Historical Vases of Europe and America©

Renaissance

For our discussion, the story of flower arranging can begin with the Renaissance, which is well documented in the exquisite paintings of that period.  In the early stages designs were generally simple, created with few flowers, laden with the religious symbolism of the time.  Flowers were placed in taller vases, often with restricted openings, so they would stand up in the same manner “God grew them”.  Upon studying the paintings of the period it is apparent that everyday objects, such as jugs, glass tumblers, and drug jars (known as albarelli) were adapted to hold flowers, as well as actual flower vases.  As the period progressed the arrangements became fuller and more elaborate, embracing a rounder form.

Dutch and Flemish Still Life 17th and 18th Centuries

Possibly the most famous period flower ‘arrangements’ are the magnificent ones created by the Dutch and Flemish still life painters during the 17^th and 18^th centuries, however the paintings by flower still life artists of other European countries should not be overlooked.  For a number of reasons, the elaborate arrangements in many of the paintings could not have been reproduced in real life; however they do present a record of the containers used during the period, including glass and metal vases, baskets, compotes, and the urn, (A glossary for the italicized vase names follows this article.)  often made of terracotta. 

The most legendary, if not also notorious story of an individual flower, is perhaps that of the tulip.  It became such a hot commodity that it was the focus of intense financial speculation.  This phenomenon was dubbed tulipomania, or the great tulip boom and lasted for three years, ending in 1637 with many investors feeling like Jimmy Stewart in ‘It’s a Wonderful Life’ – ready to jump off a bridge.  The tulip however, was only one of many flowers transplanted from foreign soils to find a new home in Europe.  Holland was importing products from many areas, including Chinese ceramics, of which the blue and white porcelain became all the rage.  Soon the Dutch craftsmen developed a cheaper ware, now known as delft or delftware, and many vases and flower holders were manufactured, including a group of five pieces known as garnitures.   England’s Queen Mary, an avid lover of flowers, was so enchanted with delftware she waited for the river boats on the River Thames to bring it from the Netherlands.  She went so far as to have a closet built to hold just her delftware, which included pots, flower bricks of many shapes, and her five-finger posy holders which were originally designed specifically for her.

The most unusual container perhaps is the tulipiere (Fr. tulipierre), which the delft designers may have borrowed from the Persians, who had growing pots with upward pointing spouts to hold bulbs in which the roots would trail down to the water in the vessel.  The concept of using multiple spouts was utilized in a number of configurations, including the pagoda vase and fan-shaped vases with several rows of spouts.  At the same time this was occurring in Holland, Giovanni Battista Ferrari of Sienna was writing a book which included a comment about a vase with holes to hold individual flowers so each could be viewed completely.  Vases designed with the function of holding flowers in a more rigid position included the stacked vase, and various other forms of containers with holes in the top.  A great variety of utilitarian containers were also used for flowers during the 17^th century, including ewers, jugs, and bottles.  There were also many beautiful glass vases appearing from Germany, Venice, and the Netherlands, and with a prosperous exchange of products going on throughout Europe, flower containers were becoming more available and cut flowers were being cut for indoor enjoyment more frequently

There was a profusion of styles during the 1700’s and flower containers reflected them.  Arrangements containing flowers were being employed as table decoration for the first time in Europe and America.  Great pyramids of salvers were stacked on top of each other, and then adorned with small bottles, similar to our bud vases, filled with flowers.  These were then scattered between the bowls of sweetmeats, jellies, creams and other treats to create fantastic centerpieces.  Enormous tazzas of varying heights graced the tables, and epergnes of silver, crystal, and ceramics were very fashionable.  Plateaus were used as bases for arrangements, adding elegance and even more visual weight to the centerpieces on the table.  An assortment of vases with holes, candle cups and openings for flowers were created, from elaborate rococo pieces of faience, to simple, elegant pieces of Chelsea porcelain.  The flower horn, or cornucopia as we call it today, was a popular motif and a common ceramic shape for the popular wall vases.  Porcelain vases were also created in the flower horn shape for table decoration, often being mounted in ormolu.  Trumpet vases, urns, cachepots, and posy-holders were popular and flowers were becoming more important for every day living for all classes..

The Victorian Era

The art and styles of the 1700’s continued through the first 30 years of the 19^th century and then melded into the styles produced by the Victorian era, where imitation of past styles greatly influenced the current.  Cut flowers in the home had become an accessory to everyday living.  During this romantic era the Language of Flowers was often central to the choice of flowers to wear and carry, particularly with tussie-mussies or their more airy cousins, the nosegay.  These beautiful little bouquets of tied flowers were often placed in a nosegay holder adding elegance to the presentation.  Glass domes were extremely popular, and used to cover all sorts of hand-made artificial flowers and crafted pieces, as well as fresh flowers.  Ceramic and porcelain vases abounded in a multitude of shapes, including the popular fan configuration, which was often available in pairs for the mantle.  Borrowing from previous centuries, all sorts of containers with holes for holding flowers were created, some even having attached candle holders, and multiple spouts for holding single stems.  Glass was one of the most versatile materials and it came in every possible configuration, with French glass often being mounted in ormolu.  Every color imaginable was available in simple to fanciful styles.  Baskets, still in fashion five centuries later were filled with wet sand and covered with moss as a holding medium for the flowers. 

