The History of Etched Glass |
some sway in centain circumstances but have not the same variety of application, partly owing to the details in which they differ from embossed work. The many good points of the embossing process seem likely to ensure a continuation of its popularity in spite of all the new rivals which appear against it, and the gradual modification and development of the process seem to add to these good points year by year. It has been used at various times in combination with other processes, such as gilding, oil painting, glass staining, mirror silvering, etc., and in every case it has added its full quota of interest and value to the work. The latest combination into which it has been introduced is that with Brilliant Cutting, and it is perhaps the most successful of all, the qualities of the two processes, or rather of the results produced by them, being quite of a complementary character. The combination of brilliant cutting with two or three-acid work produces the most artistic and ornate effect which has yet been attained by these processes, and where the design is good and practical goes a long way to absolve the work from the charge of being inartistic. Unfortunately, however, good design both in Embossed and Brilliant Cut work is somewhat rare. In fact, generally speaking, the more elaborate the work and the finer the tone effect, the worse is the design. There is, of course, absolutely no reason why this should be so, and fortunately there has been a very great improvement in this respect within the last few years. The work now being turned out by a few of the more advanced workers can lay claim to both originality and excellence of design, while still showing to the full the fine tone effects which the process is capable of producing.
A. L. Duthie, New York 1911
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