niello grounds The superb

’ é d Artillerie o f C V. swords of Lannoy in the Mus e , and harles , in

A s c c A Picinino the mbra olle tion , are by ntonio , who died in

1 8 His A 5 9. two sons, who were employed by lexander Farnese ,

alla chiselled iron in relief like silver, and were expert at

el/m o c g , or damas ened work . Several ﬁne swords exist signed

c Picinino A . by Frederi o , as well as some by ntonio The Farnese r and Gonzaga also employed Giovanni and Antonio B ianca di ,

N i o A R m Filipo egroni, and Bernardo C v while ntonio o ero

to worked for Alfonso of Este . Batiste o f Milan was armourer

K N r 1 é the ing of ava re, in 5 7 3, and Pomp e , a Milanese , was

fencing-master to Henri III. The magniﬁcent brown shield an d

helmet, with silver medallions and gilt arabesques, in the Bargello ,

m C who 1 6 1 are by Gasparo Mola, a Milanese fro omo, died in 4 ,

and c W so the splendid bu klers at indsor, Turin, and Madrid , C long attributed to ellini , are quite in the style of Milanese

artists . Cellini distinguishes the Tuscan damascening by the use “ of the acanthus ; while the Lo mbards construct very beautiful

c patterns by opying the leaves of briony . and ivy in exquisite ” c c urves, whi h are extremely beautiful to the eye. The names of

r o a o hi ll Giovanni Piet o Figin , B rtolomme Piatti , Martino G ne o ,

c Pilliz o na . l C o S Frances o , F Bel ino , arl erico , and Pompeo

Turco ne c , Milanese damas eners , have been handed down. c o f E Mu h the ﬁne armour worn in ngland under Elizabeth , and ITALIAN ART RENAISS A NCE [R ONWOR K. 1 5

. S II. Brant me in pain under Philip , was Milanese. ﬁ says that the court o f France highly approved of the engraved morions and

c c corslets of Milan , whi h ould not be produced with the same perfection in France . The whole o f the infantry o f Strozzi and de Brissac was armed with most elegantly engraved armour o f Milan ; and Strozzi compelled his men to use Milanese

c D harquebuses, whi h were coveted by the uke of Guise for his light infantry. The M ilanese steel-workers did no t entirely conﬁne themselves to armour ; and the engraved , etched, and damascened caskets attributed to them are innumerable. The

- extraordinary mirror (Fig. 9) and chess table in the South ' K o ~ D b ru es S oltiko ﬂ ensington Museum , b ught from the e g and collections, with many cabinets and other similar pieces, are said

o f 1 0 n . to be Milanese about 5 4 , though o no exact authority U nlike the armour, they are more remarkable for the elaborate

o f c richness their gold and silver damas ening and inlay, and their c o f o r . hiselled ﬁgures bronze or iron , than for beauty taste Brescia is another o f the Lombardic towns that has been

c famous for enturies for its steel and arms , especially ﬁrearms and cutlery. We ﬁnd Henry VIII. requesting permission from the

D o f V c 1 c oge eni e , in 544, to purchase ﬁfteen hundred Bres ian harquebuses, and over a thousand suits of horse and foot armour. Three thousand specimens in the Turin collection were

m M rtinen . f amil o f bought fro the a go y Brescia, including four sumptuously engraved and damascened suits w o rn by them in the sixteenth century. Francis I. ennobled Seraﬁno da Brescia in return for a gala sword , which he lost at Pavia ; and, according

’ Yriarte thirt e two c De who to , y swords of H er ule Fideli , worked

. D o f . Ferrara Ca for the uke , and engraved the sword of esar

Borgia, are still in existence. The superb pistols, signed by

L Co m inaz z o o f K azarino , Brescia , which the ensington Museum

- . R possesses ﬁne examples , are well known to collectors ich

c lo ks were supplied by Giovanni Borgognone , and barrels are

G ienn t i Francino s o . signed by e t , the , and Francisco Bigi ni w 113ONWORK.

f e c 1 6 6 When Evelyn visited the ity, in 4 , he ound it inhabi t d

- . In he S o u ensin o n useum. B e ie ed to be i anese FIG . 9 . D amascened mirror t th K gt M l v M l

“ o o s by artists , every shop ab unding in gunns, sw rds, armourer , ITA LIA N A R T R ENAIS S ANCE IR ONIVORK. 1 7

. L S erravo lle etc ike Milan , the valley of , and the iron district

B elluna m of , al ost on the Tyrolese frontier, where the mysterious

A a c ndrea Ferrara is s id to have had his forge, Bres ia came

G c so - largely under erman inﬂuen e , that all unsigned steel work

' ’ to . Frana m ts arba nazzz B rix ia is difﬁcult locate Thus the G g , ,

eat o n L XIV f , the magniﬁcent suit of ouis ., with engravings of

c o f Garb a nauer the onquest Flanders , is the signature of Franz g ,

is c 688 a German, who tra ed in Brescia down to 1 . Evelyn also

” observed that most of the workmen came out o f Germanic .

Pisto a Verona was celebrated for daggers , and j gave its name

o . A to these, and perhaps to pist ls magniﬁcently damascened shield is signed and dated by Giorgio Ghisi, who worked at “ Mantua from 1 5 2 3 to 1 5 54. A sword marked Petra:

’ ” Aminus R e iem zs 1 66 1 g , , shows that an atelier existed at

R 1 66 eggio. Genoa , whose armoury in 9 contained thirty

. thousand good weapons, also produced them The manufacture of muskets o r hand-guns can be traced to Perugia as early as

1 6 c 3 4 ; and the infantry cuirasses of Pisa, engraved or et hed

- w 1 0 1 6 0 c with ribbon like bands , bet een 5 9 and 3 , are elebrated .

was i Florence , however, the great rival of M lan, and we ﬁnd “ Wolsey nego ciating with a Florentine for two thousand complete harness of Almayne rivettes at sixteen shillings per set and when

o f o r . visited by Evelyn , it c ntained arms seventy thousand troops m The morions and ar s of the guard , embossed with the Medic i

' ﬂeur-de-Is L XI. o f z and sprigs , granted by ouis as a symbol

’ . A w s alliance, are still preserved The rmourers Guild a important enough to commission the great Donatello to m ake a statue of S t. George for them in full panoply . If we may b elieve

Michela no lo Vasari , it was the Florentine goldsmith g , father of

i o f Baccio Bandinell , who invented the embossing steel on the ’ - c o De c pitch block , and produ ed a suit for Giulian Medi i . He also relates that Francisco dal Prato di Girolamo embossed and

n i laid steel with gold and silver representing foliage, ﬁgures , " ’ - . i or whatever else he pleased , and made an ent re foot soldier s

11. c 1 8 IR ONWOR K.

’ suit in the fashion of Damascus for Alessandro De Medici . Cellini writes that the Tuscan dam ascening imitates the leaves

’ - of acanthus , commonly called bear s foot, with its stalks and “ . I ﬂowers, curling in divers wavy lines nto these arabesques, h c ff e ontinues, one may insert ﬁgures of little birds and di erent

f o r -ﬂo wers animals , hints which may be taken from wild , as

- o c snap drag n , whi h must be combined and developed with the help of fanciful imaginings by clever draughtsmen . A very

1 6 2 ri curious manuscript of 4 , by an armourer named Pet ni,

c a E i relates that a Fren hm n, renowned all over urope , Gu llaume

L i o f ema tre, was the grand master armourer Florence in his

C II. time , and that osmo took great pleasure in watching him

work iron and steel both in relief and in intaglio. He produced an iron casket about fourteen inches long so wonderfully

c c etc. c embossed with ﬁgures, orni es, , that it was valued , ac ord f ing to Petrini, at the incredible sum o a million in gold. Of

Gamb erti the Florentine armourers, the emigrated to France , L and were lodged in the ouvre by Henri II. ; but scarcely n any other names are know , and very little ex isting armour

has been absolutely identiﬁed as Florentine, except perhaps

the superb suit Of Philip II. at Madrid. r N Fa ther south little armour was produced, unless at aples ,

c o f c though damas ening a coarse kind was pra tised in Rome, ” Rom u L XM and the signature , on the s it of ouis L, is supposed

to indicate that city. A t least two Italian royalties are stated to have been c e , o f o f ac omplish d smiths but both were the house Savo y ,

c . D E whi h was in part French uke manuele Filiberto, sur m Téta-de- er a na ed f , was a good rmourer, both as smith and as C inlayer of gold and silver ; and arlo Emanuele I. had a f orge

in his gardens at Turin, and was proud to exhibit his skill

in forging barrels for harquebuses and other arms, as testiﬁed Bran O t me, . On by who saw him at work the other hand , few

, gn f o r artists of high renown worked at or even desi ed , armour.

r . a ian . -Car ed and c ase d a e d FIG . ro . v h h lb It l ITA LIAN AR T R ENAIS SA NCE IR ONWORK. 2 1

often o f most graceful form , delicately chiselled with pilasters

c s c and corni e of pier ed work , and panels arabesqued with gold

— m . S e en een cen ur . FIG . I I. G ilt Ve netian l antern. In the Cl uny Museu v t th t y

r o r silver inlay. Before the close of the sixteenth centu y great

to gilded lanterns (Fig. 1 I)begin decorate the stairs and corridors 2 2 IR ONWORK

o f andv s . palaces , to adorn the stately galley of the nobility

Many are of imposing size and magniﬁcent with leaves, banners,

c . borders, ﬁgures, embossing and pier ing Though the work manship is poor, and the designs often loaded, they are models

‘ o f like the c grandeur, seldom wholly of iron , but ri h ornaments

- . at the mast heads, often partly of lead and sometimes wood Poops and prows are enriched in the seventeenth century with

. dragons and other monsters , birds and foliage, generally gilt Smaller vessels ﬁnished in a picturesque volute o f iron pierced and incised with the richest ﬁgured arabesques . These volutes

- n were thin, and kept brightly polished like their formidable looki g

c descendants, whi h still give character to the prows of the Vene tian gondolas. Two ﬁne specimens ( Fig. 1 2 ) o f these polished seventeenth-century prows are in the South Kensington Museum .

C c o f St. U 1 0 Pictures by arpa cio, such as the story rsula, 49

- St. 1 0 2 1 1 S t 9 5 , and Jerome, 5 , how an apparen ly considerable use o f metal in the furniture of rooms. The desk at which St. Jerome writes, supported on a tripod and two brackets, a table in the

c background on folding supports , the bench on whi h he sits, and

o f an armchair, seem partly metal , and are studded with large A nails. metal astrolabe hangs from the ceiling, and the chamber is lighted from the wall by a candle in a stiff forearm and clenched

a f o rm ﬁst, of holder also met with in Spain. The posts to the bed

St. U of rsula seem too slender for wood , though painted red, and

E c o r I velyn , a entury more later , says that the bedsteads in taly “ c are for the most part iron gilded , sin e it is impossible to keep

” chimices the wood ones from the . Few, owing to their bulk ,

c c have found their way into olle tions , but M . Des Tournelles has

c ’ in Paris a perfe t example of about Evelyn s date . It is other wise with the light iron tao' abos and brazier stands which have

been dispersed in large quantities. The great majority of these

m c are very si ply onstructed, consisting of a fairly stout tripod of

c bulging outline drawn in and lasped by a band near the base,

c dressed up with light s rolls and tendrils, and sometimes ﬂowers , ITALIAN AR T R ENAIS S ANCE IR ONWORK. 2 3 attached by thin iron bands or collars . Occasionally they are more elab orate with leafy sheet iron (Fig. and even moulded bronze enrichments, and they are formed not infrequently to hang on a wall. Branches o f similar work to ﬁx against the wall and hold

I 1 .— ro w o f e ne ian o ndo a . In the S ensin n useum . F G . 2 P V t g l outh K gto M S eventeenth century.

a al . c ndles, were used in nearly all churches and p aces These range

c from the simplest possible forms to elaborately scrolled bran hes , and clusters of lilies and other ﬂowers. Pendant chandeliers in

m et iron were rarely used in Venice, but are occasionally to be

ff c with , and are of pleasing and simple forms. The rich e e t of 2 4 IR ONWORK.

-c the Venetian lamp hains, produced by the simplest methods, is

' known to all . The ﬁne and handsome appearance o f gilded b Venetian ironwork , and its small cost, led to its eing exported

r . - 3 e ne ian ri o d. S e en een o r V t t p v t th eighteen th century . somewhat largely in the last century. P erhaps the richest iron - I , at Filli i light holders in taly however , are the pp Palace, near

A c f - rezzo , and onsist o lantern brackets lavishly decorated with ITA LIAN AR T R ENA IS A N I S CE R ONWORK. 2 5

wheat and barley ears, wild ﬂowers , and fruit. They are

apparently l o cal work .

The screens, balconies , and balustrades associated with Venetian I architecture were less severe than in the rest of taly , though, as

c ric o n lassic inﬂuence prevailed, the great palaces, built st tly I talian lines , had windows grated with the usual rectangular or

diagonal crossing bars. The preponderanc e of the latter espe

’ ciall o f Canal m y is seen in some etto s views , but ore decorative

ironwork was never wholly out of fashion. When the Gothic

o f C c quatrefoil fell into disuse , it gave place to screens s rolls

FIG . .— ei L neri. e e . 1 4 S creen f ro m the S cuo la d a V n tia n S eventee nth cent ury .

(Fig . probably introduced rather with the desire to save

to ff . labour than improve the e ect Perhaps the endeavour, in

Vendrami L 1 8 1 the Palace by Pietro ombardi , 4 , for example, to reproduce in iron the conspicuous bronze scale- pattern gratings of

’ St. c Mark s, may have led directly to this, for no smith ould be set to copy them without feeling that he would save labour and pro

c ff o f du e a more decorative e ect by scrolling the ends his bars , and thus converting the scales into C scrolls. We see in the

Manzoni and other palace windows of the ﬁfteenth century,

the gratings of C scrolls placed horizontally, as if to reproduce

ff to C c a scale e ect ; the step from these s rolls pl ced vertically, and 2 6 IRONWORK.

. The in all other directions, is not merely natural , but inevitable

- o r task o f ﬁlling in round o rpointed window heads with a scale a geo metric pattern like the quatrefoil, must have resulted in further

-c c c departures, as we see a tually happening in the semi ir ular ' ' L c 1 8 . E headed gratings o f the lovely Teozpzetta of u ca , 4 4 ven the

- C attempt to ﬁll arched window heads with scrolls would inevi o f In c impossibility tably suggest new lines of design. fa t, the adapting any geometric pattern designed f o r a rectangular space ,

— o m the a azz o Gradeni o enice . S e en een cen ur . FIG . 1 5 . Fr P l g , V v t th t y

c c c to a semi ir le , without modiﬁcation ; the ease with whi h this

can be eﬂ ected by slight alterations Of shape ; and the exercise of

’ c o n sm suﬂIced ingenuity thereby for ed the ith , would alone have

to inaugurate a new s chool o f ironworking.

o There can be no doubt , however, that its devel pment was soon further accelerated by endeavours o n the part of the smith

2 8 IR ONWORK.

S ’ date of its ﬁrst a ppearance , but in instances such as ansovino s

' 1 0 loggia to the Campanile, 54 , it appears to be contemporary hold o f ; with the building. S ansovino was in his use iron he employed it o n the largest s cale in constructing his ﬁreproof

Z ecca or Mint . In palaces of the sixteenth century, in which the rectangular windows are ﬁlled with horizo ntal C scrolls , and in the a c , Tiepolo , in whi h the same are vertical the semicircul r lunettes

8 .— r ar e i enice. S i een cen ur . FIG . 1 S creen f o m the Palaz zo M c ll , V xt th t y

C c have , obviously, merely modiﬁed s rolls , pleasingly arranged and nothing else ; but the semi circular gratings over the water

’ c D c an entran e to the oge s Pala e , and of S Giorgio dei Greci , are

as frankly arabesque designs . The window gratings to St. Gio rgio

S 1 1 8 1 degli chiavoni , and those in Figs . 7, , 9 , are ﬁne examples of

o the not uncommon reversi n to the quatrefoil , late in the sixteenth

c o c entury , when they were f rmed of separate C s rolls tied together,

and mo diﬁed where needed to ﬁt sem icircular heads. Figs. 2 0

2 1 - and present typical modiﬁcations o f C scroll screens . Yet another and more severe type of design is developed from the ﬁtting of the common cross-barred screen into semicircular A LI N IT A A R T R ENAIS S ANCE IR ONWORK. 2 9 windows when it was often embellished with slight scroll-work . about the radiating point, and between the straight bars near the

- - FIG . 1 . A en een cen ur s ree n . In the Gu en eim co ec io n e nice . 9 sev t th t y c gg h ll t , V

— u o f San Fosca FIG . 2 1 .— S cree n ro m a rivate o use FIG . 2 0 . S creen in the ch rc h , f h , . n ur . VenIce. Se ventee nt ce n ur . g Venice h Seventeenth Ce t y t y peripher T hat the spread of Venetian ironwork to the main y ,

u land was rapid is shown by o ne of the ﬁnest . examples— the 30 IR ONWOR K.

o f l Vicenzi screens to the beautiful courtyard the Bevi acqua Palace ,

l Bram antino 1 . are in Bologna, bui t by about 5 47 These

s o f o f remarkable for the boldnes the badges , and the skirting

no foliage, borrowed, doubt, from the rich borders of the older f quatrefo il type. Recognizing the migratory habits o the I artistic and industrial classes of taly in the sixteenth century, it is not surprising that scrolled s creens are not peculiar to Venice

o a alone, even at this date, but are to be f und in Verona , M il n ,

c L c a Floren e , uc a, Pis , and, indeed, probably in every town as far

- R . r south as ome, sometimes even beyond The sixteenth centu y

c f o r o o spe imens are distinguished massive and g od w rk, and

c c ex ellen e of design , and it is unfortunate that the relative value of these earlier pieces has no t been suﬂiciently appreciated by

co c llectors, nor even in museums, whi h abound with the later

and more ﬂimsy ironwork . At what precise moment ﬂoral work was introdu ced into the

scroll designs it isimpossible to determine. With the old screen

c t is res ings of Florence and Prato at hand , it but natural to meet

with ﬂ o wer-work in sixteenth -century semicircular lunette-ﬁllings at

L cc l u a, especia ly as these bear evidence of being evolved , perhaps

o f o wn i independently, from the gratings their Temp etta. At all

a - o o f events, as in d mascening, point lace, or embr idery, the value

some solid masses must soon have been felt, and hence rosettes

c and leaves were introdu ed , the beauty of ironwork greatly depend

l- c - ing on the wel balan ed contrast of light open work and mass ( Fig. The inweaving of foliage and ﬂ o wer-work into geometric

ironwork opened new ﬁelds. A very beautiful eff ect was o h

tained r - by sheathing the scrolls with thin g ass like leaves, and

adding liliaceous ﬂowers. Other examples introduce ﬂowers of

c a all kinds with naturalisti treatment ; and , gain , we ﬁnd others o with nly the acanthus and most conventional classic foliage .

As c the inﬂuen e of Vitruvius waned , Italy presented an increas

in l c c g y ri h ﬁeld for development, and variations increased apa e, less fettered by tradition and more capricious than in any other ITALIAN AR T R ENA IS S ANCE IR ONWOR K. 31

c ountry. Unfortunately , the new rivalry became conﬁned to

, , design , and not at all to execution , and as time wore on the

use um . n i the S ou ensin on - r m the Pe re co llecti , th K gt M FIG . 2 z . S creen f o geventeentficennury. imsy the flowers and leaves being work degenerated and became fl , ill . A o f thinnest sheet iron, and the whole put together folded IR ONWORK. 32 m l - f c w ribbon like treatment, producing the most e fe t ith the s al est

” c c l , eflort, was mu h favoured ; it was s ro led up bent into flowing r m o , and other outlines, and e bellished with little spirals twists If made and pinned on o r tied together without heat . a want of , m , , solid points was felt, small bosses , swellings, ouldings vases and masks were cast in brass and applied. Where Venetian influence

’ FIG 2 .— S creen rom S an Giaco mo de rio enice . La e se en een orear . 3 f ll O , V t v t th ly eighteenth century .

o c c o was m aintained , we ften ﬁnd a ri h inter r ssing tracery design

E o r m (Fig. derived either from the ast from Ger any, the

c W work, it may be, of a particular s hool of smiths . ork is often

I c by German hands under talian inﬂuen e, as in the beautiful " S ta. - c screen in Theresa, Mantua, or the altar rail of S. Frances o ,

c Ferrara, which , though gra eful , are threaded and welded in the

s o S c most workmanlike fa hi n, ometimes purely naturalisti , like ITA LIAN A R T R ENAIS S A NCE IR ONWORK. 33

- m trellised vine work someti es wholly geometric , with great

o c repetiti n ; now closely worked in gra eful symmetry ; or, again , carelessly Open the immense variety of design lends a charm to

I - o f talian seventeenth and eighteenth century ir nwork , but ba ﬂes any attempt to trace and classify its forms . Even the absorbing fashi o n o f Louis XV. did but add new elements of design without

s . L c suppre sing the old ight , heap, brightly painted and touched m with gold , it beca e exceedingly popular, and was applied to every possible use , even when the country was at its lowest com mercial c . It l and politi al ebb is work of this class, which sti l

A to m S c abounds from the lps the re otest corner of i ily, that alone i falls to the indiscr minating purchaser, and from it our prevalent ideas of Italian ironwork are derived. It is this work also which is chieﬂy copied by the modern Italian ironworker. Owing pro

n c bably to its want of solidity and sterli g quality , its inﬂuen e did

' ’ not extend so as to aﬂ ect the smith s craft in countries beyond the A lps, but it penetrated the valleys of the latter, and mingling

n with Swiss or German desig s, formed pretty and interesting combinatio ns in districts like the Engadine and Tyrol. ' NWORR . 34 IR O

GERMAN RENAISSANCE IRONWORK.

THE closing mediaeval period nowhere found the blacksmith

s c h e pe ially brisk, and, in Germany, the ironwork , though ric ,

was subordinate, and palpably under the more or less direct

inﬂuence o f the Church . We have seen that the ironworkers used ornament borrowed from Gothic tracery o r based o n a

’ m Carduus benedzctus mannered treat ent of the , or plain holy

thistle (Fig. 2 4) while screens were generally trellises of rect

a c angular bars threaded diagon lly , and enri hed with decorative

crestings of scrolls and tracery adorned with thistle o riris ﬂowers . The smith does not appear to have made the designs at this

e d p rio , and had not a free hand, yet Opportunities for the dis

play o f technical skill were not wanting. Thus the remarkable

' ' czborzum — ﬁnished 1 0 — of Feldkirch, in the Tyrol in 5 9 is a

’ magniﬁcent specimen of the smith s craft ; though its lines were

' ' a bortam A K based on the stone by dam raft, then recently

L C N . It erected in the awrence hurch of uremberg , the ﬁnest

o 1 6 w rk in iron in Germany, was unfortunately dismantled in 5 5 ,

and made up into a pulpit. The beautiful dark green and gold

W c aldstein screen in the chur h at Halle, though still essentially c t an ar hitec ural composition , shows increasing freedom in the c pinna les of intertwining stems and details of the cresting, as well as in the ﬁnely treated mantling to the helmets over the

. C gates The splendid athedral of Freiburg in the Breisgau , o 1 8 1 0 p ssesses a series of screens extending in date from 5 3 to 5 9 ,

WOR K. 36 IR ON which co mmence with tracery designs and end in ri ch interlacing

- In S C scroll wo rk with armorial bearings . trasburg athedral, the old type of trellis grating is surmounted by a cresting of the new

c o m c Of an d our interla ing w rk , but retains re inis ences tracery ﬂ

-li c m R de s, whi h see to have survived longer on the hine than elsewhere in German ironwork . The rediscovery and sudden appreciation of classic art affected diff erent co untries in widely diff erent degrees . It was no t made

r n did no t i o f on Ge ma soil, and profoundly st r the hearts

German fo lk. Their own mediaeval art was excellent in its

c way, needing progress , of ourse, and perhaps reﬁnement, but

o f o r o cco not r oting up, it had l ng been in perfect a rd with the

o f . climate, genius, and traditions the Fatherland Thus , though

s v Germany pre ented a ast ﬁeld, studded with Opulent cities

art c m m c awake to the advantages of and o er e , and peopled with

earnest workers — s o m e o f wo rld-wide reputati o n — the Italian Art

R s c so o s enais an e , abs rbing on the farther, unny, side Of the

A n si lpi e barrier, aroused relatively but little popular enthu asm on

the northern. Nothing is more expressive of the diff erent tempera

m o s ents of the two pe ple than their treatment of iro n . The

change that cam e o ver the spirit o f the blacksmith in Germany

m rc a hed rather with the Reformation than the Art Renaissanc e . S i A W uch st rring events as the nabaptist and Peasant ars , and

m Of L ’ the triu ph uther, must have sunk deeply in the people s

o f s mind ; and , all the craft , that of the blacksmith was at once

o s m r n and the m t i p essio able the m o st po pular. The em anci

patio u from the thraldo m o f traditio n caused by these events

’ c c m o was thus qui kly reﬂe ted in the s ith s producti ns, and, as the

c l o o o f m raft was followed enthusiastica ly ver the wh le Ger any , it

never had a wider ﬁeld nor fairer conditions for develo pment. Fo r S f the pace o 1 5 0 years it remained entirely and em phatically ’ d , s n e o s the people s art the e ig s b ing by the w rker themselves, no t c c s o r and by ar hite t trained designers. Th roughout thi s

m o s long lapse of ti e it enjoyed unusual patr nage and Opportunitie , G ERMAN R ENAI AN S S CE IR ONWORK. 37 yet the total result is disappointing. While fully recognizing

c its skill and harming quaintness, it is evident that progress

to c simply meant, the mind of the smith , ex elling in manipulative skill. The changes rung on certain stereotyped elements were scarcely appreciably varied by the introduction or omission o f

f n n leaves with antastic proﬁles , of a limited range of co ve tio naliz ed f fruits and ﬂowers, o animals o r grotesque heads

o f and masks, and even ﬁgures, at the caprice of the executant. The fundamental and changeless basis of nearly all designs in which such treatment was possible, centred in the threading

c ba kwards and forwards of round bars of iron , with the free

o ff r f ends ﬁnished into scrolls, leaves, o ﬂowers o most mannered types (Fig. This perpetual threading of slender bars through

i as each other in alternate d rections was no easy t k , especially when complicated by their passage through circles and other . f superadded ﬁgures, for each threading involves a di ﬁcult opera tion which it became the settled and peculiar pride of the smith to excel in. The rivalry resulted in the crowding of as many as

threadin s c twelve dozen g into a Spa e of eighteen inches square , - the slender bars interlacing in some instances like crochet work , until it seems impossible to follow their mazy intricacies, or to u realize that the material is stubborn iron . The pict resque

2 6 ﬂowers (Fig. ) with their central open coil , recurved sepals

- r re and petals, and hammer headed stamens, requi ed no less

ff c . markable e orts , and ex ited similar emulation They form as persistent an element in the designs — the great difﬁculty in

o c - neatly welding all the parts t gether, exa tly at the growing point ,

cc and in the smallest compass , a ounting for the high favour they

o enjoyed in the craft. These two elements were alm st invariably

o f c the basis the composition , the rest being left to the fan y of f r the individual , o , notwithstanding a partiality for the thistle, any ’ c kind of foliage might be adopted. The smith s idiosyn rasies ,

c however, were hieﬂy to be discerned in the masks, helmeted

s - heads and warriors, made of tout plate metal scored with lines , — F’G ‘ 2 0 3 5 “ ‘0 the Si erne Ca e e in the Fr - lb p ll anciscane r Kirch e I nnsbruck . ix teenth , S ce n ur t y . GERMAN RENAIS SANCE IR ONWORK. 39

— n replaced , if required , by armorial bearings, or by a gels and

' c the Church. herubs , when the work was destined for His robust fancy leaned most evidently to the coarse, grotesque ,

. and martial , rather than to peaceful emblems and grace The

0 z q ' P — é 0

. een cen ur . — r m u s ur S i FIG . 2 6. S creen f o A g b g xt th t y

style 15 perfectly familiar, and is illustrated by a wealth of speci r . It 15 mens in the Museum galle y, and In recent publications just c r K , sufﬁciently monotonous to make us reg et that no raft, Vis her

o r i Hirschvogel , other man of sim larly superior and expansive m o f R . views, is to be found among the Ger an smiths the enaissance ’ R . 40 IR ONWOR

It is impossible to say with whom or in whi ch quarter the style originated ; it fo rmed itself as imperceptibly as the clouds , and seems to have evolved itself as rapidly from pre- existing

c c o f material . The ﬁrst sympto m o f hange is the disappearan e

c tracery and the plain trellised s reen, the more ﬂorid treatment

a c c of the thistle, and p rti ularly of the iris, whi h was soon to

assume the complexity o f the passion ﬂ o wer. A singular speci

c Z Co men exists in the S hloss ell , near blenz, which , if con

1 . tem porary with the building, would date from about 5 43 The n mannerisms of the style are there , but the design is thi and

o f . poor , and it has the appearance an early attempt There are

‘ - splendid gates in the rood s creen at Hildesheim , itself ﬁnished .

abo ut 1 5 46 the ironwork may well be later. The style is well f D develo ped in examples which occur in the Royal Palace o resden ,

Kashau 1 0 . and at , in Hungary, both apparently dating from 5 5

’ A 1 6 St. E screen , dated 5 4, in lizabeth s , Breslau, exhibits a large

Of - variety leaves and ﬂowers , and even sheet iron vases, in asso

ciatio n with the usual interlaced bars and scrolls of round iron .

