The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1847-08-24 00:00:00

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les ornaments des plafonds que nous faisons en platre ; Hs sont plus durables ; se detachent difficilement, ou s'ils se de-
tachent, le danger est nul et la reparation est pea dispendieuse." The writer seems to have an apprehension of the compa-
rative value of both substances, as he describes the qualities of the one accurately, though briefly, and the objections to the
other very to be gene-
clearly, I illy used ;
inference. 1 3d in the
was with ti :alian style,
style, call( which suc-
by us the El ceded the
zabethan the Elizabethan,
plaster mou' he material
dings for ti as more ex-
enrichment c .nsively and
ceilingsbegan freely em.•
ployed. At a period when carving in wood was as highly esteemed as in the present day, it was not likely that'the quali-
ties of plaster would be overlooked as affording a substitute, even though fragile, for a kind of art so difficult of execution
in any degree of excellence. Plaster was therefore substituted for carved or panelled wainscot, as is evidenced in the
mansions of the seventeenth and beginning of the eighteenth centuries ; the. ceilings, also, some of which are ornamented
with foliage and _ ly prepared mould
- --_-_ but were produced
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bouquets, even in .24_2 - - a ------‘, --- -, ' , , - -
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a lto-relievo, area- - ------,--,.. el'by the hand, and
extremely rich in -- -4,
s_ ' - - - "•—•`'Ap . 7 ---------ar ,---.----, ' - -
_ _-
-A''---------- - --__ \ _4116s (s- - ---r-----/
, ---P-C-\-----'---_,,
~tin the places in-
. character. But K..:2' " - - ' 2 ---- A , , , . ` - , 'attended to be per-
the manner of the 4._1.,,„:__ , _:_ -- --- ____,-0-., --,--;- ) ___ .--::-_,-.+4-manently occupied
- --.. • ,--
.. aN
by them. This,
execution of these ---- - a ---..Z, a - - 1 'l-
- ( . ,
- -
works was very -....._ •
_. --------„, - - l--,* \ ' , ---T of course, supposes
/ e 0 such works not to
different from that' -4 - ..___-- _'l-, - )
of working in -- '
- - a---------. 4 4,, -• '',4 _- •
plaster in the pre • --___:. --: i' ---, , - --,..„iw--- "*"",---4 - _ __-1 by mere workmen
0 ,
sent day. The 1,--c, • --"' -2 ---, -----•4t171::-.. -•--..-- -- i '
forms were not."--," ` ' ------ •‹, " ' --- ' or secondary assis-
- ‘ . - ,„", 7-` ' sec
but by men
i / / N
,__ _
cast in a previous- - - --- -- --- who, by their edu-
cation, were entitled to the consideratio of accomplished artists ; and, indeed, their style of working reminds us of that of
the Raffaelleschi.
The papier-mache works to which we call attention are those of Mr. BTELEFELD, from whose extensive collection
of designs for the embellishment of ceilings we have made a selection, as showing that any style and character may be given
to ceilings by this kind of ornament with facilities and advantages far beyond those earlier works which they so often follow
in imitation. The two examples of florid centres here appended,‘. _
(No. 7 in the first column and 5 in the third column) are two only
of an endless variety which may be employed singly or with accom-
paniments, in similar taste; they are formed according to any de-
sign and in any degree of relief, equal to that even of the largest
pendant. The example of fret work (top of centre column) is sim-
ple in character and equally simple in the manner of its application to the,
the ceiling, which is sufficiently described hereafter ; and its facility of adap-
tation is one of the most valuable qualities of the material. Florid ornament
may be used with equal ease and more beautiful effect ; we have seen a ceil-
ing enriched with gilded foliage upon a plain ground, the character of
which was surpassingly beautiful. Our early Elizabethan works were pro-
duced, necessarily, at great cost, because the artists capable of executing
them were few, and as may be seen, chiefly men who had been educated in
the foreign schools. It would be impossible to engrave an entire ceiling, but
it will be understood that those sections and centres may be accompanied by
any amount of enrichment, at a cost insignificant when compared with either
