FIGS. 31-34.—MEDIÆVAL WOOD NUTCRACKERS.FIGS. 31-34.—MEDIÆVAL WOOD NUTCRACKERS.
FIGS. 35-39.—EARLY STEEL AND BRASS NUTCRACKERS. (In the collection of Mr. Charles Evans, of Nailsea Court.)FIGS. 35-39.—EARLY STEEL AND BRASS NUTCRACKERS.(In the collection of Mr. Charles Evans, of Nailsea Court.)
FIG. 40.—TWO ANTIQUE WARMING PANS. (In the Victoria and Albert Museum.)FIG. 40.—TWO ANTIQUE WARMING PANS.(In the Victoria and Albert Museum.)
FIG. 41.—WELSH KITCHEN FIREPLACE. (In the National Museum of Wales.)FIG. 41.—WELSH KITCHEN FIREPLACE.(In the National Museum of Wales.)
The kitchen grate—Boilers and kettles—Grills and gridirons—Cooking utensils—Warming pans.
The kitchen grate—Boilers and kettles—Grills and gridirons—Cooking utensils—Warming pans.
It is in the kitchen and the pantry that domestic economy centres. The very essence of home life is found in the preparation of suitable food in which to satisfy human appetites. Whether the kitchen is furnished with apparatus sufficient to cook for the inmates of a large institution, or with the more modest appliances with which a chop or a steak can be grilled or a small joint roasted in a gas oven, the basis of cooking operations is the same, and the cook requires an outfit of culinary utensils small or large, according to what she has been accustomed to use or considers necessary for her immediate wants. In olden time the kitchen was furnished with fewer accessories in proportion to the meat consumed than at the present time, and the large hanging caldron and the strong and heavy wrought or cast iron saucepan on the fire, and the roasting spit and jack in front of it, went a long way towards completing the outfit. The gradual advance and increase in the furnishingsof the kitchen have been the outcome of development and progress in culinary art. Since the introduction of scientific cooking and the establishment of schools of cookery, the hired cook and the mistress who dons the apron and assumes the role of the economic housewife have learned to appreciate the use of modern culinary appliances, lighter in weight and convenient to handle. These differ according to the purposes for which they are to be used.
Hygienic conditions now regarded as essential have displaced many of the older cooking pots which have been condemned as injurious to health. Greater knowledge of the chemistry of cooking, and of the action of acids upon metals, has enabled the scientific cook to differentiate between the pots and pans to use according to the various foods prepared. The beautifully finished light, handy, and convenient porcelain-enamelled saucepans and stewpans and aluminium cooking pots used on modern gas stoves and ranges, would have been just as unsuitable on the open fires of the older grates as what are now regarded as the curios of the kitchen would be deemed to be in modern culinary operations. In almost every house there are to be found obsolete utensils, some of which are valued on account of their great age, others because of their unusual forms, and some because of the beauty of workmanship and the costly materials of which they have been made. It is when turning out the kitchen and storeroom on the occasion of periodical cleanings that these old-world pots and pans come to light; at such times the collector may be able to secure scarce specimens and rescue them from oblivion.
FIG. 42.—MECHANICAL ROASTING JACKS. (In the collection of Mr. Charles Wayte.)FIG. 42.—MECHANICAL ROASTING JACKS.(In the collection of Mr. Charles Wayte.)
It is not always easy to realize what the old kitchen was like when these vessels were in use, although in out-of-the-way places kitchens may occasionally be discovered in which but little change has been made. This is especially so in some of the Welsh villages, and in order that visitors may see what such kitchens are like a Welsh cottage fireplace showing the objects which might commonly have been found there a century ago has been reconstructed in the National Museum of Wales. This we are able to reproduce in Fig.41by the courtesy of the Director. The grate came from Llansantffraid, and was made by a local blacksmith; the spit and its bearers came from Glamorgan; the brass pot came from Barry, and the dog wheel (referred to on p.130) from Haverfordwest; most of the minor accessories came from different parts of North Wales.
The kitchen grate has evolved from the open fire; at first in the centre of the room, then removed for convenience to the side or end in front of which joints of meats were roasted on a spit in olden time. The spit, at first quite primitive, was improved upon by local smiths, until quite intricate arrangements provided the desired revolutions, and turned the meat round and round until it was properly cooked. In the thirteenth century the "bellows blower" was an officer in the Royal kitchen, his duty being to see that the soup on the fire was neither burnt nor smoked. In course of time the bellows blower in lesser households became a useful kitchen boy, turning the spit by hand. It would seem, however, as if in quite early days efforts were made to economize labour in the kitchen, and turn the spit by mechanical contrivances.