A m c r K nsb ur 1 6 co m do esti g ating in a doorway at y g, dated 5 5 , prises similar elem ents ; and the same work is introduced in a

C c 1 0 . In o f screen in the athedral of Brunswi k , dated 5 7 some

r m c these ea ly specimens, the bars , branching from the ain s rolls,

o c cut o ff r are threaded n e, and abruptly , or t uncated , instead of the ends being fashioned with some form of scroll or lea£ In

o m c - c c s e instan es , trumpet like pieces on eal the welding . There are no very safe guides that will enable specim ens to be satis

f acto ril 1 0 ydated ; but the style was immature till 5 5 , and nothing

remained to be added after about 1 6 2 5 .

- c o f N c . S The ﬁne well anopy eukir hen (Fig in tyria, though

m a s retaining a edi eval outline , belong co mpletely to the new

o style in w rkmanship , as seen in the panel ﬁgured (Fig. L ater and much more magniﬁcent examples of su ch canopies

m c A exist in Ger any, espe ially on ustrian territory. Th o se like baldachinos seem to have been inspired more immediately by e 1 6 . — - a t Ne u irc e n in S ria . a d 5 4 FIG . 2 7 . Well cano py k h ty D t 4 2 IR ONWOR K.

e c Landhause in S ro the magniﬁc nt spe imen in bronze at , tyria, p duced by Max Weninger in 1 5 90 . One of the ﬁnest of these is at Bruck on the Mur (Fig. surmounted by a St. George

o ur R and the Dragon , shown in ﬁgure. ailings round springs

a m c c A and fount ins are co mon in German ities, su h as ugsburg and Nuremberg. One of the sides of the oc tagonal rail to the

- fo untain in the market place of Salzburg is illustrated (Fig.

FIG . 2 8.— A ane ro m th w - p l f e e ll cano py at Neukirchen. 1 564.

C c hief in importan e, however, are the screens to the choirs and C c n hapels of the great athedrals and abbeys . O e of the best,

’ C in S t. U c s A the screen to the Fugger hapel, lri h , at ugsburg (Fig. 1 8 8 m made in 5 , has nu erous ﬂ our de [is and prickets f o r c , c . f andles giving it a distin tive character The ﬁnest o all, rendered more lac e-like and precious from its stately surround

ings, is the deep red and gold one enclosing the Maximilian

GERMAN RENAIS S ANCE IR ONWORK. 47

cenotaph at Innsbruck (Fig. executed between 1 5 8 0 and 1 5 85 . The solid standards are swelled and carved into diff erent kinds

i in f of leaves, and ﬁn sh conventional ﬂowers o remarkable

diversity. Its twenty panels form as many diff erent richly

ak . interlaced designs introducing the o , vine, thistle, etc ; each alternate one includes an angel holding a torch and a shield o f

o f i arms. These belong to the best period German ronwork ,

c l c . whi h avoided repetition , p ain bars, and geometri designs There is a semicircular lunette in the Kensington M useum o f average

r - hr th eaded work , and a delicate and light inter t eading scroll

work cresting (6 1 1 8 1 8 75 ) o f the seventeenth century. The part of a church screen ( 9 0 8 9 : 1 863) is an unusual specimen intro

ducin o f g a number of angels and cherubs, some forged out solid

o iron , and thers embossed of sheet iron in two halves soldered

. L together ate in the seventeenth century , the style changed

c c somewhat, new compli ations being introdu ed by beating out

c o r c the s rolled rods here and there into arabesque organi forms, and inter-threading the whole until large and extremely rich

w c panels ere pie ed together, solely by welding, without the use

o f collars or rivets (Fig. Such restless designs yielded in

c c turn to a graver treatment, in whi h all s roll ends were beaten

c - t into strongly haracterized thistle leaves, a s yle only extinguished by the succeeding B aroda One o f the grandest examples of this ﬁ - 1 0 1 C C Treb nitz thistle work , dated 7 , is in the onvent hurch at

A - magniﬁcent window grating with a later type of thistle leaf, and

o n B arooé comprising grotesque ﬁgures , verging the , is in the

Museum ( Fig. Occasionally the thistle was used in con i - nect on with geometric forms, as in the eighteenth century round-headed window grating numbered 1 2 1 3 : 1 8 7 2 in the

Museum gallery.

A sm all h inged screen ( 1 2 14 : 1 872 ) represents this kind o f wo rk in the

Museum w en n o t in circu a io n in the ro inces. , h l t p v 2 - A sem icircularlunette ﬁlling entirely fo rm ed o f intertwining thistle-leaves i us ra es th a er e wo r w en no t in circu a io n . l l t t e v ag k , h l t 48 IR ONI/VOR K

’ The smith s art was not conﬁned, however, to screens and

c m d c bal onies, for so etimes omesti buildings literally bristled

- c ﬁnials a - with his handicraft ; wall an hors , , we ther vanes , and the s - c s n th e ro c no t o ign bra ket de oting shops of the va i us rafts , mitting

— FIG . . Ear ei ee n - 33 cen ur w indo w ra in ro m the ly ght th t y g t g, f neighbo urh o o d o f Vienna . Amerl ing co ll ectio n .

o e o f c c th s the bla ksmiths and lo ksmiths themselves, exhibited s pecimens of their skill. The latter have never been sur pass f or ed quaintness, and their happy effect was increased by a the huge and el borate models o f keys which dangled from GER MAN R ENAIS SANCE IR N O WOR K. 4 9

F — IG . . Windo w screen in S o u ensin . 34 , th K gton M useum Eight ee nth cent ury . E IR ONWOR K. 5 0

u o the remarkable them. The Museum is fort nate in p ssessing

é 1 635 , specimen with a sign in pierced and repouss iron , dated as well as the smaller specimen with three imperial crowns , and

— An o r m . FIG . 35 . Austrian b ell f a c

the two larger key models ; for their picturesque value has not

’ in szta always insured the preservation of these signs , though

. Of hundreds still exist vanes, the favourite form was a mermaid ,

J R NWORR . 5 , O

’ 2 s 1 7 , n c f o r St. c , Bre lau, in 7 scree , made by Ja ob Mayr Vin ent s

c C r f o r 40 75 Gulden , whi h represents a o inthian portal In per - s ctive . spe , ﬁlled in with arabesqued thistle leave The entrance 1 u arten 1 1 1 745 , gates to the A g , in Vienna, put up between 7 and

- show a similar perspective ; and a rather poor choir gate and

- pulpit-rail in the Museum (664 has thistle leaves and thin o spindles suggesting perspective, so the idea, th ugh absurd, was

ct: Rococo o relished . The chapter o n B aro and ironwork will sh w f ho w ardently these styles were taken up in most parts o

Germ any ; yet thistle designs co ntinued to be used f o r even r c c important wo ks, and perhaps still older designs for su h obje ts

n c s o c s a o r as ca dlesti k and h usehold ne e s ries , down to within ten

ﬁfteen years o f the clo se o f last century.

In a o o o o c the Medi eval peri d , ir nw rk was used for s me domesti

o s n c c purp es, eve in pala es , be ause it was the least expensive metal but in Renaissance days the smith had to be very alert to

c m o pete successfully with brass and pewter. The single and

o c c d uble andlesti ks of this period are familiar objects in collections . They are vario usly contrived to keep the candle ﬂame at any

r m o f requi ed level , either for ed a spiral coil (Fig. practically a ’ o f - o rendering the brass w rker s slotted tube and peg, o r with

ff r c s . o r m c di erent sp ing lip (Fig by a s all bra ket, with no zzle

c o n and pri ket, sliding a rod. S ometimes even they are furnished

s s r with adju table shade o reﬂectors. Their variety denotes a large

o co p pular demand and active mpetitio n. The domestic require s ment supplied by the smith sometimes co mprised such large objects as sto ves and bedsteads while even the Reformed C c , hur h with all its simplicity , required, besides rails and screens , l c - m arge andelabra and hanging la ps, c t - bra ke s , pulpit rails , and o m u o s meti es p lpits of ir n, so that the career of the blacksmith c in Germany ould hardly have failed to be lucrative and attrac o b ’ tive , b th efo re and after the Thirty Years W ar. In some No rth m c Ger an c is o hur hes there yet an ther, curi o us o f , use ironwork , fo r c n - bran hi g hat ho lders at the ends of the pew s . GERMA N R ENA IS S ANCE IRONWOR K. 5 3 The extreme mannerism of the b ironwork ecomes so ftened and even , disappears, as the frontiers of Italy are d approache , and , as usual, it is in the borderlands, wher e styles meet, that new developments are to be looked for. The screens in the Campo S n o f S a to alzburg, dating from about 1 5 70 to the cl o se o f the seventeenth c entury, though no of threaded round iron, longer exhibit excessive interlacing, those by George Klain being especially restrained , presenting a certain amount of repeti

FIG . 6 . — S ira - i c d s i - 3 p l co l an le t ck. FIG. 37 . Cl ip candlestick.

n. R s c c s ics tio ailings in the cemetery at Hall have imilar hara teri t ,

o S and others exist at B tzen, in outhern Tyrol while ironwork In

En c . . . LOhr s o I a a the gadine, sket hed by Mr C H , h ws the t li n inﬂuence still more pronounced. German locksmiths and armourers formed a united b and w1th

m o ne o f ft the smith , and men might shift freely fro branch the cra to All s another. simultaneously felt the release from the fetter c c ed d. It of tradition , and a general licen e in design suc e e Is IR ONWORK 5 4 back what occult inﬂuenc es were hard to imagine, looking , c to have bound the powerful eno ugh, like some se ret to o r locksmith for more than a century, either the thistle an

o f design s. The architectural form , as the basis his multitudinous Ref o r ar immense, almost exuberant, v iety opening out with the matio n was doubtless but the natural reaction .

o Down to the sixteenth century, d ors in domestic buildings

- f were hung by strap hinges, le t plain , or overlaid with pierced t sheet ornament, which migh end with the strap or be carried 1 beyond it. This pierced o rnament was bounded along the two edges by twisted rods beaten out at the ends into some more or

c less simple or complicated foliage , so fan iful indeed at times In that the strap itself looked a mere subordinate appendage .

c c C c exceptional ases , as in the astle of oburg, the pier ed orna Hohentiib i en ments were rich with armorial bearings, or as at g ,

represented hunting scenes, and ﬁgures coursing through the

- c c - thistle fo liage . The do or handles were res ent like in form ,

c c solid or ri hly pier ed , and fringed like the costly example in the

Munich Museum from the castle of Burghausen. The horns o f ' f to ok o r the crescent o ten the shape of dolphins , dragons and

c c snakes , when they approa hed similar but mu h less extravagant

handles in France and England. Several ﬁne examples of these

K Mus um wh n no can be seen in the ensington e , e they are t away in

- c c . o ir ulation The plain or twisted ring handles , s metimes fashioned

c from snakes, or dolphins, or interla ed twigs with stag and stein

ho ck See c 1 8 not i l i n heads ( the spe imen 4375 5 7 , if in c rcu at o ),

r a R c o we e continued from the medi eval into the enaissan e peri d ,

c and asso iated with the pierced , lined, slightly embossed thistle

b c - s i a k plate , ord narily with a lo zenge or cru ciform outline. Bar.

s or r handle made of one several rods, o with a roll o f pierced

’ metal for the grip , as in the ﬁne example in the bishop s palac e S , m at alzburg and the three exquisite exa ples in the Museum ,

E m p es o f the Germ an oc s hin es and and s xa l l k , g , h le h ere referred to are shown In the fro nt ispiece. GER MAN RENAI S S ANCE IR ONWORK. 5 5 were also occasionally used in the early Renaissance. The Splayed

- c h N o c St. S al us rim lo k , seen in uremberg, the taberna le of eb d , as

1 1 early as 3 5 , and decorated in the Mediaeval period with the thistle or intertwined twigs, or merely with a raised keyhole

R c guide, survived the eformation , and was enri hed with arabesques

-c S and armorial bearings, like the ﬁne sixteenth entury pecimen in

- the Muni ch Museum . A small square rim lo ck and bolt on a sheet of pierced iron was used for aumb rey and tabernacle doors.

All o r these were tinned , and scarlet blue paper was seen through

c the piercings . They were, thus far , intimately asso iated with

c ecclesiasti al traditions , and were replaced by new forms and new

- - c decorations as these were relaxed . The novel pin and so ket

tc o f t s hinge, with short ver i al plates instead horizon al strap , was necessitated by the large panelled Renaissance door which

- shortened the hinge straps to the width of the style. The result ,

’ c o - in its plainer forms , was something like our Ja obean co k s head

, , hinges, but usually the ends branched into spiky foliage dragons and arabesques. There are ﬁne specimens in the Museum when

: 1 886 N . If not in circulation , as 35 94 from uremberg the disposition of the panelling allo wed , it was prolonged in the centre into a sort o f ﬁddle- shaped strap of open scrolls and R c m arabesques o f most complicated form s. i h exa ples are

1 6 found o n a cabinet in the Munich Museum dated 5 3, and the most fantastic developments were reached by the end of

S c the S ixteenth c entury , to which date the ﬁnest pe imens in the n A o . Nuremberg , mberg, and other t wn halls belong The desig s c repeat the interlacing features of the s reens, and also comprise

-at- helmeted heads, men arms, horses, and monsters in the folds

- o f their scrolls. Strap hinges were still preferred for presses and hutters and their ends were ﬁnished in a variety of pierced s , c - arabesques . At the same time, large pier ed handle plates and r c o , , escutcheons, often taking the f rms of warriors were int odu ed and probably led up to our modern ﬁnger-plates. The club

sha ed lock a long rim- lock swelling at the end into a trefoil , p , m , , was richly decorated , often with very ﬁne e bossing engraving c or etching. An especially ﬁne example is on the abinet j ust

1 6 c alluded to, dated 5 3, and another superb spe imen with i armo rial bear ngs, from the parish church at Hall, is also in the

Munich Museum . The South Kensington Museum contains at

c - times some magniﬁcent examples of the lub shaped lock , notably

the ﬁnely etched Specimen with the Imperial crown and eagle ,

1 6 1 0 - 8 and another dated , as well as the brass fronted lock , 35 7

’ The s o 1 85 6. average locksmith w rk of the seventeenth century

as o r c w , however, ﬂat in slight relief, with rudely in ised lines, and

o r c m c . tinned , in o mon work , oated with lead The keys are not

- remarkable. The door handles were usually moulded o r twisted

’ ac rings , very often introducing a peculiar moust hed mannikin s

or o head for the knops and spindle heads, some f rm derived from

this . A number of exam ples said to be from Nuremberg are

1 60 0 - c usually in our Museum . Towards , door kno kers became

m ff c pro inent , they a orded s ope for a more fantastic treatment

than the handles (Fig. Fo ur of those in our Museum are

1 1 8 ﬁne examples, particularly the grandly chiselled one 49 3 5 7 ,

reputed to be from Nuremberg. The nails which fastened all

o c this w rk in pla e , and occasionally studded the doors, were

’ sometimes handsomely wo rked. The vast quantity of locksmith s

work used in the early part of the seventeenth century can be

Pellerhaus N 1 6 0 gauged from a pair of doors in the , in uremberg , 5 .

These required , on the inside alone , ten hinges, six of whi ch were

very large and elaborate ; a lock and staple with ri chly fo liated straps two sockets with arabesqued plates to receive the ends of c o r ; c a hain bar a magniﬁcently worked bolt and so ket , and a c o c u ri h l k to sec re the bolt ; besides large and small crucifo rm

n . stre gthening plates These and the shutters and presses, which c m were as lavishly overed with etal work , formed brilliant regions co in the wains ted and tapestried ro oms. The Museum possesses

ﬁne a it ’ many ex mples in s numerous cases devoted to locksmith s

. work The Germans were very thorough in those days. GER MA N RENA IS S A NCE IR ONWOR K. 5 7 A s in the blacksmithing, there are endless variations, but few new c departures , in the lo ksmithing. - The shutter hinges and latches f S o ten how Flemish and characters, , occasionally , artists may have furnished the designs , as there is a nobility about some of

them , especially ’ those based on heraldry, beyond the workmen s capacity. The a aver ge productions are intricate and n ma nered ,

F .— - . IG . 38 German do o rkno cker Seventeenth ce nt ury . angular and poorly grotesque ; the endless quantities that have been preserved and illustrated render the style monotonous . In the Tyrol and Switzerland proximity to Italy seems to have

cc o s slightly softened the designs, as o asi nally a female bust replace

a Landshut the the warrior ; and now and gain , as at , employ

. ment of Italian workmen has impressed a distinctive character NWORK. 5 3 IR O

’ o n the locksmith s work . Again, such vast numbers of Germans wo rked in Italy in the sixteenth and seventeenth centuries , that

c c . the designs, espe ially of keys and askets, were visibly inﬂuenced

o c can f Above all was this the case with arm ur, whi h with di ﬁculty be distinguished af ter the reign of Maximilian.

The pro duction of armour in Germany is lost in antiquity ,

r N for already in the thi teenth century Cologne, uremberg, and

A c Heilbronn, and perhaps ugsburg and Munich had a hieved celebrity. The Wolf blades of Passau were highly esteemed in D N France ; and we ﬁnd the uke of orfolk , in the fourteenth c f entury, pre erring to trust to German armour rather than any

. m other The ﬂuted Maxi ilian armour, said to have been thrown

o c int ridges to give extra resistance , was pe uliarly German , but after that date o nly one style prevailed over civilized

Euro pe .

The name o f Lorenz Plattner has survived as arm ourer to

i . U C V. Maxim lian nder harles , some of the highest artistic skill the ff country a orded was devoted to the decoration o f armour .

Am s o f m r ong designer ar ou and weapons, we ﬁnd the illustrio us

o f W m Diirer names ohlge uth , , Hans Holbein the younger, Hirsch o lOtner , , c Alde rever S c Vo n Ac v gel Peter F Heinri h g , hwarz , hen , Bro ckb er er o g , and a h st of others. The ﬁnest suits in Madrid rs , S I and Pa i for years regarded as panish or talian , have been sc di overed to be German . Engravings and original drawings in c S Muni h how that superbly embossed suits were designed f o r

o s I. IL c , , R II. Mi li Fran i Henri and odolph by Hans e ch, a

who 1 1 pupil of Holbein , lived between 5 5 and 1 5 7 2 . Desiderius Ko m o , A 1 2 ll an who w rked in ugsburg, 5 3 , and made suits f o r

C II. harles V Philip , and many Spanish grandees re eived , c o c o f urteen thousand r wns for the co mplete suit f o r horse and o f C s II. no w man hri tian , in Dresden . The Spaniards also

o m o f b ught ﬁne ar our Peter Pah , of Munich . The Seusenhof er

I ’ family made nn sbruck s Sh ’ famou , witness akespeare s iceb ro o k s ” temper, and were much employed by the German sovereigns , as

60 IR ONWOR K

K collectio n. The circular buckler in the South ensington

S 1 2 Museum, signed Georgius igma, and dated 5 5 , is a good example of German embossed armour. The name of Sol ingen

n - i is found on ma y of the ﬁnest basket and swept hilted rap ers,

o f I especially of the date our James ., and its numerou s

- FIG . o . S ide ie 4 v w o f stirrup .

- makers enjoyed world wide reputations . The hilts are frequently m c c s c ost ri hly ha ed, and de orated with ﬁgures and has-reliefs c d o o . arve fr m the s lid The pierced and chased stirrups made f o rW s allen tein are rare and ﬁne examples o f German acco utre ments o f the early part of the seventeenth . century (Figs 39, G ER MAN R ENAIS S AN CE IR ONWORK. 6 1

Le eb e o f N who 1 68 Gottfried yg , uremberg, died at Berlin in 3, c a hieved an unique reputation for this work , and not conﬁning

to c C himself weapons, produ ed the game of hess at Munich , and several statuettes . The best o f these is the celebrated equestrian

C II. St. ﬁgure of our harles , represented as George slaying the

’ Of hydra revolution ; it required ﬁve years labour to carve ,

o o f 6 . fr m a block iron weighing 7 lbs , and is among the treasures of the Green Vaults in Dresden. The most important work of this L R ’ kind , however, is probably ord adnor s armchair or throne ,

ff c carried o by the Swedes at the sa k of Prague, and brought to

E e . It Ruk r ngland about a century sinc was made by Thomas e , R A as a present to the Emperor udolph from the city of ugsburg,

c c and its pie es are carved, ﬁled, and hased out of the solid iron , to represent events from the Bible and history of Ro me. The

c is ﬁgures are ﬁne in drawing and exe ution, and altogether it ,

f c m beyond doubt , one o the very ﬁnest spe i ens of German ironwork ever produced . The quaint but rich designs of the German pierced -iron horse muzzles, with their badges , armorial bearings , and dates, deserve especial notice . The South Kensington Museum has two good

a nd c c examples, they are represented in most olle tions of armour

(Fig. R A great deal o f the ﬁnest German enaissance armour, and

’ c even locksmith s work, was gilded , and sometimes ri hly painted so in oil-colour. The art of etching on armour, which became ro fashionable as a decoration , appears to have been int duced by

1 1 Diirer c Wohlgemuth or his pupil Diirer. By 5 3, was su cess fully practising the newly invented process o f biting the lines o f

c his drawing with acid o n metal , instead of utting them with the

graver, and this process was soon extensively adopted by the c armourer and lo cksmith. The ﬂat surfa es of iron caskets, and f even lo ckplates and hinges o simple outline, were prepared ex appreciated. Fine pressly for the etcher, and were greatly

c , examples are in the Museum , when not in cir ulation especially 6 , IR ONWORK.

I one dated 1 5 5 0 . Similar caskets were made in taly, and if these

c diﬂicult are by German workmen , it be omes most to tell in

FIG. 1 .— ierce - 4 d o rse muz z e wi armoria e r P h l , th l b a ings. D ated 1 604

o untr y . they were made There is, however, a quaintness and im u ont and laboured earne stnes s about German designs whether GER MAN R ENA IS S ANCE IR ONWOR K. 63

c c o r c s m et hed, hased , embossed , whi h distingui h them fro the

- c I r s r more self cons ious talian o the pi itc French.

C i - onsidering the act vity of the Hansa and German steel yard , it is surprising ho w little German ironwork found its way to this

co . o c A m c s untry The ir n hests, known to us as r ada hest , and

in co res dc Flandrc o . France as f , are the only striking excepti n

f s They are made o hammered plates of iron riveted to iron strap ,

which bind them t o gether and cro ss each other at equal distance s.

c are The ﬂat lid slightly overhangs the sides, whi h furnished with

- c heavy ring handles . The lock is ﬁxed to and entirely overs the

lid inside, and , with one turn of the key, shoots from eight to

w - o c to c c t enty four bolts in f ur dire tions , at h under the ﬂanged

- c r edge o f the chest when shut . The key hole is in the ent e of the

o lid , and is concealed by some r sette or device repeated at all the

c c - intersections o f the bands , while an es ut heon plate, often a ﬂorid

c s . acanthus leaf, is ostentatiously ﬁxed to the front of the he t

The mechanism o f the lock is masked by a pierced and engraved

c . c plate, whi h invariably betrays the German origin of the hest These were apparently imported late in the seventeenth and

o m , during the eighteenth centuries , though they are seld dated

- n an d they enj oyed a monopoly as safes and strong boxes. Ma y

- fﬁ c , of o ur o ld established banks, hospitals, insurance o es and

n o f E d, business houses still carefully preserve, like the Ba k nglan

e u s , their original stro ng boxes. The Tow r armo ry boast of one

” n , labelled a military chest. One measuring four feet nine i ches

with the arms o f Nuremberg on the plate , is possessed by the ’ D s Clo thwo rk ers Com pany , and the yers have one mea uring three and c Shipwrights feet nine inches , while two smaller hests of the

. A a the Plumbers are deposited in the Guildhall Museum d te as purchased at late as 1 7 93 appears o n o n e said to have been imported until the Ih Gloucester, and they may thus have been 2 1 1 1 8 6 . The chest (4 5 ) tro ductio n o f safes in the present century Oak pro fusely in the Museum is an average example. trunks were co mmonly C overed with acanthus straps and ornaments 64 IR ONWOR K pro duced in Germany in the seco nd half of the seventeenth

o ne re century. They vary much in form and decoration , markable spe cimen in the South Kensington Museum , about six

co feet long, being almost vered with pierced and tinned iron

c o S c o n ornaments , while a still more ri hly dec rated pe imen is a

- s 1 1 6. D tand , and dated 7 oors, especially of strong rooms and s c c ~ a risties, ontinued to be lined with plate iron profusely em b ellished o o . with studs, foliated straps, and emb ssed f liage Little is known of the history of the art of casting iron in m Ger any, but it originated at an earlier date than was supposed by

Dr. c . C c E 1 Per y annon were ast at rfurt as early as 37 7 , when we read that the city of Frankfort ordered one to throw balls of

1 0 0 0 lb s . weight. There is a remarkably ﬁne cast stove in the c o f C - astle oburg, made of large plates with has reliefs of the C oburg arms and of the Virgin and saints, said , with every appear ance of probability, to date from 1 47 2 . Detached panels from

- ﬁre . c similar stoves are sometimes taken for backs The astings ,

, , m di and indeed the ironwork generally of Ger any , d not, as m we have seen, beco e models of classic grace and simplicity with

R s c the appearance of the enais an e , for the German artisan, while c o f welcoming independen e thought, remained inveterately Gothic i n his tastes. His peculiar mannerism remained until French c , d L XIV. L - inﬂuen e un er ouis and ouis XV., became well nigh E paramount in urope, and German ironwork underwent that

c c c great hange whi h will be tra ed in a suc ceeding chapter. III.

RENAISSANCE IRONW RK O IN THE NETH ERLANDS .

