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PLAN DE LA PARTIE DE PARIS 
 
Digitized by the Internet Archive 
 in 2019 with funding from 
 Getty Research Institute 
 
 
 https://archive.org/details/exhibitionofartiOOexpo 
 
RUTH. 
 
 ENGRAVED BY J.H.BAKEU, FROM THE 
 
 STATUE BY V. THEED 
 
 r.ONDOTsr, ruBiisu kd fob the proprietors . 
 
PUBLISHERS: VIRTUE & CO., LONDON; STASSIN & XAVIER, PARIS. 
 
THE GETTY CENTER 
 LIBRARY 
 
THE PARIS EXHIBITION. 
 
 THE 
 
 AETISTIC, INDUSTRIAL, AND COMMERCIAL RESULTS 
 OF THE UNIVERSAL EXPOSITION OF 1855. 
 
 BY GEORGE WALLIS, 
 
 Head Master of the Government School of Art, Birmingham, and Deputy Commissioner 
 of Juries in the Great Exhibition of 1951. 
 
 X . y f the Great Exhibition of 1851 brought 
 
 the industries of Europe “ face to 
 -TH ijfl * lace,” and broadly illustrated their 
 
 excellencies and peculiarities, the 
 Ifm /afk^A Universal Exposition of 1855 makes us 
 
 TkxMI $JhL. acquauited with the more detailed 
 features of each special ite, and we are 
 tPIkI "“yFv enabled to realise in a far more ac- 
 LSAk curate manner the position in which 
 lb Jl A '8||il (VJJ they stand in relation to each other, as 
 Q)\ (Lil fnl well as recognise their aspirations 
 
 0il ' We shall not condescend to look at 
 
 ■S/V* ((( 'sEftSL i m} this question as one merely affecting British 
 supremacy in manufactures. This is the 
 y Li vulgar notion of the mere pedlar, and it is to 
 
 ifj tyQ fRrJ.YUs be regretted that it prevails to a greater ex- 
 
 v_ Y tent than people are always willing to 
 
 fJloui H acknowledge. He who looks at a question 
 
 '§£SQ>'V \ " like this only so far as it affects himself, will 
 
 \(p> find that his expedition after “wool” will 
 
 liM 1 end in Ids being “shorn.” The real question at 
 
 , issue is how far all are benefited by a compa- 
 rison of ideas, of modes of action, and of results. 
 
 The claim of any country or any people to an exclusive right in 
 the pursuits of industry, or supreme intelligence in its application, 
 is quite as doubtful as the claim of any individual to universal 
 knowledge, or the undisputed possession for all time of any invention 
 or discovery : for though human law may recognise, and wisely 
 so, the exercise of an exclusive privilege, limited as to time and 
 conditions of use, a higher law must ever enforce the great prin¬ 
 ciple, that all the powers of man in their varied uses and develop¬ 
 ments are given for the general good of the human family, whilst 
 the puny policy which is ever clinging to exclusive advantages 
 alone, will find itself thrust to the wall by a wider and more 
 sympathetic course of action, arising out of the expanding tenden¬ 
 cies of the human mind. 
 
 The development of any idea will ever be according to its utility : 
 for however much its very existence as an ultimate fact may be 
 endangered and postponed by the selfishness, the peculiar idiosyn- 
 cracies or the mal-versions of individuals or of nations, its growth 
 must inevitably depend upon how far it is calculated to be per¬ 
 manently useful to mankind as a whole. 
 
 Industrial and artistic Expositions are amongst the most marked 
 manifestations of the active mental and physical progress of modern 
 times, and whether we view them from the point which has 
 hitherto characterised the previous efforts of the French, as a 
 periodical display of national progress, exclusively confined to 
 the exposition of the industry, science, and the arts in France, as 
 an old country and a leader of civilisation ; or look at them from 
 the humbler stand-point of those “state fairs,” which have grown 
 up with, and presented themselves as symptoms of a more recent 
 state of society in the United States of America; we are compelled 
 to acknowledge their value as adapted to both conditions. Extending 
 the merely national display of France, and the more circumscribed 
 provincial gatherings of America, to the international arena 
 of the Great Exhibition of 1851, we realise in a still more marked 
 degree the uses of the great elements of comparison thus instituted ; 
 and whatever might have been the relative faults of administration 
 and execution in the Universal Exposition of Paris of 1855, its 
 realisation as it stands finally before the world, is at once a triumph 
 for Art, Science and Industry, and a further evidence of how much 
 men may benefit themselves by a cosmopolitan effort directed 
 towards the promotion of the higher material interests of their 
 fellow men. The aggregation in 1855, of industrial progress in 
 France since 1849, wisely extended to a free invitation to all other 
 countries to display in what relation they stand to each other in the 
 field of manufacturing and mechanical science, cannot fail to reflect 
 back upon the future products of the French people a large amount 
 of that knowledge which other nations have from time to time 
 gathered in its more exclusive displays; whilst the triumphs of the 
 
 larger field of comparison must be doubly dear to those whose suc¬ 
 cess meets with recognition in a competition so honourable to all con¬ 
 cerned. We shall not stop here to inquire, whether these individual 
 competitions and rewards are sound in principle, healthy in action, 
 or conducive to the true interests of Art and Science as applied to 
 industry, since, however, much experience may have led us to 
 conclusions by no means favourable to the practice, yet in France, at 
 least, custom may be pleaded for its observance, and there can be 
 little doubt that in the earlier progress of its periodical exposi¬ 
 tions the selection of a certain number of exhibitors as being 
 worthy of special recognition for extraordinary efforts, or the 
 display of great skill, had its uses. It is equally clear too, that 
 under more matured developments the abuses have been both 
 serious and numerous. To this point we shall recur in due course, 
 since the future success of these periodical displays must depend 
 very largely upon clear views of their ultimate action upon the 
 commerce and industry of nations, and their influence upon the 
 minds of those by whose skill, mechanical, artistic, and scientific, 
 the works exhibited are to be produced. 
 
 In the Exposition of 1849, France missed the opportunity of first 
 setting the example of an international comparison or competition 
 which could not have failed to have largely influenced the present 
 position of its numerous industries,—special and general. Proposed 
 by an enlightened policy, it was rejected by a short-sighted 
 exclusiveness, the error of which was afterwards but too obvious, 
 since from the Exhibition of All Nations of 1851 the most important 
 results are now acknowledged to have flowed. Thus to compensate 
 in some degree for the exclusiveness of 1849 in the matter of 
 industry, France is now thrown open to a world’s competition 
 in the dearly cherished question of Art in its highest manifestations, 
 and adds to the Palace of Industry a Palace of the Fine Arts, 
 open alike to all comers. The efforts of the painter and the 
 sculptor, as evidences of progress in the higher departments of 
 human pursuits, promotion of intellectual instruction and pleasure, 
 are on this occasion so much the more broadly associated with 
 the industrial utilities of life, and the chain of human efforts in the 
 direction of creative power, becomes so much the more completely 
 illustrated. 
 
 After the example set so worthily by England in 1851, it would 
 have been as contrary to the genius of the French people as it 
 would have been inimical to the best interests of France, to have 
 continued the exclusive system which had characterised former expo¬ 
 sitions. With so little to fear in the way of competition in all those 
 specialities to which the industrial energies of her mauufacturers 
 and citizens had been so long directed, it must have been evident 
 that by bringing examples of those products of human skill more 
 especially adapted to the immediate necessities of mankind ; but 
 which in many instances, if not absolutely neglected by the French, 
 have received so little attention that the manufacture still remains 
 in a very primitive condition ; and placing these in a prominent 
 manner before the people, immense service must result to the 
 commerce, if not to the manufactures of France. For it is 
 unreasonable to suppose that with so true a perception of the 
 fitness of things as usually characterises the French people, that 
 they could fail to see the value either of largely improving their 
 own methods of production in these every-day utilities, or at once 
 see that it would be for their interest that such economic arrange¬ 
 ments should be made in their future supply from those countries 
 best able to produce them, as should ensure their extended use for 
 the promotion of social comfort and industrial well-being of even 
 the humblest classes. Nor would the views of the statesman or the 
 political economist end here, since each would inevitably perceive 
 that the benefit would be a double one to France, inasmuch as in 
 all those things which her natural resources enable her to produce, 
 
 (and they are numerous enough to render the result a matter of 
 certainty,) she would command an extended and well-secured 
 market in other countries, instead of the limited and precarious 
 one which ever follows hostile or uureciprocative tariffs. Naturally 
 and industrially France has much to offer in the broad markets of 
 Europe, whilst commercially she has much to gain in opening her 
 own. In an artistic and scientific sense this has been long 
 acknowledged, and it required but the extended hand of a wiser 
 and truer policy, the first and most unequivocal symptom of which 
 is the Universal Exposition of 1855, to open, to an almost 
 incalculable extent, a field for her commerce, at once worthy of 
 her reputation, her position, and her influence among European 
 nations. 
 
 Since 1853, when the invitation to the industrial congress was 
 issued, England, the ancient rival of Fi’ance in arms, in manu¬ 
 factures, and more recently even in arts, has become a firm and 
 powerful ally. The old and well defined national pride of two 
 powerful states has been converted from an individual and 
 antagonistic, into a dual and reciprocal direction in arms, whilst 
 the glory of the one has become the pride and the boast of the 
 other. In the peaceful arts, however, hostile tariffs still separate 
 the two peoples. Restrictive and prohibitive duties, originally 
 
 I 
 
THE PARIS EXHIBITION 
 
 intended to cramp and cripple the industrial energies of each 
 other when they were sworn foes, still ride triumphant over the 
 common sense which has at last shown them that two peoples 
 so closely placed by nature, should be one in interests, in pursuits, 
 in position, and in power for good. Looking steadily then at this 
 state of things, is it too much to hope that one of the greatest and 
 most extensively useful results of the Universal Exhibition will 
 be the gradual relaxation of the absurd commercial restrictions 
 existing between France and England 1 Is it possible that the 
 governments and peoples of both countries can any longer conceal 
 from themselves that their greatest security for the continuation 
 of the relations at present existing between them,—the theme of 
 so much congratulation, the basis of so much hope for the future,— 
 will be found in the extension of that social compact which arises 
 most distinctly and is continued most surely out of that industrial 
 and commercial intercourse which has ever been the most certain 
 harbinger of peace between nations, inasmuch as by them every¬ 
 day interests become identical. Men do not care to be placed in 
 political and national antagonism to those with whom they 
 have been in the habit of meeting as friends upon change or in the 
 market. Two nations actively engaged in industrial and com¬ 
 mercial pursuits, exchanging products, making bargains, and 
 studying each other’s wants as customers, are not likely to be 
 easily terrified into a course which would involve the shooting of 
 each other. Both would consider the bargain a bad one, and 
 agree that the time occupied in an interchange of bullets and 
 cannon-balls, aud the expenditure of gunpowder, might be better 
 employed in the exchange of more agreeable commodities, and in 
 an investment resulting in a more profitable return than smoke, 
 wounds and bloodshed. That peoples knowing little of each other 
 and perhaps caring less, may go to war, is to be expected : but to 
 render misunderstandings as improbable as may be, unrestricted 
 intercourse, and an identity of interests will now be the aim of 
 wise governments. Enlightened peoples will at all times embrace 
 any opportunity which may be afforded them for the cultivation 
 of those higher amenities of social and intellectual life which bring 
 their refining influences to bear upon nations as upon individuals, 
 and thus render impossible those ruder acts which lead to an 
 antagonism, too often resulting in open contest and fierce 
 retaliation. 
 
 It will be then at once a pleasant and a profitable task to 
 examine as carefully as our time and space will permit, into the 
 relative position of the industrial products of the nations brought 
 together in the Universal Exposition of 1855, more especially in 
 those departments of human skill, in which Art and Science unite 
 with handicraft for the pi'oduction of articles of manufacture. In 
 this examination, the main object will be to indicate past progress 
 and present position as an earnest of the future ; to illustrate the 
 value of sound principles when intelligently and faithfully applied ; 
 and, though by no means so agreeable a duty, to point out in what 
 respect a systematic or ignorant defiance of those principles, in¬ 
 volves a violation of the laws of common sense as applied to the 
 arts, and result in rampant absurdities, and costly failures. 
 
 In this age of ratiocinative power, when people are not disposed 
 to take anything upon mere tradition or authority, he who attempts 
 to teach others must not content himself with mere dictation. The 
 vague ipse dixit of the merely theoretic artist or man of science is 
 too frequently only to be paralleled in absurdity by the “ can't be 
 done ” of the stereotyped manufacturer ; aud certainly the tradi¬ 
 tionary modes of the latter are quite as likely to be true, as the 
 oracular platitudes of the former, especially as they have one 
 advantage at least, which is, that they can be worked, however 
 clumsy and unsatisfactory the result may be. Hence your ultra- 
 practical man embeds himself and his opinions in the wise saw,— 
 “ an ounce of practice is worth a ton of theory ; ” and with this 
 verbal bludgeon he is prepared to meet all comers, and to drive off all 
 artistic and scientific trespassers, for such he considers them to be, 
 upon his industrial domain. 
 
 There can be no doubt that much of this antagonism arises 
 from an utter neglect on the part of those who seek, and very 
 earnestly too, to guide the manufacturer to more correct principles 
 of action alike in design as in modes of fabrication, of the peculiar 
 position in which he stands in relation to the markets it is his pro¬ 
 vince to supply. Nothing offends a man more than to tell him 
 that you understand his business better than he understands it 
 himself. Yet this is the course which is too often pursued. On 
 the contrary, if a principle is suggested, and its general truth 
 enforced by some very palpable illustration, the difficulty of its 
 immediate and absolute adoption in practice acknowledged, but 
 intelligent modifications of current methods suggested as arising 
 therefrom, we think it is not too much to affirm, that nine out of 
 ten manufacturers who now regard all propositions emanating from 
 an artistic or scientific source, much as a country bumpkin in 
 a metropolitan mob regards the ominous cry of “ Take care of your 
 pockets, ’ would be led to consider in what respect they could 
 improve the character of their productions, in a degree at least, 
 
 without endangering their position in the market, by, as they be¬ 
 lieve, shooting over the heads of their customers. “ It won’t sell,” 
 is a potent argument, if true, to which “ It may sell,” is but an in¬ 
 different reply. “ It will sell,” being a sheer impertinence on the 
 part of those who cannot possibly know much about the matter, 
 commercially at least, and, when once in the market, it is the com¬ 
 mercial question which has to be settled. Bearing in mind these 
 points in the question before us, it is to be hoped that, without 
 presuming too much upon the value of abstract artistic or scientific 
 principles as applied to manufacture on the one hand, or yielding 
 to mere conventional notions, hap-hazard traditions, or ignorant 
 prejudices on the other, the present great occasion may be so im¬ 
 proved by a quiet and earnest consideration of the materials 
 brought together in the Industrial Congress of the Universal 
 Exposition of 1855, as to enable us to deduce therefrom such in¬ 
 struction, encouragement, or warning, as may be useful to all 
 parties engaged in the various industries represented, more espe¬ 
 cially in those to which Art administers as an embellishment, but in 
 which it too often manifests itself as an excrescence. 
 
 In examining in detail the various departments of Art-manufac¬ 
 ture so abundantly illustrated in the Palais de l’Industrie and its 
 Annexes, it is not intended that the official classification shall be 
 followed, since to us it appears a series of elaborate contradictions ; 
 so far at least as any thoroughly useful purpose is concerned. In 
 one particular it certainly has its advantages, which consists in 
 its peculiar adaptability for catching any stray industry or portion 
 thereof, at some point or other of its grand circuit of human em¬ 
 ployments or natural products. The difficulty, however, is to 
 detect the precise point to which the missing industry or product 
 has gravitated, when its absence from its supposed proper j^osition 
 has been discovered. 
 
 On this question of classification there is quite as little on which 
 to congratulate the directors, professors, &c., of the Conservatoire 
 des Arts et Metiers, as there was on the early administration of 
 the arrangements of the building, and the admission of goods; 
 and it is scarcely possible to conceive a more decided illustration 
 of the possible presence of great scientific acquirements, with the 
 utter absence of everything like practical administrative ability 
 and tact. The classification adopted on paper has resulted in a 
 most glorious defiance of almost everything like classification in 
 the actual arrangements. Not content with a single intelligible 
 principle, its authors adopted two. In one, objects are classified 
 according to use, in the other according to the nature of the mate¬ 
 rial, or mode of manufacture. Thus paper is classed with printing 
 in its use, and with chemicals in its manufacture, where it forms a 
 section of a class, side by side with leather, soap, candles, oils, and 
 eau de Cologne. Money and medals, too, which people of ordinary 
 capacity usually consider works of Art, are classed with products 
 in metallurgy. Now, however scientifically true this mode may 
 be, the practical result is a considerable amount of confusion, and 
 a wide-spread separation of analogous industries, which, when 
 grouped according to a less refined but really more truthful system, 
 are calculated to convey a much larger amount of instruction 
 and more definite ideas of the relative position of each distinct 
 department. 
 
 Having passed through the ordeal resulting from this classifica¬ 
 tion sans arrangement, we shall present the results in such groups 
 as we conceive will be best calculated to convey to those interested 
 in special industries a distinct idea of the extent to which they are 
 represented in the Exposition, and, without any affectation of pre¬ 
 cision, seek to record the broader and more intelligible, and, it is 
 hoped, the more useful portions of each branch of Art-manufacture. 
 Nor will special efforts as illustrating the progress of civilisation 
 and refinement be neglected, although they may not come precisely 
 within the category thus laid down. For we hold that all things 
 which conduce to the development of human ingenuity and skill, 
 and which tend to lift man from the level of “ the beast which 
 perisheth,” is worthy of a record side by side with those greater 
 triumphs of Art and Science which have resulted in the progress 
 of mankind through the earlier phases of the rude industries, on 
 which, practically, all later refinements are based. The exceedingly 
 useful and valuable expositions of the products of the British 
 colonies in their relation to the established industries of Europe, 
 come more especially under this head, since it is not so much in 
 what respect their manufactured productions compete, or bear 
 comparison with those of the mother country, or the states of 
 Europe, as to how far their natural products, for the first time 
 fairly illustrated, are calculated to aid in the further development 
 of those manufactures to which the new material aids thus displayed 
 can be best applied. 
 
 It perhaps might be thought that an analysis of the Exposition 
 under the head of each nation would be a more satisfactory 
 method of comparing results than the consideration of the question 
 by the process of technical groupings. As a summary it is proposed 
 i to consider how far nationalities are adequately represented on 
 i this occasion, in order to a complete view of the whole ; but we 
 
 II 
 
OF INDUSTRIAL ART. 
 
 attach more importance to the full illustration of each department 
 of human industry in its most perfect form, than to how far each 
 contributor, in a national sense, has followed the routine of 
 classification, whether its products are such as to do it credit or 
 not. When a country, as we regret to say is the case with Great 
 Britain, has neglected to do justice to its position by omitting the 
 adequate exposition of industries in which it stands specially 
 pre-eminent, or, as in the case of the United States of America, 
 scarcely illustrated its manufacturing position at all, it becomes 
 necessary to point out the results of the omission, and as far as 
 possible to trace the cause of such neglect to its proper source. 
 Having thus defiued the purpose of this essay, and indicated its 
 method, the claims of each speciality may be discussed in succession, 
 its teachings and warnings, its triumphs and failures being made 
 subservient to our purpose whether as manufacturers, as artists, 
 as students, or as amateurs of the beautiful and the true, when 
 applied to the embellishment of articles of every-day use. Of those 
 more exceptional works which, without coming precisely within 
 the category of pictorial or sculptural art, are yet so thoroughly 
 imbued with its cesthetics as to render it almost impossible to draw 
 the line at which Industrial Art ends and Fine Art par excellence 
 begins, there will, of necessity, be much to say from time to time ; 
 we shall now, however, proceed to the consideration of an eminently 
 industrial group. 
 
 TEXTILE FABRICS. 
 
 The varied industries comprised under this head find their most 
 perfect exposition in the very remarkable and painstaking display 
 of the French manufacturers, and it is only after a careful 
 examination of the whole that the almost paramount importance 
 of the woven manufactures of France to its position as a commercial 
 nation becomes apparent. For whether we consider the unrivalled 
 and recherche collection of Lyons silks, the printed muslins of 
 Mulhouse, the machine laces and harness fabrics and linens of 
 St. Quentin, the hand-lace of Valenciennes, Cambrai, andAlengon, 
 the woollen fabrics and mixed goods of Sedan, Elbeuf, Louviers, 
 Roubaix, Turcoing, Lille, Abbeville, and Nancy, or the coarser 
 but useful calico prints of Rouen, it is at once evident that each 
 district has felt the importance of the international exposition in 
 which it was called to assist, and care has been taken that none of 
 those serious gaps which occurred in British industries in 1851, 
 should mar the ensemble of the national representation of French 
 textile products. The neglect of Manchester in organising a proper 
 display of the position of English cotton manufacture on that occasion 
 is only now even more disgracefully apparent, since the praiseworthy 
 effort to give a complete illustration of the industry of Lancashire in 
 the Universal Exposition of 1855, proves how thoroughly the duty 
 entailed upon Manchester in 1851 was neglected. For, except in the 
 department of printed fabrics, judgment was permitted to go by 
 default, and the productions of an important section of British 
 manufactures permitted to be represented by an exposition 
 scarcely equal to that of a second-rate draper’s shop. Austria, 
 Prussia, Switzerland, Spain, Portugal, and Tuscany, have each 
 contributed examples of their more special textile fabrics, whilst 
 those of Great Britain and Ireland are fairly represented, except 
 in the important departments of woollen cloths and linen damask. 
 In the former, the Yorkshire manufacturers have neglected to do 
 justice to themselves, and in the latter, the Irish portion of the 
 display is altogether unworthy of the spirit and energy of the men 
 of Belfast, since it conveys no adequate idea of the productions of 
 the north of Ireland. As a whole the textile industries of Europe 
 may be said to be well-represented, especially in the more ornate 
 departments, and we have purposely avoided naming the many 
 triumphs of skill contributed from the Imperial manufactory of 
 the Gobelins, in which, as usual, the tapestry loom has rivalled the 
 products of the paintei’’s easel. These works are so exceptional, 
 as to really place them out of the ordinary category of economic 
 or artistic industries to which it is more especially our purpose to 
 direct attention, and from which alone the manufacturer is most 
 likely to draw those practical hints calculated to assist in the 
 future improvement of his own speciality. Under the head of 
 each leading branch of textile manufactures, the most notable 
 features of the various contributions must now be indicated. 
 
 SILK. 
 
 The silk trade may be said to be indigenous to France, and its 
 progressive development having been for so long a period a 
 special object with each successive government, the position it now 
 holds, as illustrated so fully in the manufactures of Lyons, would 
 appear to be a matter of course. Yet no one can fail to see, even 
 in the most cursory examination of the varied contributions, 
 comprising as they do every kind of silk fabric, from the richest 
 and heaviest brocade, to the lightest and almost gossamer-like 
 texture a loom is capable of putting together, how much of 
 intelligent thought and entire devotion, alike artistic and mechani¬ 
 cal, has been bestowed upon the works exposed. To the initiated, 
 
 the character of some of these productions approaches the mar¬ 
 vellous in its results ; inasmuch as taking into consideration the 
 construction of the machinery employed, the arbitrary character 
 of the tints of colour introduced, the complication of working 
 arising out of the number of shuttles essential to the throwing in 
 of these tints, the incessant call upon almost every faculty of the 
 weaver as his work progresses, it is a difficult task to realise the 
 modus operandi, even in theory. Without defending or altogether 
 approving of the extreme imitation of the growth of flowers and 
 plants, which forms the leading feature in the designs of the best 
 works, especially in brocades, it is quite clear that for delicacy of 
 tint and clearness of tone on the one hand, and for extreme 
 richness, boldness of effect, and thorough artistic precision on the 
 other, nothing could surpass a very large portion of the higher 
 class of silks contributed from the looms of Lyons. As a lesson in 
 colour alone, the artist as well as the manufacturer cannot fail to 
 feel their force and beauty; and if the method by which the 
 harmonious contrasts so successfully produced is carefully ana¬ 
 lysed, it will be found to resolve itself into the consideration, 
 and conscientious and intelligent application, of certain simple but 
 fixed principles carefully ascertained and noted, the results alone 
 from time to time being the test of their truth. The Lyonese manu¬ 
 facturer is always more or less of an artist. In fact the most suc¬ 
 cessful have been at the commencement of their career designers 
 for the houses in which they have afterwards become partners: their 
 employers finding this to be the only means of securing their exclusive 
 devotion to the interest of one firm. Thoroughly acquainted with 
 the nature of the material which constitutes the vehicle of their 
 artistic skill, it is surprising how readily the very qualities which 
 might otherwise render it difficult to deal with, and in less intelli¬ 
 gent hands do so render it, is made subservient to the most remark¬ 
 able and pleasing results. Thus silk is a shining body which readily 
 reflects light, and is influenced in a more than ordinary degree by the 
 colours of objects immediately near it. Taking this simple fact, it 
 must be evident, that the tints or colours brought together in one 
 piece of goods must largely influence each other; not merely 
 in what may be called dead contrasts, or complements, but in the 
 absolute reflection of masses of colour, and of even single threads 
 of colour, in each other. Thus a blue thread laid down by the 
 side of a yellow one would inevitably produce the result, by 
 reflection, of making a green, when they came in contact with 
 each other. This would be equally the case in masses of blue 
 and yellow, when displayed in folds of drapery. Now the evident 
 recognition of this simple fact, and the intelligent modes of action 
 taken thereon, enables the Lyonese designer, weaver, and manu¬ 
 facturer, to harmonise tones, and produce results of a character 
 which bewilders the timid experimentalist whose philosophy of 
 colour begins and ends with question of contrast or harmony, 
 since the former take surface into consideration as well as colour, 
 and treat the brilliant reflections of silk so as to make it a means 
 to a given end,—that of obtaining the greatest possible effect with 
 the most limited and economic means. We are thoroughly con¬ 
 vinced that it is by this perfect mastery over the physical charac¬ 
 teristics of the material, and its incessant and almost exclusive 
 study in every phase, that the French silk manufacturers so 
 thoroughly surpass those of every other country, as a whole, in the 
 results they achieve, and it is for this reason that the unconscious 
 homage of attempting mechanically to follow the effects produced, 
 is paid to them by our own manufacturers, without the latter appear¬ 
 ing to have any suspicion that there must be some definite cause 
 for the almost invariable success which attends the efforts of French 
 designers and weavers in silk. But if suspected, it is often “ pooh- 
 poohed ” or denied. Let any one prepared fairly to investigate 
 this matter, examine the best examples of the more highly-coloured 
 brocades in the Lyons department of the Universal Exposition, 
 and ask himself how it is that tints which in other materials would 
 look crude and unsatisfactory when put together, are made in this 
 bright and almost iridescent material to produce the most harmo¬ 
 nious results ; and go thence to the English silk department, aud 
 there look at the combination of tints which in a less brilliant 
 material would be perfectly satisfactory, but in silk look tame and 
 flat, and we feel perfectly satisfied that he will ask “ the reason 
 why ?” A thoroughly intelligent examination of the magnificent 
 specimens of various kinds of silk goods exhibited in the Lyons 
 department by Grand, fibres (7025, Empire Frangais *), Mathevon 
 & Bouvard (7056, Empire Frangais), Godemar, Meyneer, & Cie. 
 (7021, Empire Frangais), Tholozan & Cie. (7132, Empire Frangais,) 
 Croizat & Cie. (6975, Empire Frangais), Vanel (7138, Empire Fran¬ 
 gais,) Bouvard & Langon (6944, Empire Frangais), Furnion, pere 
 et fils alne (7007, Empire Frangais)—the last-named being a pecu¬ 
 liar display,—will fully answer the question. It may happen, how¬ 
 ever, that a foregone conclusion has been arrived at, and that, 
 instead of examining “ why ” the French succeed so well in this 
 
 * The number is given in this form to facilitate reference to the official catalogue 
 of the Imperial commission. 
 
 Ill 
 
THE PARIS 
 
 matter, the opinion will be enunciated that “ these people have a 
 natural faculty or trick in doing this kind of thing,” and therefore 
 that it is hopeless to compete with them in so subtle a matter. It 
 would in this case be our turn to “ pooh-pooh,” and affirm that the 
 whole trick lies in an intelligible mode of applying well-defined 
 and well-understood laws of harmony and contrast as specially 
 applied to the characteristics of the material used, and not to any 
 peculiar endowment in the application of the “ rule of thumb.” 
 We repeat, the French artist-manufacturer, for such he is, has not 
 treated the lustrous silk as he would have treated woollen, 
 worsted, or cotton, or a combination of these materials, but has 
 really taken into account the physical characteristics of his mate¬ 
 rial, and acted accordingly. Let any one of the more brilliant 
 examples of colour above quoted be produced in any other mate¬ 
 rial than silk, the tints being dyed with the greatest nicety, and it 
 would be at once seen that a great portion of the harmony was 
 lost. As regards brilliancy, of course that amount which depended 
 upon the material could not be expected to be retained ; but then 
 it should ever be remembered that this characteristic is obtainable 
 in the dead tones of wool and cotton when the colours are properly 
 arranged in accordance with the nature of the material. 
 
 The silk trade of England is, on the whole, very fairly represented, 
 and does credit to the national spirit of the manufacturers, who 
 could have so easily retreated behind the cui bono argument, or 
 rather plea, with which those who ought to have represented other 
 industries have contented themselves, since it was not to be ex¬ 
 pected that more than a respectable appearance would be made, 
 when compared with the overpowering character of the Lyonese 
 contributions. Spitalfields, Manchester, and Macclesfield are all 
 represented. The most successful exhibits are Spitalfields velvets 
 and Manchester dress silks, the latter being generally in excellent 
 taste. We doubt if some of the London houses are quite up to 
 their usual standard. The Macclesfield productions retain their old 
 reputation of being more gay than tasteful in the colouring, and 
 as for any amount of drawing brought to bear upon this industry, 
 it is of the usual pattern-making type, very rigid, and maiwellously 
 illustrative of the great fact, that every curve has an angle for 
 its base. 
 
 RIBBONS. 
 
 In these articles the St. Etienne productions astonished us not a 
 little. The outrageous character of the generality of the designs, 
 and the utter vulgarity of the gaudy, blotchy colouring, gay as it 
 is considered a ribbon ought to be. The best lesson our manu¬ 
 facturers can derive from them, is to avoid them as a species of 
 artistic pestilence. Swiss chfllets, with frightful essays at trees 
 and skies, libellous attempts at peasants and opera-dancers, to say 
 nothing of odd-looking Napoleons, Eug6nies, and Victorias, make 
 up a series of productions which prove to no inconsiderable extent 
 that the ribbon trade of France is an export one, and that those 
 who carry it on study the strange whims of their foreign customers, 
 and suit the ugliness of the decoration to the supposed savage 
 tastes in dress of all persons who have not the happiness to be 
 born on French soil. This is only another phase of the practice 
 by which designs for printed goods are supplied in the Parisian 
 ateliers to English manufacturers. To suit the Manchester market 
 a fixed standard of clumsiness is set up, to which the designer 
 works. He thus gets rid of useless refinement, which he knows 
 his customer the manufacturer will not care to pay for, even if he 
 appreciates it; but for the Scotch market it is usual to draw out 
 the full power of the ugly stop, alike in form and colour, as 
 experience has shown that the rejected of every other locality 
 does not possess a sufficient amount of blotch and glare to satisfy 
 the demands of the printer, or rather, in strict justice we ought to 
 say, of his customer. These St. Etienne ribbons then can only be 
 tolerated upon the principle of being suited to special markets, 
 since upon no other can their strange colouring and ornamenta¬ 
 tion (?) be accounted for. 
 
 Other continental countries exhibit ribbons, but these do not 
 require notice. This speciality has two representatives only in 
 the English department, one of whom, Mr. James Hai-t of Coventry, 
 illustrates in an admirable manner his manufacture of the cheaper 
 kind of ribbons. Messrs. Cornell, Lyell, & Webster, of London, 
 show a few admirable examples of the higher class, and certainly 
 both collections, in point of taste, are far in advance of the St. 
 Etienne gaieties. 
 
 A ribbon is a trimming not a garment. It may be used as a 
 bordering, a braiding, or in rosettes. In each ease its decoration 
 and its colour should be such as will produce a perfect result in 
 the make up : for this purpose spots, or lines of colour, geometric 
 ornament, or flowers symmetrically grouped, constitute the true 
 materials for its embellishment. How absurd then are the subjects 
 above noted, as constituting the stock motifs of the St. Etienne 
 productions ? 
 
 The Coventry manufacturers, as a body appear to have shrunk 
 from a comparison with the French and Swiss. But we doubt the 
 
 EXHIBITION 
 
 policy of such a course, even in reference to the English markets : 
 for it is to be presumed that buyers from England and the United 
 States of America will visit the Exposition and make their own 
 comparisons as regards excellence and price, as a basis for future 
 operations in trade. 
 