In roasting meat sliding prongs held the joint in place, a cage or basket being used for roasting poultry. This contrivance, first turned by hand, was afterwards accelerated and made more regular by the mechanical contrivances just referred to. These appear to have been of three different types. There was the clock jack, two splendid specimens of which are illustrated in Fig.42, types becoming exceedingly rare. Those illustrated were recently in the possession of Mr. Charles Wayte, of Edenbridge, an enthusiastic discoverer of antiquarian metal work in out-of-the-way places in Sussex and Kent. Earlier still there was the smoke jack or rotary fan fixed in the chimney, operated by an up-draught, pulleys and cords being attached to the end of the spit. The third method referred to involved the shifting of manual labour from man to his domestic beast, for the faithful hound was pressed into the service of the cook. The dog worked in a cage, operating a wheel or drum which in its turn revolved the turnspit. Such turnspits seem to have had a lingering existence, and were occasionally heard of in North Wales late in the nineteenth century.
GRIDIRONS SHOWING FOREIGN INFLUENCE IN DESIGN: FIG. 43, ITALIAN; FIG. 44, FLEMISH; FIG. 45, DUTCH; FIG. 46, GERMAN.GRIDIRONS SHOWING FOREIGN INFLUENCE IN DESIGN: FIG. 43, ITALIAN; FIG. 44, FLEMISH; FIG. 45, DUTCH; FIG. 46, GERMAN.
Roasting before the fire lingered on long after the old-fashioned iron jacks and spits had ceased to be the common method of cooking meat. The meat hastener and the Dutch oven conserved and radiated the heat, the joint turning slowly by the clockworkmechanism of the improved brass bottle jack. As the size of the fireplace narrowed and kitchens were built smaller roasting in ovens became popular; the cooker of to-day with its hot-plates, grills, and steam chests—whether heated by coal, gas, or electricity—presents a remarkable contrast to the old open fire grate.
It will readily be understood that the necessary basting of meat roasting before the fire involved the use of ladles and other utensils before the modern cooking appliances were invented. Most of the old vessels were strong and lasting, and the materials employed in their construction were iron, copper, and brass. In Fig.49we show a selection of fat boats and hammered iron grease pans (in the centre of the plate is an old mothering-iron from Sussex) typical of the vessels used in open fire roasting. To these may be added basting spoons and skimmers, in many places called "skummers."
It is probable that the cooking pot over the fire has been used side by side with roasting apparatus from the earliest times, although no doubt vessels would be required for boiling foods before roasting, in that discoveries show that the earliest method of roasting a piece of meat or a small animal was to encase it in clay and then expose it to the fire. The clay crust could then be broken and would, of course, have been destroyed.
No doubt the crock antedated the bronze pot, which was at first made of metal plates hammeredand beaten into shape, and then riveted together. This method was followed by the craft of the founder, who cast vessels after the same model first in bronze and then in iron. The cooking pot was indispensable when the food of the common people was chiefly such as necessitated a vessel containing liquid; the name of this ancient vessel has furnished us with many apt quotations, and it is still the pot so many find difficult to keep boiling.
There have been many contrivances by which to suspend the pot over the fire. Years ago the usual method of suspension was from a beam of wood or a bar of iron placed across the chimney opening—the name by which the bar was known in the North of England was a "gallybawk." Simple contrivances of metal followed, the suspension hooks and chains leading to improved cranes with rack and loop handles.
No doubt many have noticed the apparent indiscriminate use of the term "kettle"; the tea kettle as we understand it to-day is a modern invention. The old kettle was a boiling pot with a bail handle, its modern survivor being the three-legged kettle of the gipsies, and the boiling pot or fish kettle of the modern household. Associated with the early use of tea kettles slung over a fire is the now scarce lazy-back or tilter, at one time common in the West of England and in South Wales.
FIGS. 47, 48.—TWO WOODEN FOOD BOXES. (In the Cardiff Museum.)FIGS. 47, 48.—TWO WOODEN FOOD BOXES.(In the Cardiff Museum.)
