THE LOST ARTS IN NEW YORK

Scientific American, Volume XXXVI., No. 8, February 24, 1877 by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book here. The Lost Arts in New York

THE LOST ARTS IN NEW YORK.

While the objects of ancient art contained in the Castellani collection, recently placed on exhibition in the Metropolitan Museum of Art in this city, are individually of great rarity and archæological value, they derive additional importance from the fact that, viewed conjunctively as a collection, they represent connected histories of two great industrial arts extending over many centuries. Both in the work of the goldsmith and of the potter, we are enabled to trace progress from the earliest stages up to a period when the greatest skill was attained, and even subsequently into the era of decadence. In both industries, we find that ancient and mediæval workmen possessed knowledge which we do not possess; and among Signor Castellani's treasures may be seen handiwork which is the embodiment of two lost arts, the secrets of which the modern world, with all its infinitely superior wisdom, has not yet rediscovered.

The productions, in the Castellani collection, of precious metal workers dating from prehistoric epochs, the exact dates of which are wholly unknown, and covering the long period ending in the thirteenth century, are represented by the contents of some twenty cases. The first three of these receptacles bear no dates. The ornaments which they contain are of bronze, amber, silver, and glass (the latter having become converted into opalescent silicic acid), and were found in Præneste (modern Palestrina, Italy), and in the territory which was ancient Etruria. Case No. 4 bears date 700 B.C., and here is a rich treasure of primitive Etruscan and Phœnician ornaments of gold, adorned with granulated work. Signor Castellani considers that the workmanship of these objects is so perfect that it is impossible at the present time to explain the process of execution, and very difficult to imitate it. The ornaments are of two kinds—those for ordinary use and those for funereal purposes. The first are massive, and might be worn for years without injury; the others are extremely delicate. All are made of the purest gold, and their decoration evinces the most consummate skill and taste on the part of the artist. There is, for example, a small flask, shaped something like an antique wine jar, and about five inches in height. It is of beaten gold, and is covered with a pattern intended to imitate the similarly shaped designs of variegated glass of the Græco-Phœnician period. This pattern is entirely produced by minute globules of metal soldered to the surface in tiers of zigzag or Vandyke patterns. Another specimen is a strip of gold covered with granulated lines and bearing a row of birds in relief. On other ornaments are exquisitely carved heads and flowers, produced apparently by hammering on the reverse of the object, but with a delicacy and precision of touch which is simply marvelous.

The closest students of this ancient handiwork are entirely at a loss to understand how the processes of melting, soldering, and wire drawing, which were employed in the art, were performed. Modern workmen have failed in their attempts exactly to imitate the old ornaments; and it is certain that the secret of the mechanical agents, whereby it was possible to separate and join pieces of gold hardly perceptible to the naked eye, is lost. Signor Castellani has taken great pains to solve the problem, reading all the treatises of mediæval goldsmiths, inquiring of all classes of Italian jewelers, and experimenting with all kinds of chemicals, in the hope of finding the solder wherewith the minute grains were attached to the surface of the metal. At last he found some of the old processes still employed in a remote district, hidden in the recesses of the Apennines, far from the great towns. Bringing away a few workmen, he gave them much more instruction, and at last succeeded, not perhaps in equalling, but certainly in rivalling the ancient productions.

We question whether the Etruscans used fire at all in their soldering, as it would be almost an impossibility to keep the excessively fine tools necessary for the work at a proper heat. Mr. Joshua Rose offers the plausible suggestion that a cold flux was employed, with which the workman followed the lines or dots of his pattern. Then the gold granules were possibly sprinkled over the surface, and adhered only to the solder, the superfluous grains being brushed off after the solder had set.

There is also a fragment of a finely woven fabric, made of threads of pure gold, found on the body of a woman in a tomb at Metapontum. This is without doubt the material to which the Psalmist refers in speaking of "the King's daughter" having "clothing of wrought gold;" and in the Pentateuch there is reference to gold threads being used upon looms.

As we follow the various objects in the twenty cases above mentioned, the decline of the goldworker's art when the use of enamels came into vogue is evidenced. Continuing on to later periods, the decadence is more marked under the successors of Alexander. In Rome, under the emperors, we find gold used as a mere setting for precious stones, and finally the collection terminates with examples of workmanship of the time of Charlemagne, when the workmen had lost their cunning, and the noble metal had been altogether debased to secondary uses.

The second instance where a lost art is exemplified in Signor Castellani's collection is in the glazing of the Gubbio majolica. We have not space here to review the magnificent series of ancient specimens of pottery in detail; and thus it will suffice to say that, beginning with some of the earliest pieces made by the Arabs when they occupied Sicily, from the twelfth to the sixteenth century, the collection presents examples of all the finest types of later mediæval art. Gubbio, where the peculiar kind of majolica above noted was made, is a small town once in the territory of the dukes of Urbino; and in the sixteenth century it became famous for its pottery. This was attributable to the talent of one man, Giorgio Andreoli, who is reputed to have invented the wonderful luster characteristic of the Gubbio ware. The body of majolica is mere common clay; and after the piece is finished on the wheel, it is dried and burnt in a furnace. After the biscuit thus prepared has been dipped in the glaze, the colors are applied on the soft surface of the latter, and the vitrifying process fuses all into a glossy enamel of the color of the pigment. This is still the common practice; and we mention it merely to show that to his pigment and glaze Andreoli must have added some third substance, which rendered the enamel capable of reflecting white light as blue, red, green, or yellow light—in other words, of giving the object a luster of a color wholly different from the tints of the pigment. He evidently could produce any desired color at will, and the effects gained are indescribably beautiful. The Castellani collection contains 130 superb specimens, which glow like jewels. In one, the scene of the nativity of Christ is provided with the figures in low relief, and the exquisite cerulean lustre is imparted to give the effect of moonlight. The rarest pieces are those of which the luster is a delicate green. Some blaze with yellow, as if of gold; others exhibit the brilliancy of the ruby; while others resemble the interior of the pearl oyster shell. Whether this sheen is produced by polarization of the light in some manner, or whether it is at all analogous to fluorescence, is yet to be decided. The impression of the surface with fine microscopic lines might produce an iridescence, but not separate and clearly defined hues. The ware was intended for ornamental purposes, not for household use; and it was suspended against the rich, dark tapestries of the period with which walls were covered, thus aiding, as it were, in illuminating the apartment with its exquisite radiance.

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