 Before quitting the speciality of silk, it is only just that we should 
 balance our strictures upon the absurd introduction of the human 
 figure, in any form, upon ribbons, by calling attention to the 
 magnificent example of portrait weaving exhibited by one of the 
 Lyonese houses, quoted as examples of great superiority, — 
 Mathevon & Bouvard (7056). This portrait, the head of Washington 
 after Stuart, nearly life-size, is the most perfect specimen of this 
 species of Art-manufacture yet produced : for notwithstanding the 
 numerous admirable examples which have from time to time issued 
 from the houses of Lyons, the example now quoted is decidedly the 
 most artistic. The half tones, always more or less crude in other 
 specimens, are here given in great perfection. This is effected by 
 the great care and skill with which the “ tie ” is varied, and the 
 fineness of the “ count.” The drawing is very accurate, and the 
 treatment of the whole is broad and effective. Its technical 
 excellence therefore renders it worthy of the careful examination 
 of our manufacturers and artists, not so much for the purposes of 
 imitation, as an evidence of how much can be effected by the 
 Jacquard machine when in intelligent and skilful hands. Furnion, 
 pere et fils ainl, (7007), whose peculiar display has been already 
 named, also exhibit medallion portraits of the two Emperors 
 Napoleon executed in velvet, with ornamental borders of fine 
 execution. These are suggestive of a mode of treatment which 
 might be adapted to certain kinds of furniture textiles, where 
 expense was not a primary consideration. They are quoted, 
 however, as in the case of the portrait of Washington, rather as 
 proofs of the adaptability of the mechanical means employed in 
 the production of artistic results, than as being commercially 
 important. 
 
 It may be desirable here to notice such improvements in the 
 construction, or, rather, adaptation of the Jacquard machine as 
 the Exposition brings before the public. Our mechanics and 
 manufacturers must decide for themselves how far these are cal¬ 
 culated to meet their requirements. They are to be found with 
 the French machinery in the Annexe, and are exhibited by 
 P. Delporte, of Boubaix (1582, Empire Framjais); Roux & Voinier, 
 aine, of Paris (1601, Empire Fran§ais), who also exhibit a machine 
 for pricking the paper used by embroiderers for transferring the 
 pattern ; R. Rouze, of Lyons (1602, Empire Fran§ais), and two or 
 three others to whom reference cannot be made by the number, 
 as, like many important exhibits, the loose mode of action adopted 
 by the administrators of the Exposition has left them unnamed in 
 the catalogue. J. B. Acklin, of Paris (1575, Empire Frau 9 ais), and 
 V illard & Gigodot, of Lyons (1608, Empire Francais), exhibit arrange¬ 
 ments for substituting an endless band of perforated paper for the 
 usual chain of cards used in the Jacquard machine. This has been 
 attempted before, but has resulted in the rapid obliteration of the 
 perforations, and consequently in the making of very defective 
 work, and the final stoppage of the machine. How far these con¬ 
 trivances may overcome this difficulty experience alone can show ; 
 but such attempts are always worthy of consideration : for, how¬ 
 ever impossible a proposed result may appear to the mind of 
 one man, yet in that of another, aided by able hands and earnest 
 devotioB, the “can’t be done” of yesterday is often the fact of to¬ 
 day. 
 
 To persons interested in the development of inventions as applied 
 to artistic weaving in modern times, from the loom of Vaucanson 
 to the new scheme of Bonelli, of Turin, for weaving by electricity, 
 a series of nine models exhibited by J. Marin, of Lyons (1594, 
 Empire Fran§ais), will be an attraction, and, as a matter of instruc¬ 
 tion, exceedingly valuable. They commence with the draw-loom 
 of 1606, and show the leading features of subsequent inventions 
 for the execution of those fabrics of which the Lyonese display in 
 the Universal Exposition is certainly a crowning triumph. We 
 trust that these models will find their way to England, and that 
 an opportunity for thus illustrating so important a department of 
 mechanical science will not be lost sight of by those to whom have 
 been confided the interests of our future progress in Science and 
 Art as applied to industry. 
 
 In the Austrian division of the machinery department of the 
 Annexe, are exhibited Jacquard machines constructed entirely of 
 wood for the sake of economy (?) and lightness. They are manu¬ 
 factured by Guillebaud Schramm, of Vienna (388, Empire d’Afl- 
 triche). The Great Exhibition of 1851 showed to what perfection 
 the Austrians could work hard woods for industrial purposes, such 
 as tools, &c., and these machines may possibly prove suggestive in 
 the direction above named; but certainly for all the wear and tear 
 to which such machines are subjected, steel and brass, though 
 most costly at the outset, would certainly prove both lighter and 
 more economical than any wood construction, however excellent it 
 might be. 
 
 IV 
 
OF INDUSTRIAL ART. 
 
 LACE AND EMBROIDERY. 
 
 France, Belgium, and Switzerland, are each thoroughly repre¬ 
 sented in the speciality of lace, and the reputation of all three for 
 artistic excellence is worthily sustained. The characteristics of 
 English and Irish laces too are fairly and successfully illustrated, 
 and the manufacturers of Nottingham have certainly entered the 
 field boldly and challenged all competitors in machine lace, especially 
 ou the important point of price. Artistically these Nottingham 
 productions show an immense advance upon those displayed in 
 the Great Exhibition of 1851. The designs generally are more 
 purely textile, and bear evidence of an increasing intelligence in 
 design, as also of an advanced perception of the fitness and adapta¬ 
 bility of a certain class of natural forms, when wrought out upon a 
 distinct geometric basis. It is, therefore, with no little satisfaction 
 that we hail this recognition of the value of a recurrence to first 
 principles, the results now produced being an earnest of future 
 progress in the same direction. It is quite clear that English 
 designers possessing a technical knowledge of the industries upon 
 which their Art-knowledge is to be exercised, and resolved to 
 think for themselves, need not look to the practice of their conti¬ 
 nental competitors for modes of treatment; inasmuch as by starting 
 from their own wants, or rather those of the consumer, they may, 
 by earnestly woi’king out the well-understood conditions of the 
 special manufacture upon which they are engaged, produce 
 originality without rushing into the whims and vagaries to which 
 the mere copyist is ever in danger of being led by the idiosyncracies 
 of others whose wants may be totally different to those which 
 it is his function to supply. Seeing then this healthy tendency 
 in the lace designs of Nottingham, we are at a loss to understand 
 what could have induced the perpetration of such an absurdity as 
 the lace table-cover, on which the “Descent from the Cross” has 
 been so hideously libelled, or the outrageous attempt at an 
 illustration of the Anglo-French Alliance, in a series of wooden- 
 looking figures. When will the people who waste their time, 
 throw away their money, and misuse good machinery only to 
 render themselves ridiculous, learn that the human figure is not a 
 proper subject for imitation in a material like lace. Here we 
 have a fabric, the chief characteristic of which is its lightness 
 and semi-transparency, the use of which is chiefly to cover more 
 solid fabrics, and the ornamentation of which can only be seen to 
 advantage when placed between the eye of the spectator and some 
 other object, or as in the case of lace curtains, between the eye 
 and the light. Yet in spite of these facts, manufacturers pei'sist 
 in the introduction of forms totally contradictory to the very 
 nature of the material and the use of the fabric. The Swiss 
 have been and still are open to the same charge of neglecting 
 the common sense principles which ought to guide the lace manu¬ 
 facturer in the selection of the forms with which to decorate 
 his productions. In the Great Exhibition of 1851, the Chalet 
 backed by mountains, with foreground and mid-distances of 
 firs and rocks, was a favourite subject, and probably was then 
 thought most suited to the English taste : the Swiss having a 
 keen eye to the markets of Britain. In the present Exhibition 
 this Chalet type is comparatively abandoned, probably because 
 unsuited to French taste ; but it peeps out here and there; for 
 one of the best contributors of Swiss lace curtains exhibits the 
 interior of a hot-house of Crystal Palace-like design and 
 dimensions, plants, fountains, and perspective included ; as also 
 a hunting scene, horses, dogs, trees, and all the et-ceteras of the 
 chase ! We have decried and shall continue to decry all such 
 absurdities, however well executed; indeed the better they are 
 executed, the more offensive they become. Our own manu¬ 
 facturers will, we are sure, now that they have fairly commenced 
 to work from a sound basis, repudiate these puerilities, and 
 above all things, we trust that no Englishman or English woman, 
 having the least pretension to a taste for Art, will buy such 
 nonsense. The Glasgow harness curtains show a healthy re-action 
 on this point, and the designs of those exhibited are far more 
 legitimately textile than usual. In short, the Glasgow display in 
 this specialite is highly satisfactory, and may probably call the 
 attention of French designers to the fact that ugliness and clumsi¬ 
 ness do not always constitute the merits of a design as suited to 
 the Scotch market. 
 
 The machine laces of i St. Quentin, especially in curtains, 
 certainly rival,those of Nottingham in excellence; but as no 
 prices are given, it is impossible to say how far the two may compete 
 in the same materials, and of the commercial results likely to 
 follow from their being thus, as it were, brought “ face to face.” 
 It is quite clear, however, that the curtains exhibited by Messrs. 
 Heymann and Alexander of Nottingham are remarkable for their 
 excellence and lowness of price. Unlike the French examples, 
 which are placed in glass cases out of reach, and consequently not 
 open to minute examination, these articles are displayed in a very 
 simple, effective, and, to our mind, tasteful, because practical, 
 manner: being suspended from the girders, and looped to the 
 
 columns which support the roof of the avenue running in front 
 of the gallery of the English department in the Palais de l’lndustrie. 
 They are thus seen in much the same position as when in actual 
 use, whilst they challenge attention and close examination. The 
 price is affixed to each pair of curtains, and its lowness—fifteen 
 francs per pair being that of the majority—must greatly astonish 
 our continental friends. No possible exception can be takeu, 
 either to the character of the manufacture, or the general ex¬ 
 cellence and simplicity of design in these articles, and their display 
 is an act of justice to an important industry, and a commercial 
 triumph for Nottingham. The Velvet and Simla lace, for the 
 production of which the patentees, Messrs. Ball, Dunnicliffe & Co., 
 of Nottingham, received the only Council medal awarded for lace 
 in 1851, is illustrated in all its varied uses as applied to the orna¬ 
 mentation of dresses, shawls, &c. ; and, though no longer a novelty 
 in England, tends to sustain the reputation of the manufacturers. 
 
 In machine-made lace and bobbin-net the manufacturers of 
 Calais, Cambray, Lille, and Lyons, together with St. Quentin, as 
 already mentioned, show that whilst they still continue to 
 worthily follow the mechanical methods of Nottingham, they do 
 not fail to infuse originality and thought into their designs, and 
 that in machine lace there is a tendency to approach more and 
 more to the excellence which characterises the hand-made fabric : 
 whilst not unfrequently novelties are attempted which, though not 
 always satisfactory in their results as regards purity of taste, yet 
 are evidences of a strong vitality seeking to be freed from the 
 absolute trammels of old conventional types. 
 
 In embroideries and tambour-work on cambric and muslin, the 
 French productions are worthy of special study by our Scotch and 
 Irish manufacturers. In Fabriques de Tarare, the curtains, &c., 
 exhibited by Fonteret, pere et fils (5759, Empire Frau^ais), and 
 Piauns, neveu (5928, Empire Fran§ais), both of Tarare, the beauty 
 of the designs are only equalled by the excellence and perfection 
 with which they are rendered in tambour-work. 
 
 This brings us to the consideration of the hand-made laces of 
 the Exposition, upon which enough could be said in detail to 
 occupy a large portion of the space at our disposal. The results, 
 however, can after all be only realised in a thorough examination 
 by the manufacturer and merchant interested in this special 
 industry. The blonde laces of Caen and Bayeux, displayed in 
 berthes, scarfs, shawls, aud robes, do honour to the skill of the 
 women of the department of Calvados, and the artistic taste of its 
 manufacturers. The white thread laces of Lille, the recherche 
 productions of Chantilly, the comparatively cheap hand-made 
 laces of Arras, and the costly point d’Alenin, are all suggestive 
 to the intelligent observer, and, it must be confessed, convey 
 lessons in what to avoid, as well as hints what to imitate, and 
 possibly even improve upon. 
 
 Amongst the most noteworthy of the individual exhibits of 
 French lace, as also most likely to repay a careful examination, 
 we may instance the mantles, collars, and flounces of M. Balme of 
 Puy (Haute Loire), (7745, Empire Fran 9 ais) ; Seguin, of Paris 
 (7782, Empire Frangais), one specimen, a coavre-pied, being of 
 extraordinary beauty of design and execution ; the specimens of 
 Loiseau of Paris (7769, Empire Fran 9 ais), Delambre & Co., of 
 Paris (7752, Empire Frangais), Geffrier, Walmez, and Delisle, 
 freres, of Paris (7759, Empire Frangais), and Pagny, atni, of Paris 
 (7774, Empire Frangais). All are more or less remarkable for 
 superiority of design, execution, and for an intelligent adaptation 
 of means to a given end. 
 
 As a whole the most complete illustration of the perfection to 
 which the lace manufacture of France has attained, is to be found 
 in the display of M. Lefebure, to whom the place d’honneur in this 
 specialite has been given in the Palais de lTudustrie. The exam¬ 
 ples of point d’Aleu 9 on in robes, handkerchiefs, &c., as also of the 
 black laces of Bayeux are most exquisite in design and execution. 
 One shawl is certainly the most perfect thing of the kiud in the 
 Exposition. It is so thoroughly and essentially lace as to leave 
 nothing further to be desired. The distribution of the forms are 
 so equal; the variation in the lines aud arrangement so artistic as 
 to strike any one who pays the least attention to the requirements 
 of this particular manufacture. Here we see none of those blotchy 
 quantities sprawling over indefinite surfaces, and threatening to 
 grow too large even for the liberty of space thus allowed them, 
 whilst their ponderous forms, if considered as an element of weight, 
 would sink any extent of the coarsest manufacture ever con¬ 
 structed of warp and woof. On the contrary, every point has 
 been well studied, carefully adapted and laid down to the precise 
 requirements of the article decorated ; and whilst the ensemble is 
 perfect, the details, as a matter of course, have been carefully 
 subordinated thereto. 
 
 Probably the perfection of a certain class of lace was never more 
 fully illustrated than in the comparatively small display of Spain. 
 There are some three or four exhibitors of blonde veils, and 
 “ Valenciennes ” lace mantillas of great beauty and purity of design, 
 who have so carefully selected their specimens and displayed them 
 
THE PARIS 
 
 EXHIBITION 
 
 in so simple and unostentatious a manner as to convey a pleasing 
 impression of completeness in each individual article exhibited, as 
 well as suggest the idea that having fairly settled the principle 
 upon which Spanish lace ought to be produced, no temptation could 
 induce them to speculate in mere novelties, which might result in 
 incongruity or something less beautiful and complete than that 
 which they had fairly arrived at, and which tlu.v had the good 
 sense, otherwise taste, to be satisfied with ; —an example which their 
 competitors of other countries would do well to follow, whenever 
 ! their customers happen to have arrived at that point of intelli¬ 
 gence in matters of decoration, that they really know what they 
 want ! 
 
 As might be expected, the Belgians, who are thoroughly alive to 
 the value of periodical expositions of industry, have taken care that 
 so important an industry as that of lace should be well represented ; 
 therefore the reputation of the manufacturers of Brussels, Ypres, 
 Malines, Antwerp, Bruges, Courtrai, Menin, Ghent, and Alost, does 
 not suffer in the comparison they challenge in the Universal 
 Exposition. Dukayon, Brunfaut, & Cie., of Brussels and Ypres 
 (575 Royaume de Belgique), and Vanderkelen—Bresson, of Brus¬ 
 sels (594, Royaume de Belgique), both of whom so worthily 
 represented the lace industry of Belgium in 1851, again sustain, in 
 company with others, perhaps equally worthy, the ancient reputa¬ 
 tion of Flanders for perfection of manufacture in this speciality. 
 Brussels plait, and point lace, Valenciennes, both broad and nar¬ 
 row laces, are illustrated in all their varied applications and uses. 
 On the whole, however, we do not recognise any special progress 
 since 1851. Perhaps, however, considering the perfection to which 
 this manufacture has been brought, the result of the experience 
 and attention of many generations of manufacturers and workers, 
 any visible movement in so short a period was not to be expected. 
 Certainly there is no falling off, and this is saying much ; since it 
 too frequently occurs that a certain standard of perfection having 
 been attained to, the past reputation is relied upon for sustaining 
 a manufacture or a firm under the deteriorations which frequently 
 arise from the apathy of success, the whims and caprices of over¬ 
 weening conceit, or a self-satisfied application of the principle of 
 laissez faire. 
 
 The Swiss productions in curtains have been already alluded to, 
 so far as regards those exceptions in the matter of design to 
 which it seemed desirable to direct attention as a warning, in con¬ 
 nection with kindred mistakes in our own manufacturers. Taken 
 as a whole, Switzerland is well represented, not only as regards the 
 extent, but in the excellence of those productions upon which so 
 much of the comfort and happiness of so many of its female popu¬ 
 lation depends. The character of the designs generally are cer¬ 
 tainly improved since 1851, for, as before stated, those, to the 
 character of which we have taken as exceptions, not being suited to 
 the taste of the French, have been kept back. Of the appropriate¬ 
 ness of much of the design here wrought out, little can be said in 
 objection, and when the extraordinary beauty of the handicraft 
 part is considered, there is certainly much to interest and instruct. 
 
 The most striking novelty in the lace manufacture, is exhibited 
 in the Swiss department, by Staheli Wild, of St. Gall (265 Con- 
 f6d6ration Suisse) ; this consists of two specimens of point-lace 
 (relief) produced by a newly-invented method, of which, however, 
 no particulars are given. The results are certainly very beautiful. 
 Ihe clear, distinct, and thoroughly firm character of the work, as 
 seen under the glass which protects it, is the perfection of lace 
 manufacture ; and no doubt when the peculiar method by which it 
 is produced has been carefully investigated by the jury charged to 
 attend to this industry, this perfection will be duly appreciated, 
 whatever may be thought of the process. The specimens are 
 small, being ladies’ collars, and it is quite possible that the mode of 
 production will confine the manufacture to this class of articles. As 
 no price is given, the economical value of the invention cannot be 
 judged of; the result, however, is worthy of the attention of our 
 manufacturers for its beauty and perfection. 
 
 British hand-made laces are well represented, as far as regards 
 excellence, the exhibits being more select than numei’ous. In this 
 lespect sound judgment has been displayed. Honiton lace appears 
 to be best illustrated by the contributions of Messrs. Copistake, 
 Moore, & Crampton; but others, Mr. Treadwin, Mr. Blackborne, 
 and Mrs. Clarke for instance, sustain the high reputation of this 
 beautiful fabric. 
 
 Irish lace3 are shown to great advantage by Messrs. Forrest, of 
 Dublin, as also by H. D. Goblet, of London, and it is satisfactory 
 to note a steady improvement in the character of the designs, espe¬ 
 cially in the guipure. The Great Exhibition of 1851 was of im¬ 
 mense advantage to this department of Irish industry. Limerick 
 aces, previously known rather by name than in fact, were there 
 brought before the public in so unmistakable a form as to at once 
 prove their value and excellence, and the result has been a most 
 satisfactory extension of the lace trade of Ireland. It cannot be 
 doubted that the present Exhibition will further assist in a direc¬ 
 tion so essential to the future interests and prosperity of a branch 
 
 industry, the social influence of which now is beginning to be felt in 
 so many directions in that unfortunate country. It is for this reason 
 that we regret the very meagre and unsatisfactory display of the 
 sewed muslins of the north of Ireland. Belfast has not displayed 
 its usual energy and good sense in allowing so important a 
 branch of its trade to stand before Europe in so puny and unin¬ 
 teresting a form as we find it here represented, or rather we should 
 say mfs-represented. 
 
 In gold, silver, and coloured embroideries, the extent of the 
 French exposition is overwhelming. This may be accounted for 
 by the fact that this industry is largely carried on in Paris, and 
 each house employing the skill of the Parisian brodeur, rushes to 
 the Palais de l’lndustrie with the results of its enterprise. As might 
 be expected in a people where the love of decoration has become 
 a passion, the concentration of silk, gold, and silver thread, beads, 
 pearl, and paste diamonds, is often overwhelming : sometimes abso¬ 
 lutely tasteless and absurd. If it were worth while, and space 
 permitted, a few grave lessons might be given on the folly and 
 waste displayed in some of these productions. Others again show 
 an exquisite perception of colour and appropriateness in the com¬ 
 bination of materials, which tend further to illustrate the prin¬ 
 ciples sought to be laid down in our remarks upon the exquisite 
 harmony of the Lyonese silks. 
 
 Ecclesiastical embroideries are, as a matter of course, the most 
 abundant, from the extent to which costly robes are used in the 
 services of the Church of Rome. In this department Belgium 
 takes the lead, as it did in 1851 ; and the embroidered robes exhi¬ 
 bited by Van Halle, of Brussels (554, Royaume de Belgique), placed 
 in a prominent position in the central portion of the Palais, are 
 an evidence of the extent to which artistic combinations of the 
 loom and needle can be carried. These robes are displayed in 
 great profusion, the tour de force of the whole being a figure of Our 
 Lord, habited in a manner utterly contradictory to what we 
 should conceive to be even Roman Catholic notions of Him “ who 
 had not where to lay His head.” To a Protestant there is something 1 
 offensive in habiting the Saviour, who repudiated earthly power, 
 pomp, and wealth, in the robes of worldly ecclesiastical authority,— 
 the vestments of any mundane church. This painful and tasteless 
 anachronism detracts materially from the merits of M. Van Halle’s 
 exhibit ; and however much we may desire to recognise the skill, 
 ability, and evident devotion to his speciality manifested by the 
 exhibitor, we cannot but think that pride in his church has 
 caused him seriously to overlook the true character of its 
 Master, and would urge this fact as a lesson to our own manufac¬ 
 turers engaged in the production of ecclesiastical ornaments ; 
 since an unwise zeal may otherwise render objectionable and even 
 ridiculous, that which would otherwise be looked upon with 
 respect, if not with sympathy. 
 
 SHAWLS AND MIXED FABRICS. 
 
 The usual excellence in their usual styles are to be found in the 
 French shawl department. Nothing absolutely new in design, or 
 particularly worthy of notice, as conveying positive instruction, 
 presented itself to us. Negatively our shawl manufacturers and 
 designers may learn much, since they cannot fail but see much to 
 avoid. Here are Chinese temples to decorate the back of a lady ! 
 
 —the Emperor and Empress on a balcony, under palm-trees of 
 portentous size and marvellous proportions ! One extraordinary 
 production, a perfect marvel in weaving, ought to be examined by 
 every person engaged in a kindred manufacture. It has been for 
 years a favourite theory with us, that anything in the way of pic¬ 
 torial effect may be imitated in the loom, provided the cost of 
 production is no object. Here, then, is a step towards the proof 
 of this theory. Damiron & Cie., of Lyons, (6977, Empire Frangais,) 
 exhibit a shawl, the ornamentation of which consists of a 
 series of pictures interspersed with arrangements of flowers ; 
 the ensemble produced being richly harmonious in colour, of which 
 these pictures and flowers are simply the vehicle, since to satisfy 
 the mind the details to produce which so much skill has been 
 expended must be forgotten. Cui bono ? It is simply illustrative 
 of means and talent thrown away, and its use is a warning to 
 others “ not to do likewise.” 
 
 The shawls of other countries do not require special notice 
 here. They are generally sufficiently Indian in their type to 
 meet the conventional notions in that particular article of a lady’s 
 dress ; but which we may expect to see changed when the stove¬ 
 pipe hat has had its day with the gentlemen, and follows the 
 happy course now being pursued in ladies’ bonnets, and thus 
 gradually vanishing into caps. 
 
 In the mixed fabrics in ordinary demand, such as ladies’ robes and 
 certain classes of furniture goods, the French have certainly bene¬ 
 fited largely by their experience gained in the Great Exhibition of 
 1851, in the important matter of “ finish : ” since, it is agreed on 
 all hands, by those best able to judge, that the mixed fabrics and 
 worsted stuffs are very much superior to anything exhibited by 
 them on that occasion. Few things impressed the manufacturers 
 
 VI 
 
OF INDUSTRIAL ART. 
 
 of France, engaged in this department of industry, more than the 
 admirable character of the dye and finish of the cheaper kinds of 
 Bradford goods in 1851, and nearly all their inquiries were directed 
 towards this new point as being of essential importance to their 
 own trade, inasmuch as appearance, in garment fabrics especially, 
 forms an item of immense consequence in a commercial point of 
 view. The result of this attention is evident in the present 
 Exposition, and it is generally admitted that the lesson so well 
 studied in London four years ago, has not been without its uses. 
 Let our own manufacturers take the hint, and as intelligently 
 direct their attention to special points of excellence, when dis¬ 
 played in the productions of other nations, and not be content 
 with an unwilling acknowledgment of superiority, and some hope¬ 
 lessly je ne sais quoi-Yike conclusion, but be determined to “ know 
 the reason why.” 
 
 The Irish Poplins of Messrs. Atkinson, Messrs. Pirn Brothers, 
 and Messrs. Fry and Go., of Dublin, constitute, on the whole, a fair 
 representation of this peculiar manufacture, and certainly we saw 
 nothing of a similar character which could be said to approach them 
 in excellence and general appearance. It is a matter of con¬ 
 gratulation that in spite of the many novelties, as regards adapta¬ 
 tion of material, which every year, almost every season, may be said 
 to bring forth, that the genuine character of the Dublin poplius 
 and the good taste which usually characterises the best examples 
 enable them still to maintain their position in public estimation ; 
 and though fashion does from time to time allow of a certain 
 degree of eclipse, yet it invariably happens that in due course the 
 ladies return to the old love, which, like all really good and 
 beautiful things, is always new. Fashion exercises an immense 
 power, no doubt, as regards the ebb and flow of popular opinion, 
 but fashion can never completely throw real excellence out of sight. 
 The Venus de Medici, and the Apollo Belvidere, are always in 
 vogue, even with the most capricious. The beauty of the one and 
 the graceful power of the other assert themselves to the annihila¬ 
 tion of all whims and caprices ; because they are based on un¬ 
 changeable principles, realised with perfect skill in materials over 
 which that skill had a complete mastery, since its peculiarities had 
 been well studied and cared for. In this respect we have an 
 example of the value of knowing how much of the desired effect 
 really exists in the material in which our artistic and industrial 
 skill is to be exercised, and making the most of that knowledge. 
 
 WOOLLEN CLOTHS. 
 
 Although the manufacture of Woollen Cloths does not come 
 within the category of industries to which decorative art is applied, 
 except in certain special instances of no great importance, yet, com¬ 
 mercially, the proper representation of so useful a class of textile 
 fabrics is of the greatest moment in an exhibition claiming to be 
 of European extent. As might be expected, therefore, France, as 
 the host on this occasion, has put forth its strength, and as already 
 stated, the woollen manufactures of Sedan, Elbeuf, Louviers, 
 Roubaix, Tourgoing, Lille, Abbeville, and Nancy, are all fully and 
 completely represented. The dye, finish, and general make of the 
 goods is, on the whole, superior to those exhibited by French 
 manufacturers in 1851. Austria shows largely, and sustains its 
 position in this manufacture ; and the same may be said of 
 Prussia and Belgium. Saxony exhibits its best productions, and 
 with success. England alone, of all the great producers of woollen 
 fabrics, appears to have neglected its true interests. There are 
 three exhibitors from the west of England, whilst the display of 
 Yorkshire cloths undertaken by Leeds as the exponent of the 
 important interests of the northern woollen district, is a disgrace 
 to the industry it professes to represent. The persons who under¬ 
 took the illustration of the woollen manufactures of the West 
 Riding of Yorkshire, either did or did not understand the 
 important interests committed to their charge. If they thought the 
 work was not worth doing, and that the exposition of this special 
 industry at Paris would be useless, as they are reported to have 
 stated, why did they undertake the matter at all '] Why not 
 honestly state that they saw no value in exhibiting ? Instead of 
 this, the work was undertaken, and a paltry, slipshod pretence at 
 an exhibition of Yorkshire woollen cloths is the result. 
 
 The contrast between this sham exposition of English woollen 
 cloths, and those already quoted, cannot fail to be injurious to the 
 industrial and commercial interests of those most intimately 
 concerned, since—and this cannot be too often repeated—this 
 Exposition is an appeal to buyers in and for every market in the 
 world, and those who are best represented are most likely to 
 obtain the best customers. 
 
 PRINTED GOODS. 
 
 In a field so wide spread as that implied in the term 'printed 
 fabrics , it would be impossible fairly to discuss the merits of a 
 tithe of the excellent and useful articles of the various kinds 
 exhibited. The art and science, for such it is, of printing and 
 dyeing woven fabrics, has in this day arrived at much perfection, 
 
 yet is still likely to be more and more improved and developed. 
 Those processes and results which a few years ago would have 
 created the greatest astonishment, are now looked upon as little 
 more than a matter of course ; the natural growth, in fact, arising 
 out of the point to which science has brought art. Viewed from 
 a severely artistic point of view, it may be questionable whether 
 the immense power and ready means now afforded for the applica¬ 
 tion of ornament to textile fabrics, is really calculated to promote 
 that purity of decoration which sound judgment demands. The 
 facilities for applying a great number of tints, or as it is technically 
 called “colours,” to the production of a single pattern, has tended 
 to vitiate and mislead the taste of the manufacturer, by causing 
 him to rely upon gaudiness of effect cheaply produced, rather 
 than upon the purer styles in colour, which limited means 
 formerly compelled him to study and adopt. After all, however, 
 this is absolutely a question ot the use of the means. Their abuse 
 will, we trust, be duly corrected, as sound principles of art become 
 more universally diffused. It will then be seen that the facilities 
 for applying ‘•'■fourteen colours ,” gives the designer and manufac¬ 
 turer a large choice, a wider range of scale, so to speak. This is 
 not to be hastily or tastelessly thrown away, but to be consider¬ 
 ately applied in printing so many tints only as may be really de¬ 
 sirable to produce a given result, since “ fourteen ” may be just six or 
 eight too many. At a banquet whilst the gourmand may desire to 
 partake of every dish of every course, the wise guest will attempt 
 nothing so foolish, but content himself with that which suits his 
 own wants and digestive powers. It is thus the true artist will 
 use the mechanical and chemical means placed at his disposal for 
 the ornamentation of the various fabrics so largely produced for 
 the purposes of dress, furniture, decoration, &c. 
 
 We have already remarked upon the successful results pro¬ 
 duced by the judicious combination of colour in the Lyons silks. 
 
 The physical peculiarity of silk there noted as having been kept 
 in view in the varied arrangements of tints, does certainly not 
 exist in the same degree in any other material. That it does exist 
 in some degree is, however, as certain as the fact that the colour 
 of an object is always more or less affected by the prevailing tints 
 of the objects by which it is surrounded ; and this too both as 
 regards contrast, harmony, and reflection, whilst the result is in 
 the exact ratio of intensity. We do not see much evidence that 
 this fact has been observed or acted upon in the generality of tire 
 pi'inted fabrics exhibited by the French. Positive harmony is 
 obtained rather by a negation of tint, than absolute complement, as 
 in the case of the Lyons silk ; and the best examples of printing 
 are remarkable for the purity of form in the design, the excel¬ 
 lence of work, and the permanence, rather than the brilliancy of 
 the tints employed. 
 
 In chintz furnitures we are inclined to doubt if France stands 
 so well as it did in the Exposition of 1844. It may be, however, that 
 the advance of the English towai’ds the excellence displayed on 
 that occasion, has caused us to adopt a higher standard of judg¬ 
 ment than existed at that period. 
 
 Without discussing the question a3 to the truth of principle 
 involved in the absolute imitation of the natural growth of flowers 
 upon textile fabrics, we shall assume that since perfect imitation 
 is aimed at, the work which approaches nearest to nature in form 
 and colour is the best; always taking into account the character of 
 the fabric, and the means employed. Tested by this standard, the 
 French chintzes are not so perfect as the best English ones ; and 
 as regards means of production, the English printer is in advance 
 of his French rival. 
 
 The productions of Mulhouse are thoroughly well represented, 
 and in each department of the printed fabrics for which this 
 locality has been so long famous, the greatest care has evidently 
 been taken that nothing should be lost in the display. No prices 
 are affixed to these goods, and thus a considerable element in a fair 
 comparison with articles of the same speciality from other places 
 is wanting. In the matter of excellence, irrespective of price, the 
 printing of some of the cachmeres and muslins stands very high, 
 but we think that the best English examples certainly rival, if they 
 do not excel them ; whilst in the question of price, it is likely that 
 the advantage is on the British side. 
 
 Probably the best idea of the excellence to which the French 
 printers have attained, will be arrived at by an examination of 
 the displays of Gros, Odier, Roman & Cie., of Wesserling (5792, 
 Empire Framjais). Hartmann, fils, of Munster (5797, Empire 
 Fran§ais), and Schwartz and Huguenin of Dornach (3052, Empire 
 Francis). The specimens exhibited by these houses present a 
 thorough epitome of the French representation of this speciality 
 of the higher class of printed goods. The contrast with the pro¬ 
 ductions of Rouen is very great. These latter, consisting of the 
 coarser and cheaper kind of calico prints, are certainly far below 
 the average of the ’ same class of goods produced at Manchester. 
 
 Seen in contrast with the products of the printing houses of 
 Mulhouse, they are doubtlessly shown to serious disadvantage ; 
 but even compared with goods of the same quality, exhibited in 
 
 VII 
 
THE PARIS EXHIBITION 
 
 the English department, they lose materially. Here again the 
 elemenf of price so far as the public is concerned is left out, and 
 whilst any piece of goods, from the highest to the lowest quality, 
 exhibited by the Manchester committee is carefully and legibly 
 marked, we could not discover any indication of this important 
 element of comparison in these Rouen prints. 
 
