HE original of this work of art was
manufactured for the International
Exhibition of Paris, in 1867, and was,
like the vase described in the preceding
page, the unaided work of Morel
Ladeuil, who designed and wrought
it by the reponsse process in silver
and Steel, with enrichments in damascened
gold. In consequence of the
original having already been exhibited, attention
is now drawn to a fac-simile copy only, which
is shown merely to illustrate how perfectly the
most elaborate works of art in metal may be
reproduced by the electrotype process, which
preserves intact the finish given by the hand of
the artist himself.
The subjects selected for illustration on this
Shield were taken from Milton’s “ Paradise Lost,”
6th Book; and the able manner in which the
poet’s thoughts were rendered has been commented
upon by several competent critics. A
few extracts may be given which are likely to be
found interesting. At page 217 of the “ Art
Journal Catalogue of the Paris Exhibition, 1867,”
the following opinion is expressed :—“ There is a
general impression that the work here engraved is
the best work exhibited during the memorable
year 1867. The ‘ manufacturers,’ Messrs. Elkington
& Co., have received a gold medal, not indeed
for this work only, but for their contributions of
rare art value, and the award has been endorsed
by all other exhibitors of every kingdom and state.”
The Times of September 4th, 1867, alluding to
the Milton Shield, remarks that “ it is one of the
finest things in the Exhibition ; the ideas in that
work are not only full of poetry, but sometimes
reach the sublime.”
Mr. George Wallis (Curator of the South
Kensington Museum), when noticing this Shield,'
wrote thus :—“ Every face expresses the appropriate
mental emotion or passion. There is awe
and fear expressed in the face of Adam, and
modesty in that of Eve, as they listen to the
recital by Raphael of the conflict between the
hosts of Heaven and Hell. The listeners are
seated in Eden’s bower, shaded with trees, with
creeping plants, tender ferns, and spontaneously
produced fruits, scattered at their feet in rieh
profusion. Confidence is indicated in the faces
of the hosts of Heaven as they advance to the
attack. There is Michael-Angelo-like force of
drawing in the terrified faces and forms of the
defeated rebels, as they are driven out of Heaven,
and fall down to perdition in an endless variety of
attitude, recalling the ‘Last Judgment.’ How
fiercely St. Michael wields his flaming sword, as
he Stands on the prostrate body of the Dragon !
Sin and Death are represented with their appropriate
Symbols at the bottom of the Shield, and,
soaring far above the regions of conflict, strife,
defeat, sin, and death, seraphic and angelic figures,
borne on wings, approach, in attitudes adoring,
the cherub-surrounded Emblem of all Light and
Life, spiritual and material. The signs of the
zodiac, with figures floating, symbolise the rolling
year and the flight of time, and delicately-worked
leafage, in low relief, is introduced to fill up the
space not occupied by the illustration of the poem.”
From the great interest this Shield has obtained
since it was exhibited in Paris, the Lords of the
Council of Education have consented to permit
Messrs. Elkington & Co. to make copies from
the original by means of electro-deposition, with
the object of assisting to develop a general taste
for high and refined art-workmanship. The prices
at which it will be sold have been fixed at the
lowest possible rate, so as to bring it within the
reach of all, viz.— Copper bronzed, £6; the
same, coated with silver and oxydized, .£9 9s.; and
for copies representing a fac-simile of the original,
one portion being chased in silver, another in
Steel, and a third damascened with gold, .£12 r2s-Frame
with stand, extra price, in proportion to
the style preferred.
