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The craftsman
Vol. V, No. 4 (January 1904)

Schopfer, Jean
[The silversmith's art: the sixteenth, seventeenth and eighteenth centuries],   pp. [336]-357 PDF (6.4 MB)

Page 352

under Louis XV., which invaded the world,
and has left, down to our own times, deep
and regrettable traces.
  Also, in the rococo style is a service in
silver-gilt (Plate XIX.), made by Cousinet
in 1729, for the queen, Marie Leczinska
(Chabri~re-Artls). Rococo certainly, but
possessed withal of a certain dignity, a cer-
tain imposing style. And if the decoration
be wholly according to- the new taste, there
XVI., but retaining in the sweep of its lines
a remembrance of rococo (Plate XXI.). It
is a type which, originally pleasing, has
been reproduced in our own times, until it
has become tiresome and commonplace.
  A soup-tureen of the same period (Plate
XXII.), is more restrained in style and ele-
gant in form. But of this type, the most
important piece is the soup-tureen (Plate
XXIII.), the work of Germain, who was a
             celebrated gold  and  silver-
             smith of the king about the
     year 1775. It is a very beau-
     tiful piece, highly ornament-
     ed, but, at the same time, well
     composed, solid and structural.
        The two following plates
     (Plates XXIV. and XXV.)
     represent the rococo style out-
     side of France; the first one
     being an old center-piece, pre-
     served at Riga. The second
     plate reproduces vases that
     exist  at  Cassel. In   these
- ~  works we see the too rich,
     too exuberant, overburdened
     fancy of German rococo. To
     the last example especially the
      Plate XX. Tray and cruets from the Cathedral o
still resides in the work as a whole a certain
sense of composition, symmetry and propor-
tion which must be noted with pleasure.
   In a much freer, much less successful and
less graceful species of rococo, but yet char-
acteristic and typical of a period, we find
the silver tray and the cruets from the
Cathedral of Nancy (Plate XX.).
   The works remaining to be examined are
more graceful. For example, the silver
coffe-pot dating from the time of Louis
             criticisms which   we   have
f Nancy      quoted  from   "Le Mercure
Galant," apply with peculiar precision.
These wise counsels may be read with profit
in presence of one of the pieces in which a
child is seen driving sea-horses twice smaller
than himself.
   We have now passed in review, with our
 readers, the seven centuries which the history
 of the silversmith's art assigns to the Chris-
 tian world. We have shown all the notable
 works which constitute the pride of the

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