FIG. 49.—A COLLECTION OF IRON FAT BOATS AND GREASE PANS.FIG. 49.—A COLLECTION OF IRON FAT BOATS AND GREASE PANS.
In "Chats on Old Copper and Brass" some very interesting illustrations of old copper and brass saucepans, skillets, and pipkins are given. The skillet has survived for several centuries. Thosemade in the seventeenth century were frequently inscribed with various religious and sentimental legends; one in the National Museum of Wales is inscribed "LOVE THY NEIGHBOUR." Frying pans have been in common use for a great number of years and are still daily requisitioned. Bakestones, on which cakes were formerly baked, are, however, becoming obsolete. They were called girdle plates in the North of England, and bakestones in Wales and elsewhere.
The gridiron or "griddle" was an appliance used extensively all over the Continent of Europe from the sixteenth century onward. In this country it was formerly made by the village blacksmith, and, like the iron stool, kitchen fender, and other iron and brass kitchen utensils and furnishings, was often made quite decorative. It would appear as if the smith filled up his spare moments in designing intricate patterns with which to decorate the grid. Some of the sixteenth and seventeenth-century European gridirons were quite elaborate, serving the double purpose of ornament and use, for when finished with for cooking purposes they were carefully cleaned and polished and hung up over the kitchen mantelpiece. Some of the characteristic types met with are shown in the accompanying illustrations. In Fig.43is seen the light and lacy Italian style; in Fig.44the openwork design of the Flemish; a formal Dutch pattern being illustrated in Fig.45; whereas the heavy German floreatedtype is shown in Fig.46. Contrasting with these Continental types the English gridiron was strong and serviceable, and essentially a grid or grill, the smith putting his best work in the handle rather than the grid.
Besides pots and pans there are many cooking utensils which may now be reckoned among the domestic curios. There are, of course, ewers and basins, water-carrying and retaining vessels, and colanders of brass and earthenware, strainers and graters which have been used from time to time in the kitchen. Sometimes the metal worker appears to have gone out of the way to produce curious forms not always the most convenient for the purposes for which they were made—such, for instance, as the aquamaniles, several of which may be seen in the British Museum (see Fig.26).
FIG. 50.—WOODEN COFFEE CRUSHERS AND PESTLES AND MORTAR.FIG. 50.—WOODEN COFFEE CRUSHERS AND PESTLES AND MORTAR.
FIG. 51.—APPLE SCOOPS OF BONE.FIG. 51.—APPLE SCOOPS OF BONE.
Some of the minor kitchen utensils include flesh hooks and forks and carving knives. There are spoons of every kind made in all metals, some of the earlier examples being of brass and latten. In this connection also may be mentioned ladles, fish slicers, and scoops. There are also many curious little pastrycooks' knives, and knives used for cutting vegetables and preparing a repast in olden time, many of them quite decorative, even the common pastry-wheel frequently being carved. It was at one time customary to expend much skill in decorating apple scoops, those shown in Fig.51being very choice specimens in theNational Museum of Wales, in Cardiff. The one on the left hand of the picture is made of bone, and is inlaid with a small brass name-plate; that on the right-hand side is of ivory delicately turned, the scoop being exceedingly thin; and those in the centre are all home-made out of the metacarpal bones of the sheep, being slightly ornamented with cut X-shaped lines and hatchings. In the same museum there are some remarkably interesting coffee crushers and mortars and pestles, several of these being illustrated in Fig.50. In Fig.53we show a representative selection reminiscent of the days when wooden spoons and wooden platters were in common use. The trencher takes its name fromtranche, the old name of the platter which replaced the piece of bread on which it was formerly customary to serve up meat; like the bread, it was at first square. The minor kitchen accessories formerly in constant use included many objects of wood, such as the charming little nutmeg mills of turned rosewood, some of which are to be seen in the British Museum. There are also antique pasteboards and rolling-pins for rolling shortbread, pot stirrers of wood, and other utensils such as sand glasses.
In Figs.47and48we illustrate two wooden food boxes, such as were formerly used to carry food to men working in the field. They are now deposited with other curios in the Cardiff Museum, where also may be seen some little wooden piggins, and bowls used for porridge; the piggin was an ancient vessel often mentioned in mediæval days (see Fig.52).