THE chronicles o f the Netherlands are singularly reticent with

. Its regard to ironworking smiths , as we have seen , were the

o f c last to enter into rivalry with those other ountries, yet they rapidly placed themselves in the front rank. At the period of the

R c o f enaissance, this ex ess of energy showed signs ﬂagging, and

o II S l the rem rseless rule of Philip . of pain , and the end ess wars

. A r that followed , rendered any , revival impossible ter ibly pro tracted struggle dealt crushing blows to the arts and commerce

l c a r and of the country , and drove the ski led r ftsmen, the st ength

o f sinews the l and, to seek in crowds the shelter of neighbouring

la c countries. The emigration to Eng nd espe ially, in spite of

’ ' ﬂ a S Philip s e orts, took al rming proportions , ully stating that

a I. when he passed through Canterbury on an emb ssy to J ames , two thirds of the inhabitants were Flemings. The grand iron work of the Low Countries thus belongs chiefly to the mediaeval

, period , and has been noticed in a former volume but the later n and humbler eff orts of the smith are full of quaint desig , and of more than superﬁcial interest . All Netherlandish art must appeal

cl - to us, since similarity of imate, long established bonds of trade o w c c , and allian es, and some ra ial sympathy had harm nized it ith c our own, even before the inﬂux of refugee raftsmen and the enthronement of Dutch William made the arts of the two R countries practically one. epeatedly has our ironwork been pm particularly inspired by the Flemish , and everything they

f f . duced is o f importance to the histo ry o the cra t here

11. 66 IR ONWORK.

c c m e o When the Italian Art Renaissan e a , no nati n studied and

o rso c c o entered into its spirit so thoro ughly , qui kly and mpletely

assimilated its beauties, and grafted them on its own art, as the

o f N Alart C Flemish. The ornamentists the etherlands, laes ,

c Collaert Lucas van Leyden , Cornelis Bos, Ja ob Floris , Hans ,

c Geerarts De Vredeman de Vries , Mar us , the Bruyns , and others ,

- I . achieved a world wide reputation, and even excelled the talians They were the masters who taught England how to adapt Italian

c architecture to a more inclement limate, without sacriﬁcing its

e o c o o beauties, and help d to intr du e it int Germany , and even int

' France and Spain. Yet some French writers aﬂ ec t to believe

o f Eu o them the mere chapmen r pe, stealing ideas, that they met

c m . with on the road , to reprodu e at ho e Their ironwork alone ,

o suﬂices c h wever, to dispose of the alumny ; and no peo ple perhaps have showed originality in art more often than the in habitants of the Lo w Countries. The fact that the arts of their

b c next neigh ours, Fran e and Germany, were entirely opposite in c o verﬂow haracter, yet both ed to meet in their country as on a c mo o om n gr und , was undoubtedly a m o st happy c ircumstance f o r a people so well able to take advantage of it. They only c h re eived them, however, to melt and fuse them in t eir crucible,

and mint them anew with their own stamp. The countrymen of

E R c the Van ycks and ubens were no mere opyists, and their archi

c c o te ture , together with their mat hless wood and st ne carving , and c ﬁne textiles, laims a high place in the history o f art . The

genuine artistic spirit which imbued the peo ple in their days o f

, o freedom c uld alone have led to a metal , so intrinsi cally valueless o as ir n, being worked so exquisitely as to entitle it to the places o f o i h nour in their pr ncipal churches. The beautiful Massys c L , c c handelier of ouvain whi h still ex ites admiration, is formed o f x a he agonal basin with moulded angles, tapering to a point s i in ’ and ﬁni h ng a drago n s head holding a ring ; the basin is bordered by an open ﬂamboyant balustrade with pinnacles , and s s e six n o o ds is u p nded by curvi g and foliated gee r , while scrolled

63 m ONWORK openwo rk scrolls and flowers. The best known (Fig. is in ' ’ fl rin s Baston es. All o e , , St.Peters, g were probably votive g and l perhaps, like the Ghent example , gilded and i luminated in r r colours ; though coronets and even jewellery are sometimes ep e sented in pictures as of the most delicate black ironwork. It is to be regretted that so unaflectedly poetic and so permanent a form of memorial should be lost through the preference for com

memoration by costly and useless rows of gravestones.

- Lo w Of the great font cranes almost peculiar to the Countries,

the mediaeval examples of Louvain and Hal have been noticed .

-le-Duc l a n That of Bois is sti l medi eval in desig , but with some

remarkable leaf and ﬂower work. The great church at Breda has

o n c - c e ﬁlled with s roll work, terminating in somewhat Gothi iris ’ e St. R a c ﬂow rs, while Martin s, Ypres , possesses a purely en issan e

m n exa ple, with most interesti g detail . These are of the sixteenth

D x . century, and deserve, like that of i mude (Fig made in

1 6 2 6 c , the losest attention . The whole form a remarkable series

ranging through the best periods of Netherlandish art .

c rilles Few church s reens, or g , of iron were made during the R enaissance, when the Spanish taste for rich carving and the

more costly materials, marble and bronze , began to prevail ; a taste which seems to have led to the destruction o f most of those N already existing. o delineation even exists of the iron screen

m Wol he 1 0 2 ade by Gilles g , of Bruges, in 5 , for the sumptuous

tomb of Mary of Burgundy ; nor of that to the tomb o f the third D o f uke Guelders, reported to have been taken to the Tower of

L . An m o f St. ondon exa ple from the great church Bavon , Ghent, has somehow fo und its way to the South Kensington Museum

' ( . c n t Fig Glimpses of ri h iron screens are, however, o e in rar the highly ﬁnished interiors of churches by Dutch and

Flemish painters. Perhaps the honour of ﬁrst using iron railings c on a large s ale round open spaces may belong to Belgium , for ’ - we ﬁnd it mentioned so far back as 1 5 5 5 , that the space in front o f a c o f D in the p la e the uke of Brabant, Brussels , was so enclosed . NE THERLA NDS : RENAI S S ANCE. 69

m r in n ed a bum m , i mude . Prese t by nci a c urc o f — - rane in the ri Fm . 43. Font c p p l h h D x 1 62 6. Ftc . - 44 . S creen f r ' om S t. B avon s Church h t , G en . I n the Sou en S i th K singto n use m xteenth century M u . NETHERLANDS R ENAIS S ANCE. 7 1

A most extensive use was made of ironwork in Flemish citie s

A A w a r at this period . view of the old ntwerp To n H ll , eng aved

ause 1 6 s by Henri C , just before its demolition in 5 4, show

f c projecting grilles o interla ed bars to the windows , some with

' ’ - a cresting o f ﬂ eurv ae Izs ; the do ors and shutters hung with ﬂ cur

’ ' ae-Izs pattern hinges ; a large lantern depending from a hand

c somely scrolled bra ket at one angle, and in the foreground a

c s well , with a ri h iron canopy supporting the Windlas , while

si nv b racket opposite is a handsomely wrought g , and two gabled

ends bearing decorative iron ﬁnials. o Window gratings were o f upright bars , often octag nal , some c n s times with rudely moulded caps and bases , or of interla i g bar c crossing rectangularly or diagonally , and usually proje ting

o f s o f beyond the building line. Often o ne or two the window

c , the Town Hall , or Guildhall , either immediately over the entran e

o rin a convenient situation , were distinguished by enriched gra

s tings with ﬂowers and cresting , perhaps used as relatively safe , to points from which to harangue the citizens . They are be

o m seen in old views ; two windows are still pr vided with the

K m . in the Nimeguen Town Hall , and there is one at a pen ' seventeenth Few iron ﬁnials o r crestings o f the sixteenth or

centuries have withstood sto rms and weather, yet some still o - . The o ldest are pen work remain , and many have been restored i o buildings , and crosses used for secular as well as for rel gi us , f c . differing in no respect from those o the north of Fran e The

c d, spires and turrets , arved in woo fantastic Renaissance towers , , s o surm o unted u ually by and sheathed in lead or c pper, are ac s — as vanes , but rarely c dragon , bannerets , and o casionally s 1 — o r else by pikes enriched companied by the cardinal etters, S vanes were seldom used with bosses and clustered scrolls. hip s and ro o f ridges were ometimes before the last century. Gables ﬁnials the roof o f the as well as , enri ched with iron crestings Haarlem having even the - c at seventeenth c entury Bou herie with richly worked scro ll borders. ridges of the dormers fretted IR ONWORK.

l — Fo , . Finia in th 45 e Rue du Fil ru e l , B g s. D ated 162 8 NETHERLA NDS RENAIS S ANCE . 73 Some l va uable examples exist at Bru c ges, su h as that (Fig. 45) Rue du il in the F , dated 1 6 2 8.

The sign and lantern brackets must have been at times

in magniﬁcently wrought, and were decorative features the

s Few medweval picturesque treets. , however, are left, and ' 113os ozrx . 7 4

Renaissance street ironwork having disappeared almost as com é pletely as in England. The beautiful bracket in the March de - Vendredi of Bruges (Fig. from whi ch a curry comb still depends from a chain of ﬂowers , is the most noteworthy

- c c exceptio n. Shaped like a crane bra ket , with a resting of

c liliaceo us tufts , bouquets of ﬂowers and ears of orn , it recalls

- - the sixteenth century font cranes , and is doubtless of the same

- n date. Van der Kellen illustrates a rich sheet iron sig , dated

60 0 s . 1 , repre enting the ﬁve senses , but shown without a bracket

- s A sheet iron sign in Brussels , of the ame date, bears the arms

o . of the seventeen provinces up n it, hanging from a simple bracket The richly wro ught sign-brackets of the latter half of the seven teenth and eighteenth centuries are referred to subsequently. A few of the old lantern-brackets may still be m et with in deserted

c streets, and lanterns are preserved , most of whi h , however, like

c o the ri hly wrought examples in the T wn Hall of Mons , were used for interio r lighting.

A c to N s o r c c feature almost pe uliar the etherland , to bri k ities

b is inhabited y its refugees , the use of highly decorative wall

’ ’ c c c an hors , introdu ing either the owner s initials , or mer hant s

mark , the date of the building, or the nature o f his occupation.

s c These till occur in profusion, espe ially in Flanders. A Belgian

co mm o - e royal issi n published as many as sixty eight s ts, existing in 1 866 , . in Ypres alone Few are older than the sixteenth century, ' ' aﬂ ect m - o and these either so e treatment of the ﬂ eur de lzs o r geo

m c . c etric tra ery The oldest ﬁgured are on the Bou herie, at Ypres , c , W Do c whi h like those on a house in the ijnstraat , in rdre ht , are

late thirteenth century . They usually bind ten or twelve courses o f c c a bri k , and o c sionally have some projection — perhaps in the

m f ~ o ﬂo wers to a r m for leaves and hang t pestry f o , it is supposed ,

. o are during festivals Go d examples a heart pierced with arr o ws , Z a at ltbommel (Fig. and the cross-bow of the Hand Boog r D l B ewery, at e ft , of the sixteenth century ; but usually they are R n is c c o s c , , o r o e a san e s r ll enri hed more ften fringed , with smaller

IR ONWORK. 76 with the open c esset u they are usually provided r especial feat res ; i the trivets , peculiar are the cooking utens ls, . More (Fig i are m uch objects , wh ch . and other such crémailléres (Fig O i h , being only r valled characteristic t an elsewhere richer and more

— the B russe s use um . FlG . 48 . I.andier in l M

n la no t i e boration , and that but distantly , by the dissimilar

of Normandy .

d s the Gri iron , mentioned in inventories, from fourteenth cen

w r e s tury, e e sometim s of colos al dimensions, like that of the

Corde ie a l rs in P ris, on wheels , which would grill a whole barrel NETHERLANDS : RENAIS S ANCE. 77

In usuall ' e of herrings at once. Flemish grids , the bars are iri placed by a scrolly design (Fig. 5 1 )worked out in square c

and a ﬁnely de corative effect is produced by clustering scrolls

m e somewhat unifor in siz , ﬁnishing in complete rings, and

welding the whole into one piece . Silver grids have been

e-do s. — Cresse ﬁr FIG . 49 . t g

’ cz . ( aura/mes d oﬁ (Fig modelled on the same lines. The were also deco Flemish pictures, often represented in Dutch and ' c he brass handelier the of t globose rative. Occasionally form feathery . the welded in open ironwork (Fig was reproduced c o producing a harm o these f rms , c and bent int scrolls, lustered IR ONWORK. 7 8 Woo d a t l i holding , baskets for burn ng or effect. The ?“ i: ing du t sg 1 Palais Franc , 1 7 , in the r s o ne dated 5 . b azier , like ca ; - abird e c desk stands, and even picturesque. Bra kets , are also 15 . he wc) kman5 - are to be found of same kennels , t and dog ;ect hape i such 0tj picturesque and inexpens ve , Being highly s1 1 bra uantities to this country. The can e a found their way in q

— emai ere. F1c . 50 . Cr ll

- c f and wall branches introdu ing lilies, borrowed probably rom the i R Venetian , are later, l ke those in the Baroque and ococo styles

o f Louis XIV. and Louis XV. Fine examples of Flemish Renais

a -c c sance, or e rly seventeenth entury s roll designs may frequently

be met with in screens or even rails. There is a semicircular

lunette screen in the Hotel de Ville , at Brussels , others in Mechlin NETHERLANDS R EIVAIS A S NCE. 79

C m o f L te athedral , and two in the Town Hall Museu ouvain , all markable from their resemblance to Italian cinquecento ironwork.

o c Tabernacle doors , too , are ften most beautiful spe imens

’ f f or s c c o the smith s art, , being small and preciou , pe uliar are was bestowed on them . Possibly some sixteenth-century trellised

K o m doors in the South ensingt n Museu are Flemish , though similar designs were used in other countries. They were more

— i r n. Fic . 5 1 . Grdi o

embellished , often of pierced plates o f iron riveted into a frame, A c rc mouldings and rosettes. ri hly pie ed perhaps, with twisted be , design, in the Museum may possibly specimen, with tracery c rille n is the taberna le g , Flemish. The most importa t example Co n , or shutter from the ancient chapel of the unts of Fla ders at , the South Ken of which we have one leaf in Ghent (Fig. Ysendeck while two others are ﬁgured by Van sington Museum , o f rc d . They consist pie e from a private collection in Ghent 8° IR ONWORK.

- o f em o sheet iron panels of three designs , nine th , let int a stout

m . Our and decorated frame, for ing the leaf somewhat rare

C II. English ﬂat ironwork, which ceased with harles , was evi dently derived from examples such as these. c L The Low Countries, and espe ially ouvain, were more par ticularl o f o r c y famous, h wever, lo kwork and domestic door

' FIG. 5 2 . — Co uro nne d o ﬂice . Cl uny M use um .

i — a - furn ture b in e n well known type of g havi g , indeed , been known for c enturies in France, and even with us, as the Flama d . h n These were straps clasping a door on bot sides , 11 at 1 eye working on a ho ok ﬁxed in the jamb o f descaling 1 11 ; test Gothic inges were more or less richly d h ecorated ’ S r s a ’ t ape , i 1n eur-ae-Zzs r requently end ng ﬂ , and these e mai o med in i fash on throughout th c m a e sixteenth entury , as y be NE THERLA NB S R ENA I SS ANCE. 8 1

o rset en et nth centur . w in En and. S een t y — l h r h andelier no gl ixt th FIG S3. Fe mis i o n c ,

8 4 IR ONWORK.

o ne mo re knuckles , when the shutters were in more than leaf,

c r and these are frequently reinfor ed with subsidia y straps, follow t ing the frames and bent a right angles , so that a single shutter hinge might possess as m any as ﬁve decorative terminals. The

c , richer hinges (Fig. 5 5) were asso iated with strengthening plates ,

o f . corresponding in design, at the angles the frame The fasten

c c ings were also necessarily complicated , and onsisted of a pier ed

easem ents o plate on the ﬁxed frames between the , h lding a pair o f c c verti al spring cat hes, released by pressure of the ﬁnger and

m i c thu b when the w ndow was to be opened while pier ed plates , with catches on the casement fram es h eld the lifting latches by

- which the shutters were secured . A rich b i symmetrical ornament

c o f n and resulted , whi h formed a bold centre to each set hi ges

' angle plates. Altogether so much of the wo odwork was covered with bright metal that the window spaces must have been little

c less brilliant by artiﬁcial light when the shutters were losed, than by day. Doors in early periods were fastened by mortise locks with

c c c c large and enri hed re tangular es ut heon plates, o n which stout bolts were mounted to act in place o f handles . Later ones

c have plates with arabesque pier ings , spindles, and mouldings ,

- o r with drop handles instead of bolts ; , sometimes they merely

c sc have a richly pier ed e utcheon and a slender stirrup handle. Rim c lo ks , when used , were usually large and o f relatively co arse workmanship ; but an exquisite specimen in the South K s m o ensington Mu eu , in all probability Flemish , is, h wever, both

c . small and deli ate This admirable example is oblong, divided s into three panel by short, thick spindles . The centre one frames

o , m d 1 6 1 a rampant li n on a red Opaque ena el shiel , and the date, 5 , c while the others are o cupied by pierced arabesques . Drawers of c i - ab nets were furnished with light stirrup or small drop handles. o f Most the beautiful moulded bar-handles are mediaeval in

- ’ , b design and kno handles are seldom used . Knockers were not in c , ommon use and are very plain , usually formed of two short bars welded together, and shaped into a hammer, diverging towards

8 6 IR ON IVORK.

Ric the free end and wo rking in a couple o f eyes. hly worked

no c c keys were never in fashi o n , and there are spe ial chara ters ' co 'e awana to distinguish tho se o f the Netherlands . The ﬁ ﬂ , a

E wa IV co mmon piece of household furnit ure in the reign of d rd

c was an oblong wo o den chest, latti ed and bound with iron , with ‘ out much attempt at decoration . Many still exist as municipal

c and exchequer chests, and in parish hurches , but they were wholly superseded in the seventeenth century by the German

- c . iron strong boxes, whi h also usurped their name Few iron

y Lo w C c caskets, apparentl , were made in the ountries, ex ept the

ire-l re - m late mediaeval f i , or hexagonal alms boxes , which were so e times profusely ornamented. A noble example stands by the

’ o W o . entrance to St. Ge rge s Chapel , inds r The inﬂuence of all this wo rk on German blacksmithing is

c r c ex ub er quite apparent, though it s a cely did mu h to sober its

c A o f c m an e. study the spe i ens in the Ghent, Bruges , and Antwerp Museums also renders it obvious that our Jacobean doo r and window furniture was but a rude adaptation o f the N Flemish. evertheless , few locksmith designs were published

in the Lo w Countries. Hendrich van Schoel produced at Rome

- c a set of thirty two plates , comprising some keys and escut heons , towards the end of the sixteenth century ; and some o f the very

c R C 1 6 2 rare auri ular designs by afael ustos, 3 , are intended ’ for the smith s use. Joseph B6tterman published a treatise o n

c m A 1 68 2 c lo ks ithing at msterdam , in , whi h was translated a

c r Feutr entu y later , and published by y, as a supplement to Earl ” da S w arf er En , in the French cyclo pmdia. Low Co The untries, especially Brabant , were once celebrated

f o r o o f the pr ducti n o armour. Fro issart o bserves that if all the armourers of Paris and Brussels had been at the battle of Ro seb ec ue 1 , 8 2 , c no t q 3 they ould have made a greater clatter. The same chronicler calls attention to the leg armour worn by

S o me er ric wo rk ed c v y hly h est s appear in o ld ta est ries and ictur p p es, b ut no ne suc are h k no wn to ex ist .

88 IR ONWORK.

r c These were at ﬁrst of w ought iron, like the monster Basilis o “ ” o f Ghent, or the great iron murderer from Mons ; and smaller wro ught cann o n continued to be produced almost to the time

f o f o f Elizabeth, notwithstanding the great e ﬁciency the bronze o rcast-iron guns produced at Tournay. This place was famous

1 1 III. f or e for artillery , and in 5 3 Henry V sent there thirt en large cast cannon ; and both English and French sovereigns were goo d customers throughout the sixteenth century. The

o c a c pr du tion of sm ll arms also became onsiderable , and follow

m c ing the exa ple of the Fren h, design books for gunsmiths were

De c A produced by la Feuille, and by Pieter S henk, in msterdam ,

' 6 2 in 1 9 . One of the most famous of the Parisian arguebuszers

’ of the same date was named le Hollandozs.

c - - Besides the annon , some particularly well designed cast iron

fire do s fir - g and e backs were produced. The o ne figured (Fig.

6 o f C V 5 ) bears the portrait and motto harles ., and another very

ﬁne one in the Hotel de Ville, at Oudenarde, bears his arms and the date 1 545 . Many grand examples o f sixteenth-century

ﬁre- backs are to be found in civic halls o f Belgium . Later examples have ﬁgures and fruit, and can be reco gnized by

o swelling outlines into which the d lphin, a feature ever present

R c in Flemish enaissan e ironwork , very usually enters . W hat further developments the Flemish school o f ironworking m ight have produced, were lost or but feebly prosecuted on foreign

o . s ils The spirit of the burgher and artisan class was crushed,

, c as we have seen by foreign aggression , ivil and religious wars, and the remorseless I m nquisition , a ong whose victims we ﬁnd o L a Massys of the fam us ouvain family of smiths , whose wife was

, c - buried alive as a hereti , in the market place. But while in the N a ’ c was in S etherl nds the smiths raft stiﬂed the panish grasp, it is seen to spring up with more than corresponding with indeed , , r o ext a rdinary c vigour, in the ountry of the oppressor. IV.

S ANI P S H IRONWORK.

THE S ironwork of pain, though as abundant and ﬁne as any in

E kno wn urope, is relatively little f That of the Medizeval period

has no very strongly marked characteristics , but can generally be c , Mud ar re ognized either through some traces of qf ornament, o r from its tendency to combine distinct French and German

elements . Florid or latest Gothic and Renaissance ironwork is distinguished by a redundancy of armorial bearings and by sur

passing m agniﬁcence. In R L N Old C omanesque buildings of eon, avarre, and astile,

o f and c c examples twelfth thirteenth century s reens, identi al with E the earliest in France and ngland, are met with , and , like the

c - A - c ontemporary hinge work , appear to be of nglo Fren h inspira

. A f ew m c o tion keys , weapons, and implements ake it lear, als , that the older traditions had not ceased to survive in various parts of Spain ; and in the Moorish pro vinces the smiths are reputed to have been parti cularly skilful in the manufacture of cutlery and arms. That no more considerable use was made of

c m a iron , in the interior of buildings, until the ﬁfteenth entury, y r be ascribed to the Oriental partiality for rich mate ials , shared at that tim e by Spain and the larger part of Italy. The most important works produced in the ﬁfteenth century

c c are the hurch screens, made principally of long verti al bars, with

c c s o f ri h ﬂ oriated crestings . Barcelona, whi h posse sed a guild

c ironworkers fro m the thirteenth entury, contains in the cathedral a most extensive series o f typically Spanish examples o f this date . IR ONWORK. 9 0

c f In general design they resemble ea h other, but di fer in the details and relative richness of their cornices and crestings. They were c doubtless produced under the direction o f the Spanish ar hitect who completed the cathedral in the middle of the ﬁfteenth century , and were not copied from abroad, notwithstanding a resemblance

St. S to some ironwork in the remarkable church of ernin , at

Toulouse. The latter is well known , and was considered by

Viollet-le-Duc to belong to the end o f the ﬁfteenth century, ' diﬂers while much of the Spanish work is of earlier date, and in

being made of ro und bar iron, and in its superior height , ranging

fro m twelve to ﬁfteen and eighteen feet, thus discovering the

peculiarpens/rant for lofty iron screens which developed afterwards

St. S in Spain in so surprising a manner. ernin, Toulouse, and the

m o stella great church o f Co p , built in almost exact imitation of it

- o f twenty two years later, were rivals, both possessing the body

non est S t. James ; and much as the French shrine might boast

' in Iolo orbe sanrtzor locus St. , the phenomenal devotion paid to

m Com ostella c S - Ja es of p e lipsed it, and the panish looking ironwork f may therefore have been introduced intentionally. The simpler o

the Barcelona screens have plain rectangular horizontal bars, and

’ round vertical ones , every fourth ending in a pricket, with half a

- dozen re curving liliaceous leaves clustering round. The loftier

c c c c s reens, whi h close the loister chapels , have more ri hly decorated

c c nd orni es of cusped arches, with crestings of lily leaves a ﬂowers ,

and, in some cases, one or several pinnacles clothed with curly acanthus o r thistle leaves in the manner of contemporary German

. c work Beneath , under pointed ar hes, are gates hung on massive

c c c o ﬁnials and ar hite turally designed buttresses, with r ckets, , and

i . c o mould ngs The gates to the loisters have, in additi n , a border

o f o c - o f large quatref ils under the cresting, and lock and lo k rail i m rch ﬂa boyant piercing. The spiky liliaceous leaves are character lSt features in Spanish smithing of the ﬁfteenth c entury ; high church candlesticks and o ther objects are sometimes em

b ellished w m . ith the Pamplona had , like Barcelona, its guild

[R ONWORK. 9 2

s 15 - o f o , T hreaded lattice wo rk rather massive, and vari us date , . ‘ o c s , no t uncommon. It occurs in the gates to the loister at Toled

‘ - - d e n , which , with their ban of thistl like or ament might well be mistaken f o r German.

Windows were barred with iron thro ughout the Peninsula from

. i m c o ld c i s. E early ti es, espe ially in the Moorish it e ither pla n " e . bars o r threaded lattice -work were used until quite rec ntly , - C S r Leo n A o espe cially in Portugal . The asa ola , at , in which lons i s 1 2 6 f o r n on Guzman was born in 5 , is noted a profusion of grat ng

’ c S c and balco nies. The Casa de las Con has, in alaman a,presents

‘ atio o rcourt c so me go o d gratings in the p , , and two magniﬁ ent

' examples o n the exterio r ; these massive specimens not only c s screened and prote ted the inmate , but excluded the glare of

‘ h Re the sun . As we frequently ﬁnd , thoug the building is nais

is e c c s o f sance , the ironwork pur ly Gothi in spirit , onsi ting t h t b o f e plain and twis ed vertical bars , wit horizon al ands pi rced

Ave Maria w work which recite the , and present, ith their rich

' armorial b earin s of C foliage, g , turrets astile and pilgrim shells " o f St; s n S Jame , splendid monume ts of panish dignity and

grandeur.

' So the work c inﬂueric ’ me of we have noti ed shows German e, but many of the ﬁnest buildings in Spain were erected by French

and Flemings, and their art has o n o ccasions deeply inﬂuenced

S o . c panish ir nwork The ri h traceried effects, produced by piercing

o r s and superposing two more plates of iron , o p o pular in those c S ountries, were introduced in pain , but the work is never so pure

‘ in Fra and reﬁned as nce. No b etter illustration could be found

ﬁr - than the e guard Fig. Lo c t e 1 ( 5 7) in the uvre, whi h , wi h Fl mish

i c m ’ , o Marla Er s panell ng o bines s me / feeling in the cre ting, and , in o r l the l wer borde , a German pierced pattern interrupted by turrets

C . S m ‘ c - ﬁr - o of astile o e tall andlesticks, wall branches, e d gs,

c ' , and other obje ts are designed in the same spirit, but they are c scar ely numerous . The . hexagonal pulpit (Fig. with its ﬁne overhanging in San , , o c S canopy Gil at Burg s, des ribed by treet, S PA NIS H IR ON IVOR K. 9 3

appears to be one of the best examples. The framework is of

, o n c wood whi h the iron is laid, and the whole is ri ch ﬂambo yant . A c Av still handsomer pulpit exists in the athedral at ila, in which o f o most the panels and b rders are pure ﬂamboyant, but mixed R with some entirely enaissance details , including the dolphins

which help to support it on its slender stem . Though so rarely

Gothic, iron pulpits are as prevalent in Spain as the iron font

— - i L u re . S i ee n cen ur . FIG . 5 7 . Fire guard n the o v xt th t y

s n a cranes in the Lo w Countrie , and are ge erally in p irs , fronting

o ne o E . each other, for the G spel and the other for the pistle Some of the finest pierced-iro n flamboyant caskets are regarded m E a as Spanish . A type is met with in most useums in ngl nd , tsun and is well represented at Kensington (Fig. co ns g of a 11d c somewhat flat rectangular box with slightly ridged , overed with parallel rows o f repeating tracery patterns, worked out of two

- S c s thicknesses of pierced plate and half round wire. u h boxe are IR ON IVOR K.

