Marcu 1, 1872. THE BUILDING NEWS. 167.
THE BUILDING NEWS.
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LONDON, FRIDAY, MARCH 1, 1872.
PRINCE ALFRED’S CABINET AT
KENSINGTON.
HE Duke of Edinburgh, in the course of
a five years’ cruize, which carried him
round the world, collected the materials of a
small, but most magnificent museum, the
principal riches of which are now displayed to
the public at South Kensington. They consti-
tute, so to speak, a panoramic view of indus-
try and civilisation in nearly every latitude
of the globe, but, imperial and unique, ‘‘the
gorgeous East ” still maintains its supremacy.
Naturally, however, prior attention is given
to the good ship (Galatea herself, the
scenes of which she formed a part, and her
adventures among the winds and waves.
All these are in water-colours, executed with
consummate spirit and delicacy, by Mr. O. W.
Brierly, and Mr. N. Chevalier. Butthough
these, lighting up an infinite variety of land-
scapes and sea-glimpses, wave effects, coast
outlines, and characteristic architecture, are
exceedingly interesting, they are not so illus-
trative as many other parts of the collection,
though it is well worth while to examine the
sketches, for instance, of fortified villages in
New Zealand, of Queen Pomares’ palace in
Tahiti, of mansions in Honolulu, of imperial
gardens and palaces in Japan, of the river
villages in China, of Chinese taverns, of the
walls of Pekin, of cock-pits in Manilla, of
Indian tombs and temples, and of ancient
religious shrines in Ceylon. But we instinc-
tively turn from these to the more dazzling
array of ‘‘ objects of science and art.” And
first a compliment is due to the marvellous
beauty and finish of workmanship exhibited
by the gold and silversmiths and enamellers
of the British Colonies. Some of the golden
trowels, with ivory and malachite handles,
jewelled, are wonders in their way, as are a
number of polished caskets, containing richly-
illuminated addresses, examples of sumptuous
binding, inkstands, models in precious metals
of machinery, figures of animals, epergnes,
mounted trophies of sport, signet rings,
vases formed of emu and other egg-shells, set
in silver, compasses devised as charms, and
silver spades, used in turning first sods, in
profusion sufficient to furnish a shop in Bond-
street or the Rue de la Paix. The Duke
must have laid more foundation stones than
he can well remember, and be a practised
mason by this time. With this necessary
acknowledgment of the progress in the de-
corative arts which our Colonial brethren
are making, with the happy assistance of
gold, silver, and jewel mines at their very
feet, we pass on among the Asiatic miscel-
lanies, some of which are perfect studies in
themselves. All that comes from Japan is
characteristic of that ingenious, formal,
highly-painted, quaintly-shaped, long-iso-
lated region, which is at last contemplating
the construction of arailway! Its volumes
of lacquer and silk, folding like screens, are
so many visions of bright birds, prim gardens,
soldiers in terrible mail, wielding yet more
terrible weapons, singular customs, not en-
tirely unpicturesque, and as singular faces,
strange in colour and expression, half simple
and half cunning, with an immense amount
of artifice about them. Some of the lacquer,
especially that known as avanturine, could
scarcely be surpassed. It is curious to ob-
serve how extensively this lacquer work
prevails in the industry of Japan. You have
lacquered cabinets, lacquered reading-desks,
lacquered tables, lacquered sword and dagger
sheaths, lacquered boxes, trays, toys, and
even bells. But perhaps more interesting is
the metal-work of the country. There is one
extraordinary specimen, said to be three centu-
ries old. This isa large ornamental incense
burner, in three stages, each with representa-
tions in high relief, or in detached pieces of
rock-work, with cascades, trees, flowers, and
birds; on the middle stage is a man stand-
ing on the sea-shore, invoking or de-
precating a dragon; in addition, there is a
wooden stand, somewhat rudely carved, so as
to suggest the idea of waves, although it is
a most characteristic example. In another
sense the Japanese cabinets present a charac-
ter of their own, in the oddity of the designs
they affect, boxes in the form of cray-fish
or quails, incense burners resembling ele-
phants carrying pagodas, or a kylin grasping
a ball, or a cock in the act of crowing, or a
boy riding on the back of a monster, or a
cavalry officer, or a barrel resting on a
pedestal, or a cocoa-nut over which a rat is
keeping watch, or three tortoises slumbering
on arock, ora skull. Then, it will be re-
marked by those who visit this exhibition
with a purpose above that of merely gazing
at the glitter of gold and silver and embroi-
dery, that the Japanese have an almost Ger-
man notion of comedy, which the other
nations of the East rarely, if ever, deve-
lope. Thereis a bronze image of a man
as humorous as anything that ever came
out of Nuremberg, and a set of grotesque
figures, to be used as buttons, are irresistibly
ludicrous, while, of all things else, they have
contrived to give a laughter-moying expres-
sion to a basket, which might be thought im-
possible were it not that we have positively
seen the drawing of a tree that was over-
poweringly comical. We must note, en
passant, that a figure, seated in bronze, and
described as an effigy of the heathen deity
Buddha, is so described without the slightest
warrant. It has not a single attribute of that
god, and is more probably derived from the
conception of some local semi-divine hero.