There are some household appointments which, like some of the brass skimmers, platters, engraved foot and hand warmers, chestnut roasters, and the like, have always served the double purpose of use and ornament. Among these are warming pans which in modern days have been brought out of their hiding-places, repolished, and hung up in conspicuous places by the fireside. In the Victoria and Albert Museum, as well as some of the provincial museums, there are many very fine examples, those having dates and names upon them being especially valued. As an instance of an exceptional specimen in the Victoria and Albert Museum we may mention one on which there is an engraving of reindeer, ducally gorged, the inscription upon this pan reading: "THE EARL OF ESSEX. HIS ARMES.1630." Another elaborate warming pan is engraved with figures of a cavalier and a lady, richly embellished with peacocks and flowers. The pan is of copper, but the handle is of wrought iron with brass ornamental mounts. Some pans have wooden handles, either walnut or oak, some of the more modern being ebonized (see Fig.40).
FIG. 52.—WOODEN PIGGINS AND PORRIDGE BOWL.FIG. 52.—WOODEN PIGGINS AND PORRIDGE BOWL.
FIG. 53.—WOODEN PLATTER, BOWL, AND SPOONS. (In the National Museum of Wales.)FIG. 53.—WOODEN PLATTER, BOWL, AND SPOONS.(In the National Museum of Wales.)
This brief review of kitchen utensils by no means exhausts the varieties of old metal work and other curios which may still be found in kitchens. There appears to be no end to the minor varieties in form and decoration. This is natural when we remember that years ago kitchen utensils were not made in quantities after the same pattern as they are nowadays. They were the product of the localmaker, the smith and the village woodworker being frequently called upon to supply new kitchen utensils, and it would appear that they did their best to make their work successful in that the vessels they fashioned were lasting, and during their use contributed in no small degree towards the ornamentation of the home.
Mantelpiece ornaments—Vases—Derbyshire spars—Jade or spleen stone—Wood carvings—Old gilt.
Mantelpiece ornaments—Vases—Derbyshire spars—Jade or spleen stone—Wood carvings—Old gilt.
We are apt to wonder sometimes what it is that makes the house homelike, and why there are such strong attachments to the old home. Surely it is the familiar aspect of the furnishings, rather than the bricks and mortar, that makes the old home so dear! To the original owners there was an individuality about every piece, although to the collector the same characteristics of well-known objects tell that in days gone by the cabinet-maker followed stereotyped lines, and there were but few who moved out of the regular ruts and made distinctive designs in home ornaments and sundry furnishings. It is noteworthy, however, that however much alike in furniture no two houses were alike in their ornamental surroundings. The pictures and portraits on the walls have peculiarities recognized and understood by those who have dwelt for many years among them. Familiar table appointments, however humble, have a homelike look, and there are odd bits of old china in thecabinet and silver or pewter on the sideboard which distinguish one house from another; and it has ever been so. Chimney ornaments, which may be quite commonplace, have well-known characteristics which cannot be duplicated. It is undoubtedly among the home ornaments that the tenderest thoughts linger, and it is the trinkets of comparatively little value to an outsider that members of the family store when the old home is broken up. There are such ornaments in every household; and whenever there is a sale there are those who gladly buy them because of their associations with those by whom they were owned and valued. The collector rarely gathers them on sentimental grounds, securing them as curious specimens or characteristic styles wanting in his collection. Some specialize on old china cups and saucers; others on rare porcelain figures; some on the beautiful gilt and ormolu knick-knacks which looked so well on the early Victorian drawing-room table, and others prefer odds and ends, some of which are mentioned in the following paragraphs. It is, perhaps, from the old ornaments of the home that we learn most about the true home-life lived in former years. Wood carvers, silversmiths, leather workers, glass blowers and potters fashioned their ornamental things after the living models they saw about them, in the days in which they worked. Thus in the groups of Staffordshire figures, now much sought after, we learn something of the story of life in the Potteries in the closing years of the nineteenth century. The story is recorded in the earthenware "landlord and landlady," "lovers arm in arm," and rustic cottages with which collectors are familiar.
FIG. 54.—BRASS CHIMNEY ORNAMENT (ONE OF A PAIR).FIG. 54.—BRASS CHIMNEY ORNAMENT (ONE OF A PAIR).
There are many quaint brass chimney ornaments which were popular in many parts of England fifty to sixty years ago much sought after nowadays. They were of polished brass, usually in pairs, and when several were arranged on a mantelpiece they presented a bright array. The one illustrated in Fig.54is of the type much favoured in country districts. It represents a shepherd with his crook, the companion brass being a shepherdess. On the sea-coast fishermen were much fancied, and in mining districts the miner with his pick and other industrial models were extensively sold. These were varied with birds and animals and miniature replicas of household furniture. The older ones are not very common, and therefore have been much copied, for of these goods there are many modern replicas.