Ft . S — c g e a o na u i , C urc of San il H x g l p lp t h h G , B urgos. E nd o f ﬁfteenth century

[ R ONWOR K. 96 r had three years previously bought some barrels of steel gads o ingots in open market in Spain , and found them ﬁlled with silver and cochineal had no cause to sorrow. Part of the booty of , as 1 to n 1 6 g 4 per , and Cadiz, in 5 9 , was iron valued as high

- of steel as i f 1 5 ; while twenty three chests armour were put down ” at 2 s. 6d. c . 60 1 0 0 murrio ns . at £4 , and ea h Of less doubtful origin are the trunks and caskets covered with

- stamped Cordovan leather, strengthened by wrought iron strap s

IO . — Var ueno ca ine in th e n i n g b t e So uth K s ngto n M use um . S ixteenth o r seventee th cent ury .

l - l c ending in sca lop she ls , with ri h pierced tracery binding, and

large locks deco rated with the turrets of Castille and shells o f S t. m Ja es. The British Museum po ssesses a large and perfect example o f o ne w S of these , only equalled by one at Brussels, hile outh Kensington has recently acquired a smaller casket with the Peyre

c l c . S R f o le tion The panish handbook by iano, one o this series,

o c als mentions the existen e of carved chests with good ironwork , ' co ﬂer and of an iron at Toledo with carved and repoussé work.

Var u g eﬁo c s . 60 The abinet (Fig ) made at Vargas, in Toledo, S PA NIS H IR N W O 0RR . 9 7

c though of much later date, preserve a somewhat Gothi feeling.

They are richly decorated and gilt inside , but the exteriors , of

- f o r eﬂect c light coloured wood, depend entirely their on pier ed

c iron plates and bindings, lock , bolts, and handles . The pier ing

r - t is Arabesque o Hispano Moresque , generally , if not always , in ro ducin ft g lions, and o en with rectilinear outlines bordered with

and twisted edgings or m o uldings . The ironwork was gilt, laid

h f teenth ri a e o use in o edo . — s n the doo r o f a FIG . 6 1 . Kno cker and nail o p v t h T l r o rearly sixteenth centu y .

cabinets seem o n red leather slightly let into the wood. These ’ also to be known as contadores chests. e aried in S . ar Door-knockers were generally used in pain They v a o s c and architectur l f rm , design , and frequently based on tra ery o u c -shaped striker lined and p n ed with the hammer, ring, or stirrup . writhing round c ﬁne one with serpents by the tool . A parti ularly S the o t the ring and ﬂamboyant plate was n o ticed by treet on n r h o fancifu Later, m re l transept door of Pamplona Cathedral. 11 IR ONIVORK. 98

’ c m n . r n o r o , Moo rs head s, liza ds, dolphi s, drag ns a e into fashio

Doors were studded with nails , larger and richer than in any other

o . co untry, and arranged in patterns or r ws in the Moorish manner R The earliest , as well as later, enaissance nails are bossed into half

- 6 1 melon like fo rms (Figs . , while late Gothic ones are often

. c o , shaped into foliage, cr sses, or scallop shells etc They ommonly measure from two to fo ur o r even six inches acro ss . They may o then comprise quite a cluster of shells , dragons , and ther The S K curiosities radiating from a centre . outh ensington

Museum possesses a smaller kind , as well as some remarkable

. rosettes, forged and welded from the solid

— Ftc . 62 . Nai eads in the S o u ensin o n useum . S i ee n cen ur , l h , th K gt M xt th t y

A f m -c still richer e fect, borrowed fro the Moorish bronze overed

o S c doors of Cordova, Toled , and eville, was produ ed by sheath A m ing doors on both sides with iron . very early exa ple, apparently regarded as of the thirteenth century , was noticed by

Street in the west wall of the cloister of Tarragona Cathedral . One o f the doors in a monumental recess o f com pletely Moorish

c c c as c hara ter he des ribes overed with thin iron plates , stamped

” c . with a pattern , gilded , and fastened down with opper nails The principal doors to the cathedral are sheathed in the same

i s way, and diapered all over with roses , with n lozenge , like quilted

d o c nee lew rk , fastened with opper nails. The hinges are po inted

co c c d straps de rated with a mu h ﬁner diaper, and the lo ks an

s handle have ﬁnely wrought trac ery designs. The whole was

cu 1 1 0 . exe ted in 5 Hinges of sim ilar fo rm o ccur at Valencia .

WOR K. l o o IR ON

’ o f g c Charles II., all the gentlemen the kin s household arried at

- o all times gilt master keys, admitting to all the rooms of every r yal

b o w n palace, with absurdly large oblong handles projecti g from

- s c m c . the right hand pocket, and e ured by so e oloured ribbon

. If The valets carried the same key, but not gilt a key was lost,

C the loser had to warn the hamberlain , who immediately caused

c every lock to be changed at a ost, exceeding crowns, whi ch had to be defrayed by the loser. Dummy keys were given

c as badges to o ﬂicials who had no ne essity to use them, and to

f r c . so me few no bles not o the household , as a ma k of distin tion

’ They are known to co llectors as chamberlains keys ; there is a

ﬁne series of them in the British Museum , but they possess no great artisti c m erit.

c The art of damascening was pra tised by the Moors, and must be of great antiquity in Spain . Some information regarding it S Art will be found in the handbook on panish , where a writer of

c who the thirteenth entury is quoted, states that immense quantities o f steel implements were m ade in Murcia and

m . o f a orna ented with gold Many, if not most the pierced, ch sed ,

c - and damascened purse mounts, s issors , scissor cases, etc., and

o f m c c some the da as ened cutlery, in ollections, is Spanish. The

mc i . 6 o L c c ar ha r (Fig 4) fr m the onsdale olle tion , and now in the S K i outh ensington Museum , made ent rely of pierced and inlaid

o is ir n , a late, but splendid specimen of the art, perhaps con temporary with the extraordinary inlays on polished iron of the

A E c l palaces of ranjuez and the s orial , the atter of which has been

o c mpleted at an enormous cost o nly in the present century . The well-known work of the Z uluagas and Alvarez is too recent to require notice here, but the monument to General Prim , in Madrid ,

a c m de entirely of damas ened iron , is too remarkable a work to be e pass d without mention .

w - The f e pieces of Hispano Moresque armour and weapons that e n l . W r have b en ha ded down are of excel ent quality hile G anada , u S , , A M rcia eville and lmeria were held by the Moors, they were S PA NIS H IR ONW R O K. 1 0 1

“ “ celebrated for weapons , such terms as Morion and Morris-pike reservm p g , the tradition long after the race was expelled , to the ruin

— Ftc . 6 . amascened iron c air in the S o u ensin o n use um. S e en een 4 D h , th K gt M v t th oreighteenth century . o f S c D panish manufa tures. ecorated armour, on which grandees

e have lavished their wealth in all ages, appears rarely to have be n S ft f ar made in pain , at least after the ﬁ eenth century, for even so 1 0 2 IR ONWOR K.

- back as 1 434 we ﬁnd the armour used in the great thirty day

passage of arms near Veguellina all of foreign make . The whole of the royal and princely suits in Madrid are also known now to

‘ o oﬂ ensive be German or Italian , th ugh many swords and other

weapons are Spanish . In the manu facture of these Toledo

o - st od pre eminent , the marks of its innumerable smiths being

o s o f und on the blades of the mo t splendid sw rds , though the

b asketed c exquisite and swept hilts, into whi h they are ﬁtted, are

no t c s o f ne e sarily Spanish work . Quantities the ﬁnest rapiers , E R m destined for the nglish o anist nobility, were taken from the

flagship captured in the first brush with the Armada. S panish harquebuses were imported and held in high repute in the sixteenth century ; and the thunder of cannon in European battle was first

o n S s 1 0 c In heard pani h soil in 34 , six years before Cre y. later

c S o years, guns were ast in many panish foundries , sometimes t

“ ” E o nglish rders, as in the case of the Columbyne made for “ III. Fo untrab S a ne f 1 8 1 0 5 Henry V at y in p y , at a cost o £ .

o c c The n ted superiority of the utlery, su h as the scissors and nava as o r j pointed knives, as well as of the weapons, was due mainly to the marvello usly rich peroxides and other ores o f “ Bilbao , whence the good Bilbos of Shakespeare . There are

c m s S o A c also ri h ine at omorrostr , Mondragon , lbarra in , Mar S bella, and Villar del alz , which are worked at the present day . R The enaissance architecture and ornament o f Italy took ro ot S s on pani h soil at a period of unbounded wealth and prosperity , and developed rapidly into one of the most distinctive and m c o f agniﬁ ent the styles of art that Spain has produced. This is “ ” lateres ue so known as the p q , called from its ornament , which was at ﬁrst of such deli cacy as to be likened to the work of the latero o r p S ilversmith. The ironwork accompanying it remained for

' ’ o s Gotzro oriao the m t part fl , until the early refinement of the architectural n or ament began to give place to richer treatments , to c fi ure- and omprise much g work , which at first had been ex c luded. Then the ironwork also became of so grand and impressive

IR ONWORK. 1 0 4

1 0 1 6 0 but obtained in less legitimate ways, until 5 5 or 5 and the

c c erection of sumptuous iron screens did not ease, it is urious to 0 s o f 1 6 9 . o bserve, until the ﬁnal expul ion the Moors in That the development was due in any considerable degree to the n c C a patronage and encouragement of the Spanish mo ar hs , of h rles

no t c V. or Philip II., is apparent in fa t, the superb and costly suits o f armour for their personal use and adornment , which might so

, evidently have been produced at home, were ordered from abroad S no single suit o f these periods being known to be of panish make. Nothing less than the expansive and exuberant spirit of f the nation and people c ould have produ ced these prodigies o

n can smithing, a d of it they only be regarded as most triumphant

and tangible proofs . The internal planning o f Spanish cathedrals lent itself most

happily to the use of iro nwork at this time. The choir in nearly

c W A n all was towards the entre, as in estminster bbey, the easter

m a illa Ma or c ost part being occupied by the C p y , which en losed

a c Coro the alt r . The east end of the hoir, or , and the entrance to

c t this hapel fronting it, separated by the width of the ransept ,

' o c c rc as lo w were b th losed with lofty iron s reens, or y , with railings

of iron o rbronze connecting them . The screens were in some

ca c o ses continued a r ss the aisles, or quite round the three sides

Ca illa Ma or c c of the p y , while the numerous hapels whi h fringed

c the athedral and cloisters were also frequently thus closed . The rejas to the Coro and Capilla Mayor rose majestically to a

o r o S height of forty feet m re in eville, Toledo, Granada, and

C s ff Burgos athedral , and, being mostly the work of di erent

c m masters, o peted with each other in magniﬁ cence. Admirably

o c to c c c o o r c n eived veil , without on ealing, the h ir altar, their height is such that the eye is s carcely carried over them without

eflo rt an , while the protection they o fl er is all but absolute. Though late flamboyant and classic details are frequently mtn led n g , the fi al transition from o ne to the other is abrupt.

The s o f lateres ue grand line later p q designs were, however, already S PANIS H IR ONW ORK. 1 0 5

' ’ ' h Gof zoo sketched in suc ﬂ orzoo examples as the screen to the chapel o f S Ana anta , in Burgos Cathedral . The happy idea of the te placement o f plain o r twisted rectangular bars by spindled

c c balusters, whi h led to su h important departures , must evidently

i have been an ndividual idea, due, no doubt, to one of the great

c c s masters who hanged their style with the times , like Friar Fran i ,

S o r c R of alamanca , Juan Fran is, who is said by iano to have

been working at To ledo in 1 48 2 . On the cresting of a screen from A S K vila, in the outh ensington Museum , we read obra de

” c o ﬁero r maestre Juan Fran is , maestre maior de las bras de , set o ut in pierced lettering of the character used in the time of o ur III Henry V . The portion (Fig . with lo ng attenuated

c and splendidly forged spindly balusters , and another pie e m A with shorter balusters carved with foliage, also fro vila,

o f probably formed part the same screen , and seem to preserve a

' lingering trace o f madcyo r in the small pointed arches between the spindles. The constru ction and workmanship o f a plateresque

' re o see y can be studied at leisure in these fragments, and we that

i - the spindles only are forged from the solid, the massive looking

c o square or round pilasters which give so mu h dignity to the wh le,

- i S an and some o f the cornice work, be ng like the Gothic pulpit of

c re oussé Gil, merely of wood ased with thin p iron, though the masks and o ther Raphaelesque ornam ents are splendidly executed

c are l in the purest Italian taste. The ﬁgures in the resting a so of

l n . thin iron , embossed in two ha ves, and joined to form the rou d

Though undated, it was probably made in about the ﬁrst decade c r o f A o f the sixteenth century. The screen ofthe principal hu ch vila , has and that o f the Capilla Mayor o f the co llegiate church which

disappeared, were, with perhaps the ﬁne ironwork in the windows s and about the University of Alcala de Henares, by the ame S c artist. This University was raised as a rival to alaman a by the

1 is n great Cardinal Ximenez ; it was ﬁnished in 5 33, and i teresting b as the birthplace of Cervantes. The exquisite pulpit in em ossed

1 2 c A C , and gilded iron , dated 5 5 , whi h stands in vila athedral - tG . 6 . a 5 r o f a screen re a ( j ), ro m i a Ca edr P t f Av l th al by J uan Fran . th Kensm t , cis In the Sou g on use um. La e een o rear si M t ﬁft th ly xteenth cent ury .

1 0 8 IR ONWORK.

o with a representation of the Entombment in embossed ir n , comprising many admirably designed and quaintly costumed

c ﬁgures. The superb iro n pulpits by Francis o are dwarfed re as c into insigniﬁcance among the m any colossal gilded j whi h

Seville Cathedral boasts. Other works by the same master f o f are the s creen in the convent o Guadalupe , and that S alamanca Cathedral , with perhaps some of the work in the

c . University of this, his native ity

o f S to Coro Among the great gilded screens eville , that the ,

c C c 1 1 . The was wrought by San ho Munez , of uen a, in 5 9 f central mass is in this instance o twisted bars , with the great c o f ased wooden pillars at intervals , making a lavish display

c exquisitely embossed sheathing and Corinthian apitals, and with f a tier of spindled balusters above and below. A frieze o

c c m o f o f A l the ri hest work , o prising the heads ﬁve the post es m in medallions, is sur ounted by a heavily moulded and fretted c c ornice, and this, again, by a resting representing the tree

m c of Jesse, with any dignified figures and much fine s roll work, divided by towering candelabra. The screens o f the sides

Ca illa Ma or c 0 of the p y , whi h are 3 feet high, very varied , and . c c s scar ely less ri h in design , are al o by Munez, who produced them in 1 5 1 8 . Of the numerous examples closing chapels in C the same athedral, those to the chapels de la Gamba and de la

A o o ntiqua are n teworthy, th ugh eclipsed by the Co nception

A c o c and nnun iation nes , whi h abound with arm o rial bearings and have representations o f the events after which are named the c s hapel that they shut o ff .

C c C f o r c c uen a athedral is also noted its s reens , espe ially those

C lo s A S an to the de los aballeros, de postoles , J uan, Munoz o family, and ther chapels. Mr. Prentice has published

o beautiful drawings of s me of these, as well as of the ﬁne

c c o f s reen at the ba k the altar, whi ch includes some exceedingly

ﬁ - gure o f l delicate work and bears a tree Jesse, ﬁl ing in the arch

above, S . f é’ d doubtless by ancho Munez The most important j , S PA NIS H IR ONW' OR K. 1 0 9

, C C Ca illa Ma or however in uenca athedral , is that to the p y , 1 1 a A produced , in 5 7 , by Hern ndo de renas. Some 45 feet in height, it is of vertical twisted bars , breaking into knops and

c mouldings , and the usual ased wooden pillars . It is separated

c horizontally into two stages by a band of scrolls and upids, surmounted by a corresponding frieze, and capped by a most elaborate cresting ten feet high , formed of a row of tall a f c ndelabra, rising from oliage , with cupids and perching birds .

’ Some delicate mud ejar- looking arches between the vertical bars impart a relatively early look .

C A 1 2 0 hristobal ndino, another notable smith , produced, in 5 , ' r a Ca illa Ma or C the great qj to the p y , in Palencia athedral , and received f o r it ﬁfteen hundred ducats . It consists of two

o f c tiers massive spindles with hiselled foliage , each with

a o i a n rrow frieze of emb ssed scrolls and honeysuckle, wh le the whole is surmounted by a cresting of enormous candelabra and scrolls with shields of arms. The design is thus com paratively

all ﬁ ure- c l simple, with an absence of g work ex ept a sma l rood

the ff warﬁn but e ect is majestic, d g, however , as usual , the

insi nificance. c fine pulpits , associated with it, into g The s reen to the Capilla de San Pedro is not dissimilar, and is perhaps that for which he received 430 ducats in 1 5 30 . The fine ray}: of the Capilla del Condestable in Burgos Cathedral produced

1 2 c in 5 3, is, however, generally considered his masterpie e , and is one o f the grandest in Spain. It also consists of two m tiers o f the utmost richness surmounted by a pedi ent , ’ m beneath which are the Constables ar s , supported by two “ Ab A . O kneeling ﬁgures, and the signature ndino ther works s o by Andino are the screen to the Chapel of the Pre entati n , in the same cathedral — a magniﬁcent work quite typical of

— f o r a style which has many peculiarities and another the In 1 0 e Rio S . 5 4 , church o f Santa Cruz, at M dina del eco he had the m o rtiﬁcatio n of competing unsuccessfully for the screens and pulpits for Toledo Cathedral. NWOR K. 1 1 0 IR O

C n ecessi The steep sl o pe o n which Burgos athedral is built tates a descent of thirty feet from the north transept door to the

. A nave, by a double ﬂight of steps dvantage has been taken of this pretext for the display of a marvellous specimen of wrought ironwork. The balustrade to the landing nearest the door, at the

c o c to o f , , p, is moulded posts on ri hly c rbelled bra kets between f which are medallions of angels and saints within wreaths o laurel . f The upper ﬂights continue with a diff erent design o richly m embo ssed square posts , with smaller portrait edallions over c fo liated arabesques. The half landings are still ri her, and , in n the lower ﬂights , the design again cha ges to round posts with ’ It cherubs heads in full relief over dolphin arabesques . was

o r c 1 1 designed by Diego Sylve , and the w k , arried out between 5 9

1 2 2 to C A . oscalera and 5 , has been attributed hristobal ndino This

’ dorao a is the richest work that can be imagined in wrought iron .

c c Owing, however, to the draught in the hur h , the doors have been blocked up and disused f o rupwards of a century.

s c o o Bartolome, equally famou as a s ulpt r and ir nmaster, worked

’ at Seville and Jaen ; but his c/zef d wuof re is acknowledged to be

c c Ro the magniﬁ ent s reen to the yal Chapel at Granada , produced “ 1 2 0 1 0 between 5 and 5 3 , and bearing the inscription , Maestro

Bartolome me f ee. This was regarded by Digby Wyatt as the

o S ra 21s It best in design , and the most imp sing of panish j/ . is

o m o divided int three stories , di inishing in height fr m the base ,

- o s a by two massive lo king friezes, the lower embo sed with med l

c lions and ﬁgures , the upper with a honeysu kle border. There are the usual round and square wood pilasters sheathed m in superbly e bossed iron , and with Corinthian capitals . The

c w s verti al bars bet een are of twi ted iron , breaking in the centres

c and . into into leafwork and open tra ery in two of the tiers , c m herubi and fo liage in the third. The pilasters of the upper

c s tiers are furnished with anopies and tatuettes of the Apostles. O ver the doors is an immense panel containing the arms o f the Ro e r yal p rsonages within, with thei supporting lions , and eagles, and

1 1 2 IR ONWOR K.

A Leones, the font, and the rail to the ltar of the Virgin in the

o c - c C choir , were by him , as was als the hoir s reen in the athedral

c . In o f Palencia, his native ity design this is similar to

c i , that at Toledo , but the resting is heavier and r cher and bears the arms of Cardinal Ximenez , and other prelates , E surrounded by banners , medallions of the vangelists , ara

1 6 1 S s ues . , b e q , and ﬁgures Ford gives its date as 5 and treet R 1 states that it was made by Gaspar odriguez , in 5 55 , for three thousand six hundred gold ducats bequeathed by a Bishop de

c o n 1 2 2 . Vaca ; but the date, twi e repeated the base , is 5 The pulpits in the cathedral are by the same m aster. The growing tendency towards over-richness and elaboration

c -R art was checked by a reaction in the direction of Gre o oman ,

c m lo w and the later of the great iron s reens beca e , and horizontal

c oro c rather than verti al . That of the C of Plascen ia Cathedral,

Celma c by Juan Bautista , is low, restrained, and ar hitectural , but

Assum with the usual elements of design , and surmounted by an p tion of the Virgin on a pediment. Another to the Coro of the

c El S 1 new athedral , Pilar, of aragossa, made between 5 74 and

1 5 79 , is the same in general treatment, but ﬁner, and is attributed

R o to by Ford to the same master, and by iano, in his handb ok ,

C . A c ela third screen, chieﬂy of bronze, loses the burial chapel

Z a o rta who of Gabriel de p , was laid in the old Cathedral of

S 1 aragossa in 579. This appears to be of the same workmanship . Celma c h was a elebrated worker in bronze, and produced t e

S 1 6 . pulpits at antiago in 5 3 He and Cela, if not the same indi

, c m A vidual were onte poraries , were both ragonese , and both

worked in the sam e style.

This brief review of the great rejas has brought all the most

celebrated smiths of the sixteenth century under notice . The C S work of hristobal de alamanca , in the monastery of Mont

, serrat has been omitted , though , if it resembles the magniﬁcently o r carved balusters, the embossed cresting of the gates to the U L a S niversity ibr ry of alamanca , it is se cond to none. One or S PANIS H IR ONWOR K. 1 1 3

Idrob o two other names , like , have been considered worthy of mention

b some y' authors, and the work in the C o f O athedrals viedo, Pamplona, Se v S S go ia, iguenza , anta Casa, Sala

manca, Tortosa , and others, would require a full notice in any com

prehensive treatise o n Spanish iro n

work . This was no t only used in

la churches , but p teresque buildings generally are provided with hand some window gratings and balconies of the same work . Forged spindle balus ters are used in countless thousands ,

c as ommonly, indeed , as rectangular bars in England- the only competing forms being twisted bars or bars open ing out into some heart or lozenge

- form . A ﬁneplateresque door knocker

(Fig. 66) in the South Kensington Museum is carved in the manner of the screen-work and a cloister screen,

1 8 o dated 5 5 , has been made up int C gates, and presented to Chester athe dral by the Duke of Westminster. With the close of the sixteenth

o f r century, the sun Spanish g andeur was setting, and its wealth and won dro usenergywere becoming exhausted . The plateresque was disso lving into

' omem soo o r o . the Jesuit B orr , bar que In this the use of ironwork was main tain no w ed, but it was longer rought with the same magniﬁcence. The - 6 P1a rcres9wc doorh oa rse. o u Kensm ton Mum . arrangement o f the h ses, in the In the S outh g l II. W RK. 1 1 4 J R ON O

c favoured towns of Andalusia especially , ne essitated open ironwork

' cancels to a/zos , gates , called , the p , or inner courtyards and cage

- An c like bal co nies to at least the first flo o r windows . ane dote in the second part of Do n Quixote shows that upper windows also were sometimes protected early in the seventeenth century. The defensive value of gratings to the ground-flo o rwindows was wit nessed by the English minister late in the seventeenth century,

’ when the Conde de Orepo sa s house was attacked during a f riot in Madrid. The mob was ba ﬂed by the iron window n , grates, and though it at last succeeded in tearing some dow

. A only a few could enter, who were easily overcome passage in the second part of Don Quixote shows that gardens were pro

1 6 1 vided with iron railings at least as early as in 5 , and it is not uncommon to see even quite insigniﬁcant vineyards so enclosed at the present day .

Weatherwanes and ﬁnials were commonly used, generally in

c o r . the form of rosses, of small pennons surmounted by a cross

The ﬁgures made to move with the wind , like the famous Giralda

- S — o c in 1 68 a o f of eville , pr du ed 5 , bronze ﬁgure Faith , four

2 . teen feet high and weighing no less than 5 cwts , were

’ - exceptional lours o e oroe. Astorga Cathedral possesses the wo m oden i age of a gipsy, borrowed , perhaps , from the celebrated

o o f o 1 8 1 w armed M or Granada, rem ved in 7 , hose lance , how

o . ever, perhaps al ne turned with the wind

o o n c c c The ir n structures pala es and publi buildings, in whi h

c L their bells were hung, form picturesque obje ts, and ugo C i athedral had a ch ming apparatus of iron , in the Flemish m anner . Wells in courtyards were also surmounted with light

' o c f o r c ir n stru tures the pulleys and buckets, but none are of ri h or parti cularly remarkable work.

c c S The French ro o o passed into pain as elsewhere, but its elegance and com parative restraint were not appreciated by the

S o f paniards , who only took hold and exaggerated its worst

. It is c o C/zzzrrz ueres ue o features urrently kn wn as the g o , fr m the

RENAISSANCE IRONWOR K IN FR ANCE.

THE ﬁfteenth century fo und France ren o wned f o r ironwork “ in c pris dans la masse or chiselled from the solid, the Fren h manner as it was termed in Italy . French skill in ironworking was particularly lavished on works needful to secure their homes

c ff s and treasures, as lo ks , keys, bolts (and knockers), co ers, casket ,

m n gratings, and screens ; much ore rarely o timepieces and furniture . Unlimited tim e and c onsummate knowledge were ex

in i c pended these productions , and they may easily be d s riminated from the similar but inferior ones o f neighbouring countries , by a peculiarly artistic and even po etic reﬁnement characteristic of

c Fren h art in the fifteenth and sixteenth centuries. The designs are c ae con eived in the finest late Medi val spirit, purely architectural, introducing every detail of rich flamboyant on a minute scale ,

c with ﬁgures or groups of ﬁgures , anopies , pinnacles, crockets, m i c r o f c ouldings, carved from the sol d , and ba kg ounds intri ately

- c . tra eried plate work This work remained in vogue, with a few

notable exceptions , throughout the Renaissance peri o d in France, being quite commonly found with woodwork from which all

Medimval In c feeling has disappeared. fa t , locks and keys

o ic r c with most elab rate Goth t a ery were produced in France,

c c rc c under ertain i umstan es, until the reign o f Louis XVI.

I n n talian i ﬂuence ﬁrst ba ished the style from Court circles,

and it was gradually relegated to more and more remote provinces,

to perhaps ﬁnally die out in Brittany within our own days. We R ENAIS S A NCE IR ONWORK IN FRAN CE. 1 1 7

- ﬁrst miss from doors and furniture the long strap hinges, covered

c with delicate ﬂamboyant pier ing ; next the knockers , bolts, and - the jewel caskets, and lastly, the locks, to which the greatest elaboration had habitually been given. L a c o f c ate Medi eval French kno kers , ex essive elaboration , are e c therefor rare, espe ially as knockers fell almost into disuse under

' — r FIG . 67 . Knocker fro m J acq ue s Coeu s h o use at B o urges. Fifteenth cent ury .

