Ever since Narcissus stared admiringly into a pool of water, people throughout the ages have been enchanted by their own reflections. Whilst historically sometimes referred to as looking glasses, today we know these objects as mirrors, derived from the Latin mirari, meaning ‘to admire’.
There is archaeological evidence of mirrors dating back to over 8,000 years ago, with the oldest surviving mirror found in Anatolia (modern-day Turkey) and crafted from obsidian, a type of dark volcanic glass. Throughout the globe in the following millennia, the mirror appeared again in many different forms. In Mesopotamia and Egypt from 4,000 BCE they were made from polished copper, and in Central and South America from 2,000 BCE they were made from polished stone. They also appeared in China and India made from bronze and copper around the same time.
Glass began to be used for mirrors in the 1st century CE, with early glass mirrors made of tiles cut from blown glass. Thus, they tended to be small, dark, and slightly curved. These glass tiles were affixed over cast lead with a thin layer of polished metal sheeting in between. It was a laborious and imprecise process resulting in a dim reflection, and only the wealthiest could afford such luxurious items.
It was the Venetians who created the modern method of mirror-making in the 15th and 16th centuries on the island of Murano which had until then been the glassmaking centre of the world. The Venetian craftsmen were able to achieve for the first time consistent, clear, flat and evenly thick glass which resulted in far superior and much larger mirrors. Venetian mirrors became so sought after that Venice turned into Europe’s leading exporter and Venetian guildsmen were sworn to keep the secrets of fabrication upon penalty of death. It wasn’t until the mid-17th century when France established the Manufacture des Glaces that mirror production eventually expanded into other countries and became more attainable by those other than royalty.
Below you’ll see some of the stylistic periods associated with mirror production and how these designs evolved over time.
ROCOCO
The Rococo style first emerged in France during the 1720s and was often described as the final expression of the Baroque movement. It was an exceptionally ornamental and theatrical style developed by craftspeople and designers rather than architects. Rococo takes its name from the French word rocaille which means rock or broken shell. These motifs often feature in the designs of the heavy and ornate gilt frames of Rococo mirrors, along with fish, acanthus leaves and other natural forms.
NEOCLASSICAL
The Neoclassical period began alongside the late Rococo period in the mid-18th century and was seen as a reaction to the opulence and excessive ornamentation used in the late Baroque designs. Permeating throughout Europe and the UK, designers such as Robert Adam from Scotland and George Hepplewhite from England opted for simple and elegant lines in their creations. Neoclassical mirror frame designs favoured symmetrical ornamentation and often featured simple scroll work or laurel garlands. It was during the Neoclassical period that we saw the rise to prominence of the ‘pier’ or ‘trumeau’ mirror which was a common decorating feature in reception rooms of grand houses. Pier mirrors were placed on a wall between two windows supporting an upper structure, this gave the visual effect of expanding and brightening the space. As such they are distinguished by their tall and narrow outline and were often designed in a similar style to the windows or spaces they occupied.
REGENCY
The British Regency strictly lasted from 1811 to 1820 but the stylistic period is applied to architecture and design more broadly from years either side of this that reflect the same stylistic sensibility. Regency furniture typically possessed simple and elegant designs with limited ornamentation. Features included concave curvature, column-style supports and unbroken or flat facades. In mirrors the frames were often angular and simple, sometimes with architectural columns to either side. The Regency period also popularised the convex mirror which, although it had been around for centuries, became favoured for its ability to magnify and illuminate dark rooms. Convex mirrors were also known as butler’s mirrors as they could be placed in the dining room and allowed the butler to keep a discreet eye on the table. Convex mirrors were often ornamented with plant foliage, candle arms, bows, and feathers as part of their gilt frames.
By Madeleine Norton, Head of Decorative Arts & Art, Sydney
Top Image: Design for a room, by John Linnell (c.1729-96). Illustration, England, c.1770. © Victoria and Albert Museum, London
July 2024