Ornamental vases have varied much in form, until a collection seems to cover every style of art. Thus Egyptian and Roman influence is seen in some; others of French origin, dating before the Empire period, are a combination of French art with Egyptian ornament, brought out during the Directoire, when after the Battle of the Pyramids French artists introduced the sphinx and other Egyptian ornaments into their art designs. Duringthe Empire period, the style that is said to consist of a blending of Roman, Greek, and Egyptian prevailed. Many of the continental countries have been noted for glass ornaments—especially vases. The beautiful Venetian glass is rich in colour, and the vases are varied and graceful in form, especially those of ewer-like shape. Bohemia has always been a noted centre of the glass industry. Then in our own country some beautiful vases have been produced.
There are other materials which are met with in curiously shaped vases. At one time the beautiful Derbyshire spars were much used. There are biscuit china and Parian vases, and many exquisite vases of silver and other metals. Much might be written of the Oriental vases and enamels, especially of the artistic treasures of Old Japan and China, from whence so much of our early vases and beautiful porcelain came. Of the products of Chelsea and Bow, of Coalbrookdale and Derby, and of Bristol and Nantgrw, writers and collectors of rare ceramics have had much to record of the many-shaped vases with which the homes of the middle classes were made beautiful in the eighteenth and early nineteenth centuries. These are preserved with care, but many of the vases produced by the pioneers of the potting industry in this country serve their original purpose still, and glass and china and rare Wedgwood jasper ware ornament the home of the twentieth-century reader of the "Chats" series, as they did the "withdrawing" rooms of their original owners in the eighteenth century.
FIG. 55.—BLACK AND GOLD DERBYSHIRE MARBLE VASE. (In the Author's collection.)FIG. 55.—BLACK AND GOLD DERBYSHIRE MARBLE VASE.(In the Author's collection.)
The Derbyshire spars and inlaid marbles just referred to were very popular, some exceedingly ornamental and decorative pieces being produced. Others were stiff and formal, and can scarcely be regarded as beautiful. The variety of marbles quarried in Derbyshire gave the artist ample opportunity of displaying taste in colour. The most beautiful are those made of fluor-spar, the celebrated Blue John Mine providing the most beautiful specimens. The purple shades present delightful tints, and some of the old workers in Derbyshire mosaics were exceptionally fortunate in their schemes of arrangement of the tiny pieces they inlaid so carefully. The marble workers in this country have never been able to produce those beautiful effects for which the Florentine school of artists was famous, although it has been claimed by some that the artists of the Peak produced in their larger works some equally as effective. Among old household ornaments small Roman mosaics, so called, are often met with. At one time the Florentine artists used gems and real stones, whereas the Romans chiefly employed glass. Many will be familiar with the Vatican pigeons and the fountain so frequently copied. It is said that the Derbyshire workers in mosaic excelled themselves in the production of a beautifully inlaid vase covered with flowers, foliage, and birds, prepared for the late Queen Victoria, in 1842. Half a century ago fancy shops were filled with the products of the Derbyshire mines, but most of the best pieces are now among household curios. The wide-topped vase shown inFig.55is made from Derbyshire black and gold marble, and was produced in Matlock about sixty years ago. It may be interesting to collectors to mention that although the Romans are believed to have worked the Blue John mines, it was not until 1770 that the lovely purple spar was rediscovered in the Hope Valley, a workman passing through the Winnats being attracted by the pieces of spar he saw lying about, eventually bringing them under the notice of the owner of a Rotherham marble works. Besides the smaller objects there are the larger tables, worked in the same materials, some of which are sometimes met with second-hand for quite trifling sums.
Among the rarer curios of the home are those wonderful ornaments cut and carved out of jade, a beautiful stone which has been so highly prized by the Chinese. Its special value lies in the exquisite tints of the different hues. These marvellously varied stones were formerly quarried from the Kuen-Kask Valley, where jade or yu-stone runs in different-coloured veins through the rocks. It is said that jade in the form of spleen stone first came to Europe from America. It is found extensively in Mexico, and also in Burma, but the chief interest centres in the grotesque and cleverly carved Chinese curios. The beauty and value of these pieces lies not so much in their forms as in their marvellous tints and the clever way in which the Chinese workmen, in fashioning grotesque forms, have cut away practicallyall the colour of certain intruding shades, leaving the figures in some brilliant hue of green, red, or pink, standing out upon a base of some other shade. The curiously smoked mutton-fat colour is one of the rarest, but to the amateur the more transparent and brilliant tints possess the greatest beauty.
