|HE Art-Journal Illustrated Catalogue of the Universal Exhibition is now brought to a close: we trust and believe to the satisfaction of our Subscribers and the Public, and that we shall be considered as having fully redeemed our pledge, “ to produce a Work of great interest and value, that, may be accepted as a volume of suggestions, a teacher from the lessons of many master-minds, aud an enduring reward to those who labour for renown as well as for the ordinary recompense that is expected to accompany desert.” Our purpose was to represent, as far as possible, every leading Manufacturer of the several Nations of the World. We have, to a great extent, succeeded. The Yolume J contains examples of works by the principal Art-fabricants of France, Russia, Austria, Prussia, Spain, Italy and the Roman States, Denmark, Norway and Sweden, Belgium, Egypt, Switzerland, Saxony, the States of Germany, the United States of America, and the British (f Islands ; a large preponderance being necessarily and rightly given to those of France. It may be desirable to repeat that no Producer incurred any cost incident to the publicity thus JJ' accorded him. The Public was alone looked to for recompense to the Publishers; and a large amount of encouraging support—not alone in Great Britain, but on the Continent and in America—has attended their efforts to achieve excellence in every department of the Work. In no country except England could such a publication have been justified by a prospect of commercial success ; and—although this Catalogue has been issued in other countries, and in other languages—no work at all commensurate with the magnitude, importance, and rare Art-value of the Exhibition has been elsewhere produced. A task has been accomplished that demanded a large amount of persevering industry : the Editor trusts he may, in its completed form, submit this Yolume to the world—assured of its being accepted as creditable to the parties concerned in its production. in INTRODUCTION. It is obvious that only by active and zealous co-operation on the part of all the Editor’s “aids” could the Work have been issued with comparatively few faults. As an example of typography it has not often been surpassed. The Artists and Engravers, on whom the result so largely depended, seconded, ably and earnestly, the efforts of the Editor. To these his thanks are due : to the Publishers, for their trust in him, and for the liberality which, in all ways, they have considered true policy ; to his assistant Editor, Mr. James Dafforne; and to Mr. Walter J. Allen, by whom the greater portion of the drawings were executed; to the Engravers also—Messrs. J. and G. Nicholls, Mr. J. D. Cooper, Messrs. Butterworth and Heath, Mr. Jenkins—and others: indeed, to all who have worked with him from the commencement to the close of the undertaking. It is justifiable to state that this Volume of suggestive examples of Industrial Art, having found its way into the “ Workshops ” of nearly all the leading Manufacturers of the world, will largely contribute to advance Art- manufacture, to extend the influence and interests of which is the purpose of such International Exhibitions. Thus one country becomes the benefactor of another, and a producer of one class the teacher of many classes. Ily preserving “ portraitures ” of the principal achievements of the Exhibition after it has passed into dim distance, the Work may be received as a perpetual Instructor. The Art-Journal has reported no fewer than seven Great Exhibitions of Art-industry that have been held in Great Britain and in France since the year 1814, stimulating and, indeed, suggesting, the movement that led to the International Exhibition of 1851, which, under the enlightened and salutary influence of “ the Good Prince Albert,” introduced a new principle into Exhibitions—making them not National, but International—and so—mainly owing to his sagacity—rendering them teachers of all human kind. In this, the