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DELLA ROBBIA (q.v.) .
From these two centres the development of architectural terra-See also:cotta gradually spread over western See also:Europe. The See also:German school influenced the See also:work done in the See also:Low Countries and finally in See also:England, where it also met the See also:direct See also:influence of the See also:Italian school due to the invasion of England by Italian artists such as See also:Torrigiano and others who were invited to England during the reigns of See also:- HENRY
- HENRY (1129-1195)
- HENRY (c. 1108-1139)
- HENRY (c. 1174–1216)
- HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
- HENRY, EDWARD LAMSON (1841– )
- HENRY, JAMES (1798-1876)
- HENRY, JOSEPH (1797-1878)
- HENRY, MATTHEW (1662-1714)
- HENRY, PATRICK (1736–1799)
- HENRY, PRINCE OF BATTENBERG (1858-1896)
- HENRY, ROBERT (1718-1790)
- HENRY, VICTOR (1850– )
- HENRY, WILLIAM (1795-1836)
Henry VII. and Henry VIII. It is only in the eastern and See also:southern counties of England that we find instances of the See also:terracotta work of this See also:period, and much of it is so un-See also:English in See also:style that most authorities consider it was not made in England at all but was imported from See also:- HOLLAND
- HOLLAND, CHARLES (1733–1769)
- HOLLAND, COUNTY AND PROVINCE OF
- HOLLAND, HENRY FOX, 1ST BARON (1705–1774)
- HOLLAND, HENRY RICH, 1ST EARL OF (1S9o-,649)
- HOLLAND, HENRY RICHARD VASSALL FOX, 3RD
- HOLLAND, JOSIAH GILBERT (1819-1881)
- HOLLAND, PHILEMON (1552-1637)
- HOLLAND, RICHARD, or RICHARD DE HOLANDE (fl. 1450)
- HOLLAND, SIR HENRY, BART
Holland or See also:Flanders. See also:Essex possesses the finest examples; such as those to be found in the See also:Manor See also:House at Layer Marney, and a richly-decorated terracotta See also:tomb in the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church at the same See also:place, both dating from the reign of Henry VIII.
In the Collegiate Church at See also:Wymondham in See also:Norfolk there are very large and elaborate See also:sedilia with canopied niches all of terra-cotta of the same period and apparently of the same manufacture. The unsettlement which followed the See also:Reformation in England and continued during the See also:Stuart period seems to have put an end to this imported See also:art, and it is only in See also:modern times that we find a revival of architectural terracotta work in England.
See also:France.—Another offshoot from the fertile plains of See also:northern See also:Italy was implanted in France during the 16th See also:century. Many sculptors from northern and central Italy were attracted to France by See also:Francis I. and his successors, and, among other arts, they introduced the making of See also:artistic terracottas. The most famous name in the lists of these Italian artists is that of See also:Girolamo della Robbia (see See also:article DELLA ROBBIA), who executed, in 1529, the enamelled terracotta for the decoration of the " See also:Petit See also:Chateau de See also:Madrid " in the Bois de See also:Boulogne, See also:Paris, for Francis I.2 Many other Italian artists of lesser repute imported their arts into France, and the See also:British Museum possesses an embossed See also:tile bearing the See also:head of St See also:John the Baptist, encircled by a See also:Gothic inscription, which was evidently made at See also:Lyons during the 16th century. The very See also:mould of this tile, together with other subjects of similar type, was excavated at Lyons and, while it is probable that the workmanship was Italian, the style of the modelling is entirely See also:French in See also:character.
See also:Spain.—At about the same period the Italian modellers or sculptors carried the art into Spain, and many extraordinary See also:works are still extant irr various See also:Spanish churches remarkable for their vivid See also:realism and for a too pictorial style which degrades them from their true See also:rank as architectural decoration.
During the 17th and 18th centuries the architectural use of terracotta again See also:fell away owing to the increasing use of See also:marble, but that the art still survived in other forms is shown by the portrait busts of See also:Dwight (17th century), though they were made in stoneware and not in unglazed terracotta ; and the charming little statuettes and See also:groups made in See also:Lorraine and the adjacent parts of France by Guibal, Cyffle and See also:Lemire, sculptors employed at some of the pottery factories of the period.
It should be mentioned that during the 18th century See also:ordinary See also:clay had fallen into disrepute, but the See also:porcelain figures made at See also:Meissen, Sevres and other See also:continental factories show how persistent the See also:vogue of figure-modelling in clay had become—though the clay was porcelain clay and not ordinary terracotta (see See also:CERAMICS).
Modern.—During the last fifty years there has been throughout Europe a See also:great revival in the manufacture of terracotta, both glazed and unglazed. We have in England, for example, some very important buildings, such as the Natural See also:History Museum, the See also:Albert
' The See also:Victoria and Albert Museum has a splendid and representative collection of these Italian terracottas.
2 This last and most extensive of the works in terracotta executed by the Robbia See also:family was destroyed during the French Revolution in 1792, but exact drawings of it are still in existence showing aP the necessary details.
