On The Art Collections At South Kensington, Considered In Reference To Architecture.

ation many special branches of art , in many respects as important as those we have touched upon ; the objects in the various categories of mosaics , marqueterie or intarsiatura work , wood carving , in innumerable applications , ¦ especiall y as here illustrated in the fine series of Italian carved furniture ; the cassoni , chairs , cabinets , & c .: then again the works in metal , of iron and monumental bronze , illustrations

of the various processes of repousse work , ¦ chiselling , damascene work , niello , & c , painted glass and -enamels ; processes and productions , in short , without number . I eau but alude to them in order to dismiss 'them from our consideration ; and in doing so I am conscious that my lecture to-night has been but au irregular and spasmodic attempt to grasp a subject too vast to be

treated Avithin such limits . In conclusion , then , I will ask your permission to dwell for a very brief space on the ¦ on the subject of Italian ceramic wares ; and in particular ¦ on those enamelled terra cottas , as one which has for raany . years specially engaged my attention . Our collection of Majolica and Delia Robbia wares is undoubtedly -the most important in existenceI do not separate the

. -two classes of productions , because they are in fact only different manifestations of the same art . We have , indeed , a most important and unique series of works painted on the flat , in the manner of Majolica plates , by Luca della Robbia himself ; I allude to tiie twelve large ¦ circular medallions from the Campana collection representing impersonations of the twelve months , and which

there is little doubt were portions of the famous ceiling -of the writing-cabinet of Cosmo de Medici , particularly mentioned by Vasari . My travelled hearers will here , -doubtless , be reminded of the bacili or circular painted -plates let into the walls and campaniles of so many ancient Italian churches . Now , what an admirable suggestion does this adaptation of ceramic art alone offer to

us ? In what a variety of ways might we decorate not exterior facades , but also the ceilings and interior walls ¦ of our buildings with enamel-painted pottery and terracotta relievi . ! ' Amongst the Majolica wares , what beautiful types both an design and execution may we not find for decoration of this kind : take note of the lendid lustred lates

sp p , which might now be so readily and so cheaply repro-¦ duced : what magnificent effects might not the curved surfaces of such brilliant Avares , concave or convex as the 'Case might be , be made to produce , gleaming in the ¦ rays of the sun , like diamonds , rubbies , and emeralds . Why should we not have rich architecture jewelled , as it Avere , with such novel ornaments ? And then ,

considering the Della Robbia Ware proper , what a field is "there here ! Why should not details of every kind be executed in this durable material , —doorways , pilasters , friezes , decorative medallions , & c , to any extent ? The incrustation of precious marbles , which we see iu Italy ; the panels of porphyry , serpentine , & c . ; might be imitated or rather superseded by the still more brilliant coloured surfaces of enamelled earthenware .

Not that the improved technical processes at the command of the modern potter have as yet carried enamelled terra-cotta work further than of old ; the technical perfection of tho Delia Robbia wares , indeed , is not their least remarkable characteristic : let me point to the huge medallion , 11 feet in diameter , so conspicuous an object in the north court of the Museum , displaying the arms

and devices of King Rene , of Anjou , within a noble border of fruit and foliage : this magnificent specimen , doubtless , from the hand of Luca himself , till within the last few years , had remained in its original position on the exterior of a villa , in the neighbourhood of Florence , ever since the period of its execution , —at least four hundred years ; and except where it has been wilfull

y or accidentally damaged , it is literally as perfect as the day it was made ; and the climate of Florence is , I believe , quite as inimical to the preservation of such works as that of England ; the extremes of heat and cold are , indeed , much greater than in this country . But our

On The Art Collections At South Kensington, Considered In Reference To Architecture.

modern English Delia Robbia wares as yet do not give promise of such absolute durability . Our practical potters , in fact , should come aud study the works of Della Robbia in . our Museum , technically and scientifically , just as architects and art-workmen should take them into consideration from the point of view of art .

We should note , for instance , what exquisite and appropriate qualities of glaze , texture of surface , and colour these old wares present : so different from the glaring whiteness and crude glossy enamels of their modern imitators . In the original specimens the white glaze is subdued to a beautiful creamy grey tint , in order that it should not contrast too vividly with the surrounding

stonework of the wall in which it was to be inserted : all the other colours , moreover , especailly the blue , are broken and subdued in like manner ; and for the same reason the enamel glaze is mat rather than too bright , the white having all the full rich texture of which it was designed to imitate . Fine specimens of Della Robbia warein shortare models of ceramic excellenceas much

, , , superior to their modern imitators in technical respects as they are as worksof art . The true secret of this excellence is that the great Florentine artist knew exactly what he wanted ; he knew the precise qualities he wished to produce ; whereas our

modern imitators , both here and abroad , are floundering about for want of his refined judgment and intelligence in art , aud not because they are uuable to master technical difficulties . I must now bring my lecture to a close : from what I have said it will , I hope , be gathered that I also , in the appropriate and suggestive words of your president , am

au advocate " for a free and scholarly art , " —for a proper use of the glorious legacy of the past ; aud I feel that we are on safe ground in commending to all , both lay and professional men , the objects and efforts of a society like the architectural Museum—inasmuch as the aim and efforts of that institution are alike definite aud practical ; its action and the spirit which animates its

its energetic supporters , moreover , eminently healthy ; a spirit especially characteristic of this free country , and scarcely possible elsewhere . . In endeavouring to illustrate the bearing which the more extensive and important Art-Collection of the Architectural Museum also housed within these walls , I have bno means insensible to the factthis collection

y , created , and mainly sustained , as it has been , by individual or private zeal and devotion to the cause of arteducation , is by no means the least useful feature of the great assemblage of monuments of art which have already made South Kensington one of the chief artcentres of the world .

Masonic Notes And Queries.

MASONIC NOTES AND QUERIES .

AKK , HAKK , LINK , AND EOYAX . AliCH . The New York papers sometimes indulge in a little Masonic enquiry a specimen of Avhich , relating to the Ark , Mark , Link , aud Royal Arch , I enclose . —Ex . Ex . THE CATITUIAE DE & EEES . Of late years the opinion has been frequently expressed , that the " Mark" originally constituted a portion of the Fellowcraftand the " Eoyal Arch " of the Master ' degreeThis

, s . theory is , we think , erroneous , as we shall presently show . The Boyal Arch degree was first introduced into the Grand Lodge of " Ancient" or seceding Masons of England , by Lawrence Dermott , in the year 174-i , or very shortly after that date ; no doubt , principally , for the reason of attracting candidates , and of building up their organisation . It was based on Rain' s continental degree of Eoyal Archthe wholewhich at

say , , was first given , as an introduction to the English degree , and was at that time conferred only on those who had actually passed the chair . About the year 1773 , Dunckerley , who it seems was in the habit of visiting the ancient lodges , induced the Grand