New-York tribune., 1901-09-01
GoLD AND SILrER WARE DESIGNS.
From The London Morning Pos.

From The London Morning Post:
The actual patterns i'm use are vlEuely remi-
nisc,rt. rule, II The worst stylr ~ Frenc IN
eighteenth century ornament The eNcci!cnr
designs of the Empire period have left fcW
traces. their simplicity allowed too little scope
for the vanity OF the generation of ornament
lists that followed And the patterns that have
survived have been. so 10 speak made perIn1-
ncnt by the existence of the special tools anu
dies already alluded to, an economical consd-
GRAFTON which has been an almost lnsurm"unt-
able obstacle in the way of the introduction Of
new themes. Even when new design gets into
the shops the boyle Of impractcaniIty, or AZ
least. of saving of expense is generally raised
as excuse for cutting out of II pretty well
everything which cannot easily De made on IN
old lines.
Untn a few years ego the designer Of any
grade not known in the workshop which
subssted entirely on It's stock patterns kind
OF drauShtsman oho works 70 order ls no"
occasionally employed. but the work done is in
this respect absolutely at the mercy of the
salesman, who too often knows nothing OF art,
and Will not even give the public an opportunity
Of seeing anything OF real merit Il must be ad-
mitted. however that even among all this bad
design there is distinct movement in favor of
reproductions Of old and more simple forms. But
they made by the bad methods. and
while one appreciates the Improvement in the
taste Of the public which asks for them one
does not feel inclined 10 give the shopkeepers
very much credit therefor.
The ideal would appear 10 lie in the establish
ment of small workshops or studios-the particu-
lar cant term is immatertal-in which skilled
men and apprentice bows should work together
in close association. under the Supervision of an
artist well grounded in the practical require
ments of his craft and devotng himself
cIusively thereto. In this light should per
haps. look certain of the establishments now
existing, though the ground covered by them is
sometimes varied to excite unfavOrable
comment. Still, one suppOses that artist in
metal must live the same any other man.
There is one influence which. if il could be eff
fectively brought TO bear. would almost at once
redeem the whole situation; namely, that of the
purchasing public 1t is simply inconCetVable
that a should be content O. buy an
object of art which is stated to have been
designed by a limited liability company. IL
buyers would only insist or knowing the names
Of the individuals actually responsible for the
cups. the shields trophies, and such like articles
which are laid before them. should soon have
a school of Soldsmiths and silVersmiths second
To none in the world: and, human nature BENG
probably pretty much the same as 1t always mas
been. there would he every reason 10 expect the
arrival Of artists in these branches as great as
the worli has ever seen The whole thing. first
and last is in the hands of the public after all.
Put the first step To take is the one Indicated
above: and the next to institute tor workers IN
these crafts some equivalent of the galleries of
the painter where signed work can be exhibited,
the taste Of the public educated, and an OPP
portunity given to the good workman or designer
sell his production