that of the embellishment of a ceiling of the sixteenth century, or even one of
modern taste, by an artist of a standard equal to those whose works remain
in some of our ancient mansions ; indeed, so exorbitant were the demands of
the latter that contrivances were resorted to by the masters which soon su-
perseded the earlier manner of working in stucco. The art of moulding and
casting in plaster, as previously practised in France, was introduced, and the
method of preparing the pulp of paper, was improved, insomuch as at
length to render practicable the extensive use of this material in architectu-
ral decoration. Thus were the artists in stucco supplanted by the simple, or
gessaj, labourers in plaster, who by means of moulds produced the same de-
signs at one tithe of the price, a circumstance that brought plaster into uni-
versal use ; but, nevertheless, in the last century a very extensive trade was
carried on in the munufacture of architectural and other ornaments in papier-
mache. In the second volume of " Smith's Life of Nollekens" this is men-
tioned, and some particulars afforded. The principal manufactory was
established, and for many years carried on, by Wilton, the father of the
sculptor and Royal Academician of that name. But papier-mache made but little progress, and the poverty of the taste
displayed in the designs, and the imperfection of the machinery of those days, which presented an insuperable obstacle to
everything like a competition with plaster, caused, for a long time, its entire disuse. If the manufacturers of the time were
at all aware of its susceptibility of such extensive improvement, they were without the spirit necessary to bring it into
notice. With, however, the adoption mplicity of Greek art are only esti-
of casting in plaster, the style of orna- able to a few ; and as there is a
mentation before prevalent suffered vi- tshion in architecture, as in all else,
tiation, as all the deep undercuttings 3 Greek taste had by no means a po-
and bold shadows, which marked the lar run. It is, therefore, to our own
style of design in the age of Queen
.izabethan, to the Gothic, and the
Anne, became impracticable when the emish and French schools, that the
ornaments were to be cast. The cha- aerial of which we speak owes its
racter of all the ornamentation of the tensive use. The picturesque and
latter part of the last century is tame / itastic forms of the Elizabethan,
and spiritless to the last degree ; but \ i the boldness and luxuriant rich-
on the introduction of the Greek taste, 3s of the two latter respectively,
the limited capabilities of plaster-cast- ;re admirably represented in papier
ing became less inconvenient, for the idle; whereas plaster was found de-
broad flat character of the Greek style 'ent in qualities so eminently fitted
was favourable to plaster-casting, and those styles-the crisp and florid
had that taste continued to prevail, it wings of which cannot be imitated
is probable that this method of the pro- plaster, and the expense of carvings
duction of ornament had not been su- wood would far exceed the limit es-
perseded. But the purity and elegant dished by those classes who have so
extensively patronised the former. Their are several examples on this sheet of designs for the embellishments of Cornices ;
being, as may be seen, sections of a continuous line of ornaments. These, like all other of our examples are selected from
an endless variety, and may be executed in any size suitable to larger or smaller spaces and objects. We have also given
another series of very beautiful compositions some of a lighter, some of a more luxuriant character, some remarkable as
'botanically accurate repre-
A.. I
sentations of plants ; others . ,-•-• )
modified into various beauti- .s „ ,1 (s., e 0:1 , ,
, e ..- . 1
ful forms. Some are closely .V 1 '"' -v4P- ~, a . '1!1 , .4 , ' /: C
imitative of nature and beau- ‘-‘' \'' 4,. ( 1 4‘,<',.,.,, A9/,--
tifully allusive to the manner ,1,,.., .;
(.7.4,,. 'fr \._' r r
of the growth of the plants : ,V7i-7,,, e . et,--A
the others are rich to a de- , 4ii, N;i:.:''''',4ll'.,,',',,' L.,,,LAPriCri,,,impt,'ll 1„,r,.111",,I; lib_
gree, and very much resemble =.-----