N c the last Valois kings. othing ﬁner, however, could be produ ed

c of their kind than the richly tra eried canopy and niche, sheltering

o f St. ac the hammer formed a most spirited George, on horseb k ,

a St. slaying the dragon , and the companion ex mple with Michael , now at Florence . A specimen in the Troyes Museum has a naked b o f o r m a y, holding a chequered shield a ham er, and nother a saint , R NWOR K. I 1 8 I O

One of the same type , but with a with enriched backgrounds. D o dragon for the hammer, is at ij n , and a similar specimen exists c in Another Fig. 6 scarcely less ri h , remains at Chateaudun . ( 7) ’ . All , silu o n Jacques Coeur s house at Bourges these are carved a d , chieﬂy from the soli , in the grandest style of Medi eval art the treatment being in all French specimens , whether elaborate or

c . simple, vertical , compa t, and restrained a c The forms of the caskets are no less ch ra teristic , for the typically French varieties are but two. The most usual is the steel

Fm . 68. — lro n casket . French . Fift eenth century .

c . box , eight or nine in hes long, with a barrel lid (Fig bound

‘ c c o r with bands and plates of iron, pier ed into tra ery inscriptions,

and suppo rted by carved buttresses forming feet. A bent handle

at the top is very delicately worked with mouldings, and has

’ m c ends ﬁnishing in inute dragons heads . This form is an ient ,

o ne o C C for was f und at aumartin , near recy , ﬁlled with rose

o bl c o f E I s n es, prin ipally dward II. The many steel casket

o menti ned in French chronicles were probably of this form . The

o o ﬂ at c sec nd type is of wo d , with a top, often co vered with uir

o m o b uilli , bound with si ilar ir nwork (Fig. and pro vided with

1 2 0 IR ONWORK.

under a canopy, such as the Virgin and angels, to conceal the key u d o f hole, and an angel or other ﬁg re hol ing a shield arms forming

o f o o f . the handle a b lt, to be shot independently the key

FI o — B in ier ed ﬂ m an case . I h G. 7 . o lt p c a b oy t n t e Cl uny Museum. Late ﬁfteenth century .

f or ff By far the ﬁnest locks were made bu ets and wardrobes,

c balzuts o r c ff and the magniﬁ ent , o ers, in which valuables were

FIG . 1 . — C es o c w 7 h t l k ith re res n a io ns o f the L e t t ast J udgm ent . Fo rmerly in the eS i z ercope c on . Ear p t l ti ly sixteenth century .

o . It is to st red hard describe the sumptuous ri chness o f th e architectural co o f de rations the most elaborate of these , such as the RENA ISSANCE IR ONWORK IN FRANCE. 1 2 :

t L extraordinary trip ych lock, representing the ast Judgment, with

-ﬁ c thirty ve ﬁgures, of the dispersed Spitzer colle tion (Fig o r the still richer o ne purchased by the late SirRichard Wallace for S thirty thousand francs. ome doubt , unfortunately, must always

c exist as to the authenti ity of such pieces, for which enormous prices are paid, in the absence of pedigrees. The Cluny Museum

o ne A w A possesses representing the lmighty and the T elve postles, under separate can o pies (Fig. while o thers exhibit the

un useum . — < wi ures o f the o s es undercano ies. In the C F10 . 7 2 . Lo el , th ﬁg Ap tl p l y M Lat e ﬁfteenth cen t ury .

L C S etc. O , Cruciﬁxion , ast J udgment, ommunion of aints , thers

c c l less ec lesiasti a , like the superb specimen bearing the arms of

L XII. . France and Brittany, made for ouis (Fig 7 are equally o n rich . The display made by locks and bolts presses, and their

S c E decorative eff ect, is well seen in the a risty at vreux , or on the An large one in the chapel o f the Hotel Cluny. hotel in the f Rue B o urdo nno is was described in 1 4 2 2 as one o the curiosities f o c o Paris, from its possessing as many l ks as there are days in 1 2 2 IR ONWORK

c the year. The keys at this period, though artisti , by no means received the lavish care bestowed on the lock s. The producers ’ f of these c/zef s d wuvre are unkno wn but the seventeenth ar t icle o

’ ' tut aes S er un ers III. 1 1 r c the S ta s r , under Charles V , in 4 , ommands apprentices aspiring to becom e masters to produce a masterpiece

- F1G . .— C es oc wi the arm s o f Fran 73 h t l k , th ce and B ritt an y. In the Cl uny M useum . Early sixteenth century . o c c o o o l k , whi h , with its elab rate rnaments and key, w uld occupy

. In t one or two years the ﬁfteenth cen ury, these l o cksm iths

m o r u c o f were the st powe f l orporation Paris, but o n the entry o f

II 1 , 4 , o c o Henri in 5 9 they appear as nly ﬁfth in importan e , th ugh

n - represe ted by sixty well equipped men .

IR ONWORK. 1 2 4

clockmakers to the City o f Amiens are also successively, preserved. i culmm atm omt, , g p The craft had reached , in workmansh p a

c perfection when the classic which left no room for in reased

FI - n en ur . G . 75 . Reﬁoussé bo lt and case. In the Lo uvre . Sixtee th c t y

c style was abruptly introdu ed into France, and it was long before

the change was generally adopted by the smiths . It is ﬁrst seen

and I who in the locks bolts made for Francois ., disbursed

u A o large s ms to his locksmith , nt ine Morisseau , for works executed

o C a o f r r at F ntainebleau , the h teau Madrid , nea Pa is, and the RENAISSANCE IRONWORK IN FR ANCE. 1 2 5

“ C a o f . In h teau Villers these solid chiselled work i ms dam 1a man e ), o the glory of French ironworking, is aband ned, and the re oussé cases are made of thin p iron , with arabesques , in the Italian fashion. The oldest specimens appear to b e bolts in rectangular

I a cases covered with rich tali n embossed ornament (Fig. the

’ ’ o r handles only being carved , into lions warriors heads, or rosettes. The later cases are usually elliptical in outline . Under

f the enri 11 eriod. In the C un useum. Ftc . 76. Emb ossed and ch ased lock o H p l y M Sixteenth century.

I e Henri I, architecture and art w re less immediately dependent

— c o on Italians a brilliant school of Fren hmen, who had enj yed the

o f I o advantage of study in the great art studios taly, but with ut c s losing their individuality assum ing the control. The lo k fr nt , , o c u beaten in relief from sheet iron , take the archite t ral lmes r prevailing in French ornament of the period, and rep esent

Corinthian porticos, with garlands, caryatides, draped ﬁgures, or IR ONWORK. 1 2 6

c and mingled with a profusion of royal arms , iphers, combats ,

r - ased o c re resen in a co m a . Si eent cen u 7 7 . Embo ssed and ch l k , t g b t xt h t y ( H enri Ip

lG . 8 — R e m sé oc wi the ci e r o f nne de o n mo re nc . Fro m the C a eau F 7 t l k, th ph A M t y h t

f uen no w in the C un useum . S i een cen ur . o Eco , l y M xt th t y

s. 6 It l o f badges (Fig 7 , 7 7 , is i lustrative the times that

r r m f o r n o f c nearly all the i o nwo k ade the ki g , whi h an immense

Iar ettes there in 1 547 . Door and window bolts, called g , locks and door-knockers (Fig. were decorated with the same emblems ré on rcpous plates , or , as in a few examples , they were, etched

1 fﬁ (Fig. ) and, if not rivalling the older work, were su ciently e Drou s Ad rich . The names of Guillaume H rard , Gilbert y , am S D c o f Bontemps, Michel uron, Jean uchesne , and Ja ques Martin

c Lyons, have been handed down as smiths re eiving important E commissions at this period, where, as at couen built for the l Montmorencys, the door fastenings were particu arly cared for

n o f II. D ( Fig. I the brief reign Francis Philibert elorme

B n serru er f r expended 60 1 1 livres with Mathurin o , ri , o his work at Fontainebleau. Precisely the same character o f work was L ’ maintained, but the atin mottos, fashionable in his father s court,

’ now gave place to Greek. The a seleurs and damasceners were ' ' c cor s d e métzer 1 onstituted a p , in 5 7 3, by letters patent of

C IX. harles , who amused himself at the forge and rivalled any sm ith or farrier. U III ’ nder Henri , when the king s minions and favourites paraded at their girdle a gilt key, giving entrance to his private

an apartments, keys began to receive unwonted attention , d

o f R exquisite specimens enaissance art, ﬁnished like the ﬁnest

l . One o f jewe lery, came into existence these, known as the S trozzi key (Fig. was disposed of some years since for the enormous price of 1 2 0 0 . Like most of the keys admitting to III the royal apartments of Henri , the design of the bow, on o which the w rk is lavished, takes the form of winged chimeras , o rS , phinxes addorsed , with masks and entablature , and a ring for suspending it, above. The junction between the bow and the stem

, C I or D c is also extremely elaborate either a orinthian, onic, ori cap,

o - or s me other well designed architectural form the stern itself is

o c f rmed of two circular oncentric pipes, and the bit shredded

co . S like the teeth of a very ﬁne mb The trozzi key, and three

. 8 1 ( , 1 6 2 others Figs were ﬁgured , in 7, by Mathurin J ousse, m who looked on the as marvels of art, and appeared to believe N I N RE A SSA CE IR ONWORK IN FRAN CE. 1 2 9

that they were cast. All four are doubtless the , , original keys Wt h admitted into the king’s m apart ents . Another larger

and hardly less beautiful key of the same date, belonging to

FIG . 80 — The S roz z i ke w ic admi e d to the a ar me n s o f enri Il l. S i ee n . t y, h h tt p t t H xt th century .

. C Mr urrie , has the comb of the bit shortened to make room m b e for a series of elaborate perforations , forming a monogra ,

’ lieved to be that of Catherine De Medici . In this key a t b miniature temple , sheltering a statuette, is in roduced etween

11. K K. 1 3° IR ONWOR

b In the Corinthian capital and the o w. later keys, the pipes are l angular, polygona , or trefoil in section ; and, though the bows

a c to may be similar, the cl ssi capital the stem is ﬁrst debased into 8 a kind of coronet or band, and then disappears (Fig. 3) the bit

- c becomes more wedge shaped and ﬂanged, its omb is shortened

co f and nﬁned to the langed extremity, and the rest is solid, with

c a few extremely thin , re tangularly meandering wards. When D there was a auphin in France, key bows were often fashioned o f two dolphins (Figs. The Louvre contains two well

F — lG . Ke o f n — y e ri III ured FIG. 82 . Ke o f e nri H , fig by y H I I I , figured by hda thurm o usse. S x J i teenth century . M athurin J o usse. S ixteenth century . k o cc n wn St. e lesiastical keys , with figures of Peter and St. Paul All in the midst of foliated scrolls, for bows. , though so gene I rally regarded as talian, are most assuredly French . Jacques A du C 1 8 ndrouet erceau, who died about 5 5 , in the reign of III , 8 6 8 Henri was the first to publish designs for keys (Figs . , 7) f or . the use of locksmiths The pipes are round or square , and s unflan ed the bit g , but no keys of these designs are known to i ex st. A - master smith named Po mpeius published some designs or s c o e cut he ns , b o w 1 6 1 2 and a key , in 5 and the more cele

1 32 IR ONWORK.

1 2 0 m . by 7 , had beco e quite the rage Very few ﬁnely chiselled steel keys were produced in France after that date . The locks in the seventeenth century were mortised in the

c wood or ﬁxed to the inside of the door, and the principal de ora

c o f tion was lavished on the es utcheon , while the back the lock

o r n was engraved, etched , pierced . The published works o

c o lo ksmithing abound in illustrations , but J usse was the ﬁrst t writer to describe their cons ru ction in detail.

— b o w b Anto ine F S . 86 8 . Two e s ro m he w y IG , 7 k y f t o rk o f J acc ues A ndro uet ac uard Of o ers. Ear du Ce rce au. S eco nd a f J q P iti ly h lf o six teenth ce niury. seven teenth century.

The great incentive to the production o f elaborate l o cks was

c o c f o r the system whi h c ntinued in Fran e nearly four centuries,

, who to - of setting apprentices aspired become master workmen , c c to a task whi h was expe ted o ccupy them a couple o f years .

’ c/z d azuzzr The set task was a lock and key called a qf e, and they

were , in the seventeenth “ century , alternately mortise locks ( it ﬁ ne RENAIS S ANCE IR ONWOR K I N FR ANCE. 1 33

dormant - (Fig. o r rim locks d [a mada me. The mechanism

of the former is fully described by Jousse, who illustrates locks shooting up to twelve bolts (f er/natures) or seven bolts The ornament on some few which had the fronts exposed is

R c enaissance in haracter, consisting chieﬂy of masks and archi

- F S 8 0 . TW O k e o ws IG . 9, 9 y b by Daniel M aro t . End o f seventeenth cent ury .

’ ' ’ - FIG . 1 C/w d a uvre dc m a itrzse a mo r ise o c w i ierced a e. La e se en een 9 . f , t l k, th p pl t t v t th cent ury . tectural c d c ornament, hiselled from the soli , or pier ed and r ‘ engraved and polished (Fig. no longer epoum as under the Valois . The Museum possesses several specimens of great value, purchased from the Bernal collection , one of which is

u 1 6 signed Gaspard J . Mazeli , 49. 1 34 IR ONWORK.

d la ma am e c The lock d was, by a strange ontradiction , a reproduction of the o ld traceried Mediaeval lock placed on the ff u outside of doors and co ers, which had been in vog e for

f c centuries. It presents the traditional pierced lamboyant tra ery , c c o f hiselled canopies, pinna les, ﬁgures saints and especially of

C c the ru iﬁxion , but in a seventeenth and eighteenth century rendering of G o thic. To eff ectually conceal the keyhole was

c n a rucial poi t with the apprentice, and he was not called on to divulge the secret to the master who received the c/zef ’ d wuz/re. al The keys were so of Gothic style, and , with their c d f our apitals , vases , pyramids, and pilasters pierced , took as

F1G - - . 92 . Rim oc ierced and c ased wi l k, p h , th arm o rial b earings. S eventeenth century .

o to l ng produce as the locks . The stem gave place to a turret shaped handle with four, or sometimes eight sides, and a dome of Open pierced work, or a moulded top . Between this handle

- c and the pipe was a wheel like dis ﬁlled with open tracery, next

c a broad moulded table an d ne k , and then the very short cir cul ar - pipe and the bit , with perhaps as many as twenty three

co - thin mb like teeth, and nineteen small rectangularly pierced wards arranged in two or three symmetric rows. This form of

’ cb f d af uw ‘a i key was the favoured q of aspir ng apprentices, and is o c c often ass iated with lo ks of purely classic taste . L ocksmithing reached its apogee in France under Louis XIII 1 6 1 8 who, in , l when but seventeen years o d, delighted to work

1 36 IR ONWORK.

Nc several series of plates only signed by initials , works by i olas A L nu Jardin , ubert oriot, and Mathurin Berton , none of which ,

u o ur u c . fort nately, are to be found in p bli libraries

K to nockers are akin locks, and we ﬁnd that, though somewhat out of fashion in the earlier years of the seventeenth century ,

c o - they are still ri hly w rked. They are either stirrup shaped ,

o r o f - - with masks and heads, the beautiful pearl drop like form ,

’ c s with ri h foliated mount, depending from a ro ette or lion s head,

. A du c W invented by J ndrouet Cer eau (Fig. hen these are - c to s c em . redu ed , serve a handles to abinets, they are quite g like

— - FiG . . oo r no c ers desi ned ac ues ndr 94 D k k g by J q A o uet du Cerceau. S econd h alf o f S ixteenth cent ury. The numerous designs for knockers with the hammers fashioned of grotesque ﬁgures, which he published , were either never carried

are - out or lost, like some carved and S shaped hammers abound

. S ing in organic details in Jousse till, designs for knockers are extraordinarily varied, and even fantastic, down to Louis XIII

m o - when an e b ssed plate, with heavy moulded stirrup shaped hammer, became the regulatio n fo rm . They were much the same L XIV. L . under ouis and ouis XV , but the plates were merely

c pierced , and rea hed a large size and high degree o f elaboration .

Q o f c m n uitting the subject lo ks ithi g, we ﬁnd the richest and m s o t delicate work of which iron is c apable bestowed on objects RENAISS ANCE IR ON W R O K IN FRANCE. 1 37

. Of to be carried on the person these, the most important were

’ the “can dles the mounts of purses, called , worn at the lady s girdle ,

’ which might be laid on the deceased husband s tomb , if the widow w ished to be free o f his debts and inheritan ce . The masks and

’ n c lions heads , and the damasceni g with whi h they are generally

o embellished, often signify a French origin , whilst thers are Spanish

’ ' I . On états dra eoirs - and talian , g , buckles , whip handles, and other trifles , even more minute work was lavished , and iron in these c ases scarcely yielded to gold in costliness . The beautiful steel mirrors , the indispensable companion of the wealthy of either sex,

o f t c and royal y, down to the seventeenth entury, were objects of most careful workmanship guarded in leather or velvet cases.

W w was hen glass mirrors ere generally introduced , steel

A - still admitted for the frames. superb, late sixteenth century

c example, with the rest of a rampant goat , in the midst of most intricate foliage, and surmounted by the coronet of a French

' o . A lz ués Marquis , is well kn wn to every art collector pp g , or wall

c i lights , owed much to the high polish and refle ting power of the r iron back -plates. The female figure holding up two branches in the Museum is a fine seventeenth- century example. Steel lustres are first mentioned as being furnished for Plessis by Pierre

L XI. i Cormier , smith to ouis The magniﬁcent spec men in

L III. L polished iron of the H otel Cluny, made for ouis X or ouis

XIV c o n e o f o f . ., is re ognized as the gems art The chased steel ﬂamb eaux of the S auvageot collection in the Louvre show the excellenc e attained by French artists in the sixteenth century .

The few iron lanterns o f the Henri IV and Louis XIII. periods

- - S . A eur de lis (Fig. 95)also deserve pecial attention gilt one , withﬂ R s and surmounted by a tuft o f vine and wheat, in the ouen Mu eum ,

le C é and o n e in polished iron in the h6tel of M . omte de Vogu ,

. at Dijon (Fig. have been repeatedly illustrated The Hfitel magnificent chandelier (Fig. 97) of polished iron in the u Cluny, made , probably , in the first half of the seventeenth cent ry,

XIV. i . before the accession of Louis , is also of the greatest nterest R ONWORK. 1 38 I f Good authentic S pecimens of all these objects are su ﬁciently

, rare , but we read that iron was used in France for other purposes

. of which apparently no specimens at all have come down to us i The Duke of Bourbonnais had in 1 5 0 7 an iron chair covered w th f C é 1 6 . velvet ; and there was o ne in the Chateau o ond in 5 9

FIG . 9 5 .— Chased and po lished iro n lantern . S eventeenth cent ury .

Amedee de Chalamont possessed an iro n bench to sit down on

1 1 C A in 5 7 , and ardinal mboise had a table and two brackets of

’ iron in 1 5 5 o . The Abbé d Efﬁat possessed a screen of blue

' - velvet on a gilt iron support. The elaborate Gauf re and Oublie

- irons are good specimens of die sinking, when nothing seemed too

triﬂing to decorate. The eff ect of much of this highly ﬁnished work was in creased

a by dam scening, that is , by beating gold or silver wire into lines,

1 40 m ONWORK.

1 0 o f f o r prior to 55 , when a large number designs damasceners were produced by Jean de Gourmont and a master who signed L E D I. R. ike those by the famous tienne elaune, they are

In 1 most exquisite . 5 73, the chasers and damasceners , as we

o cu l t ur have seen , were incorp rated with the t e s; but the f o

’ bzrseurs and armuriers of Paris also made considerable use o f

— FIG .9 . C ande ier wi six ranc es in o is e d iro n wi the ro a arms. In the 7 h l th b h p l h , th y l Cl un y M use um . S eventeenth century.

c f the process in the de oration o weapons, especially under

IV c Henri , when damas ened armour was in fashio n . The most

o f ursin t renowned damascener the period was C e , who died in the middle of the seventeenth c entury. The mirror frame of

Mo nb rison c c n c b R the olle tion , i s ribed with a sonnet y onsard , RENAIS S AJVCE IR ONWORK IN FRANCE. 1 4 1

1 1 0 o f composed soon after 5 , is one the most sumptuous pro ductio ns known . A II C medallion , with the portraits of Henri and atherine - re ain t é . in p and damascened iron, is in the Museum Many exquisite c off ers (Fig. 98 )and plaques for furniture in the same

R c c c work still exist, and the splendid enaissan e lo k in “ L in A damascened iron , ﬁgured by acroix , his rts of the

” c . A Middle Ages , is also apparently a French produ tion ﬁne

o . statuette of L ouis XV. in damascened iron is also kn wn

triﬂes Small boxes , watches , and all kinds of were damascened

er. S i een Ce n ur . — n ask e dam asce ne d w i si e r and co 98 . S ma ll iro c t , th lv pp xt th t y

L XVI. n in France down to the reign of ouis , and desig s for

l . the use o f damasceners c ontinued to be o ccasionally pub ished It is surprising to ﬁnd that while such magniﬁcent ironwork

c l was being produced in Fran e , her vain, but ga lant, nobles were almost dependent on foreigners for the armour they proudly r donned. The history of the production of armour in F ance ,

r c s o , indeed , in any ountry, has yet to be written few material

c h s. for it exist, and the task of colle ting t em is most laboriou R There is reason to suppose that from oman times, when armour and weapons of high quality were produced at Bibracte

Ro o ﬂicers i under the eyes of specially appointed man , unt l 1 4 2 IR ONWOR K.

c c the clo se of the Mediaeval period , Fran e produ ed her own W armour. The French who followed Norman illiam wore E armour superior to the nglish , and we learn that under Philip C Augustus it was made at hambly, as well as at Bordeaux and

- Paris. Horse armour was introduced by the French, and not wholly abando ned by them till quite 1 5 5 0 . Richard I. saw

c it f o r the ﬁrst time in the French wars , and onsidered the capture of a quantity of it a matter of importance. German

A St. swords , however , were used by both Philip ugustus and L ouis, but swords of Toulouse are mentioned in the inventory of his son Louis X . Bordeaux steel is continually mentioned

- by Froissart. Thus the English men -at arm s and the Lisb oners were armed with well-steeled Bordeaux lances with which they

L s pierced through everything ; and at the ﬁght on the river y , the French received the Flemings o n the sharp points of their

a to Bordeaux spe rs, which the Flemish coats of mail made no more resistance than if they had been cloth . SirRobert Salle

’ Wat drew a handsome Bordeaux sword to ﬁght Tyler s rabble , and Sir Peter de Be’ arn drew a Bordeaux sword to slay the bear. Hauberks, helmets and shields, as well as swords and w lances of Poitou were reno ned, and at this time the barbed

c horses, and the knights and squires , ri hly armed and equipped i for war , with banners and pennons ﬂy ng, are spoken of by

o chr niclers as presenting a magniﬁcent sight. Limoges furnished the steel.

’ Fro issart s o f o f Ro s ec u account the famous battle eb q e, fought

1 8 2 c in 3 , where the hammering on the helmets o f the ombatants made a noise that could not have been exceeded if all the armourers o f Paris and Brussels had been there working at their trade, shows that these capitals were still great centres t for the production of armour ; and the ﬁgure of S . George,

o c s patron of arm urers, a ed , horse and rider, in steel , in the

C c o f St. hur h Jacques de la Boucherie, was no doubt set up as m a sa ple of what the Parisians c ould do . The Duke of

1 44 IR ONWORK.

c o f Italians and Germans, and soon afterwards, at the lose

o f the Maximilian period, the fashion armour affords little indication as to where it was made . The richly embossed ,

c c a engraved, et hed , or damascened suits, whi h became the f shion

c in the sixteenth entury, are of the greatest importance in the f art history o ironworking, and , as already remarked, their production was practically monopolized by Italy and Germany . Hardly o ne of the grandly decorated suits in the magniﬁcent collections of Paris and Madrid can be claimed as of Spanish or

o f French workmanship, nor can we be sure an indisputably

English ornamental suit in the Tower . The ﬁnest suits have been one after another identiﬁed as German or Italian . It is now known that the vast bulk of the armour used in France,

S E c V pain , and ngland later than the a cession of Charles ., was I f supplied by taly, though many o the exceptionally sumptuous suits made for royal and grand personages were German. The designs for several of these have been recovered, but in other

to c cases it is not so easy pronoun e upon them , especially as

I a large numbers of German armourers worked in t ly, and the designers on both sides the Alps followed much the same lines .

W o f here, however , masks , ﬁgures, and animals form part the I grotesques or arabesques, talian work can be recognized by the seriously c onscious attitudes and solemn expressions devoid o f interest. The overstraining after the sublime resulted in a

c the meaningless gravity, by whi h the ornament of all but earlier and more powerful Italian masters is unhappily distin guished. o r o f German arabesques grotesques, although precisely

c the same ri hness of motive and line , always present some lurking humour of expression or quaint attitude to provoke t at ention or a smile. The good cheer and fellowship of the old German burgher life permeates the design on the o ne side of the A lps, and on the other, the touchy braggadocio o f a people who were losing at once their artistic powers and their liberty.

The problem why the French, who were unsurpassed in the RENAIS S ANCE IR ONWORK IN FRAN CE. 1 45

o f artistic manipulation iron at this period , should have left such a large and presumably lucrative ﬁeld to their rivals and enemies R A across the hine and the lps appears insoluble. The few R pieces of enaissance armour decorated with arabesques , Co attributed to Frenchmen like usin , are endowed with an

, , elegant almost poetic grace in the ﬁgures and expressions, and a. ' entzlerse c g in ac ord with the vain, restless , chivalrous genius of

the people. The damasceners Roquelin and Dehoux are sup

1 6 1 posed to have worked armour for the king about 5 , and Cursinet IV , , E armourer to Henri was renowned all over urope ,

1 6 0 . A c and died about 5 ntoine Ja quard , of Bordeaux, and the Dro uarts L , installed in the ouvre, made weapons and executed

damascening, but it is doubtful whether they produced armour.

Brantﬁme expressly states that Milanese corselets and morions

were in the greatest vogue in the French court, and that the French could neither produce them so light nor in the same

c . Off i perfe tion ensive weapons of superior workmansh p, on the f other hand , were always to some extent manu actured in France.

E - Woeirio t _ ngravings of the superb sword handles of Pierre , a

L 1 2 L — t orrainer, born circa 5 3 , and settled in yons, wi h others, of

1 6 1 A S a c about 5 , by ntoine Jacquard , are in the l de colle tion of

. the British Museum They were evidently carved from the solid , “ ” m h d I n . a et o known in taly as the French ma ner Jean, Vincent ,

- Henri and Guillaume Petit were famous sword c utlers. Pierre

’ or eur d ées réres Marb reaux Vernier, a f g qp , thef , Jumeau , Juste and

the L 1 60 8 as mute/1m ar ue Legt e were installed in ouvre, , , g

damas uineurs o buriers, or g ; and the names of a few thers, as

u tit - a Philippe de Salles and Ma pe , are found on sword bl des . R From the time, however, that the German eiters, or pistoliers ,

came prominently on the scene, special attention was given in

France to the manufacture of ﬁrearms. A body of French

cavalry was armed with wheel-locks in the reign of Franco is I.

h and to oppose the Reiters , and history shows t at the pistol

a s harquebus became at this time the most de dly weapon of war,

I I . 1 46 IR ONWOR K. and left little to the sword o r pike. Brantome relates that he

- actually saw Charles 1X. forging musket barrels with his own

. Androuet du Cerceau did not hands, and the indefatigable J disdain to design the locks. It was the custom to sign the locks with much flourish and ornament, and impressions from the S K engravings , in the outh ensington Museum , preserve names i o f many gunsmiths . The rare engravings by Jacqu net of th e “ ’ ' ' r in le Ho llando is ar uebuz zers ordzzzazresde designs of Thu a e and , g

” sa Ma esté 1 66 0 c j , published in Paris , , and a cessible to all through

’ ri h c m - Qua tc s valuable reprodu tion, furnish the na es of twenty four

U L III. makers or vendors of guns in Paris . nder ouis X , were pub “ ” Ar ueb userie A lished : a volume entitled q , by ntoine Jacquard ,

1 6 1 5 twelve plates signed H . P. ; a series of fourteen others by

D 1 6 1 6 Henne uin aubigny, dated 35 to 37 and six by q of Metz “ Ar ” (Fig. Similar publications of designs for queb userie were continued in France under Louis XIV. Besides the wo rk

ac uinet 1 6 o f already noticed , J q engraved , in 5 7 , a volume

maitre ar ueéusiei' eighteen plates for Francois Marcou , a g of Paris and shortly afterwards ten plates o f designs were produced

e . N Guérard a by the celebrated Jean B rain icolas , an rtist and

o engraver, als published a series of designs ; and Simonin

o o f L le L u engraved on twelve plates the w rks aurent ang edoc,

1 68 De a noted gunsmith of Paris, in 4 ; while la Feuille , a French ar A 1 6 quebusier settled in msterdam , issued a series in 9 2 . Even

L . C under ouis XV , laude Gillot, a painter , designed six plates of

' ar uebuszers D Collomb e new designs for g ; and e la and de Marteau ,

o two engravers, f llowed suit. The publication of a German work

c S andrart with a French title, by Ja ob , of Frankfort and Nurem berg, seems to concede that the French had made this art their o wn .

n c n O the other hand , the Fren h do o t appear to have been

i o f distinguished in the product on artillery, though as early as

Charles VIII. their ﬁeld and siege trains were most eﬂicient but the iron guns themselves , even when cast, seem to have been

1 48 IR ONWOR K.

the ubiquitous H.D. and crescents and the cross on the chapel We is modiﬁed Gothic embracing the same ciphers. look in

o r - vain for indications of iron balconies, gratings, stair ramps, in ’ l Orme m the designs o f Pierre Lescot or Philibert de , and it see s

' — L a ndiers : nis in wi rass a s si een cen ur and in a cro o FIG . roo . ﬁ h g th b b ll , xt th t y ; k, ﬁfteenth ce ntury . In the S outh Kensington Muse um .

c L III. lear that, until ouis X , the blacksmith found little patronage

from the architect.