 The results of the exposition of printed goods cannot fail to be 
 highly advantageous to England, commercially. This must be 
 self-evident to any one who, after going carefully over the French 
 examples in the gallery of the Palais de l’lndustrie, descends to 
 that part of the building devoted to Manchester, and considerately 
 examines the goods there exhibited. Not to take too much 
 exception to the manner in which the various specimens are dis¬ 
 played for inspection, we doubt the taste of simply converting the 
 space placed at the disposal of Manchester into a mere ware¬ 
 house. Without desiring to see so dignified a body, as the 
 magnates of the north undoubtedly are, playing the part of 
 fashionable drapers, it strikes us, that respect for their hosts, the 
 Imperial Commission, ought to have suggested a more ornate 
 arrangement of the large portion of the Palais placed at their 
 * disposal. The leading idea of a Manchester warehouse might 
 have been retained, since it is a good one ; but it has been starved 
 in the realisation, the ai'rangement being unmeaningly bald when 
 it might have been easily made very ornate, without in any 
 respect destroying its usefulness and completeness. It may be 
 asked, “How does this affect the result?” We answer, by 
 causing many persons, who would otherwise carefully examine the 
 articles, to rush through this wilderness of counters and calico as 
 a mere place of business,—a shop on a larger scale ; since nine 
 persons out of ten cannot appreciate the lofty moral intended to 
 be conveyed by the utter abnegation of all show, resulting in a 
 mere hurling down of the goods exhibited. Even men of business, 
 large purchasers in the very warehouses of which this arrange¬ 
 ment is a type, feel an uneasy sensation on entering its precincts. 
 Most of them visit Paris chiefly on “ pleasure bent,” but their 
 “ frugal minds ” suggest a little business, or something likely, at all 
 events, to be useful to business. Suddenly they find themselves, 
 after luxuriating in the enjoyment of the Art-works in the nave of 
 the Palais, or the examination of the varied specimens of manu¬ 
 facture in the gallery, plunged into the vraisemblance of a place 
 sacred to bargains, bills at three months, bales, and bad debts, and 
 without a thought at the sublime intention of the display around, 
 they get out of the warehouse as fast as possible, glad to regain 
 the pleasant sensation of being “ out for a month.” 
 
 We have said thus much of the arrangement as affecting the 
 results of this admirable display of the industries of Lancashire, 
 because we believe that our Manchester friends have not done 
 themselves justice by the mode in which they have carried out their 
 resolution to show, in a complete and consecutive manner, specimens 
 of every fabric which it is their province to supply to the markets 
 of the world with the prices affixed; whilst they provided in 
 an equally efficient manner for imparting to all parties concerned 
 every information respecting the goods exhibited. In this latter 
 respect Manchester has done itself justice collectively, whilst in¬ 
 dividually the reputation of its manufacturers has been not only 
 sustained, but further asserted and proved. The commercial 
 lesson to our French neighbours cannot fail but to be highly 
 instructive, resulting, we trust, in a relaxation of the old war 
 tariff still existing, and likely to exist, but for well-organised 
 appeals like this, to the common sense and the common interests 
 of the French people. 
 
 As regards individual exhibitors in the Manchester department 
 the most remarkable, both for the excellence aud novelty of the 
 results, is that of Messrs. Daniel Lee & Co. This consists of 
 Cashmere Furnitures printed in some fourteen “ colours,” by 
 cylinder. The result is an effect in many respects superior to 
 block printing, since there is a softness of effect combined with 
 precision, to which the best examples of block work rarely attain. 
 These specimens stand alone in the exhibition and have attracted 
 great attention bn the part of technical men. The French asso¬ 
 ciate this invention with that of Mr. Burch as applied to the print¬ 
 ing of Brussels carpets, of which numerous specimens are exhibited 
 by the firm of which Mr. Burch is a partner,—Bright & Co. 
 Indeed we are strongly inclined to think that the process of 
 Messrs. Daniel Lee & Co. is of a very similar character to, if not 
 identical with, that employed in the printing of carpets ; the 
 varied tints being obtained by a species of dilution upon an 
 analogous principle to the mode pursued in the execution of a 
 water-colour drawing, though of course differing very materially 
 in the mechanical method. 
 
 It would be superfluous to detail the Manchester houses of 
 repute who join in the united exposition of the industry of that 
 city, since an unmeaning list of names would alone be the result. 
 Those who have exhibited are put forward by the committee as 
 the exponents, each of his own specialite. It is sufficient, therefore, 
 simply to repeat our conviction that the collective display thus 
 
 obtained is thoroughly satisfactory, except in the mode in which the 
 goods have been arranged ; for in aiming at being very business¬ 
 like, a most unbusiness-like result for the special purpose of the 
 Universal Exposition has been arrived at. 
 
 COTTON. 
 
 Many of the above remarks, as applied to Printed Fabrics, apply 
 also to the cotton fabrics generally. France exhibits useful cotton 
 goods of all classes. Austria, Prussia, and Belgium are also fairly 
 represented ; but the result certainly shows that in this special 
 and important industry Great Britain stands very far in advance 
 of her competitors, and we have no reason to suppose that the 
 future will see our manufacturers in a worse position, relatively, 
 than they stand at the present time. In fact, with the gradual 
 introduction of the artistic element, which is slowly but surely 
 making way in connection with the more useful articles, the 
 advantage taken from time to time of improved machinery, the 
 position, if changed at all, will be rather in favour of, than against, 
 British industry and enterprise in a manufacture, which owes its 
 present position almost entirely to English skill, ingenuity, and 
 capital. 
 
 LINEN. 
 
 In scarcely any department of the industry of the United 
 Kingdom have we felt ourselves more thoroughly ashamed for our 
 country than in that of Linen. Allusion has been already 
 made to the very unsatisfactory manner in which the sewed 
 muslins of the north of Ireland are represented, and it is to be 
 regretted that the Linen manufacture, both plain and figured, is 
 equally defective. The Damask Table-Linen of Ardoyne is illus¬ 
 trated by a few second-rate examples, indifferently arranged, and 
 seen to a disadvantage. One point, however, must not be over¬ 
 looked in connection with some of the best examples usually pro¬ 
 duced by Mr. Andrews, which is the fact that they are manufac¬ 
 tured for regimental messes, and the great majority of them bear 
 devices, inscriptions, and the names of cities and battle-fields, 
 which it would have been in the worst possible taste to have dis¬ 
 played in Paris at any time, still more so on an occasion like that 
 of the present Exhibition, and under the existing circumstances of 
 two countries — once brave foes, but now honourable and 
 faithful allies. This reconciles us somewhat to the deficiency 
 which would otherwise be unpardonable. 
 
 Scotch Damasks are well illustrated by the contributions of 
 Mr. Erskine Beveridge, of Dunfermline. These, however, show 
 no advance in design on his productions exhibited in 1851, and the 
 same may be said of all the other specimens of the same class. 
 There is still the same attempts to adapt meaningless arrange¬ 
 ments of the human figure and animals,—the Portland Vase and 
 its decorations, so true in itself and for itself, so utterly false and 
 out of place in a material like linen. When will our manufac¬ 
 turers use their native common sense in artistic matters ? If they 
 would but ask themselves a few questions before rushing into 
 some of their wild attempts at novelty, they would be astonished 
 how much money, time, and labour they might save themselves. 
 
 The French Linens and Cambrics are generally of extraordinary 
 beauty. The quiet-looking diapers covering the surface of the 
 fabric,giving it infinite variety of tint,so to speak, as also oflight and 
 shadow, ought to teach our manufacturers that their ambitious 
 attempts are a vain show, ending in nothing but disappointment. 
 The quiltings, too, of the French manufacturers are of excellent 
 material and make. 
 
 The examples of the German States, Belgium and Holland, are 
 of a somewhat similar character to those displayed in 1851. 
 
 CARPETS AND TAPESTRY. 
 
 No portion of the Universal Exposition has disappointed us so 
 much as the specialite of carpets, while it is impossible to speak 
 of the tapestry in sufficiently high terms. 
 
 In nothing has French design misled our manufacturers so much 
 as in the decoration of carpets. Putting out of sight altogether 
 the real purpose and use of a carpet as a covering for a floor, 
 which floor is a horizontal plane to walk upon ; ceiling and wall 
 decorations, anything and everything but the true thing, has been 
 employed in designs for carpets. We must, however, congratulate 
 the English carpet manufacturers in general upon having, in many 
 honourable instances, dared to think for themselves. Repudiating 
 the flowers, skies, bridges, balconies, and peacocks which consti¬ 
 tute the staple of the French examples, the English manufacturer 
 has recently fallen back upon first principles, and the result is 
 that since 1851 an immense advance has been made in the right 
 direction. A carpet of Saracenic design, exhibited by Messrs. 
 Watson, Son, & Bell, is an illustration of this, as also several 
 specimens of velvet pile contributed by Messrs. Graham & 
 Jackson of London, aud one or two examples of ordinary Brussels, 
 manufactured by Mr. Charles Harrison of Stourport. These and 
 a few others are honourable exceptions in a wilderness of 
 
 VIII 
 
OF INDUSTRIAL ART. 
 
 mistakes. With too much colour, large forms, and too much 
 relief, nearly all the carpets exhibited are absolutely contradictory 
 in design to their true purpose. Indian shawl patterns and the 
 veritable old scroll work of plastic art are made to do duty as the 
 decorations of a floor ! This is a fatal mistake, and cannot be too 
 much deprecated. Let us have carpet decorations for carpets. 
 Why not ? A little brain-work and judicious pencilling, and it is 
 done. 
 
 Haas, of Vienna, (1432, Empire Afitriche,) exhibits carpets of a 
 similar character to those sent to the Great Exhibition of 1851 ; 
 several are of the same patterns. These are certainly the best 
 examples of purely natural arrangement to the decorations of 
 carpets, and in this respect may be usefully studied. 
 
 TAPESTRY. 
 
 If we were asked in what department of industry the precision 
 of science was most perfectly united with the sentiment and beauty 
 of art, our reply would be “ In the tapestries of the Gobelins, and 
 of Beauvais.” In these works, which are so thoroughly represented 
 in the Universal Exposition as to leave nothing to desire, the 
 perfection of chemical science as applied to the art of dyeing 
 would appear to have been attained. Each tint, so delicately 
 calculated upon and gradated, is wrought into its place in the 
 picture with the artistic skill of the painter and the mechanical 
 dexterity of the weaver ; whilst the result obtained is so perfect a 
 reproduction of high class works of Art, as to render it questionable 
 whether the original or the copy is most to be admired or coveted. 
 In many instances, however, especially in modern works, there 
 can be little hesitation on this point, since the tapestry copy is 
 undoubtedly the most perfect in tone and colour : the glare of the 
 pigment in the painted canvas being materially reduced by the 
 softer and more absorbent character of the material in which the 
 tapestry is wrought. 
 
 The tapestries of the imperial manufactories of the Gobelins and 
 of Beauvais are displayed to great advantage in the salon formed 
 of the rotunda of the panorama which stood between the site of 
 the Palais de l’Industrie and the Annexe. As a whole, nothing 
 could be more perfectly satisfactory than the arrangement of the 
 Imperial contributions in this rotunda; whilst the advantage of 
 bringing together at one point the results of the enlightened 
 patronage of the governments of France of those higher departments 
 of industrial art which it would be madness in private enterprise 
 to seek to rival, except in the smaller and less costly examples, 
 must be evident to the most unobservant. Our present business, 
 however, is with the specialite of Tapestry, and without presuming 
 for a moment that it would be of any commercial value to our 
 manufacturers to study the works exhibited, it is quite clear that 
 artistically they cannot fail, in connection with our designers, to 
 derive considerable benefit from their examination. For, if it 
 went no farther, it must tend to prove that these works invest 
 textile industries with a dignity of no ordinary character, whilst 
 the preparation and dyeing of the material in which they are 
 made cannot fail to exercise a beneficial influence upon the less 
 costly fabrics, inasmuch a3 the discoveries resulting in the efforts 
 after refinement of tint, and certainty of producing it when required, 
 must descend to and materially assist the art of dyeing as applied to 
 the more general textile industries of France. That this result has 
 followed is certain, and we have no hesitation in saying that, had 
 it not been for the efforts of such men as Chevreul, the able 
 director of the dyeing department of the Gobelins, we should have 
 looked in vain for the brilliant results as shown in the Lyons silks, 
 and, so far as colour is concerned, in the St. Etienne ribbons, the 
 shawls, and other mixed fabrics. Here then is the true value of 
 establishments like the Gobelins and Sevres. If properly conducted 
 they make experiments, solve problems, and test results at the 
 expense of the state, which the wealthiest and most spirited 
 manufacturer would hesitate in attempting. 
 
 This is a species of protection which we should certainly deem 
 impolitic in England in the present state of her manufactures, but 
 he would be a bold man who would say that, in many important 
 particulars, something of an analogous character would not have 
 been useful in the earlier developments of many of our industries. 
 Much time and many a costly failure might have been saved by 
 rendering assistance and conducting experiments on an orderly, 
 systematic, and accurate basis. Of course the true British doctrine 
 is to blunder on in the glorious independence of the individual 
 rights of each free and, possibly, ignorant citizen. You may 
 probably save a nation a few millions of pounds sterling by 
 judicious interference at the right time, as our railway flu-system 
 lias proved; but the saving is no consolation if it even suggests 
 to the individual citizen that he has no right to fling away his own 
 money in his own way. 
 
 Establish in England a chemical laboratory at the expense of 
 the state to investigate and report from time to time for the 
 benefit of all concerned, and even to instruct, at a moderate fee, 
 the youthful manufacturer in the science of chemistry as applied 
 
 to dyeing : present the results of experiments freely to all comers : 
 solve the problem of rendering silk soluble, and coat cotton or any 
 other fibre with the solution until it looks like silk : dye a perfectly 
 fast green of any shade, or a drab which will not fade ; present 
 the results freely to all who desire to avail themselves of your 
 labour, and you shall find that the very thing which, if carried out 
 by private enterpi-ise at an enormous expense, would be run after, 
 patented, pirated, and universally used in some form or other, 
 would be derided, abused, “pooh-poohed,” and even refused a trial, 
 for no other reason than because it had not been blundered out in 
 some dirty dye-house, presided over by some ultra-practical man ; 
 but had been wrought out step by step through the systematic 
 enquiries, and accurate experiments and deductions of a man of 
 science : and this, too, at the expense of the state, (!) as the repre¬ 
 sentative of the interests of the whole people. 
 
 They certainly “ manage these things better in France.” The 
 dyeing department of the Gobelins, and its influence upon the 
 industries of which dyeing forms so important a part, is a proof of 
 the practical value of such an establishment as that presided over 
 by M. Chevreul. 
 
 We trust that one of the results of the Universal Exposition 
 will be to show British manufacturers that these government 
 establishments are not the mere representatives of useless Art¬ 
 works, but that, properly directed, something of an analogous 
 character might be made useful, even on this side of the Channel, 
 if gone about in an earnest unofficial spirit, plus common sense, 
 and minus our constitutional “ red tape.” 
 
 Beferring to the works exhibited as the production of the 
 Gobelins, these being chiefly historical or portraits, it is difficult to 
 select any specimens which can be said to be superior to the others, 
 except perhaps in interest of subject. The whole must be seen to 
 be understood, and the list given in the official catalogue (Class 23, 
 page 160) will save further reference here. In the examples pro¬ 
 duced at Beauvais, there is the same skill applied to a different 
 class of subjects. The most striking of these are copies of pictures 
 of still life, flowers, dead game, &c., together with furniture 
 tapestries, mounted for exhibition in their proper positions in fine 
 specimens of the cabinet-maker’s art. These are, to a certain 
 extent, suggestive of decorative effects, and, in fact, the whole 
 of the Beauvais tapestry partakes more of the ornamental than 
 the historic, the latter being essentially the characteristic of the 
 Gobelin specimens. 
 
 Amongst the results of private enterprise in the manufacture of 
 tapestry, it is only an act of justice to mention the admirable 
 examples exhibited by Messrs, lffiquillait, Roussel, & Chocqueel, of 
 Paris, Tourcoing, and Aubusson. The display made of artistic 
 tapestry by this house, as adapted to furniture, &c., is very remark¬ 
 able. The specimens of moquette, or velvet pile, are of great 
 beauty, and in many respects afford excellent subjects for study in 
 the production of similar works. 
 
 In noticing the special efforts of the imperial manufactory of 
 tapestry carpets {Tapis de la Savonniere) there is nothing to add 
 to or take from the opinions already expressed as to the designs 
 of French carpets generally. The perfection of work shown in the 
 above examples is extraordinary, but again the question arises, 
 “ Are these works of art,” (for such they are) “ fit coverings for a 
 floor ? ” The forms, light and shadow, the perfection of imitation 
 in relief, the very excellence of the work all tend to the answer,— 
 No! 
 
 MACHINES FOR THE MANUFACTURE OF TEXTILE FABRICS. 
 
 In closing our remarks upon the textile fabrics of the Exhibition 
 it may be desirable to call attention to certain new machines or 
 improvements in existing contrivances for their manufacture. 
 
 In power looms, Hartmann, of Chemnitz, Saxony (9, Royaume 
 de Saxe), and Grassm&yer, of Ruette (Tyrol), (389, Empire 
 d’Afitriche), exhibit specimens which are worthy of examination 
 by those interested in machines of this class. J. P. Motte, of 
 Troyes, (1621, Empire Frangais,) and N. Berthelot, also of Troyes 
 (1610, Empire Fran 9 ais), contribute large circular machines for the 
 manufacture of hosiery. Machines of excellent construction and 
 remarkable for their ingenious adaptation to the manufacture of 
 purses, guai’d-chains, scarfs, and articles of a similar class are 
 exhibited by Deshayes, of Paris, (1423, Empire Framjais), Moiselet, 
 of Paris, (1571, Empire Frai^ais), and Lanenville (not inserted in 
 the catalogue.) A contrivance, too, for cutting fringe, well 
 worthy of attention, is exhibited by Gantron, of Paris, (1570, 
 Empire Fran§ais) ; Frochard, also of Paris (1615, Empire Fran^ais), 
 has a machine for effecting the same operation as that of Messrs. 
 Roux and Yoiner, aind, already alluded to in connection with the 
 Jacquard improvements,—that of printing the paper patterns 
 used by embroiderers in the transfer of the design to the fabric. 
 
 FURNITURE AND DECORATIONS. 
 
 France, as a matter of course, takes the lead in the extent and 
 variety of ornamental furniture and decorations as connected with 
 
 IX 
 
THE PARIS EXHIBITION 
 
 i 
 
 the embellishment of the interior of buildings, both secular and 
 ecclesiastical; and as the pi'incipal seat of this department of 
 industry is Paris, the facilities thus afforded to exhibitors of 
 articles which it would be costly and dangerous to convey from a 
 distance, has induced an enormous display of carved and inlaid 
 furniture of a very ornate and frequently highly artistic character. 
 
 It is somewhat singular that throughout the whole of this class 
 of articles, there is really very little which can be said to be 
 suggestive in a practical sense, especially as suited to English wants 
 or'modes of execution. The construction is constantly covered up, 
 and interfered with by the decoration. The former is in many 
 instances only the vehicle for the latter. This great error in 
 principle leads at times to very strange results, and the treatment 
 of the ornamentation is often very wild and unsatisfactory. Chairs 
 which it would be dangerous to the ornamentation to sit down 
 upon, billiard tables, the decoration of which would certainly 
 interfere with the free movements of the player, are amongst the 
 least of the errors committed. Probably the exhibition of the 
 well known Parisian house of Tahan, which takes a prominent 
 position in one of the central avenues of the Palais de 1’ Industrie, 
 will best illustrate this excess of elaboration. In these we find 
 great excellence of manufacture, combined with a painful over¬ 
 loading of the construction with useless and obtrusive details. A 
 Jardiniere, for instance, has for its central ornament in front, 
 a group of doves, Cupid’s bow and Hymen’s torch, wrought so 
 high in relief, and projecting so far from the true form, that a 
 lady passing near it would be likely to entangle the folds of her 
 dress, and upset the whole before she was aware of the danger. 
 
 The most striking lesson the English are likely to learn from 
 the French furniture is the extent to which artistic education has 
 been carried amongst the workmen who execute the carvings and 
 inlaid work. The skill displayed, and the evident freedom with 
 which it is used, is something marvellous. Occasionally details are 
 a little overwrought, but in the generality of instances the workman 
 appears to have had the true artistic perception when to leave off. 
 The tooling of some of the carved accessories to the more important 
 pieces of furniture is masterly, and adapted to the material with 
 rare skill. At times there is a little affectation of the sculptu¬ 
 resque types as suited to marble, and perhaps oftener still a 
 tendency to the ultra-natural in imitation, in which the material 
 appears to be forgotten ; but these are exceptions, and however 
 much we may at times regret the misapplication of the skill, it is 
 impossible not to be impressed with its extent, its variety, and 
 the thorough intelligence shown by the Art-workman of Paris 
 in the specialite of decorative furniture. 
 
 There is an evident tendency to the introduction of more colour 
 into furniture. This has been gradually manifesting itself of late 
 years in France, and if not carried too far, of which there is great 
 danger, the practice is not objectionable. At present tulip wood 
 with or-molu mountings, appeal's to be in the ascendant. The 
 result is very showy, but when carried to excess, as it often is, it 
 becomes more or less offensive ; especially when contrasted with 
 some of the more quiet effects around. 
 
 .As illustrations of the best examples of the French furniture 
 exhibited, though by no means comprising all deserving of careful 
 examination, we would quote a cabinet d'armes, purchased by the 
 Emperor, exhibited by Jeanselme, ph'e etfils, of Paris (7924, Empire 
 Francais). Though very elaborate, the usual objectionable projec¬ 
 tions have been avoided. The work is of a very high class, broad 
 and intelligible, whilst the construction is strictly adapted to its 
 purpose, that of a repository for fire-arms. A book-case, exhibited 
 by the same house, constructed of walnut-wood inlaid with coloured 
 stones, is another example of fine workmanship, judicious construc¬ 
 tion, and appropriate ornamentation. A buffet by Durand, of Paris 
 (no number in catalogue), affords an admirable example of arrange¬ 
 ment. The carving is bold and effective without fritter, whilst the 
 projection from the surface of the construction is kept within the 
 bounds of propriety'. The bronze handles of the drawers, composed 
 of oak-leaves and acorns, are well arranged, and the forms adapted 
 for use. A large library cabinet, secretaire, and bookcase, in the 
 style of the Renaissance, by Meynard, of Paris (7937, Empire 
 Frangais), is a remarkable example of its class. The construction 
 is of walnut, with mouldings of ebony. The ornaments, though a 
 little too high in relief, are of a most admirable character in design 
 and execution. A magnificent cabinet d'armes, by Jules Fossy 
 (7971, Empire Francais); a cabinet and china buffet, in ebony and 
 walnut, by Chaix (7899, Empire Fran§ais) ; a porte-fusil, by Gueret 
 (7918, Empire Francais), are each excellent, and, in some respects, 
 suggestive either in construction or execution. 
 
 As examples of the combination of colour, either in marble, 
 variegated stones, or painted panels, the contributions of Balny, 
 jeune, of Paris (7890, Empire Frangais), Beaufils, of Bordeaux (7893, 
 Empire Francais), and Charmais, of Paris (7900, Empire Francais), 
 may be quoted. Balny has a bookcase in oak, inlaid with green 
 marble, admirably arranged, and of excellent execution as regards 
 the carving. Beaufils exhibits a large bookcase in three compart¬ 
 
 ments, the two sides and each of the divisions decorated with 
 figures representing Africa, Asia, Europe, and America ; at each 
 end are two admirably-conceived and well-executed figures ; one, 
 a veiled figure with a flame upon the forehead, representing Divine 
 Law, the other, an armed figure, embodies the idea of Human Law. 
 The whole work is one worthy of study and careful examination. 
 Charmais exhibits a variety of bed-room furniture of a very high 
 class, and a buffet in walnut-wood and ebony, with panels of green 
 marble variegated with black and white striae. The mountings of 
 the drawers, &c., are in bronze, with bronze relievi in some of the 
 panels, and occasionally bronze ornaments are mounted upon the 
 marble. The arrangement and execution of the whole gives 
 evidence of high artistic and constructive ability, whilst the execu¬ 
 tion is of such a character as to leave nothing to desire. This 
 work alone would raise the workmen of the Faubourg St. Antoine, 
 by whom it was executed, to the dignity of artists, even if there 
 were not many other examples which go to prove, more or less 
 effectively, that the French cabinet-maker has been trained in a 
 school of Art adapted by an earnest intelligence to his wants and 
 future pui'suits. 
 
 Again, a buffet by Ribaillier, aine, & Mazaroz (7992, Empire 
 Frangais), illustrates the combination of a high class of decorative 
 painting with the carved work which ornaments the construction. 
 In principle this may be objected to as applied to furniture, since 
 it renders it too architectonic in design. In this example, however, 
 there is so much to admire that we forget to apply the rigid test 
 in admiration of the manner in which the work is carried out. 
 Artistic alike in design as in execution, the animals, trophies of 
 game, and details of the ornamentation, are wrought out with 
 marvellous skill and effect: panels with a gold ground, upon which 
 subjects illustrative of the chase, &c., are painted in a low key of 
 colour, combine with carved emblems of suitable design, in which 
 the vine, the wheat-ear, and the bryony are admirably treated, to 
 give an ensemble of a most satisfactory character. 
 
 Amongst the less ornate examples, a modest-looking little book¬ 
 case, in oak, by Blanchet, of Paris (7966, Empire Frangais), may 
 be quoted. It is charmingly designed and admirably executed. 
 Another example of the same class, very elegant in its proportions, 
 and in the details of the ornament, is exhibited by Bruland, of 
 117, Rue du Bac, Paris (not inserted in the catalogue). These 
 specimens prove that in the less ornate examples the Parisian 
 fabricants des meubles are not less successful than in those in which 
 decoration appears to be the chief object of the designer, the use 
 in the latter being often almost concealed in the abundance and 
 richness of the ornamentation. 
 
 Amongst the smaller articles appertaining to furniture, but 
 classed as “ Objets de Mode et de Fantaisie," of which there are an 
 immense display, both in the Palais de l’Industrie, the galleries 
 around the Panorama, and in the Annexe, we have only space to 
 quote the specimens exhibited by Diehl, of Paris (8828, Empire 
 Frangais), as illustrations of the perfection to which this depart¬ 
 ment of industry has now attained in France, A lady’s work¬ 
 table of tulip-wood, a Psyche-glass in rose-wood and or-molu, a 
 liqueur-case in buhl-work, fitted up with glasses in blue and gold, 
 and a terminal clock, also in buhl-work, are all worthy of close 
 examination and careful attention, amidst the masses of similar 
 articles. All are without doubt more or less excellent, but it would 
 be hopeless to attempt to examine thorn here in detail, even if it 
 were worth while to do so. 
 
 The manufacture of buhl-work is now carried on to an enor¬ 
 mous extent in Paris, and at times rises to the dignity of Art; but 
 at others the skill employed runs into great excesses of over¬ 
 decoration. 
 
 As a warning lesson in the avoidance of over-ornamentation in 
 combination with excessive imitation, the works of Ribaillier,jew?!? 
 (7991, Empire Frangais), may be taken. Here we have the most 
 exquisite execution and beauty of detail aiming at the most perfect 
 imitation of natural forms in the material used ; but the whole is 
 so painfully suggestive of breakages and a species of noli me 
 tangere sentiment, as to detract very seriously from the satisfac¬ 
 tion which every person of judgment in Art feels on viewing a 
 well-executed work. 
 
 Probably the most extraordinary, and, to us, least understand¬ 
 able work of its class in the whole Exposition, is the contribution 
 from the manufactory of ecclesiastical decorations at Angers, de¬ 
 scribed as “ Chaise et Autels," by the Abbe Choyer, director of the 
 said manufactory. It consists of an immense and elaborately- 
 carved work in oak, in which a peculiar class of design has clearly 
 run mad from excess of liberty. We have an elaboration of towers, 
 pinnacles, pendants, statues of saints, and bas-reliefs of scripture 
 subjects, all concentrated in the altar, and seats proper thereto, of 
 a Roman Catholic cathedral. One portion, a carving of a ruined 
 town, is supremely ridiculous, artistically speaking, from the accu¬ 
 rate chai’acter of the imitation. Of course these remarks refer to 
 the nature of the work as a specimen of Art-manufacture, and not 
 to the intention of the designer in conveying by such material 
 
 X 
 
OF INDUSTRIAL ART. 
 
 means, instruction in the symbolism of his church. With that we 
 have nothing to do, since in this case it is with the means and not 
 the end that our business lies. 
 
 Rivart, of Paris (7993, Empire Frangais), exhibits specimens of 
 furniture inlaid with porcelain, the effects of which are striking, 
 but not artistically satisfactory. This was a novelty in the Great 
 Exhibition of 1851, and M. Rivart was rewarded on that occasion. 
 In the specimens now exhibited more metal is used, and whilst 
 wood constitutes the basis of the construction, metal is introduced 
 as a mounting, the porcelain forming the inlaid ornamentation. 
 
 To those who saw the display of carved furniture in the Austrian 
 department of the Great Exhibition of 1851, the contributions in 
 this class of industry on the present occasion will appear meagre 
 and unsatisfactory. We were not amongst those who thought 
 very highly of the Austrian furniture exhibited in 1851 ; in many 
 points it was by no means equal, artistically, to less ostentatious 
 displays. The most noticeable example of furniture now contri¬ 
 buted by Austria is at once devoid of all ornament, but most 
 admirable in construction. It consists of a suite of chairs, fauteuils, 
 &c., of extreme lightness, so much so as to be very suggestive of 
 forms suited to cane or metal. These are exhibited by Thonet, 
 freres, of Vienna (1487, Empire d’Atltriche). 
 
 The Belgian furniture is generally of a very useful character, and 
 frequently shows more ingenuity in construction than beauty of 
 appearance. The specimens of parquetage flooring exhibited by 
 Godefroy , freres, of Brussels (340, Royaume de Belgique), are very 
 excellent; and one complete floor, together with a portion of 
 another, by Dekeyn, freres , also of Brussels (337, Royaume de 
 Belgique), presents points of a remarkable character in design and 
 execution, which render them worthy of special examination by 
 those engaged in the production of similar works. The parquets 
 exhibited, in the Bavarian section of the Exposition, by Hartmann, 
 of Munich (100, Royaume de Baviere), are also good examples of 
 geometric arrangement. It is scarcely probable, however, that 
 parquet work will ever be used to any great extent in England, 
 except for the floors of lobbies, corridors, or waiting-rooms in 
 public buildings ; and in all probability the Belgian manufactories 
 could supply our wants in this direction much better and cheaper 
 than we could supply them ourselves, since attention to this 
 speciality would be costly, without any chance of an adequate return 
 for the time and outlay. In this we realise one of the commercial 
 advantages of international expositions, for by them we may ascer¬ 
 tain how to buy more economically than we can make. 
 
 The furniture of the other continental states does not demand 
 any special notice here, for though in many respects excellent of 
 its kind, it does not present features sufficiently distinct either in 
 construction or decoration as to be likely to repay a detailed 
 examination. 
 
 English furniture is not largely represented. As a whole, how¬ 
 ever, the examples sent are of a good class and show fairly what 
 our workmen can do. The principal works are placed in the central 
 portion of the Palais de 1’ Industrie, the most remarkable being a 
 cabinet of excellent design, and still more excellent workmanship, 
 exhibited by Messrs Graham & Jackson of London. In this 
 acknowledged tour de force of British skill may be seen a very 
 distinct manifestation of the results of the Great Exhibition of 
 1851, since we doubt if any manufacturer would have attempted 
 so remarkable a work under a less stimulating influence than 
 that occasion furnished, not only to producers but to the purchasers 
 of such special efforts. The arrangement of the ornamentation 
 and figures in ormolu, the admirable character of the chasing, and 
 the execution of the porcelain plaques are all so many points gained 
 in British Art-industry since 1851. For although the design is by 
 a Frenchman, the casting and chasing of the ornaments and 
 figures was intrusted to the London branch of the house of Messrs. 
 Cope & Collinson of Birmingham, the porcelain portion being the 
 production of Messrs. Minton of Stoke upon-Trent, who we under¬ 
 stand undertook the work at a very short notice, after a most 
 unbusiness-like delay on the part of the managers of the Imperial 
 manufactory of Sevres ; with what success the plaquAs themselves 
 will best tell on examination. Now we are somewhat inclined to 
 quarrel with Messrs. Graham & Jackson for going to Sevres at all, 
 and not a little rejoiced that their mightinesses the directors of 
 that establishment did disappoint them, and greatly delighted that 
 a British manufacturer took up the work at the eleventh hour and 
 fulfilled his engagement to the day. This may tend to show that 
 other Art-works maybe produced nearer home, if we did but care 
 to look at that which lies at our feet or ready to our hand, instead 
 of shutting one eye and looking through a telescope formed of our 
 own prejudices at the more distant, but, very frequently, not 
 superior skill of our neighbours. We trust that the results of the 
 enterprise shown by the exhibition of this admirable piece of furniture 
 will be a lesson to others. Messrs. Holland & Sons, and Messrs. G. 
 Trollope & Son, also-contribute each a specimen of furniture, placed 
 near to the work above noticed. Each is distinctly different in 
 character. That shown by the last-named house is a wardrobe 
 
 of satinwood, the parts being well arranged, and inlaid chiefly 
 with tulip and green-wood interspersed with the wood of the linden- 
 tree, which is not unlike ivory in colour and appearance. Messrs. 
 Holland exhibit a book-case in oak excellent in the character of 
 the design and workmanship. Messrs. Banting; J. G. Crace ; 
 Morant & Boyd; and a few other London houses of note in the 
 production of furniture, also contribute specimens which prove 
 that English executive skill is being better directed in matters of 
 design than heretofore. 
 