the N uremberg designs of ---
Albert Durer, which are the originals whence have arisen a never-ending growth of foliated scroll designs, applicable to
ornament in every genre—for at earlier periods we find them elaborately wrought in wood and stone ; and in papier mache
they are not less available, for they may be employed in the decoration of surfaces, or as pierced work between supports.
Of this kind of ornament
we have in our own coun-
try little or nothing re-
maining, compared with
the reliques in various

•

parts of the continent,
all of which are now
".r.i,%---_,known, having been as-
aicluously through-
out Germany, France,
and Italy, and published infinitely to the advantage of existing schools. These scroll-like and continuous designs were
anciently executed in wood and stone, and it is curious that we find in interior decoration, leather, parchment, and canvas,
but we are not aware that the use of paper is more ancient than two centuries. Interior decorations were executed by the
early school of carvers—being compositions of many figures surrounded with frames or borders of elaborate execution, or-
namented with foliage, _ -
lace, and arabesque of va-
rious kinds.

The designs on this
sheet will show precisely

what can be effected by

ornament of this kind,
as superior to plaster.

Cornices and mouldings

thus acquire all the pr.O7

minence, freedom, and
solidity of wood carvings
from these florid groupments ; they' are applicable to everything, either in architecture or furniture, which is commonly
embellished by carving, and available in situations wherein plaster must be injured or broken ; for instance, the florid scroll
designs in this and the third column could be executed in nothing suited for interior embellishment but wood or papier
mache. In the latter material, and placed between supporting rails, these compositions are equal in appearance to wood,
and much less costly. By means of steam power, and the great improvements which have been effected of late in all
branches of mechanics,
the manufacturer has been
enabled so far to advance
upon the productions of an
earlier period that the pre-
sent material, although
known by the name com-
mon to both, is in every
respect different from that
of the last century. Its
hardness, durability, and
ready assumption of all
forms, the facility with
which it may be put together and fixed up, its lightness, and lastly its cheapness, are all qualities highly desirable in a
manufacture of the kind, and which distinguish it above every other employed in interior decoration. The various exam-
ples here afforded of pierced and under-cut florid carving, are enough to show that all the compositions which can be exe-
cuted in wood can also be represented in this material. Thus it is not enough to say, that whatever can be done in stucco
can also be done in papier mache. These pierced compositions could be cast in plaster, but they could not be placed in
the situations in which we find them in this manufacture, as ornaments to furniture and objects in daily use. Such designs
could be moulded in plaster, but only to Ind of object and style of composition
be placgd on, and supported by, a flat sur- mid be applied, and so trifling would be
face, as a wall or ceiling, in positions be- to weight of these ornamental additions,
yond the possibility of injury. In the tat the laths and ceiling joists could re-
ordinary processes of carving with a hand lye them with perfect safety. A new
tool a tender wood is necessarily employ- mice, dry and ready to colour, could
ed, which in exposed positions is almost us be fixed up against an old ceiling,
certain of being fractured ; but papier ithout the delay and inconvenience ne-
inache is of such a consistency that no- ssarily attendant on running a a plaster,
thing short of violence will injure it. The irner ; indeed without the removal of a
sharpness and truth of some of the de- Ingle article of furniture, an old ceiling
signs show that the material is capable of )ulddie, in a very few hours, if necessary,
being moulded into any degree of finish. ,corated in any prescribed taste. When,
The laurel leaf design (No. 5 above) has •om age, or other causes, the ornaments
been much used in ornamenting some of an ancient stuccoed or carved ceiling
the rooms in the British Museum. The iave fallen to pieces, or when, as is fre-

last design in the third column is a
small table screen, and the bottom design
on this column is a screen uniting great
mechanical merit with much taste in de-

•
uently the case, even in recent works,
laster ornaments have detached them-
dyes simply by the operation of their own
eight, papier mache is often employed in

sign, as it may be used either as a screen,
or the top may be fixed horizontally, so as
to admit of its being used as a work table.
The alto reliew of some of these compo-
sitions is sufficient to show that the ma-
terial is capable of repeating everything
that can be done in wood. Some of these
works are small, but the material is equal-
ly available for any composition, how de-
licate or complicated soever it may he.
Considering the daily improving state of
every manufacture of utility, and to what
a degree of unexpected excellence many
are carried, it would he difficult to assign
a limit to the utility of this material. We
have shown its superiority to plaster for
architectural embellishment. Nothing
could be so convenient for the ornamen-
tation of a plain plaster ceiling by the
application of panels, &c., for without dis-
turbing the ground of toe ceiling every

pairing the injury, and with perfect suc-
ms. Ornaments of any degree of bold-
,ess, freedom, and relief may be adjusted
a ceiling without the least risk, and
hen, perhaps, the timbers are so slight,
:at heavy plaster compositions might be
Langerous. And however well suited the
,aterial may be for restoration in ancient
orks, it is not less perfectly fitted for
e embellishment of modern architecture,
columns of every order and degree of
,mbellishment, not only the capitals and
)axes, but the entire shafts, whether flut-
)(I in the classic style, or fretted over
ith arabesques as in the cinque-cento
Lnd Elizabethan style, are executed with
)erfect facility.
The interior of the Pantheon, in Ox-
nd-street, London, is entirely orna-
lented with papier-mache, so also is
rocers' Hall in the city, the effect of

0 fr, . . 5v,A- , . •• ‘• - • • ,t'f,4-9144-00,,~ •,416., • • •• • zi-!ites: .egv• 2
The Agencies already established in connexion with Bieliefeld's London Manufactory, are those of Messrs. R. J. KEYS & Co., 52, Bold Street, Liverpool ; and Messrs. GREGG, John Dalton Street, Manchester, where Specimens of every Article Manufactured in Bieliefeld's
Papier Macke may be seen in the plain and finished state, affording Visitors an opportunity of judging of the effect of the Ornaments—a desideratum not hitherto obtainable in the Provinces.

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