The other metal-work from Japan is various,
and possesses peculiar attractions—the silver
inlay, the great bronze cisterns; the vases
with wrought and chased surfaces, the
candlesticks manufactured of a curious
amalgam, bronze filigree, masses of gold
lacquer, iron sword-guards and a most
fascinating little object—a small square
cloisonné enamel-box and cover. ‘The other
industries illustrated here which, if we may
say so, identify themselves with Japan, are
shown, for example, in a musical instrument
with one string and two ivory plectra; some
magnificent porcelain vases, gorgeously tinted,
a cluster of Satsuma bottles, dishes, and
jardiniéres, perfectly unique, some tobacco-
pipes of hideousness not to be produced any-
‘where out of Japan, or, at any rate, some-
where near China; girdle clasps in a warm-
coloured enamel; wooden puzzles, to which
the Imperial people attach an incredible
importance ; baskets, very excellent, of split
bamhoo ; crape dresses dyed in dark blue,
with bottom borders suggesting sedges and
water; screens illuminated by ‘‘ processions
of grasshoppers ;” and brooches of bronzed
silver, which last seems like an inversion of
nature and taste.
We now leave Japan and, with proper
respect, approach the vermilion realm of
China, immemorial and immutable. It is far
more pretentious, splendid, and colossal than
the Island Empire. It brings porcelain
garden seats—porcelain being to China what
lacquer is to Japan—old porcelain vases with
luxurious maroon grounds, adorned by dainty
pink figures in dancing attitudes; great
dragon jars, valuable specimens of crimson,
or * bull-blood” glaze ; and a hundred other
national varieties, including, of course, the
precious ‘‘crackle;” tall vases, such as
used to fill with the fetid scent of pot pourri
the halls of Mayfair; fruit dishes painted
with purple flowers on celadon surfaces ;
figures of women, children, unicorns, chi-
meras, military officials, delicious little tea-
cups and trays, emulous of the Bourbon blue ;
most elaborate imitations of sculpture, me-
dallions, basins, and specimens of the rare
and inimitable tint known as ‘ moonlight.”
We find some very striking samples of
Chinese art and industry in these cabinets,
among which are resplendent embroidered
silks, applied to pillows, cushions, chair-
covers, ‘‘ table-fronts,” and mandarin-robes,
whence all the picturesque fancy of China,
centuries old, seems to shine as freshly and
brightly as ever. Confessing that we do not
comprehend the ‘‘ whistle used by the Chinese
to affix to the tails of pigeons,” we pause to
admire the Loo-Choo enamels, the dinner—
services in jade, the carved agates, the
laughably life-like mannikins in burnt and’
coloured clay, and a group of superb cloisonné
enamel vases, some with ring, and others
with dragon handles, the tints of which
literally glow through their varnish. Of
course, there is a perfect treasury of egg-
shell porcelain, light as bubbles, and match-
lessly pure, pilgrims’ bottles, snuff bottles,
covered cups, boat-shaped saucers, and tea-
pots, displaying every conceivable eccen-
tricity of taste. Superior to all these, how-
ever, is a model in silver parcel-gilt filigree
of a pagoda and buildings, surrounded by
trees. It is to be doubted whether the
parallel of this has ever been seen in England.
It is Swiss in its complexity of detail, but
thoroughly Asiatic in every other respect; a
picture in full relief, delicate, tempting, and
natural ; in point of fact, a bit of China, im-
ported in silver, so pretty, so glistening,
and so subtly-wrought, that the ancient
question returns to us whether the arts, after
all, did not come to the West from the East.
In wood-carvings, moreover, the Chinese’
excel, and it would be superfluous to mention
their ivory wonders, which are familiar all over~
the world. It is a little remarkable, indeed,
that the Duke of Edinburgh did not bring home:
with him a set of original Chinese chessmen.
With this regret, let us take leave of the
Celestial Empire, and signalise a few at-
tractions by the way before telling the reader
what he may expect when he unveils, ly a
visit, the Indian cabinets. We have had
enough of trowels, or there might be plenty
more to mention. From the island of
Singapore is a beautiful silver firestand,
consisting of a perforated cup, resting on a
plateau, supported by three stars and cres-
cents connected with a tripod stand ; also
another of similar pattern, but in gold.
Ceylon contributes an exquisite sandal-wood
cabinet, decorated with carvings illustrative
of the Hindoo mythology, a considerable
amount of loyal gold and silyer-work, in
the form of trowels and presentation cases,
some rich gold bangles, a pair of immense
elephant’s tusks, mounted in the precious
metals, and a model in ivory of an
elephant made from one of that animal’s
teeth. We have from Australia, after
trowels, principally birds, wedgetailed eagles,
hawks, herons, owls, black swans, albatrosses,
and petrels; but, with them, samples of gold
in nugget and in dust; from New Zealand,
the carved figure-head of a canoe; mats of
flaxand Kiwi feathers ; greenstone clubs, of
hereditary veneration and value; native
weapons ; and, once more, anugget. It will
be seen how we were justified in saying that
the characteristics of the various nationalities
illustrate themselves in these collections.
We must skip the Mauritius, which is hardly
acountry at all; Tasmania, which is only a
colonised desert ; Queensland, where there
was nothing better to be bought than the
jaw of a gigantic kangaroo; Malacca, which
is represented by a pair of cock-spurs as
Manilla is by one; and linger an instant with
Tahiti and the Sandwich Isles, rendered con-
spicuous by bowls of the famous ‘ Kou ”
wood, calabashes, cocoa-nut cups, finger-
basins, feather-tippets, worthy, any day, of a
Regent-street window, fans of state, whistles,
christening-scoops, carpets of flax, and a
marvellous robe woven from the tissue of the
plantain, and which was, on a grand cere-
monial occasion, worn by his Royal High-
ness himself, who must then have looked
particularly unlike the captain of a frigate in
the British nayy.
Turning to the Indian collections, we