But if unemployed in architecture , he was in request for the

ména e c r him i g , whi h required f om during the ﬁfteenth and s xteenth

centuries objects as numero us as they were decorative. Chief R ' ENAIS S ANCE IRONWORK IN FRA NCE. 1 49

ﬁre-do c was the g, as ne essary to the royal palace as to the humble

ﬁreside . The earliest forms, going back to the fourteenth

century, were plain, and either ﬁnished in crook s to take the

, d creme o r spit , in balls Fig. We read however that ( , , Cha . c 1 8 0 rles V of Fran e possessed , as early as 3 , a most elaborate

' FIG . 1 0 1 .— L a nd¢cr d clam ere tte o f the time o f Franco is I . In the S o uth Kensingt on useum . Middle S ixteenth ce ntury .

out/f ez d enestm es e! d ﬁest a pair in iron , f g , and they are often set down in inventories as weighing 5 0 or 60 lbs. each at that date.

’ c c/zerzets cﬁzem -de- er They were lassed as , or f , if low ; and

' ' landzerr andzers when more majestic, as , or , perhaps from the same root as andiron . These names were , however, applied indis

ri i l c ( Ilene! c m nate y towards the sixteenth entury, until prevailing R 1 5 0 IR ONWO K.

m landier c . in fashionable society, the ter be ame obsolete The

c do . c kit hen g, provided with hooks, etc , for spits , and ressets for

' ' lzdtzer conf re-lzdtzer saucep ans , was the ; while the was a larger o r lid/!er with places for several spits, and often two more cressets

o n . and other apparatus. Much art was sometimes lavished these

- The Museum possesses three superb sixteenth century specimens , consisting each o f a pair o f huge andirons united by a foot

- bar, surmounted by cressets,and provided with swivel brackets and other handy appliances (Fig. Two of these could hardly be surpassed in richness, the broadly modelled , massive,

' FIG . 1 0 2 .— Esc u az 1 o r o r a e raz ier ro a S anis . S een h cen ur . a f 1 e, p t bl b , p b bly p h ixt t t y

- ff c ribbon like treatment being particularly e e tive , while the details A are elaborate with masks and ornamented bosses. pair in Paris,

a c 1 1 c o o f simil rly de orated, and dated 54 , bears the royal r wn

- c . C/zenef s d rouelles Fran is I. and a couple of candle holders , or

u l c as réeﬁauds chaﬁn dogs s rmounted by smal ressets , used , or g

c dishes, were admitted at this time into abinets and parlours , and our elaborate specimens could scarcely be intended to be

- seen only by cooks and serving men. They, probably, in part

c superseded the domestic brazier of pre eding centuries, which

- was in disuse until t e introduced from S pain by Anne of Austria.

R 1 5 2 IR ONWO K

- - o f . Lo uvre. They usually bore coats arms (Fig ciphers

o r destruc (Fig. emblems, and large numbers condemned to

‘ o n c 1 h tion , this ac ount , in 793, were fortunately preserved y the

- simple expedient o f turning their faces to the wall. Fire guards were scarcely known in France until the seventeenth century — the

- r d - c - oft ﬁgu e fragment of a twelfth century hurch screen , converted

r - c Didro n . into a ﬁ e s reen by , notwithstanding

F - - - — - - IG . 1 0 5 . Cast iro n ﬁre dog . In the FIG . 1 06 . Cast iro n ﬁ re dog . In the C un Fi l y M useum . fteenth century . Cl uny M useum . Fiftee nth century .

Cast brass and bronze embellished ﬁre-dogs in the seventeenth c - entury, when wrought iron stems were frequently surmounted by

brass kno bs. This led up to the bronze dogs o f the seventeenth and eighteenth centuries. Androuet du Cerceau introduced a n umber of new forms, especially the obelisk . Two superb pairs

Lo sele of beaten iron, gilt , in this form, are preserved at y. The REN AIS S ANCE IR ONWOR K IIV FR ANCE. 1 5 3

f makers and gilders o iron and steel dogs lived at this time in Paris, in Rue the Dauphine and Rue de la Verrerie .

— - h un . FIG . 1 0 7 . Cast ﬁre back. In t e Cl y Muse um S ixteenth century .

f . — r - a rom the C ae au o f i ero o f the im e o Lo uis X FIG . 1 08 . Cast ﬁ e b ck , f h t V ll y , t I I I he en een cen ur . In the Cl un y M useum . First h alf o f t sev t th t y

c m Returning to the kit hen , in the chi ney was suspended the

’ - erémazl/ere— a word spelt in a variety of ways an elabo rate pot 1 54 IR ONWORK.

c hanger, onsisting generally o f a large trident embellished with

c c - mu h s roll work , with its prongs downward , regularly toothed , and ending in hooks to receive the cauldrons and kettles. Various

' ' mée/zznelle [our/w eek rzl o r utensils, as the , the , the p , and the g

rail— g the latter, the gridiron , lending itself to sumptuous scrolling ,

- were suspended or supported from it. Placed at hand were the

' tem zl/es to el/e o r hook and manipulate the logs , and later the p ,

' m c im elles o f c shovel , and ore deli ate p the seventeenth entury , ' * o il o r e mzssets and the little iron lamps ﬁlled with grease, known as ,

' ‘ m issezs em stzers. c g , or Finally, there hung from the eiling the

' — rr . In the S o u FIG . 1 09 . L arge iro n ﬂ ask ( ca n tzne de g ue e) th K ensingto n M useum . S event eenth o r e ight e en th century .

’ eourozm e d o f ee c o f b o ok s to c j , a cir le iron with re eive meat and

c game, frequently wrought into a highly de orative and picturesque object. The o ld forms of many o f these culinary necessaries have continued in use in Brittany and remote districts almost to

. to c the present time The uses, whi h the large iron ﬂasks, of

. which the Museum has a good example (Fig were put, are

c imperfe tly known , but it is recorded that the king always kept o ne in his night chamber.

he ff T most ambitious e orts of the smith , by far, were the well

In S co and crusie an o io us deri a io n . tl , bv v t

VI.

R ERI DS IN RANCE THE B AROQUE AND OCOCO P O F ,

AND THEIR INFLUENCE.

' RN N c c a TU I G to archite ture, though the fortress h teau glittered

' zrouetf es o r with gilt and painted g vanes, and bristled with a forest o f c r - ﬁ nials fantastically heraldi pennon o banneret like , which rose

c from its turrets, together with the rowns and coronets so much

’ d la mode o f and denoting the owner s rank ; yet, at the close ff the fifteenth century, small scope was a orded for the display of ’ the blacksmith s art. It is only as the defensive features are relinquished that decorative ironwork finds a place. The finial ,

'' f i a ter being of lead, fa ence and even enamelled copper by no less a L hand than Jean imousin s, gradually disappears, and those made

R 1 6 by Jean ossignol , for Fontainebleau , in 39 , are about the latest ’ “ o f e La e artistic merit, though references such as Moli re s t te

’ ” c d une femme est comme la girouette, have ontinued to be made even to our own time. The Chateau of Amboise seems to possess o ne of theearliest iron balcony railings ; the design is

- very plain , merely of upright bars, with lozenge shaped panels sparingly introduced. The celebrated park railing of Louis XI. “ c at Plessis, des ribed by De Commines as of great bars of iron in form of a grating, without the walls , o n the further side of the

” c - dit h , was purely defensive, like the spiked iron cresting to the - w ’ walls and the plate iron cro s nests, which cost, he says, over

. A francs still existing railing of this date, by the

-le- m Mausoleum of Philibert Beau, at Brou, is like conte porary FR ENCH B AR OQ UE. 1 5 7

E nglish work , of plain vertical bars , with a small , pierced border

o f knots and initial letters. It was only with the dawn o f the B aroque that the foliated

t c balus rades and railings , full of curves and s rolls and rich designs ,

made their ﬁrst appearan c e . The Italian inﬂuence had long

c sin e waned in France, but with the arrival of Rubens a new

impulse was given to its art. R ubens had perhaps personally

l c n litt e hand in forming the new s hool of desig in ironwork, but

c t his powerful inﬂuen e on the ar s created it , and inaugurated the freedom and splendour which characterized French art for

. S upwards of a century tray examples, like the screens to the

N D e N side chapels of otre ame, and anoth r in oyon Cathedral, show perhaps at an even earlier date that a change was on its

i c way, but they were isolated, and had but slight nﬂuen e. It is possible that a few examples of the new style m ay date back

a i IV r to the l st years of H enr , but its appea ance practically

o f L III. 1 6 1 0 coincides with the accession ouis X , in . It developed i r fully in th s reign , and became so ﬁ mly established that, apart

c from modiﬁcations due to hanges of fashion , it may be said to have lasted with unbroken continuity until the monarchy itself

ceased to exist. The superb staircases of the Palais Royal and

A n L i the Bibliotheque by ntoi e ema tre, and the rich balustrade ,

’ Esoalzer da Roi ai n chased and gilt , of the at Font nebleau, leadi g

' ’ ’ nrz II i u w to the Galerze d He , are among the most beaut f l and idely

. statue o f i IV. known examples The rails of the , Henr , on the N R 1 6 0 Pont euf, ordered by ichelieu, about 4 , were lofty and of

plain bars with a ri ch cresting. Evelyn describes them as a ” f 1 6 a strong and beautiful grate o iron ; and observes, in 49, th t “ ” the yron gates are very magniﬁcent in the gardens of the

C a S t. E a Chateau of Maisons . The screens to the h pel of ust che,

- in R ouen Cathedral, the remarkable grate work about the

l the Chateau of Wideville, and the gates and rai ings of Parc de

l - the L i III. Carrouges, are we l known illustrations of style of ou s X - Fine examples exist at Fontainebleau , as the lyre shaped balustrade 1 5 s IR ONWOR K.

D Ac Po art o f and gates of the Porte auphine , produced by hille y ,

1 6 0 2 6 o f Paris, in 4 , at a cost of 5 9 livres, and the gates the

' escali er da or d elzezzal 1 6 vestibule under the f , made in 34.

— - FIG . I ra S i n rac e s e o f Lo uis X . S e en e en cen ur . g b k t, tyl I I I v t th t y

FI — - G . 1 1 1 . S air rai desi ns i r . t l g by D an el M a o t L ate seventee nth century .

I nnumerable specimens may still be recognized in the older parts o f Paris and Versailles, and some other of the wealthy towns of

France.

1 60 IR ONWORK.

are u are introduced , they rather cr dely modelled acanthus, with

— - FIG . 1 1 4 . B al co ny rail by D aniel Maro t . Late seventeenth cent ury .

FIG . 1 1 .— En ra in u is 5 g v g p bl h ed by J ea n Maro t o f the screen to the Chateau o f 1 Vla iso ns ro in 1 6 8. , p duced 5 FRENCH B A R OQ UE. 1 6 1

- bl unt , unsophisticated lobes ; palm leaves are not rare ; the rosettes are tame ; and large ﬂ our-de li} are frequently combined in the designs. The passage to the style of Louis XIV. is im l perceptible, the changes being simply due to increased ski l and ability, progress being made towards richness and more developed and orderly design. As the young king expanded into the Grand

” ’ 1 660 Monarque, towards , the ﬁeld for the smith s art rapidly widened. Royal and noble palaces were approached through spacious courtyards surrounded by iron railings with magniﬁcent

s s v s w c gate : while the garden , parks , and a enue by hi h they

' — m Le u r r i e ure . S e en ee n ce n ur . FIG . 1 1 6. Balco ny fro pa t e s A ch t ct v t th t y

o were environed demanded elaborate ir n fences, gates and

wickets. S taircases were enlarged into grand architectural

al c o features o f palati dimensions, and, occupying entral p sitions ,

' required iron balustrades of the most sumptuous possible u character. The smiths , thus stimulated , nat rally vied with each other in the magniﬁcence of their work and the diff iculties i introduced into its execution , wh le the greatest architects ,

i o f . . supply ng the designs , entered the arena rivalry The great J C a Cla n Hardouin Mansart designed the screen for the h teau of g y,

1 6 8 St. C erected in 7 , and that for Meudon Girard that for loud ,

in 1 68 0 and Gittard that for the Chateau of St. Maur. Men of

such immense inﬂuence as Jean Lepautre (Fig. Jean and

II M 1 6 2 IR ONWORK.

D 1 1 2 e Le aniel Marot (Figs. Jean B rain , Jean Blond , and

FIG . 1 1 . — a r 7 P t o f ba lco ny . S eve nteenth century .

' L n LIZ/res de S erruren e o r c a glois , published , in luded numerous

’ FIG . 1 1 8 . — A ri e ro m Fo rdrin s S er r g ll f f /me it . Abo ut 1 7 2 3.

n f o r o . desig s smiths in their works on rnament Lesser men ,

Pierretz [e ez me Aviler N e P ull like j , , Poilly , icolas Gu rard , o eau,

1 64 IR ONWORK.

Rossignol were occupied at Fontainebleau Lemaitre at the Palais Royal and the B ibliotheque Furet on the Observatoire staircase ; Gasté and Gabriel Luchet worked for the Chateau of

— -ra i f Lo uis IV Ear ei e n FIG. 1 2 0 . Ba l co ny l o X . ly ght e th century .

Cla n . W n g y ooden handrails to staircases , usually of mahoga y ,

n i c were ﬁrst introduced in this reig . The cho r en losures, which became so conspicuous a feature in the great cathedrals under FRENCH R OCOCO. 1 65

L XV. ouis , began to be introduced in this reign, the smith s Mouchy and Mathério n having ﬁxed one in the Val de Grace as

early as in 1 666. The most magniﬁcent specimens of ironwork

in in France , and probably the world , the superb doors now used

o f o f L to close some the galleries the ouvre, were brought from

o f Maisons, and are by an unknown hand. Though large size

— - t e n ur . FIG . 1 2 1 . S ta ir bal ust ra de and ne we l . Eighteen h c t y

they have been exquisitely chased and polished . The chateau was c 1 6 8 o ld . 1 1 ompleted by Mansart in 5 , but an engraving (Fig 5) shows that Jean Marot either designed , or made a model for L IV them . Fine ouis X . ironwork is to be seen at Marly ,

o ntaineb leau S t. St. C C F , Cloud , Germain , hantilly, hoisy ,

- - S le c . A Meudon , ceaux , and Vaux Vi omte fragment of a late

L XIV. c w . 1 1 ouis bal ony is sho n in Fig 7, and other examples in

Figs. 1 2 0 and 1 2 1 .

1 6 1 1 The style, in a reign lasting from 43 to 7 5 , necessarily varied considerably ; but it was mostly rich and costly, full of nobility and grandeur, and executed by a generation of smiths 1 66 IR ONWOR K.

o f c . lavishly patronized, and ﬁlled with emulation and pride raft

The best designs are by the best architects, and the work

. In executed for the king is, with few exceptions, unsurpassed

o f o f the ﬁrst years his reign , it was relatively simple , like that

L III. ouis X , but later it assumed a massive dignity with more

ﬂowing lines, and ﬁnally acquired the more mannered and fantastic character so distinctive of the succeeding age.

c o f L XIV. The grandly ri h work ouis , in fact, developed

’ R ocaille o rR c L . insensibly into the , oco o, of ouis XV The capri c io us c o f urves , and the absence repose and symmetry in detail ,

— FI . 2 B a n e Lam ur o f Nanc . 1 G 1 2 . lco y ex cuted by o y Abo ut 7 5 3.

c o f render this perhaps, intrinsi ally, one the least pleasing of styles , but its tout ensemble presents an easy luxurio us magniﬁ cence im

It ( o z/[are possible to surpass. may be to the many, but highly

c cultivated people in every ountry give it preference, and certainly , well lighted and upholstered reception-rooms in the Louis XV. taste present an air that is singularly appropriate to the abodes of members o f the wealthy leisured classes. This stately ease is

c proclaimed in every voluptuous urve of the ironwork , and , grand

c n to as this had become in the pre eding reig , it was as nothing the towering gates and screens o f Louis XV. It was an age of

’ c k L magniﬁ ent underta ings in smith s work, but those of amour ,

1 68 IR ONWORK.

’ e Unfortunately, the Museum poss sses no smith s work from

L . France, dating from the reign of ouis XV

o f L . 1 1 Between the accession ouis XV in 7 5 , and his death

ﬁf t - so ynine years later, and in large a country, peopled with such

FIG . 1 2 .— u i -s airs 3 P lp t t desig ned by Ch alle.

ff di erent and versatile races , there was such scope f or develop. ment that vast diff erences are apparent in the ironwork of ff iff . di erent decades and from d erent provinces Thus, that o f the south and west is relatively free from mannerism , and that of Burgundy and the east is most heavy and exaggerated . FRENCHRo coco. 1 69

' A uvillies centre o f ccepting the style of C , produced in the very art - in and life , and about the middle of the reign , as typical , we

o f ﬁnd that the broken curves, the want symmetry, the curious

- R c cockscombs and endive leaves, so distinctive of the oco o , may

' be present without impairing the grace or even the repose o f I the design . ndeed , the fan and shell movements, the broken convolutions, the intercrossing lines and elaborate ciphers, lose, f in the hands o the great Parisian ornamentists, their fantastic

ar c . elements, and e sobered into the ri hest harmony The lines o f Cuvillies c ﬂow in rich, often in sudden and daring urves ,

no and, though clothed in foliage with sparing hand, the acanthus leaves and plumy tufts of ﬂowers are so slender and exquisitely w ff ré dra n that the whole e ect , with proper surroundings, is strained and satisfactory. The contemporary work o f the Sieur

— c L r Lamour a native of Nan y, in or aine, which was not yet an appanage o f the French crown— is far more pretentious and grandiose, with lines more involved and restless, and lacking the light and shade and consummate knowledge o f such great masters

O nor v as ppe d The work, howe er, is most sumptuous of its kind ,

rand - and has a g air ; the acanthus leaves are perfect in drawing, and the endives have the force and sweep o f breaking waves Of the sea. His designs o ccasionally introduce the regions o f ﬂat trellised bars, with rosettes to conceal the intersections, so rarely R seen in French smithing, and so seldom absent in German ococo ironwork . The change from the freedom of the R ococo to the more restrained Classic o f Louis XVI. is generally ascribed to a revived interest in the antique consequent on the exploration o f Herculaneum and Pompeii towards the middle of the eighteenth

u It 1 0 cent ry. was felt in Paris shortly before 75 , when the

’ S t R c -l Aux erro is work for . o h and St. Germain was executed , and, consequently, almost ﬁve and twenty years before the ﬁnal

’ disuse of Rococo designs in the provinces. Though its ﬁrst introduction is ‘ thus far from coinciding with his accession to 1 7 0 IR ONWORK.

1 k L XV the throne in 77 4, the style is nown as ouis I. Under his reign o rnament acquired a very reﬁned and peculiar quality. The elegant precision of the lines, often based on

- FIG . 1 2 . Ga e to the alais de us ice Bi onnet. Ei een cen ur . 4 t P J t , by g ght th t y

the Greek key festooned with swags and wreaths, is less apt for the smith, yet the craft did not at once decline, and

c i I many ironworkers ont nued to achieve celebrity. ndeed , the

1 7 2 IR ONWOR K.

r . u the liv es This screen is, as sual, like that of

- Petit Trianon, chieﬂy of bars with tasseled spear heads, but the gates are rich and o f massive grandeur. The designs of f these and of several other gates, as those o the old Ecole

Militaire, by Fayet, present the greatest difﬁculty to the smith , while a founder could produce them with such relative ease

- FIG . 1 2 6.— S air a us rade in o is ed iro n at Com e ne Ga rie . Ei een t b l t p l h , pi g , by b l ght th century . that cast iron was soon introduced for the purpose . A provincial example is seen in Fig. 1 2 5 . The ﬁnest stair rails, such as those in the Petit Trianon , were massive, with the foliage , cast in superbly chased and gilded brass, applied A to the polished iron scrolls and bars . set by Gabriel , at

C e 1 2 6 ompi gne, is shown i n Fig. . The curious design seen in Fig. 1 2 7 is interesting as an ex ample of the diff erences in style between provincial and metropolitan work at this period ; Italian inﬂuence in it is strongly marked . The publi FRENCH L O UIS S EIZ E. 1 75

o f of L cations designers repute, like Forty , alonde, Caillouet,

A o f f and ubert, give an excellent idea the perfection o the i Lo XVI. o r e ronwork of uis , whether simple rich ; but th

O Puzin Destriches really celebrated smiths, livier, , Faure, ,

R Bi o nnet Cho itel D e Couto n oche, g , p , urand, Margu rite , ,

B uirette o urb in , Fagot, Fayet, and C , published nothing. The only printed illustrations left by smiths are those o f

Bo ntho mme . o f G. and J Breslau , who were not the ﬁrst rank .

’ Fm . 1 1 — 5 11 114 2111 Chaeau B o re i arsei es. Second al o f ei een ce r 5 , t ll , M ll h f ght th ntu y .

l Ha This is remarkable, as vard quotes several advertisements h M r r in quite the present style , such as the notice in t e e ez/ e

r 1 6 1 f o r St. R e for Janua y, 7 , of the work och by P res, who had the year before exhibited his grille for Bourges Cathedral

c f o r St. e to rowds ; and of the large work Genevi ve, shown

. Rue in 1 6 by the smith at his shop in the Bourdel , 7 9 , for

r o th ee days a week , at the not ver modest adm ission

i r . In 1 6 fee of three l v es per head 7 3, Vivarais, a smith ,

' L a S erm rerze ar Henr Ha ard Li rairie C ares De a ra e r , p y v ; b h l l g v , Pa is. 1 74 IRONWORK. made a sensation in Amiens by exhibiting a palm tree in iron twenty-one feet high . It is at least unfortunate that the Museum po ssesses no

’ examples of the magniﬁcent smith s art o f France o f the seventeenth and eighteenth centuries ; indeed, were it not for

uniﬁcent c the m Jones bequest, s arcely any branch of French art during them would be represented in our national collections .

Yet during the periods of its highest civilization in the past,

o f E the whole urope welcomed French art, and allowed it to become paramount without the slightest protest . Ironwork is

the merely an example , but we see in it, in border countries,

R S — in Belgium, on the hine, and in witzerland , simply a provincial rendering of Parisian fashions ; and save that distance and strong racial idiosyncrasy did their work , the ironwork

f A I S E c o ustria, taly, pain , and ngland was largely opied from E D S N the same source. ven in Portugal , enmark , weden , orway ,

R — in ussia and the most distant colonies , fact, wherever civilization was so far advanced as to require decorative iron

— it c N work, was fashioned in the Fren h taste. ever since the destruction of the Roman Empire has such unanimity in matters o f art prevailed among the peoples of Europe.

Lo w C r c R The ount ies, whi h, in lending ubens to France,

c had given a new direction to its art , followed losely the French

s c fashion , and their ironwork reproduces every hange in style that ensued during the last two centuries. It has seldom

c any decidedly distinguishing characteristi s , and the names of f ew designers o r workers in iron are preserved. The pair o f

- N r D choir gates behind the altar of ot e ame, Bruges, inscribed “ . R ckani Oo stendanus J y , , fecit anno slightly recall the o f L Maisons gates the ouvre in design, but are more simple , though their work is rich . The meetings of the bars are covered s i on the one side by serried bay leave and berr es, and on the other by o ak leaves and acorns . In the centre o f each gate m is a chalice , with rays of light, in an oval fra e , ﬂanked by

' 1 76 IR ONWORR.

C V. harles , and, throughout the prolonged Huguenot troubles, large bands o f German mercenaries had found employment

R . U L XIV across the hine nder ouis ., French alliances against

~ FIG. x 2 8.— Fl emish Lo uis XV. sign-bracket. In the So uth Kensingto n Museum . Eighteenth century . each other and Austria were sought by German princes ; and electors and heirs-apparent visited and were dazzled by the m grandeur of the French court and its onarch , who towered GERMA N R OCOCO. 1 77

- above them like a sun god . It became the peculiar pride of the lesser potentates of Germany to imitate his doings and ex

' trava ance L udwz slzisf e g , and hence the g , and inﬂated palaces

- and pleasure grounds , which crippled the resources of many a

. German highness Grandiose iron necessarily followed , and the

- design books of France were reprinted in Germany, together with others o f native production the German workers publishing

o f their designs now , for the ﬁrst time , after the fashion their

o f L XIV brethren over the border. The style ouis ., as current in B aroda . Germany, is called the (Fig and that of Lo uis R XV. the ococo, both being in quality merely provincial French . A D mongst their ardent disciples was the architect Paul ecker, wh 1 6 to 1 1 o , in his brief career from 7 7 7 3, published several

c f ew volumes of designs , in luding a for ironwork , that are quite hii l r indistinguishable from the French. Johann Jacob Sc b e , of

c 1 1 l Nuremberg, another archite t, who died in 74 , fo lowed in his footsteps. Sandrart and Schmischek produced books of design

Ar ueb userie c to for q , in imitation of the Fren h, even their titles w W S chmittner c and hile alck, , Fun k , Hertel , others , did as much

’ uvillies 1 0 for smiths work . C the elder, who died in 7 7 , father

- to o f the better known Francois , was , as architect the Princes

- o f Bavaria and Cologne, greatly instrumental in popularizing the French style. He was ably followed by the Hungarian,

1 8 2 0 J ohann Thomas Hauer, who died in Paris as late as , at

f -two E the age o seventy , and by Habermann , ngelbrecht, the two

k nf l Z R B irc e e ds, ipper, and many more, until the ococo merged into the Classic of Louis XVI.

The railings and gates to parks and palaces, the screens in

- c cathedrals , the stair rails and bal onies, are as magniﬁcent in

. Germany as in France, but , of the seventeenth century, few exist

o f S The bal cony in the courtyard the Vienna Town Hall, by imo n

B aroek ici Vogel , is a ﬁne example of , of The mun pal accounts have preserved this name, but the smiths of nearly all the grand Works in Germany have b een forgotten , or were never N 11. 1 7s IR ONWORK.