FIG. 56.—TEMPLE GUARDIAN, CARVED FROM THE GNARLED ROOT OF A TREE. (In the Author's collection.)FIG. 56.—TEMPLE GUARDIAN, CARVED FROM THE GNARLED ROOT OF A TREE.(In the Author's collection.)
True jade, or nephrite, is a native silicate of calcium and magnesium, and does not exhibit either crystalline form or distinct cleavage. In addition to the "mutton-fat" shade spoken so highly of there are lovely shades in green, emerald, moss, tea and sea green, violet and yellow, and white and camphor; but the rarest of all combinations is violet, mutton-fat, and emerald green.
Many of the more decorative household ornaments are made of wood. To cut down a tree or to whittle a stick has been the favourite occupation of men of all ages, and the possession of a pocket-knife the ambition of the schoolboy from time immemorial. Something to cut keeps him out of mischief and calls forth any ingenuity he may have. Some of the most wonderful curios have been cut by hand, fashioned with skill. Some are remarkably realistic in their forms, faithful copies of living originals, or of objects of still greater antiquity with which the wood carver has been familiar. Carvers have sometimes allowed themselves to run wild in their imaginations as they have cut and shaped a block of wood, giving it the most fantastic form, picturing myths and fables in a wonderfully realistic way. There seems to be no endto the variety of wooden ornament. The carver has found a place in architectural design, too, many old houses being enriched with his handiwork. In the days when walls were panelled with oak, the carver and the wood worker delighted in cutting deep and intricate mouldings and in giving that delightful linen fold to the panels which would otherwise have been plain. That was the ambition of the household decorator of Elizabethan days. Tudor beams were cut and carved and quaint mottoes engraved upon them. The old oak settles—sometimes portable, at others fixtures—were carved all over, and the fronts of oak chests were often made into pictures of wood. They told the tale of the family tree by the coats of arms and the shields emblazoned by the cutter of wood, sometimes being enriched with colour; at others the picture forms were created by inlaying and superadding fretwork. There were intricate carvings of the Sheraton and Chippendale periods, and there were the wonderful floral sprays, cherubs, and other ornaments so cunningly wrought by Grinling Gibbons and his followers. Wooden ornament in those days took the form of over-doors, and wreaths running down the lintels; and massive mantelpieces of oak were carved deeply. There were vases of wood full of flowers cut from the same material standing on wooden pedestals. The floral sprays, it is said, were in some cases so delicately cut that they shook like natural flowers when any one crossed a room or a post-chaise rumbled along the street. Some remarkable picture frames were cut and carved by amateurs, corresponding well with the handiwork of the needlewoman they enshrined. The cutting and carving of banner screens was a work of art, and many times a labour of love.
FIG. 57.—CARVED PLAQUE STAND.FIG. 57.—CARVED PLAQUE STAND.
There are quaint relics of other countries in wood carving among the curios of the home. Some remarkable pieces of carved cherry-trees have been brought over from Japan, the black trunk or root of the tree being turned into a grinning demon, similar to the one illustrated in Fig.56, which resembles the "temple guardian." Others have been fashioned like ancient idols or apes, many being an intermixture of different-coloured woods, varying from almost red-brown to black, throwing up the carving in relief. The Oriental was a clever wood carver, and with his primitive tools he cut and fashioned a piece of wood according to his own sweet will, evolving from it intricate works of art in wood. Perhaps the most remarkable examples of the wood-worker's skill are those tiny miniatures of which there is such a splendid collection in the British Museum, notably the almost microscopic reliquaries. The Japanese and Chinese have shown remarkable skill in carvings, and especially in the way they have set off china plates and bowls intended as ornamental objects; a truly magnificent example of such work is shown in Fig.57.