 In papier-m&chd comparatively little movement appears to 
 have taken place in English products. There is a tendency 
 certainly to a somewhat severer style of decoration, but we fear 
 that the very facilities for producing “ startling effects ” is a con¬ 
 stant temptation to the manufacturer to cater to the desire of the 
 public, for what, in theatrical phrase, may be called “ terrific 
 contrasts.” We have already alluded to an analogous position in 
 relation to printed fabrics, in which the mechanical and chemical 
 facilities for the introduction of a multiplicity of tints really does 
 more harm than good, artistically. Now the various coloured 
 metallic powders, the facilities for painting rainbow tints with 
 ordinary pigments ad libitum, are all so many stumbling blocks in 
 the way of the cultivating a purer taste as applicable to the 
 decoration of papier-m&che. The tendency to admire glaring 
 colours and effects produced by violent contrasts is always an 
 evidence of a puerile, not to say savage want of taste, otherwise 
 j udgment in art; and it seems tolerable certain, that we of the 
 Find-Fault Master General’s department must be content until by 
 a constant iteration of better principles the consumer is taught 
 to appreciate better things, and demand them from the manu¬ 
 facturer. 
 
 The French progress in the decoration of papier-mache is more 
 marked than we expected, since in the expositions of 1844 and 
 1849 there was little in this direction which could at all compare 
 with third or fourth-rate examples of British japanning. In the 
 present Exposition, however, there are a few examples, at least, 
 which show that progress is being made; and in a manufacture 
 suited, as we conceive, to the genius of the French people, it is by 
 no means unlikely that ere long we may find a serious rivalry 
 springing up in Paris, especially in the smaller articles of caskets, 
 work-boxes, writing-desks, &c. 
 
 In carton-pierre decorations, there appears to be a much more 
 limited display than in 1844. Cruchet, of Paris, maintains his old 
 position alike in this material as in decorative wood-carvings. 
 His decorations in carved wood, with painted medallions, afford 
 some admirable hints to our decorators ; but we doubt whether, 
 as a whole, Cruchet exhibits anything which excels the ceiling 
 cove decorations executed by Messrs. J ackson, of Rathbone Place, 
 London, for Holford House, Regent’s Park, a specimen portion of 
 which is exhibited by the latter. 
 
 In decorations in leather, Dulud maintains his reputation, and 
 some of the examples exhibited are excellent for their combination 
 of relief effects and colour. There are some admirable imitations 
 of leather decorations in paper, by Martella, in the style of the 
 ancient wall-coverings. 
 
 French plastic art, as applied to decorative purposes, has always 
 presented so many features of interest, and so many points worthy 
 of study, that to simply allude to this department of industry here 
 is sufficient, as special selections are clearly impossible where nearly 
 every exhibit presents points of its own. 
 
 In paper-hanging there is comparatively little hi the whole 
 Exposition which we should desire to see our manufacturers 
 emulate. The Prussian designs are of considerable beauty and 
 variety in the abstract, but considered as the decoration of a wall, 
 and as a background to objects, animate and inanimate, which 
 form the distinguishing features of every apartment, we doubt 
 their appropriateness. There are a few good examples of wall¬ 
 papers exhibited by P. P. Armand, of Geneva (380, Confdddration 
 Suisse) but taking the wall-papers as a whole, although for 
 excellence of work and beauty of colour the majority of them 
 cannot be surpassed, we think that in the matter of design some of 
 our English manufacturers are producing examples very superior 
 to them, and that the tendency to recognise a fixed principle for 
 the production of these useful and highly essential adjuncts to the 
 decoration and comfort of our homes, is on the increase. We are 
 quite sure that an examination of the paper-hangings in the 
 Universal Exposition will only tend to strengthen the healthy 
 action to which we refer. A wall paper is not an isolated decora¬ 
 tion, or an incessant repetition of one. Its chief purpose is to vary 
 in an agreeable manner a surface against which other objects are 
 to be seen, and just in the ratio that it interferes with the proper 
 display of those objects as a whole, so does it depart from its true 
 function as a background. 
 
 The floor-cloths come within the same category as the wall¬ 
 papers, and are rather suggestive of what to avoid than what to 
 emulate. Those by Goehring & Boehme, of Leipsic (18, Royaume 
 de Saxe), exhibited in the Annexe, are however worthy of exami- 
 
 XI 
 
nation, as excellent imitations of well-designed parquetage, adapted 
 to the mechanical methods of printing floor-cloths. 
 
 In mosaic decorations, the table-tops, sixteen in number, exhibited 
 by the Pontifical States, are worthy of careful and minute exami¬ 
 nation, as suggestive of treatment in kindred productions. The 
 mosaics exhibited by the Royal Manufactory of Tuscany (155, 
 Grand Duche de Toscane) are of extraordinary beauty and 
 excellency, but tend towards the domains of Fine Art, as in the 
 case of the productions of the Gobelins, Beauvais, and Sevres. 
 
 Tuscany also exhibits specimens ofparquetage, the manufacturers 
 being Messrs. Chalon & Estienne, of Florence (87, Grand Duche 
 de Toscane). These are superior in design to those of Belgium, 
 already mentioned, being more essentially mosaic in their character. 
 
 As a whole, there are few departments of the Universal Exposi¬ 
 tion in which the time of the manufacturer or designer, specially 
 interested in the industrial bearings of Art, can be spent more 
 profitably than in that of furniture and decoration generally. 
 
 Before closing our remarks upon the furniture and decorations 
 of the Exposition, it is only an act of justice to an important de¬ 
 partment of English industry to notice the excellent examples of 
 painted imitations of woods and marbles exhibited by Kershaw, of 
 London, and Moxon, of London and Edinburgh. These specimens 
 of imitative skill have attracted the attention of the French 
 house-painters to such an extent, that on several occasions we 
 could scarcely approach them owiug to the groups of workmen 
 en blouse, who were busily engaged in examining them and dis¬ 
 cussing their merits with a gusto perfectly refreshing, as com¬ 
 pared with the utter apathy which too frequently characterises 
 the English workman when a work of a superior character in 
 his own trade is brought before him. It was quite evident that 
 these imitative woods and marbles had taken Monsieur Jean by 
 surprise, and in the innocence of his heart he gave full expression 
 to his feelings in relation thereto. 
 
 PORCELAIN. 
 
 There exists in England a popular notion respecting the manu¬ 
 facture of porcelain in France, that, however remarkable the pro¬ 
 ductions of the Imperial Manufactory of Sevres may be as works 
 in which a high class of Art is displayed at enormous cost to the 
 state, yet that the manufacture of all the more useful articles for 
 which the Staffordshire potteries are celebrated is almost entirely 
 neglected in France; and that, from some unknown cause, whilst 
 French porcelain is so elegant and perfect, French pottery-ware is 
 just as clumsy and as imperfect : and that there is no excej>tion to 
 this rule. The present Exposition will tend very materially to 
 correct this delusion, since a quiet walk through that portion of 
 the Palais dTndustrie devoted to the ceramic manufactures of 
 Fra nee, as distinguished from the special productions of Sevres, 
 will show that there is really no ground for the assumption that 
 France cannot furnish itself with the more useful kind of porcelain 
 and pottery. The question of how far this can be done to advan¬ 
 tage commercially is another matter, and one which the remark¬ 
 able display organised by the English manufacturers will probably 
 do much to answer. 
 
 "We were certainly not prepared to see such specimens of ordi¬ 
 nary white-ware as those displayed from the various districts of 
 France in which this speciality is carried on. During the past ten 
 or eleven years a great change has certainly taken place in the 
 modes of manufacture, as well as in the objects of this important 
 industry. This is fully evidenced by the remarkably elegant and 
 practical display of Messrs. Lebeuf, Milliet, & Cie., of Moutereau 
 (5453, Empire Fran§ais). This consists entirely of useful articles 
 in white, printed, painted, and gilded ware of a most excellent 
 character. Here we find no attempted tour deforce , but a distinct 
 and conscientious exposition of the precise articles which the 
 exhibitors are engaged in supplying to their fellow countrymen ; 
 but whatever the display lacks in attraction to the mere sight-seer, 
 is abundantly compensated for by the sterling manner in which it 
 commends itself to the practical man, the industrial artist, and the 
 manufacturer. It is therefore worthy of the special attention of 
 all interested in the manufacture of porcelain. 
 
 Another noticeable exhibition of white-ware is that of J. Pouyat, 
 of Limoges (5525, Empire Framjais). The outline of the forms is 
 generally well-studied, and admirably suited to each piece, but 
 by a strange oversight some of the more useful articles of the 
 dinner service, which usually have the larger surfaces left as plain 
 as possible for facility in cleaning, are decorated in relief in a 
 manner not calculated to promote so desirable an object. The 
 colour, glaze, and texture of these specimens are excellent. A 
 centre-piece en bisque, composed of storks and palm-leaves sup¬ 
 porting a tazza, is exquisite in design and execution ; the former 
 is certainly a little too much in the naturalesque style, but the 
 symmetry of the whole is perfect, and the effect thoroughly 
 ornamental. M. Sazerat, also of Limoges (5529, Empire Fran 9 ais), 
 has also a charming .display of white-ware. The flower vases are 
 ulti a-naturalesque in the decoration, but singularly broad in 
 
 treatment in the modelling. In fact the modelling power displayed 
 in the French productions in porcelain is something remarkable, 
 and contrasts with great effect with that shown by every other 
 country, a few of the Parian groups of Minton and of Copeland 
 excepted. 
 
 This excellence in modelling is remarkably obvious where no 
 part of it is concealed by colour and gilding ; for in the imitation 
 of Dresden ware the modelling does not appear to be always quite 
 successful, even in the best examples. 
 
 Space will not permit us to enter into any detailed examination 
 of the skill in painting porcelain, which the works in the Exposition 
 prove to be greater than ever. At least, there is no evidence 
 of any falling off. In most instances, however, the works are over¬ 
 gilt. This detracts from the value of the colour, and frequently 
 gives a metallic appearance to excellent works in porcelain, which 
 is not suited either to the forms, or the use of the article thus 
 decorated. 
 
 In printed ware there are some excellent specimens, in which 
 the design and engraving have been carefully adapted to the 
 method of transfer. Amongst the examples shown by De Saint 
 Amans, of Lamarque (5574, Empire Fra^ais), are two plates 
 decorated in the litho-vitro-calographic process with printed 
 medallions of Napoleon I. and Queen Victoria. The treatment is 
 especially effective and artistic, and whilst we object to the use of 
 medallions for the decoration of plates and dishes, the mode of 
 engraving and printing adopted in these specimens affords examples 
 for imitation in more appropriate pieces. 
 
 In Beauvais ware we doubt if there is so much excellence shown 
 as in the productions exhibited in 1844 ; nor do we think that, on 
 the whole, has any material advance been made in garden pottery. 
 The pendvJ.es in Beauvais ware aud terra-cotta for hot-houses are 
 of a similar character, and many of precisely the same design as 
 those which attracted so much attention in the exposition of eleven 
 years ago ; and they still afford the same hints to our manufacturers 
 of garden decorations as they did at that time, for there has 
 certainly not been that improvement in England in this direction 
 as could be desired. 
 
 In the very highest class of ceramic art, the display of the 
 Imperial Manufactory of Sevres of course takes the lead, and fairly 
 overwhelms the visitor with the variety and extraordinary cha¬ 
 racter of its contributions. It affords a strange contrast, and a by 
 no means useless lesson, when looked at in connexion with the 
 rudeness, and often unnecessary ugliness of the common pottery 
 ware, which certainly are quite as bad, often worse, than articles 
 of a similar class as made in England ; the rude attempts at cheap 
 pottery in the United States of America are the nearest approach 
 we have seen to some of the more common utensils as exhibited by 
 some of the French potters. 
 
 In the imitation of Palissy ware and Faience, the French ex 
 amples are often very excellent, but we do not think that they 
 come up to the refinement observable in some of Minton’s examples. 
 There is often an affectation of rudeness about them which detracts 
 from their value as truthful imitations, although the modelling 
 would at times do no discredit to the enthusiastic Bernard 
 himself. The specimens exhibited by Landais, of Tours (5558, 
 Empire Fran§ais), are examples of this. There is great excellence 
 of colour, and that marvellous power of modelling which we 
 have already noticed as applied to the specimens of white-ware. 
 Nor should those contributed by Barbezet, of Paris (5439, Em¬ 
 pire Framjais), be overlooked, as they present also special points 
 of excellence. 
 
 In shaded enamel ware, or email ombrant, there are none of a 
 superior character to those shown in 1844. 
 
 Amongst the best imitations of Faience are those contributed 
 by Devers, of Petit-Montrouge, near Paris. These constitute a 
 remarkable display, rendered still more so by an extraordinary 
 application of the processs employed, to the production of a work 
 of singular power and originality. The whole forms a vitrified 
 picture of five-and-a-half metres high, by four-and-a-half metres 
 wide, inclusive of a frame or border of flowers and fruits in relief. 
 The subject is, “Guardian Angels.” They are represented as 
 watching over the safety of a sleeping infant, lying unprotected 
 upon the earth below them. The sentiment of the work is 
 exquisite, and the execution, which is broad and effective, ap¬ 
 proaches in parts to the grand. A yellow tone pervades the whole, 
 which, however, is not sufficiently marked to be objectionable ; 
 whilst the fact that the picture is formed of distinct slabs of terra¬ 
 cotta, does not strike the spectator until after a close examination, 
 so admirably are all the parts united in the colour ; although the 
 joints of the slabs are by no means so clean at the edges as might 
 be supposed to be necessary to so perfect an ensemble. We 
 commend this work to the study of all interested in vitrified 
 manufactures. As a tour de force it is a triumph of skill; and 
 when it is remembered that the artist is little more than a poor 
 workman of very humble means, the interest which the work 
 creates is not a little increased ; for the mind at once reverts to 
 
 XII 
 
OF INDUSTRIAL ART. 
 
 tlie early struggles of Bernard Palissy, and seeks to find a parallel 
 in the ouvrier of Petit Montrouge. 
 
 On comparison with some of the reproductions of Faience in the 
 French department, the specimens exhibited by Freppa, of Florence 
 (114, Grand Duche de Toscane), stand well. 
 
 The Austrian porcelain is certainly not equal to that shown in 
 the Great Exhibition of 1851. The mass of it is indifferent in 
 colour, and overladen with gilding. In terra-cotta, however, 
 Austria makes a great display. The best specimens both in 
 design and execution are, however, those by Miesbacli, of 
 Vienna (1018, Empire d’Afitriche). His garden - fountain 
 is, to our mind, a remarkably well-contrived, and, on the 
 whole, a clever work, artistically. The architectural arrange¬ 
 ment is novel, and to the purpose. The whole is a repe¬ 
 tition of a few parts well put together. For example, there 
 appears to be but ten pieces to the base, including the small figures. 
 The ten pieces are repeated four times each. The figures are 
 fixed in niches, and bestride a vase, from which the water flows. 
 There are, in addition to the number of pieces above-named, four 
 figures of the Seasons, each, of course, being different in design. The 
 central tazza, surmounting the whole composition and carrying 
 plants, appears, including the shaft, to be constructed of about ten 
 or twelve pieces repeated, to make up the whole construction. 
 
 The terra-cotta exhibited by Prussia is more remarkable for its 
 size than the artistic skill displayed; but the specimens of porcelain 
 exhibited from the Royal Porcelain Manufactory at Berlin (736, 
 Royaume de PruSse), are certainly unrivalled in the Exposition, 
 so far as the pictorial effects, of which they are the medium, are 
 concerned. 
 
 The high class attempts in the Belgian department are not satis- 
 factoi'y ; but Cappellemans aine of Brussels (418, Royaume de 
 Belgique), exhibits useful articles in pottery, of a very good class, 
 in the production of which machinery has been applied with some 
 success. 
 
 In no department of British industry is there a better display 
 than in that of porcelain, and other fictile manufactures. The 
 Staffordshire potteries may boast of an organised exposition, which, 
 without destroying the individuality of each producer, fully and 
 fairly illustrates the manufactures of that important district in a 
 manner which has caused no slight expressions of wonder on the 
 part of the French. Messrs. Herbert Minton & Co. might, single- 
 handed, claim to have shown, that both in an artistic and utili¬ 
 tarian point of view, the followers of the early Staffordshire potters 
 have not degenerated in enterprise or skill, since Wedgwood 
 created their trade, and brought the artistic element to bear upon 
 their productions. The direct successors of Wedgwood illustrate 
 their return to the manufacture of the famous jasper ware : but 
 to produce parallel works, a kindred genius to that of Flaxmau is 
 wanting, and kindred enterprise to that which employed him. 
 
 Messrs. Ridgway show a complete series of the useful articles 
 which they manufacture, and worthily sustain their reputation. 
 Messrs. Mayer’s display is also of a very interesting and valuable 
 character, as showing to what an extent the cheaper and more 
 mechanical methods of decoration may be adapted, so as to produce 
 highly artistic results. The forms of the pieces, too, are generally 
 good, and the accuracy and precision with which the details are 
 carried out, prove incontestably that when English manufacturers 
 once see the value of Art and judiciously apply it, they can do 
 anything they please within the limit of the materials used. 
 
 We confess to be somewhat disappointed with the exhibit of 
 Messrs. Copeland. Beyond illustrating the speciality of the house 
 in the manufacture of Parian statuettes, in which, however, there 
 is little of novelty since 1851, Messrs. Copeland appear to have 
 simply contented themselves with putting in an appearance, and 
 resting content with past efforts, which are, as a whole, fairly 
 illustrated. Here we have the same excellence of general design 
 and execution in vases, etc., and the same artistic power in the 
 flower painting as heretofore, but no new application of such 
 abundant means. Some of the larger busts in parian are remarkable 
 specimens of the successful application of that peculiar and beautiful 
 material to works of considerable size, as compared with the 
 ordinary productions therein. 
 
 Messrs. John Rose & Co. of Coalport, have certainly viewed this 
 matter somewhat differently to Messrs. Copeland; for in their 
 productions, exhibited chiefly in combination with Messrs. Daniel 
 of London, there is evidence of a progress since 1851, which cannot 
 fail to be recognised by all interested in the question of the prin¬ 
 ciples of taste as applied to ceramics. In combination with Messrs. 
 Daniel, Messrs. Kerr & Binns of Worcester show a few fine ex¬ 
 amples of their productions of Limoges ware, which without exactly 
 coming up to all the precision of the old Limoges, presents points of 
 excellence which show very distinctly how far the attention of the 
 porcelain painters of the present day may be successfully directed 
 to the rivalry of the best and most refined works of a past age. 
 We have reserved the consideration of the two most remarkable 
 displays of ceramic manufactures,—those of the Imperial Manu¬ 
 
 factory of Sevres, and Messrs. Minton & Co., as affording an 
 appropriate conclusion to this portion of our subject ; and in 
 considering them together we do so with the fullest understanding 
 that each must be tested from an essentially different stand-point, 
 since the aim of the managers of Sevres is to produce fine artistic 
 works regardless of time and cost, and with an utter repudiation 
 of everything like the commercial element, whilst Messrs. Minton 
 have to make the latter a primary feature in all they do. For, 
 whilst aiming at artistic excellence, they have to consider how far 
 the cost will be met by the price at which each article can be sold 
 to a profit, and how far each production is likely to create by its 
 attractions, a demand in the market; such demand being too 
 frequently limited by the prices rather than the inclinations of 
 those able to appreciate the results of their efforts. We have no 
 hesitation then in declaring that viewed under the two aspects 
 above quoted, Messrs. Minton’s display is by far the most remark¬ 
 able, as it is certainly the most creditable to the energy and 
 enterprise of its producers. Exquisite as the works exhibited 
 from Sevres are, they are frequently rivalled on their own ground 
 by parallel examides by Minton, whilst in a large class of articles 
 the latter has struck out a new walk, or rather a return to an old 
 one, which might well alarm the French for the cherished laurels 
 and reputation of their pet manufactory on the banks of the Seine. 
 
 In large works, all of them essentially tours deforce , Sevres stands, 
 as heretofore, unrivalled for the perfection and completeness of 
 each specimen ; although, as already stated, there are examples 
 of a similar class which in certain points tread very closely upon 
 them. In the smaller works, Sevres may be said to overwhelm 
 and puzzle the visitor by the abundance of its contributions. 
 High in character, broad in treatment, wonderful in the accuracy of 
 drawing, and if not always perfect in design, yet suggestive of a 
 power far beyond most of the productions of ordinary Art as shown 
 in the far-fetched attempts at high Art par excellence , for in them 
 we recognise the mind of the true artist. Each theme is thought 
 out thoroughly, and executed with a precision and force indi¬ 
 cative of a fixed purpose, and a full apprehension of all that is 
 required to be done. 
 
 We thus broadly enunciate our conviction as to the leading 
 characteristic of the Sevres display, since to select special exam¬ 
 ples, as under ordinary circumstances, would be clearly impossible ; 
 we shall therefore content ourselves by quoting two of the larger 
 examples. 
 
 Artistically, the chef-d''oeuvre of the Sevres contribution is a vase 
 commemorative of the Great Exhibition of 1851. The form is 
 essentially Roman, and is ornamented with antique scrolls in 
 white and gold, in low relief, upon an Indian red ground. A collar 
 or fillet supports the body upon a short shaft, which is broken by 
 four masks representing Asia, Africa, Europe, and America. The 
 body itself is decorated with detached groujrs of figures proceeding 
 from the back to the front, where Peace is represented as en¬ 
 throned, having Plenty on one side and Justice on the other. The 
 groups to the left are formed of figures symbolic of England and 
 her colonies, Russia, the United States of America, and China ; 
 those to the right representing France, Belgium, Austria, Prussia, 
 Spain, Portugal and Tui-key. A figure at the back divides the 
 groups, and is ingeniously posed in the attitude of sending them 
 upon their mission. The upper curve of the body and the neck 
 are decorated with olive leaves in bronze, the fruit being gilt. 
 The words “ Ahondance ,” “ Concorde ,” “ Equite," are inscribed 
 above the whole. 
 
 The effect of this thoroughly well-considered work of Art is at 
 once harmonious and highly satisfactory. The mind dwells with 
 pleasure alike on the ensemble and the details, whilst a certain air 
 of novelty gives it an additional attraction—because it is thus taken 
 out of the beaten track of the ordinary vase designer. The 
 dead effects of the bisquet contrasts admirably with the brilliant 
 effects of colour and the sparkling of the metal wreath of olive 
 leaves and fruit ; and as a special effort it stands alone, in its 
 way, in the Universal Exposition, alike for thoughtful design and 
 skilful execution. 
 
 Another colossal vase presents some remarkable features in the 
 method of the ansation. A rope is carried round the whole, and 
 so arranged that the strands and knots form a continued decoration. 
 The latter being grouped in unequal quantities, but symmetrical 
 proportions, give spots which vary the surface, whilst they are 
 subordinate to the general outline. The painting and gilding of 
 this vase is very superb, the poppies which form the subject of the 
 decorations of the body being remarkable examples of high-class 
 flower-pxinting on porcelain. 
 
 The gilding in the Sevres porcelain is much less abundant 
 than in the commercial china-ware of France, and thus gains 
 largely in point of taste. 
 
 As examples of porcelain-painting, several reproductions of 
 famous pictures are exhibited, the best being portraits of the 
 Emperor and Empress, and a copy of Vandyke’s Charles I. 
 
 We now turn to Messrs. Minton’s contributions, forming in 
 
 XIII 
 
THE PARIS EXHIBITION 
 
 themselves an exhibition of no ordinary character artistically, and 
 certainly, as the production of one house, the most remarkable 
 display, commercially, in the whole exposition. Properly classified, 
 the collection is illustrative of the past and present works in 
 porcelain all produced through a series of years by Messrs. Minton, 
 and proves what may be done by earnestness and zeal in a 
 given direction, whilst there is no room to doubt that it is equally 
 an evidence of that triumphant commercial success which ever 
 attends intelligent and well-considered efforts, directed to the 
 improvement of a staple industry by those who understand its 
 wants, study its means, and knowhow to make the best use of its 
 appliances. Such we apprehend is the secret of the success here 
 rendered so manifest, since the same feeling and intelligence is 
 carried more or less throughout all the examples, for each is 
 evidently adapted to meet the wants of a certain class of customers. 
 For the wealthy, whose money is in the excess of their taste, we 
 find works abundant in ornamentation, yet calculated rather to 
 correct their love of the exuberant than cater to their whims and 
 caprices in this direction. For the customer of limited means, 
 whose object is to obtain elegance rather than magnificence, there 
 is a still wider choice, and whether in form or in colour, in modern 
 works, reproductions, or imitations, the most fastidious on the one 
 hand, or the most careless on the other, will find something to meet 
 their wants and stimulate their taste. This is our conviction, 
 arrived at after a careful consideration of the various examples in 
 the different branches of ceramic art, as exhibited by Messrs. 
 Minton. In thus giving full expression to this conviction, how¬ 
 ever, it is by no means to be implied that the examples 
 exhibited are of equal excellence, or that absolute perfection has 
 been attained to, even in any single specimen. Our view is a 
 mixed one. If viewed from the absolutely artistic stand point, 
 then it fails in coming up to the Sevres display. If looked at from 
 a purely commercial point of view, then in all probability the wise 
 denizens of market, or the oracles oil “ ’Change,” may consider 
 that the production of a given number of tons of ugly earthenware 
 will “ pay ” far better than all this refinement concentrated upon 
 a mere portion of such material weight. Considered, however, as 
 a union of the useful with the artistic ; that which brings honour 
 and reputation, with that which pays ; we repeat, that Messrs. 
 Minton have shown sound judgment and a wise patriotism in 
 this effort to do full justice to their industry, and that of the 
 important district in which it is carried on, in the Universal 
 Exposition of 1855. 
 
 It would serve no useful purpose to discuss the merits of 
 individual examples, did our space permit us to do so. In the 
 specimens of parian exhibited there is the usual excellence 
 for which the productions of this house and that of Copeland have 
 been for some years so remarkable, and which so far surpass 
 in colour and beauty of material the cold-toned bisquet statuettes, 
 &e., of French and German manufacture. In terra-cotta and 
 encaustic tiles there is a marked advance on the specimens shown 
 in 1851. The results are more decidedly artistic, whilst there is 
 greater novelty of subject and originality in design. One or two 
 specimens of encaustic floors, painted in the style of the antique 
 mosaics, are remarkable examples of artistic breadth of treatment, 
 and of pure, intelligent drawing and execution. The greatest 
 novelties, however, are certainly the examples of the revival of an 
 old industry in new forms, and the producers of modern Faience, 
 whatever may be their merits as imitators of the antique, receive 
 a lesson from these specimens of modern Art wrought out after an 
 old manner ; for in confining their attention to the imitation of the 
 more ancient examples, they only effect one-lialf of their work, 
 since with a due share of skill and enterprise they could enter into 
 the field of competition with their predecessors of the fifteenth and 
 sixteenth centuries : not merely as manufacturers, but as designers; 
 not only as potters, but as artists. Messrs. Minton have achieved 
 this, and there is no better example than the Dish and Ewer, 
 designed and modelled by M. Jeannest, of living power in this 
 direction. The whole arrangement of this work is so thoroughly 
 in keeping throughout, and whilst severe in form and treatment, 
 there is no affectation of an undue regard to the littlenesses of the 
 ancient methods. In short, the artist has aimed at a broad and 
 well understood rivalry of the excellences of ancient Faience, rather 
 than a grovelling imitation of worn out types and methods. Thi3 
 is the true use of the antique, at all times and in all places, except 
 in mere matters of restoration. Let the fine things of the olden 
 time give the moderns the key-note as to the spirit of a work, if it 
 is thought desirable to adopt a given method of treatment, but to 
 invoke the past to crush the present, to “ cramp, cabin, and 
 confine ” the aspirations of to-day by an everlasting quotation of 
 yesterday, is the veriest waste of Dower, of precious time, and hard- 
 earned skill. 
 
 The result of the fictile expositions of France and England proves 
 without doubt that the less the artists of both countries allow 
 themselves to be led away by the conventional servilities of obsolete 
 methods the better, and that they have only to combine the facilities 
 
 afforded by modern science with their proved skill in Art, to do 
 all they may aspire to, or perhaps it would be better to say, all 
 that the commercial spirit of the age thinks it safe to allow them 
 to do ; since your genuine shopkeeper, after all, is the true “ Sir 
 Oracle ” of the market, dictating not only what the manufacturer 
 shall produce, but also what the public shall buy, since the said 
 “ Sir Oracle ” has a great horror of his customer daring to have a 
 purer taste than himself. It is such houses as Mintons’ who will 
 henceforth ride rough-shod over this absurdity, thanks to such 
 displays as that of 1851 and of 1855. Lifting up the popular taste, 
 and catering to it whilst raising it, the public will be taught to 
 paraphrase the exclamation of Sir Toby, and rouse the retailer 
 with—“ Dost thou think, because thou hast a taste for ugliness, 
 there shall be no more beauty in crockery-ware 1 Yes, by St. 
 Luke ! and if thou dost not provide it, somebody else shall! ” 
 
 GLASS. 
 
 After an examination of the porcelain, and the satisfactory 
 impression made upon the mind by the thoroughness of the expo¬ 
 sition achieved in this department of European industry, the 
 display of ornamental glass, as also of the more useful articles in 
 this material so essential to our every-day comforts, appears compa¬ 
 ratively meagre and unsatisfactory. If the English manufacturer’s 
 of ceramic productions have done well, then those of glass have as 
 completely neglected their duty ; and, for all the evidence we have 
 of the existence of the British glass trade, it might as well not 
 exist, or be simply in a comparatively early stage of its develop¬ 
 ment. The exceptions to this are to be found in the exhibits of 
 some two or three houses. Messrs. Daniel, of London, show 
 a few excellent examples of table glass, with their porcelain. 
 Messrs. Lloyd & Summerfield, of Birmingham, exhibit as manu¬ 
 facturers, and sustain their reputation for the production of flint- 
 glass of high quality. They also illustrate their patent method of 
 constructing window-bars of glass, to which our architects espe¬ 
 cially, when constructing shop-fronts, might usefully pay more 
 attention than they appear to have done; since there is a wide 
 field therein for the introduction of both novelty in construction, 
 and beauty in the decorative adjuncts. Messrs. Osier & Co., of 
 Birmingham, exhibit a candelabrum of fine chaiacterin design and 
 construction, upon which we shall take occasion to speak in due 
 course ; but of table glass, &c., so important in a commercial sense, 
 they do not contribute a single article. 
 
 In considering the character of the continental glass, it is 
 natural to turn first to the quarter where we might expect to see 
 it represented in its best and most tasteful forms. On examining 
 the Bohemian glass contributed on this occasion, only one conclu¬ 
 sion can be arrived at, and that is, that the peculiar excellencies 
 of its manufacture are not so thoroughly illustrated as they ought 
 to be. Of originality there is very little, with the exception of a 
 few examples of large vases. One pair of these vases is intended to 
 illustrate, as we suppose, the Egyptian style of ornament in this 
 material. The base of each vase is light blue, and the body of white 
 opal. The figures which decorate the surface being gilt in relief, 
 shows what strange mistakes may be made in the modern chase 
 after novelty. Here is a style of Art in which ornament ought 
 almost invariably to be treated in intaglio, wrought out at a great 
 cost and much labour, with the contradictory effect of the ornament 
 treated in relievo ! 
 
 Tuscany shows some admirable examples of domestic glass of 
 great purity of material, and excellent effect in the cutting. 
 Weight of metal does not here take the place of purity of form, as 
 is too frequently the case in English cut-glass. 
 
 In the Belgian department there is an excellent display of useful 
 articles, of plain but good character, contributed by the “ Societ6 
 Anonyme d’Herbatte,” of Herbatte, near Namur (405, Royaume 
 de Belgique), which only serves to prove with what advantage our 
 English manufacturers might have entered the field ; and reminds 
 the visitor interested in this department of industry, that the 
 “pressed” glass of England and the United States, in the manu¬ 
 facture and adaptation of which so much progress has been made 
 within the last few years, is totally unrepresented. Now, it is 
 quite clear to us that, had one or two of the more important glass 
 companies of the United States, say the New England Glass Com¬ 
 pany, and the Sandwich Company, both in connection with, or near 
 to Boston, Massachusetts, have given themselves the trouble to 
 have sent a series of their ordinary productions to the Universal 
 Exhibition, they would have done themselves no little credit.* 
 This they might have done more easily than the Pittsburg houses, 
 from their being upon the sea-board, and having the advantage of 
 a port in daily communication with Europe. 
 
 As might be expected, the French manufacturers of glass, in all 
 its varied forms, have taken especial care that their interests do 
 not suffer from any apathy on their part, and accordingly each 
 
 * The writer states this from personal observation as a member of the British 
 Commission to the United States of America in 1853. 
 
 XIV 
 
OF INDUSTRIAL ART. 
 
 section is duly represented. In the court appropriated to the 
 exposition of the glass manufacture of France, near the central 
 avenue of the Palais de l’Industrie, will be found examples, 
 of pure colour, fine cutting and engraving, and better still, great 
 elegance in the general forms of the articles exhibited, which if 
 carefully studied, might furnish many useful hints to our own 
 manufacturers. Perhaps the most remarkable individual display 
 is that of I. L. Maes of Clichy-la-Garenne (5330, Empire Fran§ais), 
 whose exhibit in 1851 was rewarded by a Council medal. Many 
 individual pieces might be quoted as examples of pure taste, alike 
 in ornamentation as in form, and perfect adaptation of material to 
 use. One little eau sucree service struck us, a peculiarly elegant 
 illustration of a pure and legitimate method of ornamenting surface- 
 coloured glass by cutting, and though far from new, its thorough ap¬ 
 plication in a simple form challenged attention rather from its 
 lack of ostentation, than because it pronounced itself too strongly 
 amidst the articles by which it was surrounded. 
 