. recorded They thus, clearly , did not enj oy the same prestige as

c f r-K A in Fran e. The ﬁne screen in the B ariisse irche, in ugsburg,

S . Birckenf eld -K c S is by J . , and that in the Geissler ir he, in wabia, l k by Andreas Sc m ec . Other noted smiths were Christian Hesse ,

B uio z Ec Michel , Georg Huber, Christian khardt, and Georg

Behringer.

ff m o f Earoek German writers di er as to the li its the , which they regard as originating with the Jesuits o f Italy. S ome extend

- it so far into the reign o f Louis XV. (to mid eighteenth century), that they almost conﬁne the Ro coco to Louis XVI. The Rococo L is the style known as ouis XV ., however, and nothing else, and comprises the most sumptuous period of German ironwork. It

diﬂicult not only lends itself to the grandiose, but it is to use it with restraint , and tradition imposed so little of this on the

German smiths that when wealthy patrons were forthcoming, the greatest extravagance was indulged in . Such were found f in Vienna, then in the process o almost rebuilding under Charles

VI. and Maria Theresa, who surrounded it with new parks and palaces . The nine gates in the Belvedere Gardens are almost o ppres sivel o f y grand, and of masterly skill in execution, yet the names their craftsmen and designers are unknown , though some bear the

o f E e m l arms and initials Prince ug ne , for who the pa ace was erected in 1 7 2 4. The imperial gates and balconies at S chOn brunn and Hetzendorf, erected by Maria Theresa, are hardly less remarkable, but nothing surpasses the three window gratings and

o f S t. N the entrance to the Chapel John epomuk, erected in

1 w D 744, after a calamitous overﬂo of the anube. The gates ,

1 8 dated 73 , and thus evidently made for another building, served

c R c as a model of ri hness for the windows , in which a most oco o rendering o f Gothic tracery is almost smothered. The screen to

S C c 1 6 2 the avoy hapel in the athedral, probably erected about 7 ,

c - c and the painted and gilt hoir screen, of about a entury earlier, ’ are worth notic e. The nine c hapel screens in St. Michael s Church

e IV form a ﬁne seri s of designs , ranging through Louis X . and

1 80 IR ONWORK.

b rated vo n E c . architects , the Fischers rla h The city has , however, been almost denuded o f the ﬁne grilles to fountains and monu

- c w c ments , the sign bra kets and indow gratings , whi h old views a show abounding in the l st century , and which are still numerous

c away from the capital . Magniﬁcent work is to be seen in Prin e

’ E e s c o ut. ug ne s palace of Schlos hof, in the Mar hfeld , a few miles

O a ther not ble examples , probably by Vienna smiths, are the

' -K c three entrance gates to the Pilger ir he, on the Hafnerberg, in

o S 1 2 - Franc nian witzerland, made between 7 9 45 the gates to

C c o f -W 1 0 c the hur h Gross eikersdorf, 74 the rich s reen to the

Pralaten- o f o f Treppe , in the parish Herzogenburg, the gates ’ S E St. F chloss sterhazy, in H ungary, and the ﬁne work in lorian s, L inz, the latter being, however, a local production .

l A o f Beyond the imits of ustria, the most impressive group ’ Roco co iro nwork is that associated with the Prince-Bishop s Palace

Wiirzb ur o f 1 2 0 at g, built, in imitation Versailles, between 7 and

1 744. This surpasses even the work o f Lamour at Nancy in

c c m ri hness, and is equally perfe t in execution if ore laboured

o c ~ and inferi r in design . Breslau , espe ially the University, pos sesses some exceptionally ﬁne specimens ; but no palace o r

c o f o publi building in Germany, any pretensi n, built in the

Earoek R ococo eighteenth century, is without them . The and

o f D o l ironwork resden has been th roughly i lustrated, and shows

f or an unusually light and pleasing style, Germany ; and the

-ou- - K work in other towns, as Frankfort the Main , arlsruhe, and

R l . i egensburg, might equally repay a pub isher Some qua nt

- sign brackets in the Black Forest are illustrated in Figs. 1 30 and 1 31 . Our Museums possess no really ﬁne German B aroek o r

R oeoeo Medimval R ironwork , which far excels the or enaissance

' tee/zm ue It c — in point of g . is, in fa t , unequalled the moulded ends of the massy scrolls and volutes o f the ﬁnest examples

s being almost impo sible of reproduction . The smith , who seems

earte blam e/ w R n do a e to have had in the enaissa ce to as he ple s d , 1 8 1 GERMAN R OCOCO.

’ ur . — - Fores . Ei een cen FIG . 1 30 S ign bracke t s in the Bl ack t ght th t y

i en cen ur . v - i he B ac Fores E e FIG . 1 31 . Sign bracket n t l k t , ght th t y 1 8 2 IR ONWORK.

no c c col was w urbed and under the ontrol of the designer, the lab o ratio n and unwonted restraint imparting a character which ﬁnds expressio n in the bold but thoughtful lines and superb W ﬁnish . hether we like or dislike the style, the intrinsic merit

c u of the work , and its entire accord with the archite t re, cannot be gainsaid. Though closely following the French developments ,

' it may readily b e distinguished by a far freer use of armorial

c s bearings , oronets , and ciphers the leaves, also, are cri per, more

. o all shredded, curled , and veined But, ab ve , the German smith

R c c c made a lavish use, in o o o work , of artouche and other shaped

c l spa es, ﬁlled with trellised straps crossing diagona ly, with rosettes

c c at the intersections , whi h produced a ri hness like the open c - c o f - re ross stit hes point lace, and was thus favoured from its semblance to the interlacing work in whi ch his predecessors had revelled . This feature is rarely seen in French ironwork o f

L . L N c c ouis XV , though sometimes used by amour in an y, whi h was not at that time a direct possession of the French crown. S fﬁ The he eld Museum has a number of pieces, including a c -c urious grave over, and two of the crosses , peculiar to Germany, which fully shared in the general ri chness o f design . The South K r ensington Museum possesses several screens , and other la ge

’ o f R s pieces average quality, and a good deal of ococo locksmith

o c o f w rk , oarsely made, and ill designed, compared to that the R enaissance , because it was only employed as a substitute for

. o c S t dearer metal The s lidly ased iron doors, like those of .

’ s W c U Peter , Vienna , of urzburg , and parti ularly of Breslau niversity ,

1 2 8 1 made between 7 and 739 , which are most sumptuously ff decorated , are of very di erent workmanship, and, like the rare

R c . ococo iron hests , of ﬁne quality Brackets, candelabra , and

al c all kinds of sm ler arti les, were largely made of iron , but

s m o f generally gilt, in obviou i itation ormolu.

The style of Louis XVI. had scarcely time to develop to any great extent in Germany— f o r changes o f fashion penetrated some

in c — what slowly, even the last entury , before the revolutionary

1 84 IR ONWORK

Neuf chatel L . at Geneva, , ausanne , and other principal towns

‘ A Across the lps it is not abundant , though the inﬂuence reached

via Italy both directly from France and Germany. It arrived ,

its however, when the country was abj ect, and art feeble , when it

c was in no condition to re eive a powerful impetus, and develop and

. I a carry it farther , as Germany did The t lian ironworkers were

not the men , moreover, to enjoy heavy hammering and welding, and it only suited them to produce eff ects in the easiest way . Iron that could be curled into scrolls o r twisted into spirals without heat ; leaves and ﬂower petals made o f thin sheet that c ould be riveted up cold ; collars that could be lapped round with a pair of pliers , were what they had accustomed themselves

o f i R l to and the real art smith ng, which the ococo style, especia ly ,

c to I demands in the highest perfe tion , appears have been in taly

c . We R practi ally lost thus ﬁnd Baroque and ococo inspirations,

i i l but produced by feeble processes, so that the or g na energy and

o f c re- to vigour the style was ontinually lost and imported, only fall away and merge into their own weak but pretty style of A f work of the last century. mong the most satisfactory, rom

R o f I l the ococo standpoint, talian examp es, is a screen to a

San A . It chapel in the south aisle of mbrogio, Milan is light, graceful, and very pleasing. There is another charming chapel

c San A en losure in Pietro, at Mantua. screen in the Palaz zo

Ca o dilista . p , in Padua (Fig furnishes a domestic example

o f It c full grace. is to Veni e , however, as having preserved its

al art traditions less impaired, that we natur ly look for the most

c interesting developments ; and here, espe ially, the mingling o f m such opposite traditions , ethods , and genius, produced the

' ’ freshest results. There are specimens o f Venetian R o co co in the S outh Kensington Museum which are no t unpleasing ; but

m are in mm the best exa ples , by far, still , as those of the Pisani

palaces. The entran ce gates to the o ne now known as the N S a th f f azionale de tr , sh ow e result o the fusion o styles o n an important scale. I S ITALIAN R OCOCO. S

- lazzo Ca odiista adua. Ei een ce ur . FIG . 1 33. S cree n in the Pa p l , P ght th nt y 1 86 IR ONWORK.

In Spain the Baroque fell on diff erent soil. The smiths were r not enervated , but the count y had sunk from its great position ,

— — its wealth and enterprise exhausted , and great palaces were rather in process of falling to ruin than of being rebuilt . There are thus not many imposing works in iron , either of Baroque or

Rococo age in Spain , and what there are have not b een brought

c c a under noti e. The work is a pe uli r native rendering, in which fi there is no idea of shirking its dif culties or lessening its richness. It has neither the grace and sentiment, nor the principles of

c can c design , underlying the Fren h work , and it only be des ribed

o f t as a barbaric rendering an imperfectly understood s yle, which

t — in — lacked the opportuni y other words, the patronage to lead i t into new paths of development of its own , as in the great days o f the Florid Gothic and the Plateresque.

1 8 8 APPENDIX.

des ci Or r . ris 1 6 . I2 s no s. 86 De nq d es Pa , 7 7 plate ( la

is r u o n des n i n . is 1 . s d t ib ti Mai so s de Pla sa ce Par , 737 Plate

in vo l. ii.

s B ONTHOMME BR EL sm i . Li r iff ren s co s. , GA I , th v e de d é t Bal n Pari ,

° ° 1 6 rie u s 1 . 775. plates. 2 et 3 Cahiers de S errure Pari , 777

1 8 plates.

RES L E N smi . r r ri . ris c. 1 . 18 B AU, J A , th Balco ns de S e ru e e Pa , 77 5

plates. ’ R ISEUX C. E. c i ec A a des iso ns C m ne . B , , ar h t t. L rt de b tir Ma de a pag

ris 1 2 cd. 1 6 1 . s 2 r i du Pa , 743 , 7 Plate 35 T a té Beau

ss n i ns les r s. ris 1 2 r . wi i r co m e e t el da a t Pa , 7 5 late ed th t tle , T aité ’ d Architecture. A n R u 1 6— . s. plet V de la épubliq e, 79 9 7 4 plate

° ° L LO E esi n . — i s S rrur ri C six CAI U T, d g er 3 Cah er de e e e 4 ahier de

ui s de R m s. ris c. 1 8 . 2 s. fe lle a pe Pa , 7 4 4 plate

CRE Y LO S le ﬁls n r. D ss ns S err r . ris c. P , UI , , e grave e i de ure ie Pa ,

1 7 2 5 . 5 plates.

VIL L IES R NCO S DE r rc i c 1 6 8— 1 68 . L v et CU , F A I , pe e, a h te t , 9 7 i re (

‘ No u i r r r . ris r 1 . 1 2 s. veau l v e) de S erru e ie Pa , afte 745 plate ‘ Facsimile ed. t ’ CHERE . C co ns s le o u ofit a us des AU, J ahier de Bal dan n uvea g l age

fi . C Serruriers. Cahier de Grilles dans le n ouveau go t ahier de

Ram pes. Livre de S errurerie. 6 plate s.

ESNES ROB ER sm i h . Li r S rur ri o m n in DAV , T, t v e de er e e n uvelle e t ’ n R. D. s 1 6 6. 1 s. R m s d escalier ct ve té par Pari , 7 4 plate a pe

balco ns . 1 687 . A plate inserted in J o usse. S . K. M . ’ B GNY L E C R ER n . o s d Ar ueb userie. DAU I , P HI I PP O DI , e graver M tif q

1 635 . 1 4 plate s.

E LA COLLOMB E esi r. 1 1 s Ar ueb userie. r s 1 0 . D , d gne plate , q Pa i , 73

A r r ri s 2 s o n no wn. la ge se e , plate ly k

DEL F SS E E N R LES i c . An iro ns etc o ccur in his A O , J A CHA , arch te t d ,

wo rk s o n o rn aments. 1 768. - DEL NE C R ES E ENNE o dsm etc . 1 1 8 . D si ns AU , HA L TI , g l ith , , 5 9 3 e g

f o r m sc n rs etc. da a e e ,

DES B CEUFS D S N -L REN rc i c . S ur ri . ris c. E AI T AU T, a h te t err e e Pa ,

1 765. 1 8 plate s. A s DUHAM EL DU MONCEAU . Art du S errurier. (171 Descriptio n des rt

et i rs A c m i des S ci nc s. r s 1 6 . s so m Mét e , adé e e e ) Pa i , 7 7 43plate ( e datin g fro m 1 7 1 6

FAY . B . si n r. L i c u . 1 2 es in C r , J , de g e ate e ghteenth ent ry plat ahie de

Serr. m o rn ss. et raveé ar Fa a ris c z n Rue de e de g y, Pa , he Jea , " p S t. a u s No . 10 r n s o n . Je n de Bea vai , (p i t ly)1: APPENDIX. 1 89

ON NE ES LEN N sm n r . Nou i r F TAI , JACQU VA TI , ith and e g aver veau l v e ’ d rin S r . ris 1 0 . 1 2 s. études et p cipes de e rurerie Pa , 74 plate

Li r diff ér ns o uro nnem ents S r r . ris c. 1 0 . v e de e c de erru e ie Pa , 74

6 plates.

FORDRIN L S sm . No u S rr rer . s 1 2 . , OUI , ith veau livre de e u ie Pari , 7 3

30 plates. Facsimile edsf

N liv e rru i co m osi io n An s . ris o uveau r de S e rer e de p t glai e Pa , ’ n.d. 2 0 s. A r rin o f Ti o u s o o in w ic plate ep t j b k , h h ’ Tijo u s name is a rmed ?

' ‘ 0 ° FOR IY E N- R NCO S n r etc. 2 et r s. ( Euvres , J A F A I , e grave , 3 liv e

S rr r r . ris and s i s c. 1 80 . 1 8 s. de e u e ie Pa Mar e lle , 7 plate

N N ER RE o sm n . o i s S erru r GA DI , PI , g ld ith and e graver M t f de re ie,

rampes et bal co n s. c. 1 6 1 5. 4 plates.

ER ERR E sm . Di rs o u r s us s GAUTI , P I , ith ve v age de Bal trade ,

o rles S rr ri rs. rs e 1 68 . 2 2 s c . 6 si n p u e u e Ma eill , 5 plate , in l g ed by n G i r 1 688 Jea aut e , .

G ER R N COL S n r r. D rs s ec s S . 1 1 . U A D, I A , e g ave ive e pi e de err Paris , 7 3 ’ 1 2 s. Di rs s ec s d Ar ueb userie. rs n .d. 10 s. plate ve e pi e q Pa i , plate

S E C EL smi . D ssins S rru ri . Inc . No HA T , MI H , th e de e re e ( l uveau

i r r m s etc. rs c. 16 0 . s ri s of 6 es c l v e de a pe , ) Pa i , 9 4 e e plat , ea h ’ bearing the name o f F . P o illy . Hasté s nam e o nly appears o n the dedicatio nd’

HU UIER . B R EL e si n r. 16 — 1 2 . No i Q , J GA I , p re, de g e 95 77 uveau l vre de S errurerie . 60 plates.

R AN O NE si n . o s 1 6 1 . 6 s : JACQUA D , T I , de g er P itier , 5 4 plate gardes ’ e r s r e s c s ar ueb useri . d epc , ent ées de erru e, t te de lef , q e

Hprints only).

ns f Thuraine nd l Ho lland is. r s 1 660 . ACQUINET. Desig o a e o Pa i , J " imi . u is d uari h . S ee . Facs le ed , p bl he by Q tc ( p r

R N N COL S sm . s. En s s rrures 1 6 6— . JA DI , I A , ith 3 plate trée de e , 4 49 ' ’ O S S E R N ec . La i Ou r r l Art du J U , MATHU I , de la Fl he F delle ve tu e de

S . 1 6 2 2 nd cd. 1 62 rd ed. 1 6 f ol. cs m i err , 5 , 7 3 , 59 , Fa i le

L LON E DE co o r. ( Euvres rs s. 6 s s s A D , , de rat dive e plate , pala tre ;

6 r o irs 6 en r s s r ur s 6 nn u c s etc. do , heu t , t ée de e r e , a ea x de lef , , ‘ S t. o r n sc. 8 s i s S t. ori n sc. 1 8 M ie ; plate , gr lle , de M e , 7 9 ; 4

s r m s sc. 2 s i r in se. plate , a pe , Fay plate , G ra d

- L OUR E N s i . 1 6 8 1 . R cu i des o r s. N c AM , J A , m th 9 774 e e l uv age an y , ‘ 1 62 f o 7 , L f ’ L NG L S N C L S r r. L Architecture a o . 2 2 s A OI , I O A , eng ave la M de plate , grilles et balco ns du chﬁteau de Versailles ; 6 escaliers do

jardins.i 1 9 0 A PPENDIX.

' LE B L N E N i r and u is r. 1 6 — 1 0 . s o f O D, J A , pa nte p bl he 35 7 9 9 plate

wo r c rs i s is. k exe uted at Ve a lle , Par

L E LORR N LL E sm i . AI , GUI AUM , th

LE PAUTR E E N rc i ec etc. 1 6 1 8— 1 682 . C o ur s C s , J A , a h t t, l t e de hapelle ,

etc. s 1 6 or s C oeur 6 s f o l. rs 166 1 . Li r s Pari , 59 . P te de h , plate , Pa i , v e

de n s o s etc. 6 es f ol. . r ris 1 66 gra de p rte , , plat , P Ma iette, Pa , 5

P o rte co chere. Am stelodam i. 1 pl . Ecusso ns o u entrees de

s r r s 6 s. L r S . n n ar a r e ru e , plate iv e de err i ve té p Jean et gravé p

c s Le Pau re 1 2 s. c. Ja que t , plate

LOR O A B ER . Diff r n s ortraitz o ur les S rr. I6 8. 1 2 s I T, U T é e t p p e 5 plate ,

Entrees de S err .

L IONNOIS . 16 l s inc . o ne Entree s r si n , P p ate , l de erru e, g ed P .

Lio nn o is. 1 620 .

RCO FR N S nsm i . ris 1 660 . 1 8 s. E m s MA U, A COI , gu th Pa , plate xa ple - in r ro om S Co ll. P int , lade l

’ MARIETIE ER RE E N n r. Gri du C a du . , PI J A , e grave lle h teau Val

1 o if s S rr. 6 s in Arc c ur r n s . plate, M t de e plate hite t e F a cai e

No uveaux desseins de S err. 1 8 platesi

RO D N EL rc c etc. c. 1 6 o— c . 1 1 2 . No u e u i r MA T, A I , a hite t, 5 7 v a l v e de

S . 6 s. La H c . err plate aye,

RO E N rc i c . s s rrur ri ris 1 6 1 — 3 s MA T, J A , a h te t 54 plate , e e e. Pa , 9 79 ? (par ): ’ R E DE. ri s o f un m i s wo r si n d MA T AU, 3 p nt g s th k, g e de Marteau

f ecit .

- MEIS SONNIER S E A RELE in r etc. s s r. I s n . , JU T U , pa te , 4 plate , er , ig ed

is 0. 1 0. Par , 7 3

R N I DE n r r. No u au i r de ss s. 1 2 s o f MO TI , . , e g ave ve l v e de ein plate

wo rk cu f o r rs s c. 1 6 0 . exe ted Ve aille , 5

NEUFFORG E E N R N S DE c i c etc. R cu i m r , J A F A COI , ar h te t, e e l élé entai e ’ d architecture Vo l. . inc . 6 s 1 6 and su m . V , l plate , 7 3, the pple ent ,

2 s 1 2 . 4 plate , 77

OPPENORT LLE R E rc c etc. s s rr r i . Li , GI MA I , a hite t, 9 plate , e u er e vre

de iff r n s o s b alco nies sho wn. L diff éren s d é e te P rte , 4 ivre de ’ ’ fr m ens d archite r . 1 2 0 entree du chosur l E lise de ag ctu e, pl ( de g ‘ Meaux) and o thers.

E P. i c . . 1 2 . 1 8 1 2 . PATT , , arch te t b 7 3, d

ELLE ER. s c. 1 0 . P TI 4 plate , 7 5 ’ PI U T . i r c . 1 6 . A m sc rs si ns. Q O , THOS , pa nte . 37 few da a ene de g

PIERRETZ LE E NE i c . 1 666 . Livr o u u S ur ie. J U , arch te t e n vea de err er

' 1 2 l s ris. p ate , Pa 1

O LLY F. DE r r d. 16 . No u R m s P I , , eng ave . 9 3 uvea livre de a pe ’ d escaliers et co s. ris 162 2 . Bal n Pa ,

1 9 2 APPENDIX.

FLOETNER E ER n d f o r m o r r an m s r . , P T , desig e ar u e s d da a cene s . d

Nur m r C. 1 6 . e be g , 54

N O NN EORG rc i c . S irc s etc. r n o FU CK, J HA G , a h te t ta a e, F a kf rt ,

c. 1 7 2 0 .

L EB E N. 6 s o f rilles etc. c . 1 80 . G OTT I , H I plate g , 7

RADMANN NN n r. S r s o f Lo u s XVI. G , JOHA , e grave eve al plate , style i

Aug sburg .

ROS S NN C RL A G S r r. S r s o f G MA , A U U T, eng ave eve al plate , style

Lo uis XVI. Aug sburg .

BER NN R NZ X ER si n r. s ri s of s HA MA , F A AV , de g e S everal e e plate

so m u is H r e o s En c . . 1 2 1 . e p bl hed by e t l , ther by gelbre ht b 7 , d

A s ur I 6. ug b g , 79 T

ER H NN H S s n . C i r des s s etc. . HAU , JO A T OMA , de ig er ah e des ein , b

H n r 1 8 Au s ur in 1 8 1 8 ( 1. rs 1 82 0 . u ga y, 74 , at g b g , Pa i ,

R EL NN E RG u is r. s o f s. A s HE T , J OHA G O , p bl he 4 plate grille ug burg ,

e. i 7 zo .

HER EL R NZ X ER si n r. s. c. 1 2 0. T , F A AV , de g e 4 plate 7

ES E E. C R S N sm i 1 6 . R ns ur o r H s . H S , H I T IA , th , 7 9 ege b g alber tadt

LB E N H NS c e r r s . D si n o s etc. . se HO I , A , el b ated a ti t e g ed weap n , b Ba l ,

8 ( 1. Lo ndo n 1 . 149 , , 554

LL R W ENZ EL si ner and n r r. D s n o s etc . H O A , , de g e g ave e ig ed weap n ,

r u 1 60 ( 1. Lo n on 1 6 . b . P ag e, 7 , d , 7 7

L CHR S N FR E R C . 8 s ro c i . A s ur n.d. RUDO P H , I TIA I D I H plate ( a lle) ug b g ,

A RT C B n r r. 1 2 s Ar ueb userie. N m . S ANDR , JA O , e g ave plate , q ure berg

1 6 0 d. 1 0 8. b. 3 , 7

I HEK O NN. es Ar ueb userie. No . S CHM S C , J HA Plat , q date

’ ‘ NER R NZ LEO OL sm i . 6 s s o f Lo is XI S CHMIIT , F A P D, th plate , tyle u V

LER OH. C B rc i ec . Desi ns f or ro nwor . Nur m v S CHUEB , J JA O , a h t t g i k. d e

r 1 1 . be g , 74

L S RG L r is . D si ns f o r m o ur s and m sc s. b . S O I , VI I , a t t e g ar er da a ener

m r 1 1 . 1 62 . Nure be g , 5 4, d 5

R E NR C . D si n f o r o ns and rmo r. . or VOGTHER , H I I H e g s weap a u d bef e

1 537 S tra sburg .

- W ER E S si r. W o ns o c urni r etc. b . ACH S MUTH , J M IA , de gne eap , l k f tu e, ,

Au s ur 1 1 2 d. 1 . g b g, 7 , 779

L C. 8 es s o f Lo uis XIV. WA CK, plat , tyle

W E GEL NN C R S n r er etc. N u s S c oss I , JOHA H I TO PH , e g av , e e hl er ,

B iichlein n.d. d. Nurem r c. 1 6 . , be g, 74

Z EC D N EL o sm i . D si ns f o r o ck s etc. Au s r c. 16 1 . H, A I , g ld th e g l , g bu g, 5

Z ER C B sm . 2 s. Fr o c. 1 80 . I PP , JA O , ith 4 plate ankf rt , 7

Z ENDT S . D si ns f or rmo rers and m sc n rs 1 — U , MATHIA e g a u da a e e , 553 69 I N D E X .

rm o ur G erman — 6 1 1 A A , , 53, 57 , 44 S anis 1 8 6 1 00 1 0 2 p h , 3, 5 , 9 , , , A cant us 1 1 8 0 6 0 1 60 1 0 h , 4, , 3 , 3, 9 , , 4 1 6 rm uriers 1 9 A , 40 A clzen won 8 r ue usiers 1 I 1 8 88 1 02 , , 5 A q b , 5, 7, , , , arracin 10 2 I 1 6 A lb , 45 , 4 : I77 A ca a de Henares 10 rras 1 2 l l , 5 A , 3 A lde rever 8 r i er 1 6 8 88 1 02 1 6 g , 5 A t ll y , 9 , 4, 7, , , 4 ' A lex is tlze Pzedm on tese s o r a 1 1 , I 3 A t g , 4 A lla emm a I 1 A ens Du e o f g , 4, 9 th , k , 5 m ain ri e s I 1 A ubert 1 A l v t , 3, 7 , 73 m eria 100 u s ur 2 1 s A l , A g b g.39.4 . 5 7 .58 .6 1 . 7 m s-b o x 86 A i a 1 1 0 A l , v l , 9 , 93, 5 arez 1 00 A viler 1 Alv , , 62 ' ' m er A zzzm zo I A b g, 55 , 9 m o ise 1 6 A b , 5 m ras co ec io n 1 8 A b ll t , 4 , 5 m ien s 1 2 16 1 A , 4, 7, 74 m s erdam 86 88 1 6 B abel 1 6 A t , , , 4 , 7 s B abin 1 6 A m inu , 1 7 , 7 ’ nda usia 1 1 Baccio d A no lo 6 A l , 4 g , n e B a u 1 2 0 A diers. S e Andirons h t , A n din o Christobal 1 0 1 10 B a co n 2 1 1 1 8 1 6 1 1 62 , , 9 , l y , 5 , 4 , 4 , 5 , 59 , , ndiro ns 8 1 - 1 1 . S ee 1 6 1 1 I A , , I I , 75 , 49 5 7 , 7 . 7S also Landiers an d Fire -do s B a us rade 2 1 0 1 10 g l t , 5 , 3, A ndrea Ferram I Banner- o der 6 , 7 h l , n e 1 2 Barce o n a 8 0 A t , 7 l , 9 , 9 , 99 n ers 1 1 B ar e o 6 1 1 1 A g , 5 g ll , , , 4 A ntb oiﬂ e 1 2 B aro c o r Ba ro ue 2 1 1 1 , 3 k q , 47 , 5 , 3, 5 7 , n wer 1 86 1 1 1 8 1 80 1 8 1 86 A t p, 7 , , 55 77, 7 , , 4, o s a 1 1 B aron 1 6 A t , , 3 i u s 1 B artolom e 1 10 A ppl q é , 37 , ran uez l oo B asi isco 8 A j , l , 7 do 10 B aston es 68 A renas, , 9 g , rezzo 2 B atiste 1 A , 4 , 4 rm ada 62 10 2 B a e-a es 1 A , , ttl x , 3 rm o ur F em is 86 1 2 Ba o nne 1 A , l h , , 4 y , 43 Frenc 1 1 — B eaune 1 h , 5 , 45 7 , 55 I a ian 1 — 2 0 8 1 1 Beau ais 1 1 t l , 3 , 5 , 43, 44 v , 5 1 94 INDEX