latest of these Reports, it is presumed there will be found not only no evidence of decadence, but that the Volume which represents the Universal Exhibition of 1867 will bo considered to have surpassed its predecessors in the advantages that arise from augmented experience without diminished energy. August , 1SGS. S. C. HALL, F.S.A. TITLE PAGE. i INTRODUCTION.iii, iv TABLE OF CONTENTS.v—viii THE UNIVERSAL EXHIBITION.ix—xii DEDICATION TO THE EMPEROR OF THE FRENCH. PAGE GENERAL INTRODUCTION.1—76 By the Rev. Charles Boutell, M.A. GLASS—DOMESTIC AND DECORATIVE.77—107 By George Wallis, South Kensington Museum. LACE AND EMBROIDERY.107—120 By Mrs. Bury Palliser. ADAPTATIONS FROM THE ANTIQUE.121—164 By the Rea - . Charles Boutell, M.A. ART MATERIALS AND PRODUCTS IN CLAY, STONE, MARBLES, ETC.165—194 By Professor D. T. Ansted, M.A., F.R.S. FURNITURE. 194—224 By J. Beavington Atkinson. TEXTILE FABRICS. 225—255 By Mrs. Bury Palliser. GOLDSMITH’S WORK, SILVER, AND JEWELLERY. 256—278 By Hain Friswell. PORCELAIN AND POTTERY. 279—308 By James Dafforne. BRONZES AND BRONZE IMITATIONS. 309—331 By George Wallis, South Kensington Museum. J TABLE OF CONTENTS. BOOKBINDING. Gruel-Engelmaxx . . . . . Paris Klein . . . . . . Vienna . . . .142 Vard and Sons . . .... Belfast . . . . . 176, 177, 210 Zaehnsdorf . . . . . London > ii BRASS, STEEL Barbedienne . Best and House Bouloxnois Boyer and Sox; Bhix and Axde; Chahpextier . Clavier . . Dufrbsne, H. Dziedzinski an: Elsteu . . . Freeman, A. . Gagxeau Grai n, Jules Graux-Marly G I E ret, Frere Hill, J. . . Hollenbach, I) Houderine . . Klein . . . Laperche . . Lemaire . . Lerolle . . Marchand . . Matifat . . Michielli, J. . Morisot . . Palliard, V. . Peyton and Peyton Phillp, C. J. Raingo, Brother AND BRONZE WORK. Pari; Birmingli Paris Paris Vienna Paris Paris Paris Vienna Berlin Rome Paris Paris Paris Paris Birmin; Vienna Paris Vienna Paris Paris Paris Paris Paris Venice Paris Paris Birmingham Birmingham Pari: EXHIBITORS OF WORKS ENGRAVED. DAMASKS, SILKS, ETC. ( continueit). Fkv bd Co .Dublin.5S Gianj, Brothers. Vienna .110 Haas and Son .Vienna.83 Mathevox and Bouvakd . . Lyons .124 Meyer, J.Dresden. Verde-Delisle. Paris Wauquier. Paris . Whincup .London. 200, 224 : 9S . 97 25 I 92 82 . 140 | . 243 i 71, 162 | • 175 1 . 283 , . 134 . 106 . Alexandre Dcvelleroy . . . Guerin-Brecheix . Schwartz and Son Paris Paris Paris Copenhu FURNITURE. 119, 197 32, 174 . 142 . 154 35 43, 326 168, 322 131, 254 . 263 . 122 . 297 . 138 . 38 Royer, E. . Paris ..... ... 74, 276 : Schaeffer and Walcklr . . . Berlin .... .... 150 Schlossmacher and Co. . . . Paris .... ... 42, 205 Servant, G. Paris .... ... 20, 116 Singer, J. W. . Frome .... .... S9 ; Spinn and Son. . Berlin .... . . 161, 234 Steel and Garland .... . Sheffield . . . . 150, 202, 295 Tonks and Son. . Birmingham . . .... 114 infield and Co. . Birmingham . . .... 66 , BRONZE IMITATIONS. Blot and Dkouard .... . Paris .... . . 143, 195 ! Boy. Garnier and Vandenreughe . Paris .... Hottot. Lambin, Saguet, and Co. . Paris .... .... 99 1 Lefevke. J. Miroy, Brothers. . Paris .... . . . 59, 247 j CARPETS, TAPESTRIES, ETC. Braquenie. . Paris .... Haas and Sons . . Vienna . . . . ... 135 Imperial Manufactory Beauvais . . . 171,250 Morton and Sons. . Kidderminster . . ... 115 , Mourceau .. Requillart, Roussel, and Co. . Paris .... .143 Smith, Turberville . . . Loudon . ... 330 Woodward, Palmer, and Co. . Kidderminster . . . . . 88 DAMASKS, SILKS, ETC. 1 Clabburn, Sons, and Co. . . . Norwich . . . . ... 107 Dupl.vn and Co. . Paris .... . ... 