 A pair of table lustres manufactured and exhibited by the 
 Baccarat Glass and Crystal Company ( Compagnie des Yerrieries et 
 Cristalleries de Baccarat) (5327, Empire Fran 9 ais), claimed attention 
 for the admirable manner in which coloured, gilt, and white glass 
 were combined for the production of a charming prismatic effect, 
 and is suggestive of an analogous mode of treatment applicable to 
 other articles. 
 
 In chandeliers, candelabra, girandoles, lustres, &c., the French 
 make a large, but by no means thoroughly satisfactory display. In 
 the majority of examples too much has been aimed at, and worse 
 still the characteristic crystalline features of the material has been 
 strangely overlooked or bidden defiance to. Thus, in some of the 
 larger examples of candelabra, the architectonic forms of stone, 
 marble, and even metals, have been attempted to be followed. Now 
 brackets, consoles, volutes, acanthus foliage, frets, and guilloehes in 
 glass, are so many contradictions and absurdities, and when the diffi¬ 
 culty of cutting or moulding the material into the requisite forms is 
 achieved, the charm and value of such details is lost, simply 
 because, in nine cases out of ten, their effect depends more upon 
 their light and shadow, than upon their outline. In glass this 
 light and shadow is lost, and even the outline of forms well adapted 
 to an opaque material which reflects without transmitting the 
 light, is very imperfectly seen. This mistake on the part of the 
 French is rendered doubly obvious by the thoroughly crystalline 
 character of the design and execution of the remarkable candela¬ 
 brum exhibited by Messrs. Osier of Birmingham. In this work 
 the prismatic theory of glass ornamentation has been most tho¬ 
 roughly and successfully carried out. It is at once crystal-like in 
 its material, construction and decoration, and in this lies the secret 
 of its success. Whilst upon this question of the adaptation of form 
 and decoration to material, it may be useful to call attention to 
 the chandeliers in brass, glass, and porcelain, exhibited by Spinn 
 of Berlin (747, Boyaume de Prusse). The constructive portions 
 are of brass, the branches being profusely decorated with a 
 growth of flowers in porcelain painted in their natural colours ; 
 whilst from these metal branches spring leaves of green glass the 
 fibres of which are gilt. The expenditure of artistic skill in exe¬ 
 cution, as well as in cost of material, must have been very con¬ 
 siderable, yet the result is offensively naturalesque. 
 
 The examples of stained glass in windows are numerous and of 
 a very varied character. They are chiefly shown in the pavilions 
 which form the entrance to the galleries of the Palais de l’lndus- 
 trie, these being located at the angles and in the centre, back 
 and front. 
 
 The most correct in style, according to English notions, are 
 those by Messrs. Hardman, of Birmingham, executed for the great 
 window of Westminster Hall, and several churches. The other 
 English examples are of about the average of artistic excellence, 
 though on the whole there is a decided improvement since 1851. 
 Less pictorial and more mosaic, there is an evident tendency to 
 more correct principles, and consequently less waste of mechanical 
 and artistical power. The French and German specimens are, 
 with a few exceptions, not above the average. Grignon and Co., of 
 Metz, shows a very fine window, as also does Lusson, of Paris. The 
 specimen by Gerente is a true mosaic, and gains by its integrity. 
 The window by Lafaye is a curious but effective combination of 
 architectonic, pictorial, and mosaic effects. The Belgian examples 
 are for the most part of high excellence in execution. 
 
 Messrs. Chance, of Birmingham, exhibit specimens of their 
 transfer process from lithographic stones. Here is a wide field 
 for working out a most legitimate method of glass ornamentation, 
 if properly directed to its true use. These pictorial effects, how¬ 
 ever, being mere reproductions of the ordinary landscape lithograph, 
 are a decided waste of means and power. The printing process of 
 Messrs. Chance, as applied to mosaic windows, is also illustrated by 
 two or three examples. These also show how much may be done 
 if the process is judiciously used. In fact, it would be difficult to 
 set a limit to the results which might be produced by the union of 
 the two processes carried out in a true artistic spirit. 
 
 On the whole, there is no reason to suppose that had the repre¬ 
 sentation of the British glass trade been as full and complete 
 as it ought to have been, it would have suffered in any material 
 point in the comparison with the productions of its continental 
 rivals ; except, perhaps, in those particulars in which Art has been 
 applied by the latter for a long and uninterrupted period, unre¬ 
 strained by fiscal duties and unfettered by the mere traditions of 
 obsolete methods. 
 
 JEWELLERY. 
 
 The extent of the display made by France in various branches 
 of the manufacture of ornaments applicable to personal decoration 
 is altogether so much beyond what the general visitor would 
 expect, that we anticipate comparatively few persons will have 
 either time or inclination to examine into the details of this 
 remarkable exposition of the industry, chiefly of the City of Paris 
 alone. With the limited space at our disposal it would be useless 
 to attempt to discuss the merits, or even the leading features of 
 the Imperial Exhibition of the Crown Jewels, arranged for the 
 inspection of the public upon the central platform of the pano¬ 
 rama, inasmuch as most visitors would make a point of examining 
 them from the prominent nature of the display, whilst scores, 
 probably hundreds, of articles of jewellery, the production of the 
 skilled workers of Paris for commercial purposes, equally, perhaps 
 more artistic though less genuine, would be overlooked. 
 
 No person can walk along the front of the north gallery of the 
 Palais de l’lndustrie, where the mass of the bijouterie of Paris is 
 exposed, without being forcibly struck with the immense amount 
 of skilled labour and true artistic power evidenced in the examples 
 exhibited. No other city in the world could have produced such 
 specimens of exquisite handicraft, of fanciful design, of artistic 
 invention ; or as a whole, shown so much really good taste, when 
 it is considered to what a fearful lack of taste the manufacturer 
 of these articles has to cater, either in the dealer who stands 
 between him and the public, or in that same public itself: since 
 in few things do we see such an utter want of everything like 
 fixity of principle as in the selection of personal ornaments in 
 gold, silver, and precious stones, or their imitations. 
 
 In too many instances we regret to find that the absurd attempt 
 at an absolute imitation of natural forms does much to detract 
 from the real merit of otherwise excellent examples. This is 
 peculiarly manifest in the articles chiefly intended for exportation. 
 It is, however, in the very highest class of jewellery, and the com¬ 
 bination of precious stones with gold and silver, that the true 
 strength of the French designer and Art-workman in this speciality 
 is most evident. The works exhibited by Froment-Meurice, 
 (5032, Empire Franqais), Budolplii (5042, Empire Fran§ais), Mayer 
 (•5037, Empire Frau 9 ais), would alone suffice to prove this. In 
 Froment-Meurice’s display there are a few old friends of 1851, not 
 in any degree unwelcome ; whilst there is the same unrivalled 
 power in smaller articles, carried to a still greater extent, which 
 so thoroughly awakened public attention in the Great Exhibition 
 in London. Some of the brooches, bracelets, &c., in oxydised 
 silver, would defy Cellini himself to surpass them. One exquisite 
 little bijou is a smelling-bottle, decorated with a Cupid and an 
 interwoven arrangement of ivy. Anything more perfect it is 
 impossible to conceive. Another too is a brooch, in oxydised 
 silver, of a guardian angel, the arrangement of whose wings, in 
 conjunction with a cross which forms the base of the composition, 
 is most happily managed. 
 
 Budolphi’s works are not a whit inferior, though somewhat 
 different in certain points. He exhibits, amongst a variety of 
 smaller examples of his art, a Prie-Dieu in gold, silver, and 
 enamel. The mosaic imitations are of great beauty, but the large 
 ornament at the back is very much out of proportion, and gives a 
 littleness to the other details of the work by contrast. 
 
 M. Jules Wiese, or Wiset, of Paris (5116, Empire Fran 9 ais), 
 exhibits bracelets of extraordinary beauty in design and execution, 
 as also enamels of great excellence. A book-case, in oxydised 
 silver, is also a tasteful and instructive specimen of Parisian skill 
 in this direction. The green velvet with which it is fitted at 
 certain points harmonises most agreeably with the cold but rich 
 tone of the silver, and gives a hint in colour which might be 
 usefully taken. Our notes abound in quotations of examples of 
 excellence in gold and silver filagree work, of bouquets in paste 
 and diamonds, of imitations of precious stones and gold and silver 
 for ecclesiastical purposes ; as also of theatrical jewellery, arms 
 and armour. Seal handles, snuff-boxes, cigar cases, and the thou¬ 
 sand and one articles comprised under the general head of “ Neces- 
 saires et Trousses de Voyage," and “ Articles de Fantaisie," with 
 which the Toy Court is tilled to repletion, also claim attention, 
 which can only be given here by urging the necessity for more 
 attention on the part of the producers of these articles in England 
 to the activity of the Parisian manufacturers ; and above all, the 
 necessity for a better special education for our artisans engaged 
 in their production. This last is the great lesson taught to the 
 
THE PARIS EXHIBITION 
 
 employers of skilled labour in England, and which sooner or later 
 they must attend to. If the artisan of Birmingham was lifted 
 more towards the dignity of the artist by early and sound instruc¬ 
 tion in the artistic principles of liis trade, there is no reason why 
 he should be a whit behind his fellow-worker of the Parisian 
 Faubourgs. 
 
 Probably, the great fault of the Parisian jewellery is its excess 
 of ornament ; and, frequently, the superabundance of colour, in¬ 
 troduced by the agency of enamel, or coloured stones. Iu this, 
 however, we see the peculiar natural genius of the producers ; since 
 much the same remark has to be made of nearly every department 
 of French industry. 
 
 A tiara and brooch of a very tasteful character, by Jean Dufour, 
 of Brussels (396, Royaume de Belgique), is an excellent example of 
 Belgian work, whilst the diamond bouquets of Romain, of Rotter¬ 
 dam, whose works were rewarded in 1851, show that, though the 
 Dutch may be considerably in arrear in matters of taste when 
 applied to the mere fanciful productions of human industry, yet 
 that there are exceptions which might be quoted as specimens of 
 pure and unaffected taste in the decorative arts. 
 
 The Euglish jewellery is not very extensive. To our minds, the 
 most tasteful display is that by Phillips, of Cockspur Street, 
 London. A tiara of lilies is very excellent; and the arrangement 
 of the parts in some of the bracelets shows an artistic perception of 
 fitness, not often displayed in works of this class. 
 
 The revival of steel ornaments, in which bead-work plays a pro¬ 
 minent part, bouquets of excellent construction and arrangement 
 being an important feature, may do much to correct the tendency 
 to the glaring effects now so prevalent. When it is recollected to 
 what an extent the manufacture of steel ornaments was a staple 
 of Birmingham, and especially of Wolverhampton, during the 
 middle of the last century, and which fell with the great French 
 revolution, it seems strange to look upon its revival in the very 
 city which, next to Madrid, was the great market of the steel 
 workers of the Midland Counties of England from 1760 to 1780. 
 For them the trade is absolutely lost, so far as regards its highest 
 manifestations, in the very locality in which, a century ago, it 
 flourished, and gave employment to a considerable number of skilled 
 workmen.* 
 
 As a whole, then, there can be no doubt that an intelligent 
 examination of the specimens of jewellery, &c., contributed to the 
 Universal Exposition by those engaged in the production of 
 kindred articles in London and Birmingham, cannot fail to be both 
 useful and suggestive ; often, certainly, of things to avoid, but also 
 much which might be emulated alike in design as in careful and 
 conscientious execution. 
 
 GOLD AND SILVER PLATE, &c. 
 
 In no department of industry does the special education in Art 
 afforded to the artisans of Paris by the municipality and the 
 government show its importance and utility as in artistic metal¬ 
 work, whether in the precious metals or in bronze. The necessity 
 for the special education of the modeller and chaser of metal-work 
 was fully acknowledged many years ago, and a school was 
 established for the exclusive use of students intending to follow 
 the specialite of metal chasing. This school of the Bronzists, as it 
 ■was called, did its work efficiently, and at the period of the 
 Exposition of 1844 was supported both by the municipality of 
 Paris and the government. In this special school for workers 
 in metal, all that appertained to the working of metal in a 
 given direction, and for a given end, was alone taught, and 
 instead of an heterogeneous mass of young men and boys, 
 niue out of ten of whom do not really know what they study 
 Art for, as iu the case of the English schools, the director of 
 this Bronzists’ school had a homogeneous body of youthful 
 artisans, all with a distinct purpose ; since unless their object was 
 not only defined, but most unmistakeably that for which the school 
 was kept open, they were not admitted to partake of its privileges. 
 In the thoroughly artistic execution of the gold and silver plate and 
 Art-bronzes of France we have the best proof of the value of this 
 wise concentration of the objects of a special Art-school on a given 
 end ; and we see that France stands almost alone for its power 
 alike in invention as in execution in the specialite of artistic metal¬ 
 work, whilst other countries avail themselves of the services of the 
 very men France has specially educated to this .end. Here is a 
 lesson of at least eleven years standing, yet Englishmen have not 
 learnt it at present, but are still groping their way to some scheme 
 by which the alphabet of Art shall be taught upon such recondite 
 principles and with such perfection of routine and stereotyped 
 method, that the relation of the Art-teacher and his pupil tends to 
 illustrate the mechanical result of one automaton working another. 
 
 A deceased relative of the writer was, at the period above named, the manufac- 
 enrer ot nearly all the ornaments worn at the court of Louis XVI. Thirty years ago 
 < lat remained as a memorial of a once-flourishing manufacture was a few poor 
 old men, who occupied a portion of the former scene of their skill, almost as a charity, 
 and earned a precarious livelihood by making corkscrews and tweezers. 
 
 Meanwhile we are getting our modellers and chasers from France, 
 and call the work thus produced specimens of English manufacture, 
 par excellence, instead of French manufacture through the agency 
 of English enterprise and commercial skill in the administration of 
 industry. 
 
 Can anything be more clearly evident that such is precisely the 
 position of the gold and silver and electro-plate manufacture of 
 England, as shown in the Universal Exhibition in the exhibits of 
 Messrs. Hunt & Roskell of London, and Messrs. Elkington, Mason 
 & Co. of Birmingham 1 The Veclite of the one, and the Jeannest 
 of the other, with a corps of modellers and chasers, solve the 
 problem of British Art as applied to the highest class of metal¬ 
 work produced in London and Birmingham. ' We repeat it is 
 English enterprise and not English Art-knowledge which does 
 this,—English capital, not English hands directed by well-educated 
 English intellects. And this is our best, though at the same time 
 it may be an unpleasant, lesson. For we are told most unmistake¬ 
 ably that we have neglected to cultivate in a practical form the 
 talent which is around us, and thus are compelled to seek it where 
 more far-seeing minds have grown it, inasmuch as they were wisely 
 content to await its growth, and not like ourselves impatient of 
 results before we had really begun our work. Let us then honestly 
 give the honour where the honour is due, and however much we 
 may be disposed to criticise and condemn the aesthetics of French 
 Industrial Art, and point out its inconsistencies, still to bear in 
 mind that it is to the educated skill of the artists of France we are 
 at the present time indebted for much upon which we can con¬ 
 gratulate ourselves. 
 
 The English gold and silver work is indeed of very varied and 
 miscellaneous character, and too frequently the value is made up 
 in weight of metal for what the work lacks in taste and artistic 
 power. The Goldsmiths’ Company did well for the glory of the 
 City to exhibit their collection of plate, since if there was nothing 
 very novel to show, yet it would prove, in some degree at least, 
 that one portion of the Corporation of London had some pretence 
 to be considered patrons of Ai't. Not that such figures as the fat 
 Mercury, or the dull-looking representation of Plenty iu one of the 
 pieces, would convey a very exalted idea of the quality of Art 
 patronised. 
 
 The works of M. Yechte exhibited by Hunt '& Roskell are 
 unrivalled. A new shield commemorative of such English writers 
 as Shakspeare, Milton, and Newton, the bas-reliefs filling seg¬ 
 mental portions of the work, are full of the highest qualities of Art. 
 We might allude here to the taste of the jewellery of this house, 
 which is generally less ornate and more substantial than is usual in 
 similar works. One or two rings are of an exquisite character. 
 
 Mr. Hancock, formerly connected with the firm of Hunt & 
 Roskell, exhibits a fine work, the subject of which is George and 
 the Dragon. A few of the smaller works displayed by Mr. 
 Hancock, and purchased by the Imperial family, are very excel¬ 
 lent alike in design and execution, and generally the engraving 
 of the various pieces throughout the exhibit is admirably executed. 
 In Messrs. Garrards’ display the smaller and more useful articles 
 are in good taste, being free from those ambitious attempts at 
 useless ornamentation which are usually offensive, because it inter¬ 
 feres with the real purpose of the article. G. R. Collis of Birming¬ 
 ham exhibits a few specimens of his manufacture, which are really 
 good in form and design ; there is, however, so many of the usual 
 rococo type that we are more than ever tempted to wonder who 
 buys them. We have the incessant marrow-bone scroll of that 
 eternal Louis Quinze repeated after the approved fashion of the 
 last twenty or thirty years ; brought in at all points, and iu all 
 positions, vertical, horizontal, oblique and upside down. Shall we 
 ever get rid of it 1 
 
 In Mr. Collis’s exhibit, the everlasting and always to be exposed 
 Warwick Yase makes its appearance of course, with an almost 
 equally old friend, the celebrated donkey inkstand or mustai'd-pot, 
 for although we have known it for years, its absurdity in design is 
 too alarming to permit any detailed examination as to its true use. 
 This last article, together with the brobdignagian salver manu¬ 
 factured for Mehemet Pasha, must greatly astonish or puzzle the 
 French, and on seeing such specimens of our Art-manufacture 
 they can no longer wonder at our seeking the assistance of such 
 skilled workers or artists as we may be enabled to induce to 
 submit to our vandalisms in sentiment, and our ultra-economic 
 notions which so thoroughly over-ride even English perceptions of 
 Art when applied to industry. 
 
 There are a few other Birmingham houses which exhibit electro¬ 
 plate, iu which an improved style is very evident; those of Messrs. 
 Cartwright, Hirons, & Woodward, for example, as also a few 
 specimens by Pride & Son. The engraving, however, in some 
 of the articles exhibited by the latter is execrable in taste and 
 execution. The forms too of some of the Britannia metal goods 
 exhibited by R. F. Sturges, proves how much more might be done 
 with a true perception of artistic form in its adaptation to the 
 means at the command of the manufacturer. The plated goods of 
 
 XVI 
 
OF INDUSTRIAL ART. 
 
 Messrs. James Dixon & Sons, of Sheffield, also show a marked 
 improvement since 1851. Several of the services are of pleasing 
 design, and the details are generally in good taste. 
 
 It is quite clear then that we must find fault, “ grumble and get 
 on,” not allow any one to go to sleep, because their predecessors did 
 something which somebody thought very fine. This will not do in 
 this day; and we have no better illustration of this than the position 
 attained by Elkington’s house as compared with others who a few 
 years ago were regarded as the leaders, by prescriptive right, of the 
 silver and plated ware manufacture of Birmingham. No one who 
 can remember the nature of the designs which prevailed fifteen 
 or twenty years ago can fail, on entering the court devoted to the 
 display of Messrs. Elkiugton, MasoD, & Co., to see at once that 
 a marvellous change has taken place in tbe character of these 
 productions, and that the puerilities and ultra-naturalesque imi¬ 
 tations of even a very recent period are gradually vanishing before 
 a better understanding of what Ornamental Art really is, how it 
 ought to be applied, when and where applied, and above all, that 
 if it cannot be so applied with propriety and in an artistic manner, 
 it is better that it should be left out altogether, and the article 
 stand in the simple form required by its use. The position 
 which Messrs. Elkington, Mason, & Co. have taken on the present 
 occasion is of such a character as to emphatically demand the 
 attention, as it has certainly secured the approval, of the most 
 inveterate stickler for the perfection of Parisian art in high 
 class metal-work. It must however be confessed that more of 
 this is due to Erench genius than is quite consistent with the full 
 assertion that British talent finds some honour at last, even in 
 that which it would have been no disgrace not to have attempted, 
 since the great mass of the works exhibited are exceptional in 
 their character, and appeal rather to the taste and means of the 
 few, than provide for the wants of the many. 
 
 In considering the French productions in gold and silver, the 
 transition from the works of Messrs. Elkington to those of Chris- 
 tofle & Co., of Paris, (5052, Empire Franqiis,) is a natural one, 
 since the latter house holds the exclusive right in France of 
 working the original patent of Mi\ G. R. Elkington, and as might 
 be supposed, have found it no light task to preserve the privilege 
 amidst the hosts of competitors by which it is surrounded.* 
 
 The productions of Messrs. Christofle & Co. are chiefly exhibited 
 in connection with the works of the various Imperial manufactories, 
 already named as being arranged in the rotunda of the panorama ; 
 and certainly the most remarkable service of plate in the Universal 
 Exposition, considered artistically, is that comprising one hundred 
 covers, executed for the Emperor. Without discussing the merits 
 of the whole design, which may in some points be open to excep¬ 
 tion, although the idea is a noble one, since it seeks to symbolise 
 the great cities of France in their connection with Art, science, in¬ 
 dustry, and civil order—the smaller pieces of the service will best 
 repay the examination of the English manufacturer, designer, and 
 artisan. In these we see a perfect adaptation of the form to the use; 
 whilst the decoration is left altogether so subservient to the outline, 
 as to look bald to those who are used to judge of works of this class 
 by a certain standard of variation in the original outline. Here, how¬ 
 ever, these decorations are not impertinences challenging attention 
 by their too positive assertion of themselves ; on the contrary, a 
 classic severity pervades the whole; whilst the ornamentation is of a 
 symbolic character, each piece being decorated with ornaments in 
 low relief, exquisitely modelled and chased. The basis of these 
 ornaments are the vegetables and fruits of the modern table, with 
 flowers occasionally intermingled : often the blossoms of the plants, 
 which suggest the complete ornament. There is a decided origi¬ 
 nality and novelty in both theme and execution ; and the result is, 
 to our minds, as nearly perfect as may be. The plates of the 
 service are of Sevres porcelain, exquisitely painted, and in admi¬ 
 rable keeping with the silver. As may be expected, the figures 
 which form the leading patterns of the larger pieces, centres, and 
 sub-centres, are admirably designed and modelled. The great 
 centre-piece illustrates the Virtues ; and from this the theme, as 
 already indicated, branches off. Here, then, we have a high degree 
 of mental refinement in Art applied to the aesthetics of a dinner- 
 service ; whilst unrivalled technical excellence and skill has been un¬ 
 sparingly employed in rendering the execution worthy of the theme, 
 of the Imperial patron, and of the greatness of the civil, commercial, 
 and industrial glory of France, as based upon science and arts and the 
 social virtues. It is worth a wilderness of the ordinary allegories 
 composed of strange looking gods, and stranger looking goddesses, 
 which have formed the stock subjects, selected from heathendom, 
 for the decoration of the tables of our princes, nobles, and bodies 
 corporate. What a theme the three kingdoms, with the great 
 manufacturing and commercial cities of each, not to speak of the 
 counties, their traditions, and physical peculiarities and products, 
 
 * It is said that Messrs. Christofle <fc Co. have expended 30.000L sterling in defend¬ 
 ing their right to the exclusive use in France of Elkington’s process, and have 
 brought upwards of three hundred actions at law. 
 
 would afford for the realisation of a right royal service worthy of 
 Windsor, its royal mistress, and the British nation ! 
 
 Amongst the more recherche works exhibited by other eminent 
 workers in gold and silver, is a coffee service by Marrel atne, (5035, 
 Empire Fran§ais), in the Saracenic style of decoration. The tray 
 is in silver engraved and parcel gilt, all the smaller pieces are in 
 silver, the ornament being enamelled in broad outline with light 
 blue. The effect of the whole is exquisitely chaste and simple. 
 These works show how the beaten track of any department of 
 industry may be successfully varied by the manufacturer where 
 cultivated taste enables him to see and appreciate Art in its 
 extended aspect, instead of bringing it down to the level of a mere 
 tradition of trade. 
 
 One of the most perfect works in the whole exposition is a small 
 book-cover in gold and oxydised silver, by the celebrated Justin. 
 This is exhibited by Thouret of Paris, (10,279, Empire Franqais). 
 On one side are two bas-reliefs illustrating the Old Testament, the 
 subjects being the “ Finding of Moses,” and “ Moses breaking the 
 Tables of the Law,” on the other side of the cover are two rilievi, 
 the subjects being from the New Testament,—the “ Baptism of 
 Christ,” and “Christ at the foot of the Cross.” The whole is most 
 exquisitely modelled, being purely metallic, and the character of 
 the ornamentation very original, whilst the execution may be 
 said to be perfect. 
 
 Amongst the novelties in decoration as applied to gold and 
 silver the invention of M. Grichois of Paris, (5033, Empire Fran- 
 9 ais) is the most suggestive. This is the insertion of thin plates 
 of silver cut in ornamental forms and engraved, between two 
 surfaces of glass. The method is not easily discovered, but the 
 effects are both striking and beautiful. It is applicable alike to 
 large or small objects, as also to plane, concave, and convex sur¬ 
 faces. 
 
 In selecting the works named from a mass of specimens in which 
 an increased amount of talent and ingenuity is shown, we have been 
 guided by a desire to name works only which appeared to possess 
 points of so unique a character, as to be suggestive to our own 
 manufacturers and artisans. 
 
 Before quitting the subject of gold and silver plate, however, we 
 may briefly refer to the numerous specimens of ecclesiastical plate, 
 church ornaments in gold, silver, and enamel, &c. Excellent as the 
 majority of the works exhibited certainly are, we see vei'y little which 
 can be said really to equal, certainly not surpass, the best works of 
 this class by Hardman of Birmingham, and Skidmore of Coventry, 
 neither of whom exhibit in this specialite on this occasion. In 
 the special point of enamelling there can be little doubt that in 
 many respects the French works are in advance of the English 
 of the same class. 
 
 BRONZES, AND DECORATIVE WORKS IN OR-MOLU. 
 
 The overwhelming character of the display in bronzes almost 
 precludes the possibility of making selections which would usefully 
 illustrate any particular point likely to be useful to the British 
 manufacturer. The fact is, however, that the production of 
 bronzes has become so exclusively Parisian, that with a few soli¬ 
 tary exceptions, no one enters into competition with the numerous 
 ateliers of the French metropolis. The English examples may be 
 said to be confined to the specimens of Messrs. Elkington, Mason, 
 & Co., and the larger examples of the Coalbrookdale Company. 
 Some of the former certainly rise to the dignity of a serious rivalry, 
 inasmuch as great pains is evidently taken with the selection of 
 subjects, a point which the French do not certainly consider with 
 sufficient care. It seems enough if the work is artistic, striking 
 enough to attract attention, and novel enough in its theme to give 
 it a distinct claim to originality. In this respect, Elkington’s 
 works certainly have the advantage for the English market. 
 Artistically too we fear there is a tendency to work more to 
 price than formerly ; with the exception of the older and pure 
 established houses, such as Eck and Durand, whose exhibit is 
 worthy of their reputation, Barbediene, Suss6 fVires, Deniere, and 
 a few others, the high standard of Parisian bronzes as shown in 
 1844, has deteriorated. The amount of artistic talent employed 
 in Paris upon the production of these bronzes and kindred works, 
 must be enormous, and shows how thoroughly a love of Art has 
 permeated the whole people, and to what an extent the Art- 
 instruction provided by the state has acted as the educator, so to 
 speak, of whole industries. 
 
 Like the French furniture, the best lesson the English Art- 
 student, artisan, or manufacturer can derive from decorative 
 bronze and brass-work as adapted to ordinary use, is to avoid its 
 obtrusive and ultra-naturalesque ornamentation. There are how¬ 
 ever a few admirable examples of fine treatment which may be 
 studied with useful results. Of these we may quote a mirror 
 frame cast in bronze, but not chased, by A. Lechesne, of Caen, 
 (5264, Empire Franqais). This work is eminently illustrative of a 
 true ornamental treatment in metal, in which natural forms are 
 used as a basis, but not as mere subjects for imitation. M. Lechesne 
 
 XVII 
 
THE PARIS 
 
 also exhibits a casket in oxydised silver ; this work is also illus¬ 
 trative of bold and effective treatment in metal, the ornamentation 
 being appropriately made to decorate the construction, whilst it 
 varies the form without concealing it. It will be remembered that 
 M. Lechesne was the modeller of the two groups of a child defended 
 by a dog from a snake, which attracted so much attention in the 
 Great Exhibition of 1851. Here then we see the result of talent 
 of a high class being devoted to Industrial Art. 
 
 There is evidently a great tendency at the present time to give 
 increased effect to works in bronze by varying of colour or tone in 
 which the metal is finished. Thus, the African is distinguished 
 from the European by a darker shade being given to the metal, 
 draperies again ai'e tinted darker and lighter so as to beget a 
 factitious light and shadow independent of the form. Again, dark 
 bronze is miugled with ormolu ; the bold works of Graux-Marly 
 of Paris (5183, Empire Fran§ais), illustrate the result. In some 
 instances, bronze and white metal, porcelain, and glass, are all 
 combined in the same chandeliers. At best the effect is very 
 bizarre; in fact the greatest skill in combination could scarcely 
 keep such a mixture from becoming vulgar. 
 
 Taken as a whole, the examples of Art in bronze, as exhibited 
 by the French, cannot fail to instruct the visitor in many points, 
 alike of emulation as of avoidance, whilst its extent will puzzle the 
 political economist, and the enquiry will naturally arise as to 
 where the markets are found for such works. 
 
 We have no space here for the consideration of the larger works 
 in bronze, coming as they do more distinctly under the head of Fine 
 Art than of manufacture. There are, however, specimens which 
 cannot fail to show how largely the technical skill obtained in 
 manufacture has been brought to bear for the production of works 
 rivalling the antique; thus Art acting upon Industry, is re acted 
 upon by the mechanical skill and experience of the latter, and both 
 are benefited. 
 
 EXHIBITION 
 
 sion,it is quite clear that they have rivals of no mean power springing 
 up on the Continent. The specimens exhibited by Vollgold & 
 Son, of Berlin (699, Royaume de Prusse), deposited and electro- 
 silvered, are of a very high class, and admirably executed ; whilst 
 the smaller examples, contributed by Lionnet freres, of Paris 
 (5062, Empire Franqais), and J. Feuqui6res, and C. Marquerite, 
 also of Paris (5176, Empire Fran§ais), are equally illustrative of 
 the use which is ultimately to be made of this new power for Art- 
 purposes, especially in productions of celebrated antiques, of which 
 Messrs. Elkington have given such undeniable proof, in the 
 specimens they have from time to time produced for the Depai't- 
 ment of Science and Art, from some of the more remarkable works 
 in metal in the Museum at Marlborough House. 
 
 ORNAMENTAL CLOCKS. 
 
 The extent to which French industry and skill is employed in 
 the production of time-keepers, great and small, costly and low- 
 priced, can only be realised on an occasion like that which brings 
 together in one focus specimens of the more important works in 
 any speciality. Artistically, the remarks already made upon the 
 various works in bronze, or-molu, &e., apply with equal force to 
 the generality of clocks, to which specimens of these in all their 
 varied forms are applied. The nature of the application, however, 
 requires some little consideration ; since a work may be excellent 
 in the abstract, and yet be fearfully out of place, when applied 
 to a clock or other article of use, as a portion of its decoration. 
 The principle of constructing a clock upon the basis of a pile 
 of ornament or a group of figures is so contrary to the true 
 logic of Art that, notwithstanding all the beauty which may and 
 often does result, the fallacy lying at the root invariably creates 
 more or less of dissatisfaction in the mind trained to look at Art 
 in its two legitimate aspects,—the one as standing on its own basis 
 as Art per se, and the other in which it is used for the purpose of 
 adding beauty to works of utility, in which Art is subordinate to 
 the article it embellishes. 
 
 DECORATIVE ARMS. 
 
 There is one feature in which the Exposition Universelle 
 of 1855 differs from the Great Exhibition of 1851, and that 
 is in the extent to which weapons of war are displayed. In 
 the latter,—although as examples of industry, fire-arms, swords, 
 etc., were exhibited,—yet these were more or less exceptional 
 in their character, or shown for the purpose of representing 
 an important manufacturing interest, and as necessary to the 
 full illustration of the classification adopted. Many earnest and 
 well-intentioned advocates and supporters of the Exhibition ot 
 1851 deprecated the introduction of a single weapon of war on an 
 occasion which they fondly hoped was the inauguration of the 
 burial of the sword.* On the present occasion, however, the costly 
 character of the display in fire-arms and swords is a marked feature 
 in the arrangements, and a large amount of the space allotted to 
 Belgium in the rez de chaussee is occupied with an exposition of the 
 fire-arms of Liege, whilst one half the Prussian court is devoted 
 to swords and bayonets, rifles, fowling-pieces, and pistols, all more 
 or less of an ornamental character. Nor is France behindhand in 
 a display of its resources in this respect, since several trophies 
 composed entirely of warlike weapons, arranged with a marvellous 
 skill and taste, occupy prominent positions at the side of the grand 
 avenue of the Palais de l’lndustrie. The contrast, therefore, 
 between 1851 and 1855 is as distinctly marked in this industrial 
 gathering, as the circumstances of the times are in the changed 
 tone of public opinion. 
 