See also:- HALL
- HALL (generally known as SCHWABISCH-HALL, tc distinguish it from the small town of Hall in Tirol and Bad-Hall, a health resort in Upper Austria)
- HALL (O.E. heall, a common Teutonic word, cf. Ger. Halle)
- HALL, BASIL (1788-1844)
- HALL, CARL CHRISTIAN (1812–1888)
- HALL, CHARLES FRANCIS (1821-1871)
- HALL, CHRISTOPHER NEWMAN (1816—19oz)
- HALL, EDWARD (c. 1498-1547)
- HALL, FITZEDWARD (1825-1901)
- HALL, ISAAC HOLLISTER (1837-1896)
- HALL, JAMES (1793–1868)
- HALL, JAMES (1811–1898)
- HALL, JOSEPH (1574-1656)
- HALL, MARSHALL (1790-1857)
- HALL, ROBERT (1764-1831)
- HALL, SAMUEL CARTER (5800-5889)
- HALL, SIR JAMES (1761-1832)
- HALL, WILLIAM EDWARD (1835-1894)
Hall, and the Royal See also:College of See also:Science, all in See also:South See also:Kensington, See also:London, which illustrate to perfection the English terracotta work of the See also:mid-Victorian period. The Rijks Museum at See also:Amsterdam, and many important buildings in the See also:north of See also:Germany, in See also:Belgium and in France, display the increasing use of baked clay for architectural purposes.
The effort of all terracotta makers during See also:recent times has been to produce a See also:building material capable of resisting the acids and See also:soot contained in the See also:atmosphere of our great towns. Technically many of the leading manufacturers in England and the continental countries have been very successful in this effort, as they are able to produce building materials of pleasant See also:colour and texture which are practically See also:acid-resisting. Critics of this modern development of terracotta as a building material frequently complain of the want of truth in the lines of cornices, See also:door or window jambs, &c. For this See also:default the manufacturer is not so much to blame as are those modern architects who See also:design a building for See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone construction and then decide to have it executed in terracotta. The shrink-See also:age of clay both in drying and firing is well known, and it is this shrinkage which causes large pieces of terracotta to twist or become crooked. When our modern architects shall have realized that the details of a building must be designed specially for the material that is to be used in its construction, terracotta will come into its own again as a decorative building material. The See also:present method of constructing buildings in reinforced See also:concrete, faced with glazed or unglazed terracotta, will afford the architects of the 2oth century an unrivalled opportunity for the use of this material.
Collections.—The Louvre, British Museum, and the museums of See also:Berlin and See also:Athens have remarkably See also:fine collections of the See also:Greek and See also:Roman terracottas, and many provincial museums, such as those of See also:Florence, See also:Perugia, See also:Rome, See also:Naples, See also:Nimes and See also:Arles, have also collections of importance. The best collections of Greek terra-cotta figures are in the British Museum, the Louvre and the museums of Berlin and Athens; but a large number of the finest Greek terracotta figures are in private collections. In the Victoria and Albert Museum there is a remarkable collection of fine Florentine terracottas of the best periods.
cotten See also:des k. Museums zu Berlin (1842); See also:Combe, Terracottas in the British Museum (London, 181o); and See also:Gerhard, Monumenti figulini di Sicilia (Berlin, 1835); A. Baumeister, Denkmdler des klassischen Altertums, 3 vols. (See also:Munich and See also:Leipzig, 1884-89); E. T. See also:Cook, Handbook to the See also:Department of Greek and Roman Antiquities, British Museum (London, 1903) ; A. S.
See also:- MURRAY
- MURRAY (or MORAY), EARLS OF
- MURRAY (or MORAY), JAMES STUART, EARL OF (c. 1531-1570)
- MURRAY (or MORAY), SIR ROBERT (c. 1600-1673)
- MURRAY, ALEXANDER STUART (1841-1904)
- MURRAY, DAVID (1849– )
- MURRAY, EUSTACE CLARE GRENVILLE (1824–1881)
- MURRAY, JAMES (c. 1719-1794)
- MURRAY, JOHN
- MURRAY, JOHN (1778–1820)
- MURRAY, LINDLEY (1745–1826)
- MURRAY, LORD GEORGE (1694–1760)
- MURRAY, SIR JAMES AUGUSTUS HENRY (1837– )
- MURRAY, SIR JOHN (1841– )
Murray, Handbook of Greek See also:Archaeology (London, 1892) ; S. See also:Reinach, The See also:Story of Art through the Ages, chaps. iv.-x. (Eng. trans., 1904) ; H. R. Hall, The See also:Oldest See also:Civilization of See also:Greece (London, 1901); See also:Annual of British School at Athens, vols. vii.-x. (1900-4) (for excavations in See also:Crete). See also Quarterly See also:Review (See also:October 1904), p. 374; W. J. See also:- ANDERSON
- ANDERSON, ADAM (1692—1765)
- ANDERSON, ALEXANDER (c. 1582-1620?)
- ANDERSON, ELIZABETH GARRETT (1836— )
- ANDERSON, JAMES (1662—1728)
- ANDERSON, JAMES (1739-1808)
- ANDERSON, JOHN (1726-1796)
- ANDERSON, MARY (1859– )
- ANDERSON, RICHARD HENRY (1821–1879)
- ANDERSON, ROBERT (1750–1830)
- ANDERSON, SIR EDMUND (1530-1605)
Anderson and P. Spiers, The See also:Architecture of Greece and Rome (London, 1902) ; H. B. Walters, See also:Ancient Pottery, 2 vols. (London, 1905) ; British Museum See also:Catalogue of Terracottas (1903); C. A. See also:Hutton, Greek Terracottas (See also:Portfolio Monograph, No. 48) (London, 1889) ; H. B. Walters, The Art of the Greeks (London, 1906) ; G. E. See also:Street, R.A., See also:Brick and Marble Architecture in North Italy (London, 1855, second edition 1874).
(W. B."; H. B.
End of Article: DELLA ROBBIA (q.v.)
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