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The Brochure Series of Architectural Illustration, Volume 01, No. 07, July, 1895 Italian Wrought Iron   By:

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The Brochure Series of Architectural Illustration, Volume 01, No. 07, July, 1895 provides a fascinating look at Italian wrought iron design. The illustrations featured in this volume are intricate and detailed, showcasing the beauty and craftsmanship of Italian ironwork. Each design is unique and visually striking, capturing the essence of Italian style and elegance.

The accompanying text provides valuable information on the history and significance of Italian wrought iron, shedding light on the cultural and artistic influences that have shaped this particular form of craftsmanship. The descriptions are informative and engaging, offering readers a deeper understanding of the techniques and traditions behind Italian ironwork.

Overall, The Brochure Series of Architectural Illustration, Volume 01, No. 07, July, 1895 is a visually stunning and informative resource for anyone interested in architecture, design, or Italian art. The blend of illustrations and text creates a well-rounded exploration of Italian wrought iron, making this volume a valuable addition to any library.

First Page:

THE BROCHURE SERIES

OF ARCHITECTURAL ILLUSTRATION.

VOL. I. JULY, 1895. No. 7.

ITALIAN WROUGHT IRON.

The wrought iron of the middle ages, and of the time of the Renaissance, and even down to the last century, in Italy, France, and Germany showed, in the crudest examples, the principal virtues of all true decorative art. The reason is not far to seek. The difficulties in the way of working the material with ease imposed certain limitations in design and execution which could not well be disregarded. The lack of machinery (which is responsible for much of the uninteresting character of our modern work) necessarily compelled the use of comparatively simple and straightforward methods. It was difficult to avoid the tell tale marks of the smith's work, and there were limits beyond which his skill could not carry it. Furthermore the designer, taking these limitations into account, learned to make the most of his possibilities, and to adapt his design to the material to design in the material. How different from the methods generally in use now! Designs made to imitate something done in another material, turned out by the hundred from a machine which leaves no indication of its work, with all interest of craftsmanship lacking, except in places where it may be vulgarly thrown in your face to make it look as if it had been "hand made... Continue reading book >>


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