 It is, however, with the more ornamental portion of the arms 
 exhibited with which we have specially to deal, and we cannot 
 but think that the majority of persons visiting the Exposition, will 
 after a careful examination of this department find themselves 
 instructed and not a little astonished with the remarkable 
 display of skill in Art shown in the decoration of these 
 weapons. In the Prussian court, the artistic talent shown 
 in some of the fowling-pieces is of a very high character; 
 the effects produced by engraving, inlaying, and chiselling, afford 
 a lesson in metal ornamentation which cannot well be overrated. 
 The gun-locks exhibited by Jeschner of Frankfort-on-the-Oder, 
 Jeutenberg of Hiisten, Hoffman of Posen, and Schilling of Suhl, 
 (respectively 507, 508, 510, and 515, Royaume de Prusse) are 
 triumphs of skill, and are subjects of study to all engaged in a 
 similar bi-anch of industry. The stocks of some of the guns are 
 sometimes rendered offensive by excess of ornamentation, since 
 the use of the arm is, or at least appears likely to be, interfered 
 
 * We remember hearing a worthy member of the Society of Friends, who stood in 
 one of the galleries watching the Sappers at their daily task, during the earlier pre¬ 
 parations of the interior of the building in Hyde Park, congratulate himself and 
 some ladies who accompanied him upon the fact that the Government or the Board 
 of Ordnance had at length become converts to, and co-operators with, the Peace 
 Society, since they were employing the red-coats in a work likely to be pre-eminently 
 conducive to peace! 
 
 WORKS IN ZINC AND ELECTRO-METALLURGY. 
 
 In connection with the bronze-works of France, it may be desir¬ 
 able to mention the progress made during the last six or seven 
 years in the production of works in zinc. For garden decorations, 
 there can be little doubt that, with the most ordinary care, this 
 metal would retain a certain degree of purity of surface and tone 
 of colour, which would render works cast therein an agreeable 
 adjunct to the terrace, the park, and the flower-garden. The 
 admirable specimens exhibited by the Ville Montagne Zinc Com¬ 
 pany show the capabilities of this metal for the production of 
 very high class works of Art, architectural decorations, and 
 articles of utility. Several of the statues exhibited are such 
 specimens of casting as to justify the highest praise. 
 
 As an illustration of the adaptability of this material to the pro¬ 
 duction of a much higher class of garden decorations of the useful 
 kind than it has yet been applied to, we may quote a remarkable 
 group of well-constructed and admirably arranged flower-pots, &c., 
 placed in the central avenue of the Palais, in the Prussian depart¬ 
 ment. These are manufactured by De Diebetseh, of Berlin (709, 
 Royaume de Prusse), and are designed in the Moresque style of 
 decoration, gilt, and treated with colour. The effect of the whole 
 is satisfactory and original, at once suggesting an improve¬ 
 ment in the style of the ordinary flower-pot, jardiniere, and 
 garden decorations generally ; and, since the surface of the metal 
 is capable of treatment by acids, so as to give a variation of colour 
 to the details of the ornament, without the labour and expense of 
 painting and gilding, it is quite clear that a field is opened in this 
 direction, which a spirited manufacturer would soon make both 
 profitable and useful. It must, however, be borne in mind, that 
 climate must be taken into consideration in the application of 
 this material ; for, though admirably adapted to the pure, dry 
 atmosphere of some parts of France, it by no means follows, 
 that the results would be equally satisfactory if applied in pre¬ 
 cisely the same forms in England. In short, we apprehend that, 
 as in everything else, an intelligent adaptation of the means to the 
 end, and a full consideration of the various conditions of climate, 
 situation, and use, would have much to do with the successful in¬ 
 troduction of works in zinc, into our parks, pleasure-grounds, and 
 gardens ; but it by no means follows, that their use in summer 
 involves their constant exposure during the depth of winter. 
 
 Probably, the best illustration of the extent to which zinc, gal¬ 
 vanised in imitation of bronze, may be applied to Art-works of 
 utility, is to be found in the exhibit of Hubert fils of Paris (5187, 
 Empire Fran§ais). In this display will be found chandeliers, can¬ 
 delabra, lamps, &c., of excellent workmanship and artistic effect; 
 j and at prices which must very much astonish and alarm the 
 bronzists par excellence. 
 
 The successful application of the new science of electro-metal- 
 lurgy, as applied to the Arts, is amply demonstrated in the Universal 
 Exposition; and, however much we may be disposed to congra¬ 
 tulate ourselves upon the high position which the works of Messrs. 
 Elkington, Mason, & Co., produced by this process, take on this occa- 
 
 XVIII 
 
with. To any one deliberately contrasting the effects of the 
 plain or less ornate stocks and the result upon the eye in con¬ 
 nection with the highly ornamental metal-work, it will be at once 
 evident that the carved and inlaid work in the majority of the 
 more highly decorated stocks is an impertinence which is offensive 
 to good taste. 
 
 Many of the Prussian swords are also of great excellence of 
 manufacture and beauty of ornamentation ; of these we may par¬ 
 ticularise those manufactured by Liinesehloss of Solingeu, and 
 A. & E. Holler of the same place (513 and 511, Royaume de 
 Prusse). Amongst them is a sworcl selected by the Emperor, 
 but we do not think it the most perfect example of good taste, 
 amongst the many excellent specimens shown. The workman¬ 
 ship is certainly of a very high class, but in the matter of design 
 eagles, battles, a portrait of Napoleon I., &c., are not suitable 
 decorations for a sword. These two exhibits, however, are of a 
 very extraordinary character, and show to what an extent the 
 preparation of the weapons and paraphernalia of war, has entered 
 into the occupations of the skilled artisans of Germany. 
 
 The Belgian display consists chiefly of the ordinary muskets, 
 rifles, pistols, swords, and bayonets, manufactured at Liege for 
 commercial purposes. A few decorative examples, however, show 
 that the artistic element is by no means neglected ; but whilst in 
 some instances the decorations are tasteful and the execution 
 perfect, in othei’s the designs are singularly inappropriate, especially 
 in the carved ornaments of some of the stocks. 
 
 We observe that wherever the butt furniture has been judiciously 
 treated, simply as an inlaid decoration to the stock, the result is 
 satisfactory, and the variation of the appearance of the surface, 
 is far more effective than the actual variation by means of carving ; 
 and when in use the piece must handle much more smoothly, since 
 every part of the stock required for grasping and shouldering is 
 better adapted to ready use. 
 
 A charming display of single and double-barrelled fowling- 
 pieces are exhibited in that portion of the gallery of the Palais 
 devoted to Spain, by M. Zuloaga of Madrid. The rich and extra¬ 
 ordinary character of the ornamentation of these arms, places 
 them upon a level with the finest mediaeval works of this class. 
 The old Moorish traditions of the workshops of Grenada and 
 Toledo seem to have descended to the workers who have been 
 employed upon them. 
 
 ORNAMENTAL BRASS-WORK, STEEL, &c. 
 
 Under this head it is proposed to remark upon those branches 
 of industry in brass, &c., which come within the category of the 
 useful in combination with the ornamental, rather than the simply 
 decorative, as in the case of the bronzes, and large class of works 
 in or-molu, and which may be said to be chiefly noticeable for the 
 amount of high-class Art brought to bear upon their execution. 
 
 Probably the most remarkable works in brass in the Exhibition 
 are those intended for ecclesiastical purposes. These are chiefly 
 of French or Belgian origin. One of these placed on the central 
 avenue of the Palais, is an altar intended for the Church of St. 
 Martin d’Aunay, Lyons, designed by the architect M. Questel. 
 The execution is very fine, every detail being thoroughly 
 wrought out by the hand. It is enamelled in brilliant colours, 
 arranged with great taste and effect, and is altogether a high-class 
 production. 
 
 The lecterns, candelabra, sconces, &c., exhibited by Pliilp & Co., 
 of Liege (392, Royaume de Belgique), are also excellent examples 
 of make and finish ; but in no respect do we see that any of these 
 works go beyond the best English maker's, either in purity of 
 design or accuracy of workmauship, and in short our manufac¬ 
 turers would find little to learn in this respect. 
 
 Again, Prussia exhibits largely in stamped brass, but there is 
 nothing shown in .this department which is not equally well 
 or even better done at Birmingham, alike in simple execution 
 as in point of design, since the latter seems more adapted to 
 the American market than to European tastes. Birmingham 
 has so thoroughly neglected its own interests in this direction, 
 that with the exception of a few good examples of stamped brass 
 in the rough state, it may be said to have suffered judgment 
 to go by default, when much might have been done which would 
 have tended to maintain the rising reputation of some of the 
 Birmingham houses. It is much the same in chandeliers, gas- 
 fittings, «Scc., of a cheap but substantial character, and in which, 
 within the last three or four years, so much improvement has been 
 made in the matter of design, by getting rid of useless orna¬ 
 mentation, and aiming at the realisation of more simplicity and 
 purity of form. Messenger certainly exhibits one of the chandeliers 
 manufactured for St. George’s Hall, Liverpool, and we have no 
 hesitation in saying that there is nothing of its class to compare 
 with it in the whole exposition. Probably one of the best works 
 of the kind in the Exposition, is a street-lamp with five lights for 
 gas, exhibited in the Austrian department of th e Annexe ; it is 
 in bronze or zinc galvanised. The design is very ornate without 
 
 being obtrusively so, and the effect is such as it would be desirable 
 to see a little oftener in the more open spaces of our large cities. 
 
 In those useful and more necessary articles, metallic bedsteads, 
 the French are anything but successful as compared with the best 
 manufacturers of Birmingham and London. Some of the best 
 examples are those of Dupont of Paris, exhibited in the gallery 
 which surrounds the Panorama. The brass bedsteads are absurdly 
 massive imitations of the ordinary forms in wood, in which much 
 artistic skill in modelling, aud excellent workmanship in casting 
 and chasing, has been absolutely thrown away. 
 
 Here Birmingham is again a defaulter, aud in a direction too, in 
 which its strength could have been put forth with a certainty and 
 a form of no ordinary character. Had there been a few specimens of 
 the best examples of metallic bedsteads ordinarily supplied to the 
 markets, and adapted in price to persons of ordinary means, it would 
 at once have shown to all visitors, that the English do really under¬ 
 stand the construction of these useful articles, and yet can render 
 them ornamental. The specimens exhibited, and to which we 
 have alluded, are neither useful nor ornamental, but are brass 
 encumbrances for a bed-room under the name of a bedstead. 
 
 Nor are the French usually more successful in their ornamental 
 fenders, either in brass, steel, or compounds of both. In many 
 instances they are suggestive of the base of a mirror, or a cornice 
 turned upside down ! In some, there are attempts at novelty of a 
 strange and very unsatisfactory character ; but it is quite evident 
 that their producers do not understand fenders, and the result is 
 a failure as compared with similar articles produced at Sheffield, 
 several of which are exhibited in connection with a few of those 
 admirable grates, stoves, &c., which so thoroughly astonished 
 everybody in the Great Exhibition of 1851. Messrs. Hoole take 
 care that their manufacture is properly represented ; and though 
 several eminent manufacturers are absent, yet Sheffield as a whole 
 is the very reverse of Birmingham, and its industry is effectively 
 represented in all its leading departments. Messrs Spear & Jack- 
 son, Messrs. Samuel Cocker & Son, and others, fully illustrate the 
 larger examples of steel goods, edge-tools, &c., whilst the fine 
 cutlery finds a full representation in numerous exhibitors, each 
 taking up his own specialite ; nor do we think that, in any respect, 
 is Sheffield behind its continental competitors, whilst in certain 
 points it is immeasurably in advance of them. The knowledge 
 of this fact cannot fail to be useful in many respects, since the 
 result obtained will create confidence where otherwise there might 
 have been uncertainty. 
 
 As an example in this direction, we may here quote the very 
 remarkable display of cast-steel goods exhibited in the Annexe, by 
 Krupp, of Essen, in Rhenish Prussia (552, Royaume de Prusse). 
 These consist of articles of large size, and admirable material and 
 workmanship : and, though not precisely within the category of 
 the general productions to which we have specially devoted our 
 attention, their results, in a commercial sense, would not permit of 
 their being passed by, because they are not of a decorative cha¬ 
 racter. 
 
 ORNAMENTAL IRON-WORK. 
 
 In ornamental iron-work, the most complete exposition as a 
 whole, alike for its variety, utility, and general excellence, is that 
 of the Coalbrookdale Company. Its position, however, at the east 
 end of the Annexe has not, we fear, been conducive to so thorough 
 an examination of its merits, as might have been the result had it 
 been placed in a suitable position in the Palais de l’lndustrie. 
 Without, perhaps, possessing all the refinement in ornamentation, 
 or even the perfection of casting, which is to be found in some of 
 the French specimens of iron-casting, especially as applied to 
 stoves, the Coalbrookdale productions are of such a class as to 
 command attention from the most fastidious, and to show our own 
 manufacturers that ugliness is not a necessary condition in an 
 iron casting. 
 
 The Belgian and French productions of this class are worthy of 
 remark and careful examination; the fine metal stoves in iron, 
 brass, and steel, manufactured by Laury, of Paris (2147, Empire 
 Framjais), are especially noticeable for the character of the designs, 
 the admirable detail of the ornamentation, and the perfection of 
 the casting. 
 
 In wrought-iron there are few examples of attempts at deco¬ 
 rative results. The best are the stands of two or three occasional 
 tables, aud a pair of jardinieres, exhibited by Huret, of Paris 
 (7879, Empire Frangais). These illustrate true ornamental con¬ 
 struction in wrought-iron, as the decoration of form, and the 
 ornamental result is entirely produced by variation of the outline, 
 and by twisting, and not by decoration of surface, or by mounted 
 additions to the construction. These specimens are gilt; and the 
 effect is very pleasing in connection with the purpose of the articles 
 they support, and the uses for which they are intended. 
 
 As regards general industry in iron, as a special point of com¬ 
 mercial interest to our countrymen, we may remark, that the 
 efforts of the Belgians to thoroughly illustrate the state of this in- 
 
 XIX 
 
f 
 
 I 
 
 THE PARIS EXHIBITION. 
 
 dustry at its present point of development in Belgium, are above 
 all praise. No effort has been spared. Every point has been 
 carefully considered and brought out ; and why 1 It must be 
 evident to everyone that, in the event of a relaxation of the French 
 tariff on iron manufactures, the country who can show the best 
 I claim is likely to reap the greatest advantages. 
 
 COLONIAL PRODUCE. 
 
 It was our intention to have noticed in detail the varied expo¬ 
 sitions of the products of our colonies, more especially in their 
 relation to the supply of materials calculated to be useful in the 
 arts. As it is we must be content with simply glancing at some 
 of the leading features of the more prominent, and without precisely 
 defining our East India possessions as coming within the category 
 of a Crown colony, it may be most convenient to allude here to 
 the very remarkable display which the India Board has caused to 
 be made of the products, artistic and otherwise, of the immense 
 territory placed under their direction. Forming an interesting 
 and complete exhibition of itself it would require a special and 
 lengthy notice to do justice to its varied excellencies. Looking at 
 it, however, from the stand-point we have chosen as to how far 
 the specimens of the various arts of India are calculated to 
 influence usefully kindred arts in Europe, it is by no means clear 
 that the result will be at all commensurate with the trouble taken 
 to bring so unique a collection together. 
 
 Probably the most complete display of Colonial produce, properly 
 so called, is that of Canada. Improving upon the experience of 
 1851, and satisfied that the exhibition of its products on that 
 occasion had been of immense value to its commerce, the colonial 
 legislation voted a large sum of money, purchased or guaranteed 
 the sale of all articles it thought worthy of being sent to Paris ; 
 and thus in completing the arrangements for a proper represent¬ 
 ation of the interests of the colony, it rendered those to whom the 
 management was intrusted totally independent of the exhibitors. 
 The result is a most useful and even tasteful display of trans- 
 Atlantic utilities and products. Among the former may be quoted 
 a deal window-frame with sashes, and Venetian shutters, manu¬ 
 factured by machinery for sixteen shillings English ; and a door¬ 
 frame, door and finishings of the same material, and manufactured 
 in the same manner, for about seventeen shillings. The workman¬ 
 ship is perfect in every respect. Such is the result of the 
 application of machinery to the working of wood as practised in 
 the United States of America and in Canada. The edge-tools 
 also of Canadian manufacture took a higher position in the opinion 
 of the Jury than those of England, and those stood relatively 
 twice as high, numerically, as those of France. The woods of 
 various kinds, many of them highly ornamental, and all useful, 
 carefully cut into slabs and polished, form another useful feature 
 in the Canadian department. The manner in which Mr. Logan, 
 the Canadian Commissioner, and Mr. Perry, the curator, have 
 discharged their duties in the arrangement and superintendence 
 of the Canada exhibits, entitles them to the best thanks of all 
 interested in the produce of our North American colonies. 
 
 The valuable native woods of Australia are well illustrated by 
 the manufacture in Paris of various articles of furniture, in which 
 the different coloured woods are made to play a most important 
 part alike in the result, as in carrying out the purpose of the 
 exhibitors in showing the produce of their colony. The wines too 
 of Australia are brought forward on this occasion, and a strong 
 opinion has been expressed in their favour. Gold too is shown in 
 abundance. 
 
 New South Wales brings its products into the field in a very 
 practical form, and the excellence of its cotton receives a remark¬ 
 able illustration in the fact that Messrs. Gardner & Bazley, of 
 Manchester, have spun a sample of 500s. which being of sufficient 
 fineness to enable the native weavers of Dacca in the East Indies 
 to weave, it was sent to that place, and a specimen of muslin of the 
 true Dacca texture is the result, and is exhibited by the spinners 
 of the yarn in the Manchester department. Ceylon exhibits some 
 remarkable examples of native work in inlaid furniture. Van 
 Dieroan’s Land, British Guiana, Jamaica, Trinidad, and the Cape 
 of Good Hope, also display largely of their peculiar products ; nor 
 is the French colony of Algeria behind in this race of the New 
 World against the Old. Silk of excellent quality, proved by its 
 being manufactured into costly fabi'ic by Lyonese looms ; furniture 
 of great beauty, constructed from the native wood of Algiers, are 
 amongst the results of its industry and enterprise. Altogether 
 this colonial display, to which we have been compelled to allude 
 thus briefly, is a remarkable illustration of the Commercial and 
 Industrial value of periodical expositions, since it is quite clear that 
 
 they tend to develope and make known resources which might 
 otherwise remain hidden for ages in the undeveloped civilisation 
 of a semi-barbarous country, but which once made known are 
 calculated to be of immense benefit in the promotion of the arts of 
 Industry, and consequently of the useful employment and happiness 
 of mankind at large. The colonist turns his attention to the 
 preparation and supply of the material which the home worker 
 needs. Each obtains an additional market for his produce or his 
 industry, since the raw material of the one purchases the manu¬ 
 factured article of the other ; the circuit of commerce, industry, 
 the arts of peace and civilisation is completed, and thus from the 
 little centre of the Crystal Palace of 1851, or the Palais de 
 l’lndustrie of 1855, many comforts and many blessings may flow, 
 which the small-eyed moles of a grovelling policy, based on intense 
 selfishness, and erected into a superstructure of over-weening 
 conceit, cannot see, or seeing will not acknowledge, because it is 
 beyond the pale of their conception, or involves a sentiment too 
 lofty for such intellectual fledglings to ascend to. 
 
 Our self-imposed task is completed, so far at least as time and 
 the space at our disposal permits. The infinitude of objects 
 commanding attention, and the interests involved in the Exposition 
 Universelle of 1855, might have engendered some hesitation iu 
 undertaking such a review of this battle-field of the peaceful and 
 Industrial Arts. For ourselves we had no misgivings, except that 
 when the encounter of opinions brought us face to face with 
 old and valued friends it was possible, nay probable, that the 
 true principle might be forgotten or compromised in personal 
 respect. We are unconscious of having sacrificed one iota of 
 the Art-faith that is in us in any such form. As regards the 
 full results of the Exposition of 1855, it would appear that its 
 failures have been manifold, alike in administration a3 in its not 
 attracting that attention, in England, that its sterling merits 
 deserved. In this respect it is by no means singular, and 
 we cannot but think that the Exhibitions at Dublin and New 
 York, within two years after the gathering of 1851, have had 
 much to do with bringing about an apathy and distrust which has 
 seriously affected the result, in England and the United States at 
 least. Well meaning as was the Dublin Exhibition, and honour¬ 
 able as its promotion was to the man who bore the pecuniary 
 liabilities, its wisdom was of a very doubtful character ; its 
 management, and the effects produced thereby on the minds of 
 many unfortunate exhibitors, was at once calamitous and not 
 easily to be repaired. As a means of encouraging and developing 
 Irish industry it was simply absurd, since these expositions can 
 only be successful when industry is organised, and the Dublin 
 experiment was to Hibernian industry what a dress coat and 
 white kid gloves would be to the shirtless, shoeless, and bare¬ 
 headed “ gossoon.” The current interests of steam-packet and rail¬ 
 way companies were undoubtedly promoted by the experiment, and 
 in strict justice these corporations ought to reimburse Mr. Dargan. 
 The New York Exhibition laboured under the disadvantage of 
 professing to be a national undertaking, so to speak, sanctioned, 
 but not supported in any way by the Federal government, and 
 obnoxious to the charge of being a private speculation under the 
 cloak of a patriotic movement. Viewed with jealousy by all the 
 other great cities of the States, laughed at in New England, 
 “ pooh-poohed ” in the south, and repudiated in the west, launched 
 upon the sea of public opinion without a rudder, the ship struck 
 before she left her port, and although kept afloat by a certain semi¬ 
 official prestige , such as the opening by the President, and its recog¬ 
 nition by some of the European states as a Federal undertaking, it 
 eventually collapsed from bad management or over-government, 
 it is difficult to say which, to the disgust and serious loss of many 
 exhibitors. Hence we may account for much of the apathy and 
 distrust which has characterised the part which Great Britain 
 has taken in the preparations for the Exposition of 1855, and 
 looking at the very unsatisfactory commencement of the under¬ 
 taking, the non-administration of those charged with the execution 
 of the work on the part of the French government, the difficult 
 position in which the British executive has been placed through¬ 
 out, it is not too much to say that we do not wonder that many 
 who would have done honour to themselves and their country, 
 have congratulated themselves that they had nothing whatever to 
 do with it; and even those who from official position were com¬ 
 pelled to take a share in the work of organisation derived so little 
 satisfaction from their labours, as to seek to escape from labours 
 and responsibilities, the end and purpose of which it was im¬ 
 possible to understand. 
 
 XX 
 
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 FAME. 
 
 FROM TI1K STATUE. BY C.RAUCH. IN THE COLLECTION OF THE QUEEN. 
 
 DEL? 
 
 EDWIN ROFFB. SCULP? 
 
 LONDON, PUBLISHED FOR THE PROPRIETORS. 
 
hexagonal, the shaft having the assistance of six I volving table, presenting the names of those 
 scroll buttresses, and the upper portion, or re- | scientific men who have carried the invention of 
 
 'THE contribution of Mb. W. G. Rogers to the 
 Paris Exhibition consists of an elaborately- 
 carved Box-wood Stand, for the display of 
 
 Daguerre to its highest perfection. Beneath the I allusion to the auspicious alliance now existing 
 corona at the summit is a ring, on which, in | between France and Great Britain, are inscribed 
 
 Mr. A. Claudet’s far-famed stereoscopes. When 
 we state that in every part it is richly embellished 
 in the purest Italian style, the importance of 
 
 and evince as much fertility of fancy in design 
 as delicacy of handling in execution. This work 
 amply supports the reputation of her Majesty’s 
 
 the work may be estimated by the consideration 
 that its dimensions are 7 ft. 6 in. in height, and 
 9 ft. in circumference. The design, which is of 
 
 architectural character, was supplied by Mr. 
 Charles Barry, and the details are from the 
 pencil of Mr. W. Harry Rogers. The whole is 
 
 tho names, in raised letters, “ Victoria I.—Napo- I glass, separated by ribs of boxwood. The smaller 
 Icon III.” The dome is composed of panels in | details, about sixty in number, are all various, 
 
 carver, which is neither new to our readers, nor to 
 such throughout Europe as value and appreciate 
 decorative Art in one of its highest branches. 
 
 
 1 
 
From the extensive and very beautiful collec- 
 
 Bottle, foliage on glass ; the second a Chate¬ 
 laine, gold and silver enamelled; the third a 
 
 Bracelet in oxidized silver; the fourth a Clock 
 in silver niello. The name of this fabricant is 
 
 well known and much esteemed in England ; 
 his productions obtained merited ap¬ 
 plause at the Great Exhibition of 
 1851, out of which arose the decora¬ 
 tion of the Legion of Honour, which 
 M. Rudolphi enjoys. As may be ex¬ 
 pected, his fame is amply sustained 
 
 on this occasion. The foundations of his works 
 are the achievements of the great 
 early masters, which he skilfully 
 adapts to the tastes and purposes of 
 the present age. Many of his pro¬ 
 ductions, although mere personal 
 decorations, have value as works of 
 
 four examples : the first is a graceful Scent 
 
 high Art; and, although of miniature size, and 
 comparatively small cost, will bear the scrutiny 
 
 of the sculptor for their truth and character. 
 From M. Rudolphi English Art may learn much. 
 
OF INDUSTRIAL ART. 
 
 when obtained in such large masses as the ice- 
 pails and centre vase show, it is certainly an 
 
 plates are painted from tbe compositions of 
 Watteau, and are pencilled and coloured with 
 
 singularly well modelled, although of small size, 
 and each group contains an allegory illustrative 
 of the main subject the artist had in view— 
 
 indicated by the title given to the series. Alto¬ 
 gether, this portion of the exhibition of British 
 Art-mauufacture cannot fail to reflect credit 
 
 achievement which it would not be easy to 
 surpass in any manufactory of Europe. The 
 
 This page is illustrated by engravings of the 
 “ Imperial Dessert Service,’’ manufactured by 
 Messrs. J. Rose & Co., of Coalbrookdale, for 
 Messrs. Daniell & Co., of London. This service 
 is one of the most magnificent productions in 
 
 porcelain ever manufactured in England : and 
 will, perhaps, take its stand, so far, at all events, 
 as colour is concerned, beside the 
 best productions of the Continent. 
 
 The ground is of turquoise blue, 
 the evenness and brilliancy of 
 which are very remarkable; and, 
 
 the utmost delicacy and finish. The compotiers 
 are very chastely decorated by Mr. Handeock, 
 who has undoubtedly been highly 
 successful in the treatment of the 
 “ Parian ” figures. Every piece of 
 the service contains a composition 
 separate and distinct : they are 
 
 on the state of Ceramic Art in England, and to 
 show the great progress we have made of late 
 years in a most important branch of commerce. 
 
 3 
 
 c 
 
TIIE PARIS EXHIBITION 
 
 ■ One of the Drawing Room Stoves, contributed 
 by the eminent firm of Messrs. Feetham, of 
 
 Clifford Street, cannot fail to attract especial 
 notice, for its grace of arrangement, and the 
 
 beauty and delicacy of the execution. It is com¬ 
 posed of painted china slabs, set in or-molu. 
 
 adopted is the Renaissance, but without the 
 strap and cartouche work, or the admixtnre of 
 
 the grotesque by the introduction of animal 
 forms among the decorations. The designs are 
 
 exceedingly chaste, and the carvings are favour¬ 
 able specimens of the work of English artisans. 
 
 . ,'The Table and Chairs, contributed by Messrs. I they are from the designs of Mr. James K. I a library suite, other portions of which will be 
 Holland & Sons, are executed in wainscotroak; | Colling, architect, and are intended as parts of | found engraved in subsequent pages. The style 
 
 4 
 
OF INDUSTRIAL ART. 
 
 We place on this page four excellent examples 
 
 The Cabinet, in carved oak, is produced at 
 the establishment of Messrs. Ckace & Co., of 
 London; it is of Elizabethan character, modelled 
 after works that we still continually find in the 
 
 halls and libraries of ancient houses in “ old ” 
 England. It would seem to have been copied 
 from one of them, with little or no alteration. 
 Original, therefore, in design it is not, but it is 
 
 this 
 
 class of objects, chiefly for ecclesiastical 
 
 structures. They are uurivalled for brilliancy. 
 
 of a right good order, and the workmen em¬ 
 ployed in carving it have done well. English 
 exhibitors of this class of articles, however, will 
 find themselves outdone in France, where the 
 artisan is frequently the artist also, thoroughly 
 
 understanding what he is about and has to do. 
 Our Report of the Paris Exhibition will contain 
 many unequivocal proofs of the superiority of 
 the French fabricant over the English manufac¬ 
 turer in this department of Art-Industry, 
 
 One of the Locks of Messrs. Chubb, of London, 
 graces this page. It is of pure polished steel, 
 very beautiful in design, and of unsurpassed 
 excellence in execution; a work with which 
 
 the French will not attempt competition. It is 
 needless to eay that the interior is constructed 
 on a principle which warrants the eminent 
 manufacturer in his challenge to the world. 
 
 '6 
 
THE PARIS EXHIBITION 
 
 and very spirited in their action ; emblems of 
 the chase, mingled with the leaves and fruit of 
 the vine, supply the decorations of the table-top. 
 
 The merit of this far-famed establishment does 
 not consist alone in the care and skill manifested 
 in the production of the works executed here. 
 
 They give employment to excellent artists—the 
 only sure way to produce objects of excellence. 
 In particular, they are indebted to Mr. John Bell. 
 
 The whole of the engravings on this page are 
 selected from the numerous contributions of the 
 Coalbrook-dale Iron Company, Shropshire, 
 and if any argument were necessary to show the 
 
 eight or ten years ago. The first engraving is 
 from a Hat and Coat Stand, in which the 
 ornamentation is of the best character, bold and 
 
 graceful. The detached “ bit ” represents the 
 “ hook.” By the side of this object is a Flower 
 Pot Stand, in the form of a tripod: here the 
 
 progress which this kind of manufacture had 
 made within the last few years, it would only be 
 necessary to compare these designs with what 
 the iron-districts of Great Britain sent forth some 
 
 curves of the design, formed by the caryatides, 
 and repeated to the upper table, are carried out 
 in a manner most agreeable to the eye; the 
 details of the ornaments are also good. But the 
 
 most novel production of its kind which we 
 have seen for a long time, is the Deer-Hound 
 Hall Table, designed and modelled by Mr. 
 John Bell, the sculptor; the dogs are life-size, 
 
 6 
 
A G-1RL AT THE BATH. 
 
 ENGRAVED BY W H MOTE. 1 ROM THE STATUE BY R . J. WYATT. 
 
 IN THE 
 
 POSSESSION OF LORD CHARLES TOWNSHEHD 
 
with paintings of fruits, flowers, musical instruments, &c. A landscape occu¬ 
 pies the oval panel. The feet of the cabinet are brass tortoises ; six small 
 cameos relieve the top of the cabinet. The whole is beautifully modelled. 
 The design is by Herr Semper, the very famous architect of Dresden. 
 
 OF INDUSTRIAL ART. 
 
 A young artist in metal, Mr. Joseph Brown, of London, contributes a 
 work for which we must award him high praise : it is a Vase, executed 
 in Repoussi ; that is, the ornamentation is produced by striking up the 
 metal at the back till the requisite forms are produced, which are then 
 finished by the process of chasing. On the summit of the vase, which is 
 
 The Cabinet is among several contributions, all of great excellence, 
 which Messrs. Holland & Son, of London, have sent to Paris. It is of 
 polished ebony. The mouldings and ornaments are brass; the panels are 
 china. The subject painted on the centre panel is “The Ford,” (from the 
 picture by Mulready, in the Vernon Gallery), round which are china panels 
 
 of silver oxidised, are the figures of Comedy and Tragedy, and round the 
 body illustrations of Shakspeare’s “ Seven Ages; ” round tho foot is a 
 design from the story of Venus and Adonis. The whole is in the Italian 
 style, and both in design and execution is the work of Mr. Joseph Brown. 
 
 The engraving immediately underneath represents a Scroll Panel, 
 executed by MM. Huber, Freres, of Paris, in gold on a white ground : it 
 
 is in the Renaissance style of ornament, in its purest character; the forms 
 are bold yet graceful, and highly, though not too profusely, enriched. 
 
 3 
 
national commerce.” The porcelain—exam¬ 
 ples of which we have engraved — exhibits 
 white ornament on a rich deep blue ground: 
 
 tensions to originality—and, in fact originality in 
 objects of this kind is scarcely to be expected 
 — it everywhere shows taste in conception of 
 the best kind : its proportions are good, and 
 
 the emblematical ornaments have an agreeable 
 picturesqueness in them, and are suitable to the 
 subject; the work well sustains the reputation 
 of this extensive and far-famed foundry. 
 
 THE PAEIS EXHIBITION 
 
 Wedgwood manufactory at Etruria, Stafford¬ 
 shire—the Works of Messrs. Wedgwood & 
 Brown, the successors of him who, to quote 
 
 Almost in the centre of the building in the 
 Champs Elysees is erected a large Fountain of cast- 
 iron from the foundry of Messrs. Barbezat & Co., 
 successors to Messrs. Andre & Co., of 
 Paris, from whose establishment has been 
 
 issued, we should think, a very large proportion of 
 the modern ornamental iron-work with which the 
 French capital is decorated. The fountain is from 
 the design of Lienard, except the figures 
 which are by Moreau : without any pre- 
 
 On this column and the following page 
 are engravings selected from a numerous col¬ 
 lection of Porcelain from the celebrated 
 
 j the words inscribed on his tomb, “ converted 
 a rude and inconsiderable manufacture into 
 an elegant art and an important part of 
 
well supported by covings and back to grate of 
 similar style. The whole is encircled in Derby¬ 
 shire alabaster, with inlayings of Cornish serpen¬ 
 tine; in front is a curtain of polished steel, 
 having apparent openings, which are really filled 
 
 with oxidised iron ; this curtain forms a barrier 
 against smoke, and a complete optical illusion 
 of light and graceful character. The work will 
 uphold the high and long established repute of 
 Mr. Pearce, and be much admired in Paris. 
 
