Minucchio da Siena,
Gold Rose, Avignon, 1330.

Gold and coloured glass, 60 cm.

Basel cathedral treasure.

Musée de Cluny, Paris.

 

 

Boxes and snuff boxes

 

Need we explain why we separated these boxes from the productions of the goldsmiths and jewellers? These small relics of a special and clearly-defined period have a character of their own. One could almost say that the creative artists who designed them finally hit upon the only style which suited them and it is justifiable to add that we owe to France the masterpieces of this genre. There are boxes of which the beauty of the material, the perfection of the chasing, and the merit of the painted enamels or the miniatures have risen to enormous prices. Yet, we are unable to call such prices extravagant or attribute them to a mere caprice likely to disappear because of some new and whimsical fashion.

Boxes from the reign of Louis XIV are very recognisable in their style and ample size, in most cases suggestive of candy dishes. At the time, goldsmiths were still in charge of their making. The manufacture had not yet become sufficiently important to maintain its own special branch of art; soon, however, the snuff box became an indispensable ornament. Ingenuity caused the boxes to be drafted in diverse forms and materials to satisfy every whim. To study them successfully, we must establish a way to classify them into groups, combining those examples which have a certain affinity.

Hard stones, Mosaics, Inlays. Here we find almost all the materials we discussed along with gems. Some pieces are cut out of the solid block, such as rock crystal, some of the agates, and the chalcedonies; but, in the majority of cases, the various pieces, table cut and polished, chosen from among the most pure and curious descriptions of stones are brought together by means of a finely chased setting. Next to these come the mosaics, one kind in hard stones cut in relief to represent vases of flowers, birds, and arabesques; the other in hard stones forming a flat surface in the style of the mosaics of Florence. The inlays have a special interest among them which we meet with the most ancient specimens, such as those beautiful boxes of light-coloured tortoise shell in which collections, buildings, and arabesques are outlined in chased gold associated with the fine gold piqué mentioned in the preceding pages. Sometimes the gold is mixed with open cut engraved mother-of-pearl ornamentation, which indicates the latter part of the reign of Louis XIV, or the period of Louis XV. The other inlaid boxes are usually of mother-of-pearl, with ornaments and devices in shell pearl, tinted ivory, or iron and gold chasing. These compositions, often executed with the meticulous care, elevate their more common materials to rival with precious gems.