The highly decorative work known as old gilt, very fashionable in the early Victorian drawing-room, has quite recently been hunted up, and many pieces have been restored to positions of honour. The gilt, so-called, was in reality eighteen-carat gold overlaidupon soft brass by a process not now practised. Delightfully decorative trinket stands, card trays, and little baskets were made in this way; and as they were afterwards coated over with a transparent varnish, they have preserved their colour; indeed, when found black with age, after carefully washing in soap and water, they frequently come out bright and untarnished. Then if brushed over with white of egg or some transparent white varnish they will keep their colour for many years to come. These decorative ornaments, often perforated as well as embossed, were frequently enriched with imitation jewels. Those shown in Fig.61are typical of the style of ornament referred to. Sometimes scent satchets and jewelled caskets are found fitted with quaint reels for sewing silk and curious needle holders. The more elaborate pieces are often ornamented with floral sprays made of porcelain; some of the baskets filled with coral and seaweed have curiously made little birds and butterflies, many of them being genuine Chelsea. Others are the framework for holding Bow figures or painted plaques. This Victorian gilt is at present not over-scarce, and as it is not as yet much in demand collectors have an exceptional opportunity of securing interesting specimens at moderate cost.
Much might be written about old ivories. Ivory has been a much-valued material for ornamental decoration from quite early times. In almost every home there are curios and pieces of furniture in whichivory has either been overlaid or inserted as panels. At one time it was much used for overlays, and in very thin plates made up into all kinds of decorative models.
FIGS. 58, 59.—MINIATURE COPPER AND SILVER KETTLES. FIG. 60.—MINIATURE IVORY COFFEE BOILER.FIGS. 58, 59.—MINIATURE COPPER AND SILVER KETTLES.FIG. 60.—MINIATURE IVORY COFFEE BOILER.
FIG. 61.—TWO OLD-GILT JEWELLED ORNAMENTS.FIG. 61.—TWO OLD-GILT JEWELLED ORNAMENTS.
There are carved tusks from Africa and India, and quaint native curios made of ivory cunningly wrought. It is from the East that we receive so many beautiful curios, and especially so from India, China, and Japan. The three remarkably handsome ivories illustrated in Fig.62will serve to illustrate the beautiful and oftentimes costly curios found in so many homes.
Some of the most pleasing little antiques are silver models of children's toys. The original models made contemporary with the furniture or household gods they purport to represent were frequently the gifts of godparents, and many are most elaborate in their designs, every detail found in the larger originals being faithfully reproduced. Some of these little silver toys, with which probably children were seldom allowed to play, represented common objects outside the home, such as the dovecote in the garden, the travelling coach with its prancing steeds, the pack-horse ascending the slope towards a bridge over a stream, in some instances objects of husbandry and agriculture, being given to children familiar with the country.
Another favourite type of model curio is found in the remarkably tiny objects workmen sometimes prided themselves upon making—such curios, for instance, as the silver and copper kettles and coffeepot shown in Figs.58,59, and60. The larger specimen (drawn larger than the original) was made from a copper farthing, the smaller kettles being hammered out of threepenny-pieces; the coffee pot is of ivory—a charming model.
There are a few sundries which should not be overlooked when collecting curious things reminiscent of home-life as it once was. Among these are the glass pictures once so much prized by well-to-do folk, now valued only by the collector of such things. These were really "prints from prints." The method of their preparation was most inartistic, although it was effectual. A piece of glass was coated with varnish, the print was then placed upon the varnish, and when dry and quite hard the paper was washed off, leaving a "print" upon the prepared surface, which was then painted over at the back, the picture thus being made complete.
Much store was formerly set by the little plaques and medallions which, with silhouettes, hung upon the walls. Among the gems of such ornaments were the exquisite tablets and cameos made by Josiah Wedgwood, whose beautiful vases and miniature bottles, as well as tea-sets in the same wares, were so much admired.
FIG. 62.—THREE FINE OLD IVORIES.FIG. 62.—THREE FINE OLD IVORIES.
Waterford, Bristol, and Nailsea—Ornaments of glass—Enamels on metal.
Waterford, Bristol, and Nailsea—Ornaments of glass—Enamels on metal.
Glass is used in every home. It is seen in its ornamental forms, and is necessary in almost every department. In kitchen and pantry there are dishes and tumblers and wine glasses and decanters ready for use. Among these there are often found old glasses—that is, glass vessels which from their rarity or age have attained a curio value; indeed, many housewives are unaware that their kitchen cupboard contains what would be valued as interesting specimens gladly purchased by collectors of glass. Many of the old tumblers are beautifully engraved, often having floral ornament and dainty rustic scenes. They are now and then commemorative of events which the glass maker has recorded with his graving tool, and sometimes they have been prepared to catch the passing fancy. The styles of table glass have changed, and their shapes and sizes have altered according to the popular custom of imbibing certain liquors.