 This exceedingly elegant “ Baronial Eliza¬ 
 bethan Grate ” is contributed by the eminent 
 firm of Pearce, of London. Its highly orna¬ 
 mental dogs stand out with effect, and are good 
 specimens of polished iron and brass. They are 
 
 OF INDUSTRIAL ART. 
 
 many of these ornaments, especially those of a 
 floriated character are most elaborate in design, 
 
 selected some of the more simple, but not the 
 less elegant. In all of the objects which appear 
 on the “ Wedgwood stall ” in the Exhibition, 
 we observed the most successful adaptation of 
 antique models, both in form and decoration, 
 to modern productions. This stall, we heard, 
 particularly attracted the notice of the Empress 
 
 most elegant of the vases. Messrs. Wedgwood 
 & Brown exhibit also a large collection of “com¬ 
 mon ” articles for every-day use : some of these 
 
 so much so as to render it impossible for us to do 
 j ustice to them by engraving; we have therefore 
 
 Eugenie, at a private view she paid to the Exhi¬ 
 bition, when she made purchases of some of the 
 
 are good, but the major part are for exportation, 
 to suit the “ fancies ” of foreign markets. 
 
 9 
 
i 
 
 f 
 
 THE PARIS EXHIBITION 
 
 Tlie very beautiful Cabinet of inlaid woods 
 which graces this page is engraved from the 
 
 contribution of Messrs. Trollope & Sons, of of the students in the “ School of Art,” and is 
 London. It is designed by Mr. E. Beavis, one highly creditable to his taste and skill. The 
 
 workmanship is admirable : as entirely the pro¬ 
 duce of British artisans, it is a production to be 
 proud of; for assuredly it will take rank even in 
 
 Paris, where articles of furniture are carried to the 
 highest point of perfection. This and a bedstead 
 of somewhat similar character are the only con¬ 
 
 tributions of Messrs. Trollope ; but they are such 
 as amply sustain their high repute, and evidence 
 the satisfactory progress of Art-manufacture. 
 
 To fill this page, we introduce one of the ex¬ 
 cellent cast-iron Fenders of the establishment 
 at Coalbrookdale. It is good in design, and 
 
 of excellent workmanship. The whole of the 
 productions of this famous manufactory are, 
 indeed, in the highest degree, creditable, and 
 
 will not suffer by comparison with those of 
 France, although they will be placed in competi¬ 
 tion with many eminent fabricants of iron-work. 
 
 10 
 

 ■ A 
 
 2*n 
 
 V 
 
 
 HOPE. 
 
 ENGRAVED BY W. ROFFE, FROM THE BAS RE 
 
 IEF BY J. GIBSON R. A 
 
 '.OHEGN PUBLISHED FOR THE PROPRIF 
 
 5RS. 
 
OF INDUSTRIAL ART. 
 
 these productions. But, unfortunately, we can¬ 
 not give colour to our prints, and hence half the 
 beauty of the porcelain is lost in the transfer¬ 
 ence. M. Dietele, the chief artist engaged at 
 Sevres, and M. Clagmann, the principal modeller, 
 appear to have done their utmost to sustain the 
 
 exceedingly elegant and graceful: in some in- the group at the bottom is an elegant little 
 stances they form very charming pictures. In statuette of “ Psyche,” by M. Clagmann. 
 
 Although the Contributions of the Royal 
 Porcelain Manufactory, at Sevres, are not 
 numerically great, they are all of so high an 
 order of merit, so exquisitely beautiful in design 
 and Art-workmanship, that we found ourselves, 
 when making a selection to engrave from, em- 
 
 liigh reputation of this establishment in the Paris the objects present, the variety, brilliancy of the 
 Exhibition ; the grace and purity of form which colours, and the delicate pencilling of the artists 
 
 barrassed by the richness of the display. We 
 have made, however, such a choice as we believe 
 will convey a just idea, so far as the art of wood¬ 
 engraving will do, of the great excellence of 
 
 engaged upon them, have never been surpassed 
 in works of this class; the latter quality is espe¬ 
 cially manifest in the floral and ornithological 
 
 ornaments of such vases as we introduce on this 
 page. The designs from classic fables and his¬ 
 tory, which decorate some of the porcelain, are 
 
 
 E 
 
THE PARIS EXHIBITION 
 
 are symbolised ; between these are grotesque 
 masks, surrounded by various ornaments. 
 
 AVe introduce here another Table-top, manu- ] Paris, successors to the well-known firm of Andr£ 
 factured of iron, by Messrs. Barbezat & Co., of ■ & Co. It is exceedingly rich and elaborate in 
 
 valuable contributions we shall hereafter recur. 
 
 design ; on the outer rim appear the twelve signs 
 ot the zodiac; within this rim the four seasons 
 
 The Dagger and Bell are manufactured 
 
 by M. Maurice Meter, of Paris, to whose 
 
 The engraving underneath is oi a mosaic 
 Table-top, manufactured by Mr. Levien, of 
 London. It consists of nine kinds of the finest 
 woods, in their natural colours ; the border, of 
 
 the same woods, is also very beautiful, in a dif¬ 
 ferent pattern. The stand, for which we could 
 not find room, is formed of pillars of scroll¬ 
 work of another pattern in mosaic work. 
 
 1 
 
OF INDUSTRIAL ART. 
 
 The two objects engraved on this 
 column are Candelabra, exhibited 
 
 We introduce here a magnificent Chimney-piece, de- | signed and executed by MM. Huber, Frires, for, we 
 
 by M. Villemsens, of Paris, an ex¬ 
 tensive manufacturer of metallic 
 
 believe, one of the apartments in the Luxembourg Palace 
 The design harmonises with the general character of 
 
 church furniture ; the artist who 
 modelled them is M. Victor Gay. 
 
 the architectural embellishments of that edifice; in 
 the centre is a fine bust of the Emperor Napoleon III. 
 
 
 13 
 

 '1 ■_ 
 
 most skilful artisans, evidence of winch is to bo 
 found in all the works that grace their richly 
 
 most manufactories of the modern world, and 
 we learn with exceeding pleasure that the high 
 repute they have established in England is ex¬ 
 tended to the continent by the admirable display 
 they have made of objects in all varieties of 
 porcelain. They contribute very largely indeed 
 to obtain general respect for the productions of 
 
 which the savans of all countries resort; the 
 result of which has been that nearly the whole 
 of the articles exhibited are sold, many of them 
 to the Emperor and Empress, notwithstanding 
 the wealth of Sevres is at their command. 
 Messrs. Minton, indeed, boldly challenge com- 
 
 
 •" 
 
 slK&jgiil 
 
 aimmtii 
 
 
 M 
 
 iflr 
 
 Bk 
 
 
 Ps 
 
 If ' M ii 
 
 THE PARIS EXHIBITION 
 
 The works of Messrs. Herbert, Minton & Co., 
 of Stoke-upon-Trent, hold rank among the fore- 
 
 parison with this renowned palace of fictile art, 
 and the competition is by no means altogether 
 against them. We have selected several of tho 
 
 British factories. This advantage has been gained 
 by the employment of the best artists and the 
 
 most graceful of their Vases, &c. Of the Majolica 
 ware (which forms so prominent a feature in the 
 collection) we shall give some engravings here¬ 
 
 furnished stall—a stall which commands uni¬ 
 versal attention and consequent respect, and to 
 
 after. A Jardiniere which occupies the centre 
 of this group is of especial beauty, the figures 
 being admirably designed and wrought. 
 
 14 
 
ULYSSES. 
 
 ENGRAVED BY J BROWN FROM THE GROUP BY L. MACDONALD 
 
 LONDON. PUBLISHED FOR THE PROPRIETORS 
 
OF INDUSTRIAL ART. 
 
 The Shield of Nature, by John Leighton, 
 F.S.A., is an elaborately illuminated work — 
 valuable as a highly finished 
 drawing—but at the same time 
 capable of being translated into 
 precious metals: it is divided 
 
 into twenty-four compartments — the circle of 
 the “ Seasons ” and “ Human-life : ” — in the 
 
 centre is Apollo, in the blazing Chariot of the 
 Sun, drawn by the four horses—Morning, Noon, 
 Evening, and Night; attended 
 by the Seasons — from genial 
 Spring, leading grey Morn; to 
 Winter, who glides beside the 
 
 The fire-arms of M. Gauvain, of Paris, are 
 among some of the best produced by the French 
 
 gunsmiths, and are in much request, especially 
 by sportsmen. We engrave here one of his 
 
 double-barrelled Fowling-pieces, the stock ot 
 which is ingeniously and most elaborately carved. 
 
 and 
 
 and 
 
 Year 
 
 sable steed of Night. The 
 centre is divided—by the em¬ 
 blem of Eternity—from the 
 twelve months, in graduated 
 colours, from hot July to dull and dark Decem¬ 
 ber ; with the Descriptions of our pageant poet, 
 Spenser : these being again divided by the Fruits 
 
 Flowers of 
 
 Zodiacal 
 
 signs 
 
 The larger compartments pour- 
 tray the progress of vegetation 
 and the life and passions of Man 
 —the gleam of light between 
 two Eternities. The original is of consider¬ 
 able size, nearly four feet in diameter, and 
 mounted upon a stand enabling it to revolve. 
 
 15 
 
 F 
 
objects in a state of completion for exhibiting, 
 but which had not then been sent in ; among 
 them was a rich and costly tea-service, of silver 
 
 and gold, of a Chinese' pattern. The Candela¬ 
 brum we have engraved is of silver: the 
 branches are remarkable for novelty and grace. 
 
 manufacturers being to produce works of a 
 chaste and unobtrusive character combined with 
 novelty and elegance in the decoration. 
 
 The Candelabrum is the production of M. 
 Maurice Meyer, one of the most eminent gold 
 and silver-smiths of Paris, who is an extensive 
 contributor to the Exhibition ; some of his works 
 
 THE PARIS EXHIBITION 
 
 are engraved on a preceding page, and we have j style of ornament adopted is the Renaissance 
 others in preparation. On a recent visit to with certain omissions; the object of the 
 Paris we inspected the show-rooms of M. Meyer, 
 and saw there a large number of most beautiful 
 
 from the design of Mr. J. K. Colling, architect. 
 This book-case forms part of a complete set 
 of library furniture, the remainder consisting of 
 
 a pedestal table and chairs, all executed in 
 wainscoat oak, portions being inlaid with polished 
 English oak, malachite, and Irish marble. The 
 
 Across the top of this page and on the third 
 column are portions of a Book-case, manufac¬ 
 tured by Messrs. Holland & Sons, of London, 
 
 16 
 
are copied from the purest forms of the antique, 
 the ornamentation, however, being in accordance 
 with tho taste of the designer. The material 
 and manufacture are both of great excellence. 
 
 priate to the object, and the dogs, of life size, beautiful example of ornamental furniture ; one 
 are admirably carved. It is altogether a very that well sustains the credit of the manufacturer. 
 
 At present, however, it is convenient to us to 
 occupy a column by picturing two of the many 
 very beautiful Vases which grace his stall. They 
 
 OF INDUSTRIAL ART. 
 
 The contributions of Mr. Alderman Copeland 
 are numerous, and of the very highest merit, 
 and it will be our duty to engrave several of 
 them, describing his collection at some length. 
 
 The engraving on this column represents a 
 Guncase, or, rather, a Gun-Cabinet, manufac¬ 
 
 tured by M. Jeanselme, of Paris, for the Empe¬ 
 ror Napoleon; the sculptured designs, appro- 
 
 17 
 
regretted that Sheffield contributes but sparely 
 to the Exhibition : of mere utilities, indeed, it 
 sends a large supply, but of objects which derive 
 
 value from Art-ornamentation, the great city of 
 iron and steel has been singularly grudging. 
 The works of Hoole & Co., indeed, are almost 
 
 the only productions of the higher order which 
 sustain the fame of Sheffield ; but these of them¬ 
 selves are sufficient for such a purpose. 
 
 THE PARIS EXHIBITION 
 
 The Candelabrum is exhibited by Messrs. 
 Susse, Frdres, of Paris ; it is manufactured of 
 
 The mosaic glass-work exhibited by Mr. 
 Stevens, of Pimlico, makes an attractive show 
 in the Palais de l’lndustrie ; he contributes 
 several objects similar in character to those 
 seen in the Crystal Palace of 1851, but showing 
 marked improvement in design and arrangement 
 
 of colour, an improvement resulting from in¬ 
 creased experience in the application of his 
 materials. We engrave, as an-example, a Table- 
 top of this mosaic glass-work, elaborately inlaid. 
 The colours are very brilliant, but they are har¬ 
 moniously arranged, so as not to offend the eye. 
 
 bronze, from a model by Pradier, the eminent 
 French sculptor, who died about a year back. 
 
 Among several very elegant stoves exhibited 
 by Messrs. Henry Hoole & Co., of Sheffield, is 
 the Stove engraved, accompanied by a Fender 
 designed to harmonise with it; the materials of 
 the two objects are steel, or-molu, and bronze ; 
 the figures are modelled by Sir. Stevens, an 
 
 artist of great talent, formerly one of the junior 
 masters of the School of Design; they have a 
 bold and effective character. The entire work 
 is in the best style of fabrication. This 
 establishment has been long famous, and its 
 high repute is here amply upheld. It is to be 
 
LOVE REVIVING LIFE. 
 
 FROM THE STATUE BY FJNELLI . 
 
 IN TKK u ELECTION OF HIS ORAGF, THE DUKE OF DEVONSHIRE, AT ' KATSWCRTH 
 
 tTF.Jl,*.’ 
 
 ENQKAVSI} dY 
 
OF INDUSTRIAL ART. 
 
 Excellent as were, in all respects, the works 
 exhibited in 1851 by the cabinet-makers, or 
 gbbnistes, of Paris, their works now seen in the 
 principal building in the Champs Ely sees, and in 
 the Rotoncle, where most of the finest specimens 
 are exhibited, show a manifest superiority over 
 their former productions. This superiority has 
 
 been attained by the application of a purer and 
 more correct taste in design, and by a more deli¬ 
 cate execution in the details of the ornamental 
 decorations. As an example of good taste in 
 
 design, the Cabinet, manufactured by M. Du- 
 hand may be adduced as one of the best which 
 the Exhibition furnishes ; its general character 
 is simplicity without any attempt to reach the 
 “ beautiful ” by means of elaborate carvings ; 
 but, like an edifice of pure Doric or Ionic archi¬ 
 tecture, it pleases by the truth and harmony of 
 
 its proportions rather than by its ornamentation, j exquisitely painted on Sevres porcelain, and by 
 
 This cabinet is of ebony, the figures are of j the long narrow panels on each side of the same 
 
 bronze, the comparative heaviness of these material ; in the upper and lower panels are 
 
 materials being relieved by the centre panel, j inserted small slabs of lapis lazuli, and other 
 
 stones. The cabinet stands about five feet high, 
 so as to make the glass that surmounts it useful 
 as well as ornamental: the semi-detached “ late¬ 
 rals” give lightness and elegance to the design. 
 
 19 
 
 G 
 
THE PAKIS EXHIBITION 
 
 manship, and considerable purity of design. The | Basket, adapted for the lawn or flower-garden, 
 
 is of, a simple, but very good, rustic character. 
 The ornaments, from natural history, on the 
 
 Box, are carved with great spirit. Messrs. 
 Gueret are extensive contributors of such works. 
 
 Industriel stand a pair of colossal Candelabra of 
 cast-iron, of which the engraving on this column 
 is an illustration ; at the base are four figures of 
 boys, representing respectively the four quarters 
 of the world ; the shaft is square, and is sur¬ 
 mounted by grotesque masks of bold design. 
 
 The three objects engraved on this column | are designed and carved by Messrs. Gueret, 
 
 The extensive foundry of Messrs. Barbezat 
 & Co., late Andre & Co., produces ornamental 
 metal works of every description, chiefly for ex¬ 
 ternal architectural purposes, from the useful 
 door-scraper to the elaborate and massive palace 
 gates. Near one of the entrances to the Palais 
 
 Frh'es, of Paris, sculptors in wood. The Hand | Looking-Glass exhibits more elaborate work- 
 
 20 
 
OF INDUSTRIAL ART. 
 
 One of the most beautiful Fireplaces in the 
 Exhibition is that engraved on this page; it is 
 manufactured and contributed by Messrs. Le- 
 rolle, Frires, of Paris; the general design is 
 very rich, and would, perhaps, have appeared 
 
 overladen with ornament, if the variety of the 
 material of which it is composed did not act as 
 a suitable relief. The groundwork of the whole 
 is white marble, some of the mouldings and 
 ornaments are of or-molu, while the cupidons 
 
 and caryatides are of bronze ; between the latter 
 and the grate is a slab of red marble. The vases 
 on each side, which are surmounted by candelabra 
 not shown in our engravings, are also of white 
 marble, the handles and ornaments of or-molu. 
 
 fabricants of France. The bracelet is of oxidised 
 silver, with ornamentations of enamel, into which 
 jewels are introduced. It is more especially in 
 this order of Art-produce that the French 
 manufacturers so greatly excel those of England. 
 The fact is that, very frequently, the artisan is 
 
 also the artist ; he not only executes but de¬ 
 signs ; or in working out the creations of others, 
 he thoroughly comprehends the intention, and 
 is always able to co-operate in arriving at the 
 end in view. Such is the case with M. Weise, 
 who, as one of the foremost assistants of the late 
 
 eminent goldsmith and jeweller, M. Froment 
 Meurice, was educated in the best school of Paris; 
 under the eye of this great artist his natural genius 
 was improved and rightly directed, and the result 
 is that in many respects he may be regarded as 
 the successor of his accomplished master. 
 
 From the cxeedingly beautiful and very valu¬ 
 able collection of M. Jules Wiese, we select a 
 Bracelet to occupy this page. We, however, 
 propose to introduce elsewhere several engravings 
 of other objects exhibited by him. His series 
 
 of works consists of productions of the jeweller, 
 from the richly elaborated vase of silver, to the 
 ring and pencil-case of gold. All are distinguished 
 by the best qualities of Art, aud for the nicest 
 perfection in execution of details. In many 
 
 instances we find a miniature gem as admirably 
 designed and carefully wrought as if the object 
 were the model of a life-size statue. The results 
 of his efforts have been to give to M. Weise rank 
 among the most prominent and meritorious 
 
 21 
 
THE PARIS EXHIBITION 
 
 Of the many objects which grace the 
 stall of Maurice Mayer, of Paris, situated 
 in the centre allee, we select a very 
 beautiful one, a Seal-handle, of silver. 
 
 M. Baebazet, the successor of M. Andre, exhibits 
 a large variety of examples of cast-iron Panels for 
 Balconies, all of which are good, and many of which 
 
 are valuable as suggestions to artists and manufac¬ 
 turers in this important department of Art-industry: 
 we engrave one of them as a specimen of the whole. 
 
 The Birdcage and Jardiniere of M. Tahan oc¬ 
 cupies a prominent position in the centre allee of the 
 Palace of Industry. It is of carved wood, very beau¬ 
 
 tifully designed and executed. Living flowers flourish 
 at its base, suriouuding a globe of gold-fish, while in 
 the cage which surmounts the composition, birds of 
 
 v'-fv | / 
 
 u mh&£e-i 
 
 The Coteau de Chasse, engraved 
 underneath, is from the collection of 
 
 M. Le Page Moutier, one of the best 
 of the manufacturers of arms in Paris. 
 
 various plumage are continually singing; the whole 
 rises about ten feet, and placed as it is, dispersing 
 refreshing odours, is an object of universal attraction. 
 
 Few things in the Exhibition have greater interest 
 for visitors ; its many and varied excellent qualities 
 as a work of Art will be recognised at once by all. 
 
 22 
 
HYLAS AND THE NYMPHS. 
 
 FROM THE GROUP BY J. GTBSON R.A. 
 
 
 PROPRIETORS. 
 
 . HOPS'S. DEL? 
 
OF INDUSTRIAL ART. 
 
 basis the purest Etruscan forms, but in adapting them 
 to every day purposes they have completely succeeded. 
 Thus the sugar-basin, the cream-vase, the wine-cooler, the 
 
 The reputation of the electro-plated works of Birmingham 
 is very amply upheld by Messrs. Cartwright, Hirons, & 
 Woodward, of the “Atlas Works.” Their productions are, 
 
 liqueur-stand, the butter-cooler, and various other objects, to be met upon every table, 
 have been made suggestive of beauty : this end has been arrived at, we cannot doubt, 
 without much, if at all, increasing the actual cost of the production. Men are benefac¬ 
 
 tors who thus in¬ 
 harmony by fami- 
 aud mind with 
 and graceful. We 
 of Messrs. Cart- 
 great pleasure, fox- 
 tain a single arti- 
 verest critic may 
 four objects we 
 graving are, first, 
 copied from an 
 cond, a copy from 
 ed to a Sugar-Ba- 
 honey-suckle co¬ 
 antique Gi-ecian 
 fourth is a Cake- 
 
 culcate a love of 
 liarising the eye 
 what is natural 
 examined the case 
 wright & Co. with 
 it does not con- 
 cle which the se- 
 condemn. The 
 selected for en- 
 a Botter - Dish, 
 antique bowl; se- 
 the antique adapt- 
 sin, with chased 
 ver; third, is an 
 Wine-cooler; the 
 Basket; and the 
 
 sixth an Epergne, or Centre-piece, capable of being used as a candelabx-um, or for 
 fruit or flowers. The figures at the base relate the story of the finding of Moses, and 
 
 for the most part, intended for general use ; they are 
 chiefly the utilities of ordinary home-life in England ; of 
 exceedingly good foi-ms, with evidence of careful work- 
 
 that story is further sustained by a border composed of the lotus-plant, urns to indicato 
 the outpouring of the Nile, &c. The design of this work is excellent; the modelling 
 is highly creditable to the artist; and altogether the production is one of great merit. 
 
 manship; combining in the happiest manner elegance with 
 convenience, the one having been in no instance saci-ificed 
 to the other. These manufacturers have taken for their 
 
 23 
 
 h 
 
THE PARIS EXHIBITION 
 
 This column contains two of the productions 
 of Jules Wiese, of Paris, to whose many ad¬ 
 mirable productions we have made reference 
 elsewhere. The first is a Hand-Mirror, designed 
 by the justly famous artist Lienard ; it is of or 
 
 molu. The second is a Book-Cover, with the 
 crown and initial of the Emperor; the orna¬ 
 mentation is composed of oxidised silver. In 
 works of this class the French very far surpass 
 us—so far, indeed, as to discourage any attempt 
 
 at competition. M. Weise, however, is a German, 
 and was for a long period one of the favoured 
 artists of M. Froment Meurice ; he is himself 
 the designer and the workman — a valuable 
 combination, of frequent occurrence in Paris. 
 
 On this column are introduced two other en¬ 
 gravings from the contributions of the Royal 
 Porcelain Manufactory, at Sevres. The talents 
 of the artists employed in the national establish¬ 
 ment, and its vast resources, are developed in 
 
 In the lower object here engraved : the Bowl is 
 exquisitely beautiful, the groups of flowers are 
 most delicately painted, but it seems a mistake 
 to have mounted it on the bronze tripod—which 
 is manufactured by Pailliard, and excellent of 
 
 wrote many years ago, in an article on the 
 manufactures of Sevres, “ in the reproduction of 
 classic and antique forms, the artists of France 
 are always tempted to run into the style of the 
 fourteenth and fifteenth Louis’. In their original 
 
 the variety as well as the excellence of its pro¬ 
 ductions : perhaps, however, these very advan¬ 
 tages operate in a manner it is not intended they 
 should do, by encouraging a redundancy of orna¬ 
 ment, which is not always the most agreeable. 
 
 its kind—yet it does not harmonise well with 
 the object that surmounts it; the boldness of 
 the design, and the heaviness of the material, 
 form too “ strong ” a contrast with fragile porce¬ 
 lain to be altogether pleasant to the eye. A3 we 
 
 designs we find a strong tendency to multiply 
 very needlessly variations of form.” This, it 
 must be admitted, is less the case now than it 
 was ten years back, but they have not entirely 
 got rid of the defect in their designs and models. 
 
 24 
 

 OF INDUSTRIAL ART. 
 
 forms : but their greater value in many instances 
 lies beneath the surface. Several of them are 
 examples of “ new bodies,” or are specimens of 
 large improvements in “glazings.” It is, we know. 
 
 more to these points than to the grace or beauty 
 of the objects that the attention of “the learned” 
 in Paris has been directed, and it chiefly is 
 to advances in this direction that Mr. Copeland 
 
 is indebted for the high position he occupies in 
 the exhibition of the world’s industry in Paris. 
 The potteries of Staflordslrre, generally, are 
 represented in a manner exceedingly satisfactory. 
 
 The stall furnished by Mr. Alderman Cope¬ 
 land, whoso works are at Stoke-upon-Trent, 
 occupies a central position in the main allee of 
 the Exhibition, and is an object of universal 
 attention. The productions consist of all varie¬ 
 
 ties of porcelain and earthenware : of the latter 
 there are many that astonish by their “ cheap¬ 
 ness ; ” of the former, the leading objects are 
 those figures, groups, vases, &c., of statuary 
 
 the varieties exposed, and it is not too much to 
 say they have astonished the French fabricants, 
 as excellencies for which they were entirely un¬ 
 prepared. We believe it is admitted on all sides 
 that, although our English manufacturers of 
 porcelain have not been able to compete with 
 the government manufacture at Sevres (and this 
 only as applies to the efforts of matured artists), 
 
 ductions of some ten years”ago, perhaps there is 
 no class of production that presents such un¬ 
 questionable proofs of progress. All who ex¬ 
 amine these works may form opinions as to the 
 
 porcelain, which have so greatly raised the re¬ 
 pute of this establishment, giving it, indeed, 
 renown throughout Europe. But the admiration 
 excited is by no means confined to these pro¬ 
 ductions : the painted Vases —more especially 
 those which imitate gems, or are in low relief- 
 are, in all respects, of the very highest excel¬ 
 lence. This page contains several examples of 
 
 they have successfully competed with the best 
 private manufacturers of France, whose “ shows ” 
 they considerably surpass. In this branch of 
 Art-manufacture we have indeed of late years 
 made large advances. Compared with the pro¬ 
 
 
 I 
 
 l 
 
 
 25 
 
THE PARIS EXHIBITION 
 
 design, and of the best order of workmanship. 
 
 British artists, manufacturers, and artisans, will 
 do well to study the collection of this excellent 
 manufacturer. The works he exhibits are very 
 varied, and from each a lesson may be learned. 
 In accuracy of design, careful modelling, and 
 nice manipulation, they are unsurpassed ; and 
 in many cases objects no larger than au inch 
 
 miniature gems are, all of them, teachers of Art. 
 
 We commence this page with an engraving of 
 one of the many works exhibited by M. Paillard. 
 It is a Candelabrum for the table, and contains 
 also a clock-case. It is original in design, and 
 beyond question ranks among the best works of 
 
 the collection. M. Paillard on this occasion I occupies a foremost place among the bronze 
 
 producers of Paris, and it may be safely antici- 
 pated that the medal of highest honour will be 
 | awarded to him. During many years back, we 
 ; have marked the progress of this fabricant. 
 
 have all the value of life-sized sculptures. These 
 
 ' Although we have given elsewhere examples 
 of the beautiful Art-produce of M. Wiese, we 
 introduce on this page three others of his ex¬ 
 quisite works ; these are Brooches, graceful in 
 
 M. Paillard we are gratified to find bearing 
 out the best hopes of his admirers, for it is cer¬ 
 tain that in this Exhibition he takes the lead. 
 It is admitted that the Exhibition of 1855 does 
 not show an advance iu articles of bronze; few 
 competitors of merit having entered the lists. 
 
 26 
 

 THE LAMP OF THE GANGES. 
 
 ENGRAVED BY W.ROFFE. FROM THE 
 
 STATUE. BY H . TIMBRE LL . 
 
 LONDON. PUBLISHED FOR THE PROPRIETORS 
 
cnrrr r\ 
 
 
 OF INDUSTRIAL ART. 
 
 We have not, unfortunately, been able to ascertain the name of the 
 manufacturer of the splendid Table-Cloth, engraved on this page ; but 
 
 it was designed by M. Couder, of Paris, and is made for tlie use of tie 
 Emperor Louis Napoleon. In the design the imperial arms, devices, and 
 
 initial N form the principal features: the border presents a light and | elegant pattern of festoons and groups of flowers terminated by a fringe. 
 
 The engraving immediately above is from a Paper-hanging, manufac¬ 
 tured by Messrs. Delicourt & Co., of Paris ; it forms the cornice, so to 
 
 speak, of a panel. The principal design is composed of a running pattern 
 of vine leaves and grapes, among which a variety of birds are disposed. 
 
 27 
 
 T 
 
The Vase is engraved from one of the many 
 contributions of the famed Sevres manufactory; 
 though its general form presents nothing that 
 appears to be novel, there are peculiarities in 
 the parts. The body, shaped like a reversed 
 
 The Coffer, or Jewel-box, engraved under¬ 
 neath, is exhibited by M. Riester, of Paris; it 
 
 is of ebony, with steel panels, the larger ones 
 engraved and inlaid with gold, the borders of 
 
 pine, is partially fluted, like the melon ; the 
 neck is a sexagon rounded at the sides ; the 
 mouth octangular with square sides, and the lid 
 is a sexagon. The handles, which are finely 
 modelled, seem rather too large and weighty. 
 
 the small panels being of chased silver; these chased silver. The group surmounting the box 
 contrasting with the dark wood, produce an ex- is carved out of pear-wood. This is a really beau- 
 ceedingly rich combination : the feet are also of tiful and artistic work in design and execution. 
 
 
 From the contributions, in papier- 
 m&clie, of Messrs. Jennens & Bettridge, 
 of London and Birmingham, we have 
 selected the Escritoire and Chairs, en¬ 
 graved above. The former is a most 
 elegant work of manufactured Art; it is 
 Italian in style, both as regards form and 
 
 appearance. The chairs are of a good 
 order in design, and are neatly but 
 not extravagantly ornamented. We 
 noticed that most of the specimens 
 sent by this firm show less of the 
 gaudy colouring than we have been 
 used to see from their establishment. 
 
 decoration ; the ornaments are of patent pearl and gold, which, 
 laid upon a brilliantly polished black ground, have a very chaste 
 
 THE PARIS EXHIBITION 
 
 . 
 
OF INDUSTRIAL ART. 
 
 The Cabinet is exhibited by M. Audot, of Paris ; its claim to especial 
 notice rests as much on its graceful contour of outline, as on the orna¬ 
 mentation ; the bold and elegantly turned sweeps of which the design is 
 
 The contributions of M. Paillard, of Paris, are so numerous, and the 
 majority of them so good, that we have added to our former selection two 
 more, engravings from which are introduced on this column. The first 
 
 is a Candelabrum ; the branches and sockets for the wax-lights represent 
 stalks and partially unfolded flowers ; two Cupidons amidst a mass of 
 foliage form the plinth, which stands on a tastefully ornamented pedestal. 
 The other is a Timepiece, in the style which has been so much in vogue 
 
 The Bracelet which concludes this page is selected from the stall of 
 beautiful jewellery belonging to M. Wiese, of Paris, whose name has 
 appeared already in this “ Catalogue.” It is of oxydised silver, and may 
 
 lay claim to great novelty, as well as excellence in the design, especially 
 in the open links connecting the solid parts with each other ; these are 
 of that kind of ornament known under the name of “strapwork.” 
 
 composed present a most agreeable and harmonious combination to the 
 eye, and are nowhere broken by injudicious projecting ornaments. The 
 external ornaments are of or-molu, the others a parqueterie of woods. 
 
 with French manufacturers of bronze and china for the last century and 
 a half; the figures in the timepiece are carefully modelled and pic¬ 
 turesquely displayed. Both these objects are of bronze manufacture. 
 
 29 
 
THE PARIS EXHIBITION 
 
 The Candelabrum, designed by M. Clagmann, is manufactured and 
 exhibited by M. Marchand, Fils, of Paris; it is one of a pair similar in 
 their general features, but a little varied in the disposition of the figures : 
 the ornaments of the two are alike, and in these we remark a novelty ; 
 the branches and sockets are decorated with turquoises, and the flowers 
 are formed of pearls and turquoises, which produce a rich and chaste 
 
 effect. The semi-globe on which the figure is placed is perforated, and 
 is also surrounded by pierced work, that forms a basket for the reception 
 of flowers: the design of the pedestal is bold and well-proportioned. 
 This candelabrum is entirely of bronze, except in those portions we have 
 pointed out as ornamented with precious stones; the figure is nicely 
 modelled, and from the arrangement of the candle-sockets in an ascending 
 form, the light is equally and advantageously diffused over the apartment. 
 
 In this age of practical utility gunsmiths and armourers pay, in general, 
 far less attention to the decoration of their weapons than did the work¬ 
 men of past centuries; science has now more “ hand ” in the construction 
 of arms of every kind than art. In the pages of our “ Catalogue ” we have 
 already given some examples of the taste and ingenuity of the Paris gun¬ 
 
 smiths ; here is another in the Fowling-piece, designed by M. Reister, 
 and manufactured and exhibited by M. Claudin. The stock of this gun 
 is most elaborately carved ; in the butt-end are introduced dogs, a wolf, 
 serpents, mingled with oak-leaves, a sort of running pattern of similar 
 devices being carried along the whole length of the stock most ingeniously. 
 