Décor for the dining table took on epic proportions, similar in many ways to the Rococo period in France. The tazza was prominently featured in table centerpieces, reaching enormous heights in larger homes, and was used in multiples of three, five or more.  Epergnes became more complex and where they were previously short and wide, they were now taller, some having great height, with a fruit or flower dish in the center surrounded by hanging baskets.   Very tall trumpet-shaped (flared) vases, filled with large massed designs were also commonly used as a centerpiece for the table.  For even more elaborate decorations, they would stack a combination of vases, baskets, bowls, tazzas, and plateaus on top of each other, creating centerpieces that were structurally astounding. 

As the Victorian era was coming to a close the ornate silver epergnes began to lose favor, and glass epergnes in a simpler style took their place.  A delicate container with a handle called a berry bowl became fashionable, filled with flowers or fruit, they were favored because their low profile provided a more casual and friendly dining atmosphere.  Towards the end of the Victorian era decoration had reached a low ebb, having become what some consider “utterly tasteless”, and there was a movement towards simplification and refinement.  W. Robinson, the author of The English Flower Garden, wrote in 1883 that vases had “shared the fate of most manufactured things within the past generation – they suffer from the mania for overdoing with designs called ‘decorative’”.  In a repeat of the past, he recommended his readers look for containers that were not originally intended for flowers, such as jam jars, mugs, pitchers, and ginger jars.

Art Nouveau 19th and 20th Century

Having covered a majority of the containers used in floral decoration prior to the 20^th century, we simply scratched the surface regarding the historical use of flowers and the similarities and differences between countries and periods.  If you enjoy history and delight in the beauty of flowers, further study will lead you to a chronicle filled with fascinating stories of how flowers were integrated into the social customs of bygone eras.

Having covered a majority of the containers used in floral decoration prior to the 20^th century, we simply scratched the surface regarding the historical use of flowers and the similarities and differences between countries and periods.  If you enjoy history and delight in the beauty of flowers, further study will lead you to a chronicle filled with fascinating stories of how flowers were integrated into the social customs of bygone eras.  

Glossary
Historical Vases of Europe and America

Cornucopia (flower horns):  Cornucopia (flower horns): It is curved like a goat’s horn and the mouth is filled with fruit, grains, and ears of corn.  Dating from ancient Greece and symbolizing abundance, it has been and is used as a decorative motif in architecture, art and design.  It has become associated with harvest and Thanksgiving in North America.  The Victorians however, in their passion for flowers and decoration liked to use wall vases filled with flowers and the cornucopia was a favorite, generally hung in pairs with the ‘tails’ pointing towards each other.

Delftware (Delft):  Earthenware which is tin-glazed in white and other colors.  Most commonly recognized color is blue and white.

Epergne:  A type of composite table centerpiece made of several receptacles for holding flowers and/or food products such as jams, jellies, candies, and sweetmeats.  Composed of  metal (most often silver), glass, porcelain or a combination, it generally has a large central bowl sitting on feet or a footed stem.  Often the center bowl will have radiating arms supporting small dishes, baskets or candle holders.  It can be a combination of any of the following:  small dishes, a generally larger center vase or dish, small vases, hanging baskets, and/or candleholders.  In England, one type of epergne, similar to a tall tazza was referred to as a March Stand, after the gentleman who brought its use to prominence during the Victorian period.  The compound trumpet epergne is a footed bowl with a trumpet-shaped glass in the center for holding flowers, which was favored during the Victorian and Art Nouveau periods.  

Fan vase:  A container shaped like a fan, sometimes with individual spouts for holding the flowers.

Five-fingered posy holder (also called the five finger vase):  A fan-shaped vase with five individual spouts for holding the flowers.  They derive their name from their similarity to a hand in the upright position.

Flower Brick:  A square or rectangular box, often made of Delftware, with a perforated top for holding flowers.  This same concept is utilized in many other shapes, including round, oval, and other vase shapes.

Garnitures: A set of five pieces modeled after Chinese shapes to be used on  mantelpieces, three of which were covered jars and the remaining vases for holding  flowers.

Plateau (plateaux):  A flat stand or tray, often mirrored, from one to three    sections used as a table centerpiece to hold figures, candlesticks, candelabra,   and/or groupings of flowers in vases, and other decorations. At the turn of    the 18^th century the plateau was the most fashionable table decoration in the    United States.

Salver:  A Spanish word referring to any flat, silver or metal, flat tray, in a wide range of sizes.  They were specifically used by the English for serving food or drinks and the presentation of letters.  With the advent of flower arranging they were utilized in decoration.  Footed salvers, similar to our version of a footed cake plate, were sometimes stacked in graduated sizes to create giant pyramids for food and flowers.  They are also similar to a tazza.  

Spout Vase:  Any shape vase with multiple spouts on or about the top for holding individual flowers.  May be shaped like a fan or five-finger vase.

Tazza (tazze - pural):  A very low bowl atop a footed stem or standard. 

Posy-holder:  (tussie-mussie holder, nosegay holder):  A small, somewhat cone shaped vase with a handle used for holding a small bouquet of flowers to be worn or carried.

Trumpet-shaped Vase:  Formed in the shape of a trumpet, standing on or in a foot or base.

Tulipiere (French; tulipierre):  Generally made of pottery, a tulipiere is an ornate flower-holder comprised of a larger vessel containing holes or spouts to hold single stems of flowers.  The concept dates back to the Egyptians who  created similar type vases, but is best remembered from 17^th century Holland.  Also called a pyramid vase, pagoda vase and stacked vase.

Urn:  A vessel of varying forms equipped with a foot, with or without a lid, often with two handles.