When punch ceased to be the customary drink, and lesser quantities of ale were consumed, punchbowls and tankards were less in request. Their places were taken by wine glasses of more delicate forms, and charming tallboys and crinkled vessels of glass took the place of the older mugs and pewter cups. The glasses used in proffering and drinking toasts have changed much during the last century, and the "fiat" glasses of the Jacobite period, and those curious glasses with portraits of the Old Pretender and the Young Pretender upon them, are curios only, for they are no longer needed, neither is the toast of "The King" drunk "over the water." Spirit glasses and decanters have altered in form, but among those which have survived and are still sound are some rare examples of cutting, made in the days when the glass cutter worked with primitive tools, and such methods as the sand blast, chemical etching, and some of the newer processes were unknown.
Among table sundries are glass salts and cruets; the latter, however, have been modernized and reduced in size, and the bottles and curiously shaped oil and vinegar cruets of a hundred or more years ago look quaint when compared with those of the present day. Even the flower vases which formerly adorned the table, and the more decorative dishes used for fancy sweetmeats and confections, have changed, leaving in the process many of the older pieces, relegated to the store-cupboard, where disused glass so often remains until in due time it is rescued from oblivion by the collector of household curios. Among the eighteenth-century cut glass jugs andtrifle bowls are many beautiful vessels, for the making of which certain districts from time to time became famous. The old Waterford glass is especially noteworthy, and as a speculation, apart from the interest it possesses for collectors, is worth securing. Bristol glass to the uninitiated appears to be a misnomer, in that the beautiful white milk-like surface upon which so many exquisite floral designs have been painted looks more like egg-shell porcelain, but when held up to the light is found to be of glass-like nature, pellucid although semi-opaque.
Nailsea glass has many peculiar characteristics about it, notably the curiously introduced waved and twisted lines in colours. Many objects which were essentially curios, their utilitarian purposes having always been secondary, were made at Nailsea. There are gigantic models of tobacco pipes, formerly hung up against the walls as ornaments. As fitting companions to the pipes were walking-sticks of glass, some very remarkable designs which might at one time have been carried by the gallants of that day. They were often filled with sweetmeats and comfits, ornamented with bows of ribbon, and presented to ladies of their choice by devoted swains. A few of those curious sticks or shepherd's crooks, as they were called, are to be seen in most representative museum collections. The so-called rolling-pins of glass, made at Sunderland as well as at Nailsea and Bristol, were known as sailors' love tokens, and are referred to more fully in ChapterXIII. In the Taunton Castle Museum there are some interesting specimens of old glass, notably one of the very rare dark bottle-glasslinen smoothers which came from South Petherton. Such smoothers were at one time favoured in the kitchen laundry in the days when servant-maids excelled in getting up linen, and prided themselves on the beautiful gloss they were able to impart—in the days before public laundries with their modern glossing machines were instituted.
Some of our readers may have seen the curious glass tubes, one yard in length, into which ale was poured in the days when it was considered a desirable attainment to be able to drink at one draught a "yard of ale."
Of the larger vessels such as wine bottles, the chief collectable feature about them is the old glass-bottle-makers' stamps, very frequently found on fragments of bottles, such stamps often turning up among the oddments of kitchen drawers which have probably been undisturbed for many years. To collect bottle stamps is certainly an uncommon hobby, but one that is not altogether devoid of interest.
Of household ornaments in glass there appears to be no end. There are the glass Venetian vases and ewers, beautiful and graceful in form, richly ornamented in gold; and there are the old English and French vases, the colouring of which is not always in accord with modern taste. Cut glass, in whatever form it is met with, is appreciated, in that the workmanship involving so much studious labour is recognized. Continental glass has at all periods been imported into this country, and especially soBohemian glass, of which there are decanters of ruby, claret, blue, and other rich colours; some remarkable effects have been produced upon red glass by adding tinted colours and white decoration interspersed with gold. Glass lustres have acquired an antiquarian value, and chandeliers and mantelpiece lustre candlesticks are sought after by the collector, who sometimes finds interspersed with cut glass lustre pretty coloured china droppers.