 30 
 
INNOCENCE: THE DOVE. 
 
 ENGRAVED JTY R. A .ARTLETT. 
 
 FROM THE STATUE 
 
 BY B.E.SPENCE. 
 
 LONDON PUBLISHED FOR THF. PROPRIETORS 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 I • • 
 
 
 
 
 
 
 
 
 ' 
 
 
 
 ' 
 
 
 
 
 
 
 
 
 - 
 
 
 
 
 
 
OF INDUSTRIAL ART. 
 
 The whole of the engravings occupying this page are chosen from the contribu¬ 
 tions of Messrs. Elkington & Co., of London and Birmingham, a firm which, by 
 its process of electro-plating, has circulated its manufactures over the civilised 
 world within a very few years. The artistic feeling which has manifested itself 
 in the productions of this establishment has kept pace with its gradually extend- 
 
 of trade. The first of our engravings represents a very beautiful 
 Timepiece, which the manufacturers have nominated the “ Hours' 
 
 and skill in execution. Commencing the next column is a Wine-Cooler, i of line which runs from the base of the handle upward to the lip of the 
 ornamented with bas-reliefs of pure classical design and chaste mouldings, jug is good. The Inkstand and Candelabra, at the bottom ot the page, 
 The Jug that follows this is excellent in form; the foliated ornaments are equal in purity of design to any modern works of a similar nature 
 are exceedingly bold in design and graceful in their contour, and the tlow j that we remember to have seen; we admire the former especially. 
 
 ing operations; this is abundantly evident by a comparison of what is here pre¬ 
 sented with the objects engraved in the Art-Journal in our “ Tour through the 
 Manufacturing Districts” in 1846 : the “Art” of manufactures has made extraor¬ 
 dinary progress since then, and Messrs. Elkington are entitled to a full share of 
 merit in developing the industrial resources of the country in their especial branch 
 
 are two larger figures, representing, we presume, Day and Night; 
 the whole of this work shows a high degree of taste in the design, 
 
 Clock,” from the circle of figures surrounding the dial; these 
 figures are most artistically grouped and modelled p at the base 
 
 31 
 
 K 
 
THE PARIS EXHIBITION 
 
 years with great success. Messrs. Christofle’s I manufactures, generally, arc of a very good order. 
 
 we introduce here three examples of the 
 Handles, carved, iu the finest ivory, with 
 great delicacy and artistic execution; the 
 designs are good in their general features. 
 
 The three objects on this page, consisting of a | Tea-pot, a Plateau for cakes, and a Tazza, are 
 
 proprietors of Messrs. Elkington’s patent for plating | metal, which they have used for the last fifteen 
 
 among the very extensive contributions of Messrs. | C. Christofle & Co., of Paris, who are the French 
 
 Mr. Sangster, of London, contributes a 
 large variety of parasols, in which the richest 
 and most costly figured silks are used : 
 
 32 
 
Messrs. Dubois & Soulas are extensive contributors of 
 statuettes, candelabra, caskets, lamps, garden-pots, &c., in 
 imitation bronze: we introduce here an elegant little Foun¬ 
 tain, the proportions of which are in excellent “ keeping.” 
 
 In the nave of the Palais cle Vlndustrie stands a colossal Glass Candelabrum, from 
 the establishment of Messrs. Osler, of London and Birmingham. In this work the 
 object of the manufacturers seems to have been, peculiarly, to adapt the design to the 
 material. Glass, we need scarcely say, is a crystalline substance, and should therefore 
 
 not be treated as if it were another 
 therefore avoided leaves, and all 
 stead crystalline forms, including 
 cut in facets. It is constructed for 
 
 sort of material; Messrs. Osier have 
 botanical imitations, using in their 
 prisms, pendants, and other shapes 
 gas, and hence the lights are not 
 
 The engraving underneath is from a specimen of Par 
 quetage, executed in a variety of coloured woods, and ex- 
 
 4*4*4*4*4*4*4*4*4*4>4*4*4* 
 
 4*4*4*4»4*4*4*4'4*4*4*4H 
 
 hibited by Messrs. Dekeyn, Frires, of Brussels, from the 
 design of M. Clerget, of Paris : the pattern is good in its 
 general character, more especially the central design. 
 
 so numerous as if it were to bear wax candles: each shade is intended to carry 
 several gas jets. The crystal is of the purest and most brilliant kind ; we had the 
 opportunity of testing it by comparison with other similar works in the Exposition, 
 and are satisfied no country in the world can equal it: it is quite unapproachable. 
 
 33 
 
TIIE PAEIS EXHIBITION 
 
 figures, and in the arrangement of the 
 lines forming the handles, which entitle 
 the designer to much praise ; the body 
 of the vase would, in our opinion, be 
 better without the medallion on each 
 side; the figures in them look so dimi¬ 
 nutive in juxtaposition with the others. 
 The small Vase to the right of the group 
 is decidedly good in form and ornament. 
 
 The bronzes of Messrs. Leeolle, 
 Freres, of Paris, are numerous and ex¬ 
 cellent ; the accompanying engraving 
 will convey a general idea of the charac¬ 
 ter of the productions which these manu¬ 
 facturers contribute. The large Vase 
 in the centre of the group is very ori¬ 
 ginal in its design, and shows an amount 
 of ingenuity in the disposition of the 
 
 and elaborate in design, but at the same time 
 most elegant: it is of silver, set with carbuncles, 
 pearls, emeralds, and brilliants, presenting a 
 gorgeous combination of jewels to the eye. 
 The taste of ^the designer is eminently mani- 
 
 of Madame Froment Meurice, who now superin¬ 
 tends the establishment, was furnished with the 
 costly objects that at present occupy it. From 
 these we have selected, among other objects to 
 be introduced hereafter, a Bracelet, massive 
 
 The somewhat recent death of M. Froment 
 Meurice, the justly celebrated Parisian jeweller, 
 caused, as might have been expected, some 
 delay in the works he was preparing for the 
 Paris Exposition; consequently a considerable 
 
 time had elapsed from the opening ere the stall 
 
 tested in the links that connect the larger jewels; 
 the arrangement of these scroll-patterns is as 
 ingenious as it is graceful ; but, indeed, the 
 whole of the setting is characterised by the 
 purest taste united with most delicate execution. 
 

 THE NYMPH OF THE RHINE 
 
 FROM THE STATUE BY SCH WANT HALEB. 
 
 
 
OF INDUSTRIAL ART. 
 
 A Cabinet, manufactured by Messrs. Gu£ret, 
 Freres, of Paris, attracted our notice by the ex¬ 
 ceeding picturesqueness of its rustic decoration ; 
 
 these ornaments assume the forms of branches : On this column are engravings from three 
 of trees, leaves, and flowers, interspersed with [ 
 birds, insects, &c. The carving is rather bold 
 
 The Arabesque Design, engraved above, is 
 by M. Reister, of Paris. It represents one-fourth 
 part of a drawer in a beautiful ebony cabinet, 
 
 of rather small dimensions, manufactured by M. 
 Auboiier for Prince Napoleon ; the ornaments 
 are of ivory and mother-of-pearl curiously inlaid. 
 
 L 
 
THE PARIS EXHIBITION 
 
 A double-handled agate Cop is exhibited by 
 Madame Froment-Meurice. The bowl is of 
 agate, and it is set in gold-work of Gothic design, 
 
 bold in character, and extremely simple in the 
 arrangement of its details; the stem is enriched 
 with a number of very fine precious stones. 
 
 The first two engravings on this column are 
 engraved from the contributions of Messrs. Bar- 
 
 with bronze figures and ornaments: the four 
 figures on the pilasters represent Agriculture, 
 
 Science, the Arts, and Industry. The whole 
 work displays taste and skill of the first order. 
 
 work exhibited by M. Tahan, of Paris ; the orna¬ 
 mental sculpture is of the highest character. 
 
 bezat & Co., late Andre, of Paris. Whatever 
 emanates from this establishment is excellent 
 
 The Bookcase, by M. Tahan, of Paris, is I Emperor Napoleon at the Tuileries, for whom 
 destined to ornament the bedchamber of the | it was made. It is manufactured of mahogany, 
 
 The Prie-Dieu, engraved underneath, is 
 another of the beautiful examples of carved 
 
 3.6 
 
The group of objects at the top of this page is 
 engraved from the works of M. Weise, of Paris. 
 Iu the centre is a Coffer for jewels, in the 
 
 OF INDUSTRIAL ART. 
 
 Renaissance style ; the ornaments, designed and 
 sculptured by M. Lienard, are mounted on black 
 marble. To the right of this is a Cop, in the 
 
 Louis Seizieme style. Both these works are 
 designed by M. Lienard. The other two objects 
 are a Water-glass and a small oriental Cup. 
 
 Mr. John Finlay, of Glasgow, exhibits the 
 Grate and Fender engraved underneath ; they 
 were designed and manufactured for him by 
 
 Messrs. Hoole & Co., of Sheffield. The construc¬ 
 tion of the grate, which has been patented by 
 Mr. Finlay, is well calculated to save fuel, to 
 
 produce ventilation, and to diffuse an agreeable 
 equality of temperature throughout the apart¬ 
 ment, while by a simple contrivance the com¬ 
 
 bustion is placed under control, and the smoke 
 effectually consumed. From the powerful radia¬ 
 tion of heat obtained by its peculiar construc¬ 
 tion, and the perfect command over the chimney- 
 
 draught, economy of fuel follows as a matter of 
 course. The grate can, it is almost needless to 
 state, be made in a more simple form than that 
 which is here introduced, and on the other hand 
 
 it will admit of higher ornamentation. The 
 style of this is Gothic, and is sufficiently elegant, 
 without a redundancy of ornament. It recom¬ 
 mends itself, however, chiefly by its utility. 
 
 37 
 
THE PARIS EXHIBITION 
 
 Allen, an artist of the town ; it is constructed to serve the quarters of the globe, aud are intended to repre- 
 
 reining in the heads of panthers. The 
 chamber Candlestick commencing 
 the page is very simple in its form, 
 
 On this page is engraved a selection of objects con¬ 
 tributed by Messrs. Prime & Son, of the Magneto- 
 Plate Works, Birmingham. The principal of these is 
 a Centrepiece, designed and modelled by Mr. J. J. 
 
 either as an epergne or a candelabrum ; the figures, 
 which take the form of caryatides, are symbolical of 
 
 sent the assembling of the inhabitants of the earth the alto-relievi on the plinth represent Music, Art, 
 with the productions of their respective countries; and Science; at the angles of the tripod are Cupids 
 
 next column is of chaste design ; 
 following this is an Ice-jog and a 
 Claret-jug, both meritorious works. 
 
 having but two parts, so to speak. 
 By the side of this is a Sugar-basin, 
 selected from a coffee-service, of 
 
 medallion pattern ; this service is 
 good in its forms and ornaments. 
 The upright Candlestick on the 
 
 S& 
 
L 
 
 THE DAY-DREAM 
 
 ENGRAVED 
 
 BY K . ARTLETT FROM 
 
 THE STATUE 
 
 BY D. MAC DOWELL, R A 
 
 LONDON PUBLISHED POA THE PROPB I ETOB.S . 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
OF INDUSTRIAL ART. 
 
 Messrs. Jackson & Graham, of London, ex¬ 
 hibit a magnificent Cabinet, for which they have 
 received a “ Medal of Honour.” It is in the style 
 of Louis Seize, and measures 7 ft. 6 in. in length, 
 and, to the top of the glass frame, 13 ft. 6 in. in 
 height. The interior is finished with as much 
 care as the exterior, being of satin-wood inlaid 
 with tulip-wood, and the fronts of the drawers 
 inlaid with ivory and panelled, 
 the panels being fitted with 
 finely-chased and gilt orna¬ 
 mental metal-work; the whole 
 of the enrichments are of 
 bronze, finely chased, and gilt 
 by the electro process of 
 Messrs. Elkington & Co. The 
 frame of the glass sur¬ 
 mounting the cabinet is 
 entirely of wood, and so 
 finely carved and solidly 
 gilt that it has quite a 
 metallic effect. The cary¬ 
 atides were modelled by 
 
 Mr. Carrier, the boys and female figures on 
 the frame by Mr. Protat, and L nearly the 
 
 whole of the flowers and ornamental work by 
 Mr. Phenix. The cabinet-work, and the carving 
 and gilding of the glass frame, were executed 
 by the workmen in the employ of Messrs. 
 Jackson & Graham. The five porcelain plaques 
 in the panels of the doors, and at the ends, are 
 by Messrs. Minton & Co., from models painted 
 by Mr. Remon and Mr. Polisch. The figures, 
 and all the metal ornaments 
 and enriched mouldings, were 
 cast and chased in London. 
 In selecting the different 
 kinds of wood used in the 
 cabinet, the effect of con¬ 
 trast has been studied care¬ 
 fully, with a view of pro¬ 
 ducing a harmonious and 
 artistic result. Such a re¬ 
 sult has been attained in a 
 manner that reflects the 
 highest credit upon all 
 engaged in the production 
 of this elegant specimen 
 
 of Art-manufacture, and it demonstrates the fact 
 that works of an ornamental character, and of 
 
 the highest degree of excellence, can be made 
 in this metropolis. The design is by Mr. Eugene 
 
 Prignot, an artist who has been employed for 
 several years by Messrs. Jackson & Graham. 
 
THE PARIS EXHIBITION 
 
 A visit to the bookbinding establishment of Madame 
 Gruel, of Paris, is to inspect the atelier of an artist, 
 
 so full is it of beautiful designs in carvings, emboss- The two Vases on this column we 
 ings, &c., adipted to the business she carries on with have selected from many exquisitely 
 
 YA 
 
 YA 
 
 YA 
 
 so much well-deserved reputation. Her Book-covers 
 sculptured in ivory, wood, and metal, are fine examples 
 
 Tiie Design immediately above is by M. Clerget. I an edition of the “Imitation de Jesus Christ,” now 
 ot Paris ; it is intended for the heading of a page of printing by the imperial press of France. 
 
 formed, and ornamented, on the best 
 models of the ancient Greeks. 
 
 40 
 

 
 
 jllljlllllllllllllliliiiiiR 
 
 
 "■iMiiii.nuTuii'mJj 
 
 
 tUMMU.AuA||jBftl 
 
 •.TiiiiiTdiri 
 
 
 OF INDUSTRIAL ART. 
 
 Messrs. Barbedienne & Co. also contribute 
 the bronze Tripod, for a lamp, which occupies 
 this column : the design, like those of the pre¬ 
 ceding objects, is of Greek origin, and is exceed¬ 
 ingly light and elegant. Famed as are the lead¬ 
 ing bronze manufacturers of Paris for the high 
 character of their works in purity of design and 
 
 The Hall Stove is manufactured and exhi¬ 
 bited by Messrs. Hoole, of Sheffield; it is 
 made of real bronze and porcelain, having 
 an ingeniously-arranged blower composed 
 of glass tubes : the ornaments are in the 
 style of the latter part of the sixteenth 
 century, as adopted by the artists of Italy. 
 
 | The porcelain panels represent the “ Rape of 
 Proserpine,” the “ Descent of Or¬ 
 pheus,” and “ Ceres in Search of 
 her Daughter.” This stove, and 
 two or three other objects by the 
 same manufacturers, have been 
 purchased by the Department of 
 
 Science and Art in London, 'as 'examples of | British iron-work of the nineteenth century. 
 
 skilful execution, there is no establishment whose 
 productions are held in greater estimation than 
 those of Messrs. Barbedienne. We have on more 
 than one occasion passed some hours in their ex¬ 
 tensive and tastefully-arranged repository on the 
 Boulevards, minutely examining the beautiful ob¬ 
 jects of virtu in infinite variety there deposited. 
 
 The above Design is by M. Cleuget, of Paiis; it is intended as a border-ornament for a book. 
 
 41 
 
A Coffer, exquisitely sculptured iu ivory, is 
 exhibited by M. Moreau, of Paris; it is octan¬ 
 gular in its form, and the artist, departing from 
 the styles of ornament mostly seen in works 
 of French decorative art, those known as Renais¬ 
 sance and Cinque-Cento, has adopted that which 
 
 is termed “ Elizabethan.” Here “ strapwork,” or 
 
 interfacings, gives a degree of boldness to the 
 ornament, and presents a pleasing relief to the 
 delicate curves and foliated enrichments which 
 each side of the coffer exhibits. At each angle 
 is a caryatid supporting the lid, and on the 
 pedestal are four figures holding a wreath of 
 
 flowers' the mouldings and projecting orna¬ 
 ments on the pedestal are in strict iiarmony 
 
 with the rest of the work. This is, without ex¬ 
 ception, one of the most beautiful productions 
 
 of its kind in the Exhibition : the design of the 
 work, as well as the execution, is by M. Moreau. 
 
 . n ■ i nnium mi 1 rmu w w m m mi i .1, iniui i inm uun umiiun r m iiu»uu w“» llu ‘t^-—-—=—i——= rs—. v. - i - j — ■. . r- .i — r-r i i— 
 
 Brita uuuU m ib mb fflta u a awhiain n in « fam :l u ;| 1 " ... • 1. 
 
 The difficulty of doing justice to the textile 
 fabrics in the Exhibition—for the best and most 
 elaborate woodcut generally fails in showing 
 
 what the object really is—is the principal reason 
 why so few have appeared in this limited Cata¬ 
 logue ; a piece of Lace, exhibited by Mr. Tread- 
 
 W 
 
 well, of Honiton, has, however, tempted us by 
 the excellence and originality of the design to 
 find a place for it among our illustrations. 
 
 42 
 

 THE TEMPTATION. 
 
 ENOB-AVED BY R . A . ARTLETT, FROM THE STATUE 
 BY M . VANDE VENUE 
 
 LONDON PUBLISHED TOR THE PROPRIETORS 
 
OF INDUSTRIAL ART. 
 
 and appropriately carved. There is a harmony 
 of purpose throughout this work which is not 
 
 the least of its very many excellencies ot design : 
 nothing is inserted in the way of ornament that 
 
 does not seem to bear on the subject of the 
 decoration, and there is nothing misplaced. 
 
 There are few, if any, examples of decorative 
 art, of its class, exhibited in the Exposition, 
 with which we are more pleased than the 
 Cabinet by M. Riballier, of Paris ; we consider 
 it so good as a whole, as well as in its details, 
 that we have devoted an entire page to illustrate 
 it: without this it would have been impossible 
 to do justice to its varied decorations. The 
 
 each holding a dog, “setting” respectively at a 
 hare and a partridge; on each side is a figure, 
 costumed as in the olden time ; one has a hawk 
 on his finger, but the action of the other is not 
 so apparent ; four china medallions are intro¬ 
 duced into the lower part of the cabinet, on 
 which are painted cupidons symbolical of the 
 Seasons ; the jianels and mouldings are richly 
 
 sports of the field have suggested the ornaments 
 to the artist: thus, on the top are two boys, 
 
 43 
 
THE PABIS EXHIBITION 
 
 The first engraving on this page is from a Colour-Box, exhibited by 
 Mr. Newman, the well-known “ artist’s colourman,” of London. It is of 
 
 ebony, inlaid with silver, in niello-work, from designs by Mr. John 
 Franklin. The style of ornament is that of the sixteenth century. 
 
 the extensive iron-works of the Colebrookdale Company. 
 
 The engraving above represents a Ring, selected from 'the contributions ot 
 M. Weise, of Paris, whose name appears, in connection with his works, in two or 
 three former pages of this Catalogue ; the ornament of the ring is chaste and elegant. 
 
 The Vase is one of the numerous and excellent contributions of Mr. Alderman 
 Copeland, of London ; it stands nearly three feet in height, and is, we believe, 
 the largest object ever executed in that beautiful material, statuary porcelain. The 
 decoration is exceedingly rich, the Alhambresque style prevailing throughout; but 
 
 the wings which connect the handles with the neck of the vase are typical of 
 Egyptian ornament. The execution of the work is truly artistic, all the details of 
 the ornaments with which it is covered being rendered with truth and sharpness. 
 
 The two well-designed Vases engraved on this column are from 
 
 44 
 
OF INDUSTRIAL ART. 
 
 The contributions of the Austrian Empire to the Paris Exposition have 
 reference more to the useful arts than to those which unite ornament 
 with utility; but there are also many objects of the latter character which 
 well sustain the renown of the old German industrial artists, especially in 
 
 The very exquisitely-wrought Cup, engraved on this column, is from 
 the establishment of Madame Froment-Meurice, of Paris: it is called 
 the “ Moliere Cup,” from the paintings in enamel with which it is deco¬ 
 
 ceramic wares, and works of similar nature. We have selected as an 
 example of these a fine Fountain, of terra-cotta, by Louis Meisbach, of 
 Vienna, which stands almost in the centre of the nave of the Palais de 
 l'Industrie, where its size renders it conspicuous. The style of this work 
 inclines to the modern German Gothic, and, as a fountain, it shows con¬ 
 siderable novelty in design. The proportions are good, the figures well 
 modelled, and the execution of all the ornamental parts clean and sharp. 
 
 rated exhibiting scenes from the “ Tartuffc ” of the French dramatist. 
 The cup is of gold, the richness of which is heightened by the introduc¬ 
 tion of a few costly jewels; its symmetrical proportions, and the taste 
 exhibited in the general design, are matters perfectly self-evident. 
 
 45 
 
TTIE PARIS EXHIBITION. 
 
 The carved cabinet-work of every kind, from 
 the massive piece of furniture to the delicately- 
 sculptured work-table or jewel-box for ladies’ 
 use, contributed by the manufacturers of France, 
 is worthy every attention, and of the taste and 
 skill which characterise the decorative artisans of 
 
 that country. We introduce on this page a Coffer 
 in pear-wood, by M. Thiebault, of Paris, of rustic 
 
 design, the ornaments being copied from the fruit 
 and foliage of the vine ; the lid is surmounted by 
 a couple of angry fowls in a fighting attitude. The 
 arrangement of the carved work, which is ample 
 without being overdone, is graceful, and the 
 execution is bold, yet delicate in the details. 
 
 
 It will not be considered an inappropriate 
 c r tail-piece to our Catalogue to introduce the 
 
 following design by M. Clerget, of Paris. It was 
 drawn for the “ Imitation de Jesus Christ,” a work 
 
 to which we have adverted before when intro¬ 
 ducing another design by the same artist. 
 
 
 BRADBURY AND EVANS,] 
 
 46 
 
 [printers, WHITEFRIARS. 
 
\' 
 
 PUBLISHED BY 
 
 
 VIRTUE AND COMPANY, CITY ROAD, LONDON; 
 
 AND JOHN STREET, NEW YORK. 
 
 In 43 Parts at One Shilling, or in Two Super-royal Octavo vols., price £2. 5s. 
 
 : A CYCLOPAEDIA OF USEFUL ARTS. 
 
 . 
 
 MECHANICS, MANUFACTURES, MINING, AND CIVIL ENGINEERING. 
 
 EDITED BY CHARLES TOMLINSON, Esq. 
 
 WITH 40 ENGRAVINGS ON STEEL, AND 2477 WOODCUTS. 
 
 This Work comprises detailed accounts of the principal Manufacturing Processes, Mechanical Inventions, and Chemical Operations in actual use. 
 either in Great Britain, the continent of Europe, or the'United States. The descriptive portion is illustrated and explained by upwards of 
 2500 Diagrams and Engravings made expressly for the work, mostly copied from the actual working Machinery, by the permission of the Patentees 
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 to the Manufacturer, the Miner, the Chemist, the Engineer, and the Scientific Workman. 
 
 In Parts at One Shilling each, or in One Volume super-royal Octavo, price £1 5s. 
 
 THE WORKS OF JOSEPHUS: 
 
 WITH AN INTRODUCTORY ESSAY BY THE REV. HENRY STEBBING, D.D. 
 
 Also a Series of beautiful Engravings on Steel, including Landscape Illustrations of Judea, from Original Drawings 
 
 by W. H. Bartlett, and numerous Woodcuts in the first style of the Art. 
 
 The Works of Josephus are peculiarly adapted for Pictorial Illustration, and, taking advantage of this feature, the Publishers have resolved 
 to produce an edition which, they believe, will take its place as the Standard Edition of the Works of the great Warrior-Historian of the Jews. 
 
 Of the Illustrations, Forty-seven are on Steel, and nearly One Hundred on Wood. These consist of Views of the more important localities 
 referred to, or illustrate the most striking incidents recorded in the narrative, the whole engraved by the first artists in their respective depart¬ 
 ments. In short, no expense has been spared to convince the public that the publishers have earnestly desired to produce a work which shall merit 
 a very extended patronage. 
 
Entirely Nero Edition, in Parts, at One Shilling each, containing Four Superior Engravings on Steel, 
 
 THE BOSPHORUS AND THE DANUBE, 
 
 ILLUSTRATED BY A SERIES OF 
 
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 With Historical and Topographical Descriptions. 
 
 THE BOSPHORUS BY MISS PAEDOE; THE DANUBE BY W. BEATTIE, M.D. 
 
 In issuing at the present time a work devoted to the illustration of the banks of the Danube and the classic shores of the Bosphorus, the 
 Publishers feel that they are only striving to meet the daily increasing desire for information relative to those celebrated countries. One half of 
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 New Edition, in Twenty Shilling Parts, each embellished with a Steel Plate, and an average of Seventy Wood Engravings, 
 
 THE 
 
 ILLUSTRATED CATALOGUE 
 
 «. * <, • ? ... . . 
 
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 THE GREAT EXHIBITION OF 1851, 
 
 CONTAINING UPWARDS OF 
 
 FOURTEEN HUNDRED ENGRAVINGS ON WOOD, 
 
 AND TWENTY STEEL PLATES. 
 
 The history of the Arts, like that of Nations, has its epochs; and amongst the most important of these may be named that'of the year 1851. 
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 EDITED BY S. C. HALL, ESQ. 
 
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 presented to the nation a short time before his death. They embrace specimens of nearly every modern English Artist, including Turner, Landseer, 
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 the same work illustrations of the sister Arts of Painting and Sculpture. 
 
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THE ART-JOURNAL, 1855: 
 
 COMMENCING A NEW SERIES; 
 
 WITH ENGRAVINGS FROM 
 
 PICTURES IN THE PRIVATE COLLECTIONS 
 
 OF 
 
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 MONTHLY JOURNAL OF THE ARTS. PRICE 2s. 6d. 
 
 The Vernon Gallery op Pictures —engravings of which have been issued in the Art-Journal since the commencement of the year 1849— 
 were brought to a close at the end of the year 1854 ; and the Editor takes this opportunity to offer to his Subscribers some remarks in connection- 
 with the past and the future of that publication. 
 
 Since its commencement, in 1839, Sixteen Volumes have been issued ; the public support it has received' justifies tlie belief that it has achieved 
 the high purpose for which it was undertaken—to protect and advance the interests of Artists, and to extend a knowledge and appreciation of Art 
 among all classes. During the years that have followed, the Arts have been making large progress; the interest they create is no longer limited to 
 the higher orders—it has spread among all ranks; the Manufacturers are now their liberal patrons, and the Artizans are those that most profit by 
 the lessons they teach. It cannot be presumptuous in us to believe that our exertions during so long a period have greatly aided the movement 
 to which Art has been subjected in England, nor that we have much assisted in the progress it has made. Ample evidence is indeed supplied us 
 that the Art-Journal has largely influenced this movement and this progress : we may be permitted to quote the opinion of His Royal Highness 
 Prince Albert, who has himself in so many ways promoted the Fine and Industrial Arts of this country: His Royal Highness is graciously pleased 
 to consider the Art-Journal as “calculated to be of much service,” “extremely well-conducted,’’ and “his patronage of which it has given him 
 much pleasure to afford.” 
 
 As concerns the future of this work, we have to announce that, with the commencement of the year 1855, 
 
 WE COMMENCED A NEW SERIES, 
 
 preserving all its leading features, but introducing some that were new, and especially one, to which we direct the particular attention of our 
 Subscribers- 
 
 The attraction upon which we largely depend for the future prosperity of the Art-Journal, is the Series of Pictures, by ancient and modern 
 masters, which we have been graciously permitted to engrave and issue by 
 
 HER MAJESTY THE QUEEN AND HIS ROYAL HIGHNESS PRINCE ALBERT, 
 
 from the private collections at Windsor Castle, Buckingham Palace, and Osborne. 
 
 The collections at Buckingham Palace and at Windsor Castle are to some extent known ; many of them being rare and valuable heirlooms of 
 the Crown. At Buckingham Palace are famous examples of the Dutch and Flemish Schools, unsurpassed 1 in Europe ; and at Windsor Castle are 
 the beautiful productions of the Italian Schools, together with the renowned Vandykes, and the choicest of the works of Rubens, in the salons named 
 after these great masters. 
 
 WORKS IN SCULPTURE. 
 
 In addition, Her Majesty and His Royal Highness have also graciously permitted us to introduce Engravings of tiie Statuary in their 
 possession ; and these also will appear, in succession, in the Art* Journal. 
 
 Each Monthly Part of the Art-Journal, therefore, will contain Two Line-Engravings of Pictures in the Royal Collection, and One Engraving 
 of a work in Sculpture. 
 
 With the year 1855 was commenced a series of 
 
 ILLUSTRATED BIOGRAPHIES OF BRITISH ARTISTS: 
 
 the Illustrations consisting of Engravings on Wood of their principal works, so as to exhibit the peculiar style and character of the leading painters 
 of our school. These will be issued in lieu of the Illustrations of Ancient Masters, issued in the Art-Journal during the last five years, and will 
 be exceedingly beautiful specimens of Art. 
 
 With respect to ART-MANUFACTURE—duly to represent which has ever been a primary object in the Art-Journal —we shall continue 
 our exertions to minister to the requirements of the Manufacturer and the Artizan, by engraving all the suggestive examples we can obtain ; by 
 occasionally exhibiting the progress of British Manufactures ; and by frequent representations of the best productions of the Continent. We 
 commenced the year with a series of engravings, to extend probably to 
 
 One Hundred Examples of the Principal and most valuable Contents of the Museum of Practical 
 
 Art, at Marlborough House. 
 
 The engravings of these famous works cannot but be valuable to every class of Producers of Art-Manufacture. 
 
 We desire especially to announce this New Series of the Art-Journal, as affording a favourable opportunity for those who have not hitherto 
 
 subscribed to it_chiefly because of a natural hesitation to commence a continuous series of a work which must necessarily be incomplete. While, 
 
 then the Art-Journal will, in all its leading features, difier only from the past in the improved character it receives, it commenced in 
 January, 1855, as Part I. of a New Series, and so avoids the difficulty to which reference is made, by enabling Subscribers to obtain it from the 
 commencement. 
 
 VIRTUE AND CO., LONDON AND NEW YORE. 
 
In Parts at Is., Super-royal Octavo, each illustrated with Two Engravings on Steel; and in Divisions, 6s. cloth gilt, 
 
 THE 
 
 PICTORIAL HISTORY OF SCOTLAND. 
 
 EDITED BY 
 
 THE REV. JAMES TAYLOR, D.D., GLASGOW. 
 
 With splendid Illustrations on Steel, from Drawings by W. H. Bartlett, and other Artists. 
 
 HOLYKOUD PALACE 
 
 The history of a country ought to be the history of a people, and not a mere record of battles and sieges, court intrigues, and diplomatic treaties. 
 The description of the manners and customs, opinions and pursuits, of the mass of the people, is much more interesting and instructive than the 
 record of the follies and crimes of their rulers. But, strange to say, while historians have devoted many ponderous tomes to the latter, the former 
 have been passed over almost unnoticed. The numerous volumes which the Bannatyne, Maitland, and other Antiquarian Societies have rescued 
 from oblivion, the tomes issued by the Record Commission of, England, and the mass of correspondence deposited in our national repositories, 
 now thrown open to the public, have placed within the reach of the historian the most ample means for enabling him to delineate the origin, 
 habits, and customs—the language, .literature, and religion, of our forefathers. Impressed by these considerations, the Publishers have resolved 
 to issue a history of the people as well as of the kingdom of Scotland, in which due prominence will be given, not only to civil and military 
 events, but to the constitution and laws, national industry, the condition of the people, their religious opinions, manners, and customs. 
 
 NEW ILLUSTRATED EDITION IN QUARTO, 
 
 WITH AN INTRODUCTION BY THE REV. HENRY STEBBING, D.D. 
 
 Complete in Forty-jive Parts at One Shilling, each Part embellished with a Steel Engraving, 
 
 THE NEW TESTAMENT; 
 
 llitjr Jotcs Critical info Cvplanatonr, 
 
 BY THE REV. ALBERT BARNES. 
 
 EDITED BY INGRAM COBBIN, M.A., AND E. HENDERSON, D.D. 
 
 Barnes is so well known as a commentator that few persons, either in this country or America, can require to be told of the value of his 
 writings. His earnestness and spirituality have commended him to those who chiefly desire, in a commentator, helps and suggestions to thought; 
 while he is sufficiently copious on important points to furnish the least cultivated or instructed mind with a fund of holy learning, profound, 
 elevating, and comforting. Shrinking from no difficulty, leaving nothing uninvestigated which it is the business of a commentator to illustrate, he 
 has still further pursued his task, and not stopping with what is practical or doctrinal, he supplies the reader with as much of critical elucidation as 
 an inquiring mind requires for any of the ordinary purposes of Biblical investigation. 
 
 This Edition possesses two great distinctive advantages—it is printed with a clear, bold type, and it contains a series of illustrative plates of a 
 superior character. These are features which the publishers trust will give them a claim to public support in thus introducing to the Christian 
 public a New Edition of this popular Commentary. 
 
 VIRTUE AND CO., LONDON AND NEW YORK.