Beds ead 2 2 2 t , , 5 B reis au 6 ' g , 34, 9 B elzn n er 1 8 B rissac de 1 g , 7 , , 5 B e ian ar il er 1 B ri is useum 1 00 1 lg t l y , 47 t h M , , 45 B e - o der 0 1 1 1 1 B ri an 1 1 1 6 1 2 1 1 l l h l , 7, 5 , 5 , 4, 55 tt y , 3, , , 54 B ellin 16 B rockber er 8 , 3 g , 5 B ronz in armo ur 1 1 g , 3, 4 B elluna 1 B ro u 1 6 , 7 , 5 B enc 2 2 1 8 B ruc o n the Mur 2 h , , 3 k , 4 ' B e‘razn 1 6 1 62 , 4 , B ru es 68 8 8 86 1 g , , 73, 74, 7 , 3, , 74 B er ausen B rune esc i 6 gh , 54 l l h , B erin 60 B runswic 0 l , k , 4 B ern a rdo Cir/ o , 1 Brusse s 68 8 86 6 1 2 4 l , , 74, 75: 7 , ) 9 s 4 ; B ertfielot 1 1 , 9 I7S B erton 1 6 B uioz , 3 , 1 78 ' ' ’ B zan eardz 1 B uzrette , 4 , 1 7 ‘ 3 B i io e ue 1 1 6 1 6 B ur o s 1 2 10 1 0 10 bl th q , 57, 4, 7 g , 9 , 9 , 4 , 5 , 7, 109 , B i ioni 1 g , 5 1 10 B i onnet 1 1 1 B ur und 1 68 1 1 1 1 6 g , 7 , 73 g y , 3, , 9 , 43, 8 B i ao 1 02 lb , B ircken elds 1 1 8 f , 77, 7 B ac Fo res 1 80 l k t , B londel 6 , 1 7 B o is-le-Duc 68 adiz , C , 96 ' B o in ro e 1 Ca erz 1 6 l gb k , 3 fi , 3 B o o na 0 Ca eS 1 l g , 5 , 3 g .4. 55 B o s 8 1 1 1 2 1 1 2 1 2 1 2 8 Caillouet 1 lt , 4, 9 , , 4, 5 , , 73 B on Mat/b erm 1 2 8 Cana e o 2 , , l tt , 5 B on tem s 1 2 8 Cance s 1 1 p , l , 4 B ontlzomm e 1 Cande a ra 8 2 2 2 8 1 0 8 , 73 l b , , , 3, 7 , 7 , 10 , B o rdeau 1 2 1 10 1 1 1 1 82 x , 4 , 45 9 , , B o rder ands 1 1 1 2 6 Cand es ic 8 10 2 2 2 2 2 l , , 7 , 5 , 5 l t k , , , , 3, 4 , 5 , B o r ia 1 0 2 I g , 5 53a 9 : 9 : O7 B or o none 1 Canno n 1 6 8 88 1 02 g g , 5 , 9 , 4, 7 , , B orro m enisco 1 1 Ca arra 11 6 , 3 p , , 5 , B os Cornelis 66 8 Ca i a Ma o r 1 1 0 1 0 108 , , , 7 p ll y , 9 , 4, 7 , , atter a 1 B m n , 86 1 09 , 1 1 B o ice i 6 Cara a io 1 tt ll , v gg , 9 B o z en Car accio 2 2 t , 53 p , ’ B oudzn 1 6 Cas e F emis 86 , 3 k t , l h , B our es 1 1 8 1 1 6 1 French 1 18 1 1 1 1 1 g , , 55 , 7, 73 , , 9 , 4 , 53 B ra an 68 86 I a ian 1 2 1 1 8 1 6 1 b t , , 75 , t l , , 5 , , 9 , 57 , B rac ets 2 2 — 2 1 8 1 8 1 G erm an 6 1 k , 4, 47, 7 , 7 , 3 , 55 , , 1 1 80 1 82 S anis 75 , , p h .93.95 B ranté m e 1 1 8 1 1 6 asso ni 1 1 6 , 5 , , 45, 4 C , , 9 B rass wi iron 2 2 1 1 1 2 1 6 Cas in 6 88 102 1 6 1 2 th , 3, 3 , 3 , 5 , 7, t g, 3, , , 4 , 7 1 2 Cas do s 88 1 1 7 t g , , 5 B ravo Fern ando 1 1 1 fire- ac s 6 88 1 1 , , b k , 4, , 5 B raziers 8 2 2 2 I O 1 ! rai in s 1 2 . .9 . . 3. S . 5 l g , 7 B reda 68 Caum arin 1 1 8 , t , B r scia 1 1 6 1 ela 1 1 2 e , 5 , , 7 C , B res au 0 1 1 1 80 1 82 Cellin i 1 1 8 1 l , 4 , 5 , 73, , , 4, , 9 B re a ne 1 1 Gelm a 1 1 2 t g , 5 , B ri andin es 1 1 es des 1 1 1 g , 3, 43 C pe , a in dis 8 1 1 Ch f g h , , 5 riseux 1 6 C air 2 2 60 100 1 8 B , 7 h , , , , 3

X 1 9 6 INDE .

Do n ui o e 1 1 Fentr 86 Q x t , 99 , 4 y , ’ Doo r- no c ers 6 6 1 1 1 1 Fideli Hercule de 1 k k , , 5 , 9 7 , 3. 7, , , 5 Fz ino 1 g , 4 Do o rs iro n - ined 6 8 182 Finia15 8 1 1 1 1 8 1 , l , 3, 9 , 99 , .7, 47 , 4 , 7 , 4 , 4 , 55 , Do rdrec I 6 h t, 74 S ‘ Dore 1 6 Fire -arm s 1 — 1 88 1 , 7 , 5 9 , , 45 Dra eo irs 1 Fire- ac s 88 1 1 g , 37; b k , , 5 Dresden 0 8 60 1 80 Fire-do s 88 1 — 1 , 4 , 5 , , g , , 49 5 2 D rouarts 1 Fire- uards , 45 g , D rou s 1 2 8 Fire-iro ns 1 y , , 54 Du Cerceau 1 0 1 6 1 6 1 2 1 Famand in e 80 , 3 , 3 , 4 , 5 , 55 l h g , D ue/zesne 1 2 F am eau 1 , 8 l b x , 37 Durand 1 F as 1 , 73 l k , 54 ’ D zlrer 8 6 1 F a wo r 80 , 5 , l t k , 3, 4, 79 , F em in s 6 66 l g , 5 , , 75 Fleun de-lis 1 6 2 1 80 8 , 7 , 3 , 4 , 7 , 74 , , 3, 99 . I37. 1 6 1 F o rence 2 6 8 1 1 1 1 8 0 l , , 4, 5 , , , , 7 , , 3 , ekltardt 1 1 B , 1 78 7 F o ris 66 Eco e i i aire 1 6 1 2 l , l M l t , 7 , 7 ' Flotne’r 8 Eco uen 1 2 8 1 1 6 , 5 , , 4 3, 4 F u ed arm o ur 8 E iz a e 1 88 l t , 5 l b th , 4 , , 95 Fon taine 1 6 Em o ssin 1 1 6 1 , 3 b g, 3, 7, , Fo n aine eau 1 2 1 2 8 1 1 6 t bl , 4, , 35 , 5 , 63. 1 2 5 . 144 I 1 6 1 6 Encrus in 1 S7. 4. 5 t g, 3 Fo n -cranes 68 6 En adine t , , 9 , 74 g , 33, 53 Fo n e m alleab le 1 En elbreelzt 1 t , 35 g , 77 Fordrin 1 6 En is e s 1 2 , 3 gl h k y , 3 Fort 1 2 En ra in 1 1 1 y , 7 g v g, 3, 4 , 5 , Fo un ain rai s 2 1 80 1 2 1 I 1 t l , 4 , 3 , 33, 44-1 46 Fo ur isseurs 1 0 Er ur 6 b , 4 f t , Fran cinos 1 Esca era do rada 1 1 0 , 5 l , Francis I. 1 1 8 1 2 1 , 1 0 Escarce e 1 , 4, 5 , 5 , 4 , 45 5 l l , 37 II. 1 2 8 Esco ria 1 00 , l , Francis uan 10 Escu c eo n 8 86 1 0 1 2 1 , y , 5 t h , 55 , 4, , 3 , 3 , 35 Francisco dal ra o 1 7 Es e 1 P t , t , 4 10 1 8 Francis o S a la m an ca , 10 , 7, 0 E c in 1 1 1 1 2 f 5 t h g , 3, 5 , 7, 55 , 3 , Fran o r 6 1 6 1 80 I44 kf t , 4, 4 , Frei ur E uis 1 b g, 34 t , 37 Fro issar 86 1 2 Eu ene rince 1 8 1 80 t , , 4 g , P , 7 , Funck 1 E e n 1 6 1 1 , 77 v ly , , 7, 55 , 1 5 7 Furet 1 6 E reu 1 2 1 , 4 v x ,

Fa ot 1 g , 73 Fana i 6 l , , 7 arn se 1 F e , 4 ure 1 Fa , 73 t 1 2 1 f hye , 7 , 73 Fe d irc l k h , 34 dinand and Isa e a Fer , 59 ; b ll , r ra 1 2 Fer a , 5 , 3 ndrea 1 A , 7 INDEX. 1 9 7

G a es 0 1 8 1 6 1 Hal 68 t , 4 , 5 , , , 8 Hal 6 1 65. 1 67. 1 7 1 . 1 72 . 1 74. x 7 5 . 1 7 . l , 53, 5 1 80 1 8 Ha e , 4 ll , 34 Ga udin 1 Hand es — 6 8 1 6 , 59 l , 54 5 , 4, 3 au re 1 8 Handrai s w o o d 1 6 G f , 3 l , , 4 a utier 6 Hansa 6 1 G , 1 3 ,

G ene a 1 8 Har ue us 1 1 8 10 2 1 . S ee v , 4 q b , 5 , , , 45 G eno a 6 1 also r ue usiers , , 7 A q b eerarts 66 Haste 1 6 G , , 3 G erm ans in I a 1 1 1 2 1 2 Haier 1 0 t ly , , , 7 , 3 , 5 7 , t , 5 6 1 Hauer 1 1 , 44 , 77

G en 6 — 6 86 8 Hei ro n 8 h t , 7 9 , 79 , , 7 , 1 19 lb n , 5 ' G/zzn ello 1 He m e 1 1 2 1 , 4 l t , 4 , 4 , 43 ' Glzzsi 1 Henne o n 1 , 7 b t , 5 5 Gien n ettz 1 If en ne uin 1 6 , 5 a , 4 Oil de S ilve 1 0 l— lenri II 1 8 8 1 1 1 1 2 2 , 7 , , 5 , , , Gillot 1 6 1 , 4 47 G i arm o ur 1 1 6 1 1 III 1 1 2 8 1 0 lt , 3, 4 , , 43 , 4 , , 3

iro n 1 2 1 2 2 2 . 6 1 . 6 68 I‘ 1 l 0 1 1 1 1 , 3, , , 4 7 , , D 37 7 4 9 45 , 5 , 5 7

8 1 00 1 0 1 0 8 1 1 1 1 1 Henr VIIl. 1 88 10 2 1 0 9 7, 9 , , 5 , , , 9 , y , 3 , , 5 ‘ ’ Herara 1 2 , 8 Girard 1 6 1 Hertel 1 , , 77 Girolam o 1 Hesse Clz 1 8 , 7 , ., 7 G iro ue e 1 6 He z endo r 1 8 tt , 5 t f, 7 Gittard 1 6 1 Hi des eim 0 , l h , 4 God non 1 6 Hin es F em is 6 1 80 8 8 ig , 3 g , l h , 5 , 7 , , 3, 4 G o ndo a ro ws 2 2 2 Frenc 1 1 1 l p , , 3 h , 7, 55 G o nza a 1 m n 6 g , 4 G er a , 54, 55 , 5 G o ico ﬂ o rido 1 1 0 2 1 0 1 0 I a ian 1 1 1 2 t , 9 , , 5 , 7 t l , , Go urm on t de 1 0 a S b 8 8 , , 4 S P a 9 7 9 1 99 G rai 1 Hersclzz'o el 8 l , 54 g , 39 , 5 G raisset 1 His ano - o resq ue 1 00 , 54 p M , 9 7 , G ranada 1 00 10 10 1 10 1 1 Ho hentiib i en , , 3, 4 , , 4 g , 54 G ra in s F em is 68 — 1 8 1 Ho ein 8 t g , l h , 7 , 7 , 79 , 75 l b , 5 Frenc 1 8 1 1 8 1 1 Ho and Ho use 16 h , 3 , 47 , 4 , 5 5 , 5 7 , ll , 7 1 2 1 Ho rse arm o ur, 4 , 43

I a ian 2 — 2 — 1 8 m uz z es 6 1 t l , 5 , 5 33, 4 l G erm an I "' 1 80 rin s 6 , 5 3, 77 g ,

— S an is 8 1 1 0 1 1 Ho e t. P0 1 1 1 p h , 7 , 9 , 4 3 t l S , 9

G ra e cro ss 1 1 82 1 8 b z/lief G. 1 8 v , 5 , , 3 i , , 7 G ridiro n 6 1 6 Huesca , 7 , 5 , 9 9 G ri 1 Hun ar 0 l , 54 g y , 4

G ro sso N. 1 1 Hu uier 1 6 , , 5 , q , 7 r s W ikei sdo rf 1 80 G o s e , Guada u e 10 8 l p , ' rd 1 6 1 62 Guera , 4 , G ui d a useum 6 l h ll M , 3 ’ k s em er S Iceb ro o t p , 5 1 Idrobo , 1 3 a a rra 6 l l C p , 5 , ri k 8 2 8 Innsb i c , 3 , 4 , 5 Haar em 1 In er acing iro nw o r . S ee readed l , 7 t l k Th 0 68 Ha ermann 1 Iris , , b , 7 7 , 34 4 1 Ha ner er 1 80 Iro n ca e s, , f b g, g 4 5 5 0 1 8 Ha ue 8 I a ian m odern wo r , 3 , 33, 4 g , 7 t l k 0 l l . 3 1 9 8 1 1VDEX.

Laune de 1 J , , 40 L a uren t [ e L a n uedoc g , 1 46 ae uard 1 1 1 1 6 L ausanne 1 j y , 3 , 45 , 4 , 84 ac uem ar 1 2 La a o s 2 J q t , 3 v b , 2 ’ ac ues Coeurs o use 1 1 8 L a za rino Co m ina zzo 1 J q h , , 5 ’ ae uzn et 1 6 L e B lond j a , 4 , 1 62 ' Jae n 1 1 0 L e ran a 1 6 , g , 3 am es I. 6 L e re 1 J , 59 , 5 g , 45 a rdin M 1 6 Le Holla n dais 8 [ , , 3 , 8, 146 ’ ean d A lle/n a n e 1 2 L emaitre 1 8 1 1 j g , 3 , , 5 7 . 64 esui s e 1 1 1 8 L o n 8 1 1 0 J t tyl , 3, 7 é , 9 , 9 , 7 ewel ed arm o ur 1 L eon ardo da Vi nci 6 1 J l , 43 , , 9 ousse M 1 2 8 1 1 — 1 1 6 1 Le Pa utre 1 6 1 j , , , 3 33, 3 , 39 , , I 1 L e Picard 6 55 , 59 , 1 3 um ea n 1 L sc j , 45 e ot, 1 48 uste 1 Les a n a l f , 45 p g nde , 1 63 L e er o c s 1 tt l k , 35

L e den L . van 66 y , , L eygeoe. 60 Lie e 8 am en 1 g , 3 K p , 7 Li 2 2 0 8 , , , 3 7 , 90 ar sru e 1 80 ly 3 , K l h , Lim o es 1 g , 43 as an 0 K h , 4 Linz , 1 80 e s En is 1 1 K y , gl h , 3 L o c es 1 h , 55 F em is 86 l h , Lo c s ala m o derne 1 1 k , 33, 34 Frenc 1 2 1 1 1 2 2 1 2 — 1 h , , 5 , , 7 34 a éne do rm an 1 2 p t , G erm an 8 3 , 4 , 57 F e m is 80 8 86 , 4 , I a ian 1 1 1 2 1 0 l h , t l , , , 3 Frenc 1 1 1 1 6 1 1 - 1 2 2 1 2 h , , , , S anis 8 100 9 4 p h , 9, 99 , ’ A lain , 53 G erm an 1 1 1 2 — 6 neelin ri es , , , 53 5 K g g ll , 5 I a ian 1 1 1 2 t l , , no c er F em is 8 K k , l h , 4 e er 1 l tt , 35 Frenc 1 1 1 1 8 1 2 8 1 6 h , 7, , , 3 anis 8 S h , 9 , 99 Germ an 6 p , 5 1 Lo m ard , 3 I a ian 6 b y t l , o 1 6 Lori t, 3 S anis 1 1 p h , 9 7, 3 1 ’ Lo rraine, 4 5 A ol/zn an , 58 1 2 L o sele , 5 o s e 1 y K t l , 5 e 1 L o uc , 54 Kraus 1 h , 5 I 1 I 1 1 1 2 I Lo uis X » , 3’ 7: 9 , 3» 379 K nsb ur 0 y g, 4

2 1 1 XII., 1 1 , 3

III. I8 1 1 6 1 X , , 34 , 3 . 37 ,

Collomb 1 6 1 1 6 8 1 6 1 La e, 4 7 , 9 , 4. 7 . 3 . 37. L a G ran a 1 1 1 6 1 1 6 — 1 6 1 6— 1 8 j, 5 4 , 59 , 5 7 , 7 7 4 L alon de 1 XV 6 8 1 6 D 6 , 73 ” 331 4, 7 , 3 » 4 . L am our 1 66 1 6 1 6 1 80 1 — 1 68 1 1 1 8 1 82 , , 7, 9 , , 65 , 75 , 77 , 7 ,

L am 1 VI. 1 1 6 1 1 1 6 1 0 1 p. 54 X , , 4 , 7 , 7 , 73, Lam rac e s 2 p b k t , 4 Lan dhause 2 L o u ain 66 68 80 88 1 1 , 4 v , , , 79 , , , 9 Lan diers 1 1 0 1 o uvre 1 8 2 1 0 1 1 1 1 , 75 , 49 , 5 , 7 L , , 9 , 3 ) 3 : 35 3 37 , Lands u 1 2 1 6 I h t , 57 I4S. 5 * 5 . 74 L an lois 1 6 2 Lucas van L e den 66 g , y , Lan erns 6 2 1 1 1 Lucca 6 2 6 0 t , , , 7 , 74, 37 , , , 3 L a c es 8 Luc rne 1 t h , 4 e , 5

2 0 0 INDEX.

ra o 2 0 P t , , 5 , 3 l’ul it 2 10 1 0 1 1 1 1 1 2 p , 34, 9 , 9 3, 5 , 9 , , ad o c 1 2 7 1 r m o un s 1 00 1 P l k , , 35 Pu se t , , 37 adua 6 1 8 Pu zin 1 P , , 4 , 73 Pall 8 , 5 a ais de us ice 1 1 P l J t , 7 Q a ais Ro a 1 1 6 1 6 P l y l , 5 7 , 4 , 7 a enci a 1 1 0 “ 2 P l , 9 . 9 7 ua re o i ri es 1 — 2 2 6 Q t f l g l l , 5 , 5. . a adio P ll , 4 am o na 0 1 1 P pl , 9 , 9 7 , 3 aris 1 8 6 8 6 88 1 2 1 1 2 2 P , 3, 5 . 7 , , , , , 1 0 1 2 1 1 6 1 0 1 1 4 , 4 : 44 , 4 : 5 3 5 3, 55 ,

Rai in 2 68 1 1 1 6 1 1 6 1 assau l g , 4 , , 4, 5 , 5 7, , P , 5 7 1 1 asse ar ou es 1 2 7 P p t t , 7 Ram es de a co n 1 au ar 1 0 p b l , 59 P l , 7 Ra iers 1 0 2 a ia 1 p , 59 , P v , 5 Ra enna 6 e e 1 v , P ll , 54 Reaum ur 1 erc Dr 6 , 35 P y , . , 4 R c auds 1 0 P r s 1 é h , 5 é e , 73 Re ens ur 1 80 eru ia 6 1 1 g b g, P g , , 7 Re io 1 Petit 1 gg , 7 , 45 B e ell I e i riano n 1 2 t/ , S P t t T , 7 R ei ers 1 Petri i t , 45 n , 1 8 Re a 1 1 0 1 0 1 0 1 0 — 1 1 e re co ec io n 1 6 j , 9 , 3, 4 , 5 , 7 3 P y l l t , 3 , 9 Riano 6 1 0 1 1 2 i i IL 1 1 8 8 6 1 0 , 9 , 5 , Ph l p , 5 , , 5 , 5 , 99 , 4 Riz z io 1 V 1 1 , 9 . , 5 Ro cai e 1 66 1 Piaf /i 1 ll , , 77 , 4 Roelze 1 icard useum 1 , 73 P y M , 55 ROCOCO 2 ” 1 66 1 8 Fit inino 1 , 5 9 4 1 7 , , 4 1 86 Pierretz 2 , 1 6 R 0d7 1

S a amanca 2 10 10 1 1 S air-rai 1 10 1 16 1 16 l , 9 , 5 , 7, 3 t l , , 57 , , 3, S alles de 1 1 6 1 6 1 , , 45 4, 7 , 7 1 S a z ur 2 2 S a u s des S erruriers 1 2 2 l b g, 4 , 5 , 5 4 t t t , S a ndrart 1 6 1 S ee 1 1 1 1 2 , 4 , 77 t l , 3, 5 , 7, 4 S an a o 1 us res 1 P bl , 9 l t , 37 S anso ino 2 8 m irro rs 1 1 v , , 5 , 37 S an a C asa 1 1 S irru s t , 3 t p , 59 S an ia o 1 1 2 S ras ur 6 t g , t b g , 3 S ara ossa 1 1 2 S ree 1 2 8 g , t t .9 .9 . 9 7. 9 S aun ois 1 2 S ro z z i 6 1 1 2 8 , 3 t , , 5 , S a o Du es o f 1 8 S o e cas 6 v y , k , t v , t , 4 S ceau 1 6 S ria 0 2 x , 5 ty , 4 , 4 S e/teni' 88 S u 6 86 1 , lly , 5 , , 47 S c o ss Es er az 1 80 S uron 1 2 8 hl t h y , , S c o ss o 1 80 S urro unds I a ian 1 1 hl h f, , t l , S e/z/uiselzeé wa ia 1 8 , 1 77 S b , 7 S chm ittner wi z er and 6 1 1 8 1 8 , 1 77 S t l , 5 , 74 , 3, 4 S elzneeé S wo rds 1 - 1 8 10 2 , 1 78 , 4 9 , 57 , 59 , 7 , , S e/zoel v 1 2 - 1 6 , an , 86 4 4 S c on runn S e Die o 1 10 h b , 1 78 ylv , g , S cazioler , 1 77 S c/zwarz , 58 S cisso rs , 100 , 1 0 2 S creen s. S ee Gratings S e o ia 1 1 g v , 99, 3 a ernac e doo rs 1 2 S era no da B rescia 1 T b l , 54, 79 , 3 ﬁ , 5 a e 2 2 1 8 S erico T bl , , 3 , 1 4 arasco n 1 2 S erravolle T , 3 , 1 7 ar e es 1 2 8 S eusen lzo er 8 T g tt , f , 5 arra o na 8 S e i e 8 100 1 08 1 10 1 1 T g , 9 v ll , 9 , , , , 4 enai es 1 S evres 1 6 T ll , 54 , 7 _ is e II 0 2 I S ea ed do o rs 6 8 1 82 Th tl , , 34, 37 : 4 ) 4 ) 47! S 54’ h th , 3, 9 , 99 , S efﬁe d useum 1 82 h l M , readed 110 11 6 0 2 S ie d 1 1 6 Th , 343 3 1 37a 4 : 4 , 47a h l , 4, , 59 2 S i anes 1 5 .55 h p v , 7 ro ne 60 Sici 1 1 Th , ly , , 33 Thuraine 1 6 S iena 2 , 4 , , 3, 8 ire- ire 86 S igm a.5 9 T l , Toison nier 1 S i f l 8 1 I I I , 35 g : 47.4 .7 .74. SS, S9 , 7 5 , 8 10 1 gf) To ledo .9 2 .96 .9 .99 . 5. S i uenza 1 1 g , 3 rn er Didier 1 1 S ilt/e Gil d To , , 3 , e, 10 7 r o sa 1 1 S i ered arm o ur 1 1 To t , 3 lv , 4, 43 e 0 1 2 1 im n 1 To u o us , 9 , 4 , 55 S oni , 46 l nai 88 1 S lodtz o ur , , 75 , 1 67 T n 1 8 6 68 1 S o in en To wero f Londo , 4, 5 , 3, , 44 l g , 59 S o m o rro s ro 1 0 2 re ni z, 47 t , T b t

— riano n 1 6 S o u ensin o n useum 6 10 1 2 , 3 th K gt M , , , T - 6 1 I6 2 2 2 1 8 ri e , 7 41 , , 3, 3 1 47) 4 : 54 T v t ro es 1 1 1 2 1 56. 59 . 6 1. 63.68.79.84.9 1 .93. T y , 7, 3, 55 ui eries 1 1 T l , 3 Turcone 1 14 1 . 1 46. ISO. 1 54. 1 68. 1 74. 1 75. , 4 18 1 1 1 urin 1 , 1 , , 9 80 , 82 , 1 84 T , 4 5 i 2 S a in i urre s o f Cas e, 9 , 96 p c , 1 4 T t t ll S anis c ests 1 1 6 ro x .34.53. 6 p h h , , 9 Ty l . 7.33 5 W a i s 8 2 1 ll l ght , 7 , 9 , 37 We co ers F emis 1 ll v , l h , 7 Val-de-Grzi ce Frenc 1 1 , 165 h , 54, 5 5 a en ia 8 G erm an 0 1 2 V l c , 9 , 4 , 4 , 4 ’ Va llee 1 I a ian 8 , 63 t l , Van der e en S anis 1 1 K ll , 74 p h , 4 aries 8 0 1 I lVenin er 2 V , 7, 47: 4 3 5 3 7 : I4 g , 4 r a Widevrlle c a au 1 Va g s, 96 , h te , 57 Var ueiio ca in s Windo w ra in s 68 1 2 g b et , 96, 9 7 g t g , 4, 5 , 47, , 7 , 9 , asari 1 1 1 10 1 1 1 1 1 8 1 80 V , 5 , , 7 5 , 3, 4, 7 , au -le-Vico m e 16 Windso r 1 86 V x t , 5 , 4, ’ e ue ina 1 02 Woezriot 1 V g ll , , 45 enice 2 1 1 2 2 IVoﬁl em ut/z 8 6 1 V , , 4 , 5 , 9 , 3, 5 g , 5 , 2 1 8 Wo ades 8 7. 4 lf bl , 5 / ene ian screens 2 — 2 IVol lze 68 V t , 4, 5, 5 9 g , an ern 2 1 2 2 Wiirzb ur 1 80 1 82 l t , , g, , Vernier 1 \V att Di 1 10 , 45 y , gby , Vero cchio , 5 ero na 2 1 0 V , , 7, 3 ersai es 1 1 1 8 1 16 V ll , 3 , 5 , 59 , 3 ienna 8 1 1 1 1 1 80 V , 4 , 5 , 77, 78 , 79 , , 1 82 im enez 1 1 1 2 X , 05, i a del S a z 1 02 V ll l , Villal ando p , 1 1 1 i ers c aeau 1 2 V ll , h t , 5 inci L da 6 V , . , , 19 ine 2 V , 33.4 . 1 37 Y res 68 8 Vio llet-le-Du p : : 741 3 c, 9 0 Y send ck van i ru ius 0 y , , 79 V t v , 4, 3 Vivarais 1 , 73 Vo el 1 g , 77 Vredeman de ries 6 V , 6

Z a t o mm e l b l, 7 4 Z am o ra, 9 1 Z ecca, 2 8 [Vale/z 1 Z e S c o ss 0 , 77 ll, hl , 4 Wa dstein screen l , 34 W a anc o rs 1 ll h , 47, 74, 75 , 55 Wa ens ein 60 Z uric 1 ll t , 59 , h , 5

PR NTED B Y CL OWES A ND S ONS L M TE I , I I D, L ONDO N A ND B ECCLES .