320 Alessandri and Son i Bemre . Beurdelky ... ; Ckace, J. G. . . . | Danish Society . . Dk Amici Angelo Diehl. Dominico .... i Dyer and Watts I Edrerc, C. K. . . Eilmeu and Son ! Fourdinois . . . i Freidrick .... I Gatti. ! Gillow and Co. . . Gobart, E. ... GrohE. I Gueret, Brothers . j Heal and Son . . Henienger .... IIoen, B. Holland and Sons Hunter, W. and J. Jackson and Graham Lamb, H. Lemoixe .... LuVINSON AND YaCOBA Mazaroz-Ribaillier Parvis, G. Pecquereau and Son Picchi, A. Roll. Roux. Rudillon .... Russia, Empress of Sauvuezy .... Sormani .... Stovesandt, G. . Tahan . Trollope and Sons Turpe . Whytock and Co. . Wirth. Wright and Mansfield Paris Mayenec Paris . London Copenhag Milan . Paris Venice . London Stockholm London Paris . Dresden Rome . London Ghent. . Paiis Paris . London Mayenco Germany London London London Mancheste Paris Berlin Paris Cairo Paris Florene Paris Paris Paris St. Pelersb Paris . Paris Carlsruhe Paris . London Dresden Edinburgh Paris, &c. London 302 228 312 307 215 130 110 , 166 296 287 , 303 144 279 213 235 , 284 206 137 , 260 , 239 196 68 248 231 246 149 322 294 69 , 187 , 181 204 , 188 281 FURNITURE, SILVER WORK, ETC., FOR CHURCH USES. j Barnard and Bishop. Norwich .294 | Brauowyn. Bruges .73 | Brix and Anders. Vienna .92 j Coffignon. Paris .255 Cox and Sons .London.178 j Geoffroi. Paris.315 ! Hardman and Co .Birmingham. 158 269 311 TABLE OF CONTENTS. FURNITURE, SILVER WORK, ETC., FOR CHURCH USES ( continued). PAGE Hart and Co .London.'2-59, 295 Moratilla .Madrid.317 Pousselgue-Rusand .Paris. 317 Rasen, A.Vienna.65 Thierry, T .Paris.100 Baccarat and Co. COMPAGNIE DE8 CllISTALLEltlES Copeland and Sons . . Defries and Sons .... Dobson, J. Green, J. Greene, H. Kralik, G. Lobmeyr . Maes, J. March, T. C. Millar and Co. Pellatt and Co. Phillips and Pbarcf. . . . Salviati . Meurthe . St. Louis . London London London London London Prague Vienna Paris . . London Edinburgh London London Venice . . .308 .189 .264 .51 ... 15, 78, 321 .... 121, 296 .245 .283 63, 113, 198, 218, 283 .301 .... 166, 210 .95 . 85, 306 . 67, 280 .33, 101 COLD AND SILVER WORK, ELECTRO PLATE, ETC. Baugrand . . 256, 288 Benson, J. W. 13, 323 Beurdeley . 212, 278 Boccheron . ... 314 Christesbn . . 27, 185, 191, 275 Christofle and Co. . . . Paris 22, 153, 225, 240, 262, 273 COFFIGNON . Duron . . . . 227 Elkin gton and Co. . . . 9, 155, 217 Emanuel, H. 10, 203, 329 Fanniere, Brothers . . . . . 192 Fizaine. Forte, E. ... 248 Froment-Meurice . . . . . . Paris . . . 165, 261 Hancock, Son, and Co. . . . . London . . 293, 316 IIerleux . ... 146 Howell, James, and Co. London . . ... 31 Hunt and Roskell . . . 4, 109, 265 Lepec, C. Lionnet, Brothers . . . . . . Paris . . . ... 68 Meissner . ... 271 Mellerio . ... 318 Neal, J. ... 198 Odiot . . . IS, 111 Oudin, C. . . . 152 Ovtchinnikoff .... ... 164 Philippe, E. 222, 241, 312 Pingot, F. ... 298 Rudolphi . ... 14 Sasikoff . ... 156 Sy’ and Wagner . . . . . . Berlin . . . . . 6, 81 Thoskrup . ... 263 Tiffany and Co. . . . ... 194 Veyrat . ... 193 Wheatley, J. A. . . . ... 96 White, E. ... 117 Wilkinson and Co. . . ... 291 Zuolaga . . . . 277 JEWELLERY. Boucheron . . . . Paris . . . ... 315 Brogden, J. . . London . . Castellani . ... 325 Christesen, V. . . . Copenhagen . 185, 275 Emanuel, H. 10, 203, Fontenay . ... 253 Froment-Meurice . . . . . 3, 165 Howell and James . . . . . London . . . . . 102 Massin . Allard and Chopin . . . Paris . . . . 313, 331 JEWELLERY ( continued). Montelatici . . . Oudin. Phillips, Brothers Randel. W. and J. Rouvenat, L. . . . Tchitchelefp . . Wathebston and Son Weise. Florence . Paris . . London Birmingham Paris . . Moscow London Paris . . page . 303 . 310 44, 319 . 41 170, 299 . 282 72 . 24 LACE AND EMBROIDERY. Faber . ... 242 Lefebure . . . Bayeux . . . . 103, 285 Meunier, L. Rauch and Schaeffer . . . . St. Gall . . . . . . 2S9 Rf.uffier-Leutner .... . . Lyons . . . Verde-Delisle, Brothers . . . Paris . . . . . . 167, 26S PAPER HANCINCS. Hoocx '.Paris . . . 251, 270, 277, 275 Prignot, E.Pans.226 Woollams and Co .London.186 PORCELAIN, POTTERY, TERRA-COTTA, ETC. Boni, A. .327 Brownfield .... . . . 186, 187 COLLINOT AND Co. . . . . . . Paris . . . .249 Copeland and Sons . . . . London . . 11, 87, 209 DEVERS . . . . . Milan . . . .151 Doulton and Watts . .94 GlBU8 . .300 Ginori, Marquis . . . . . . Florence . . Godenius. . . . . Stockholm .184 Goode and Co. . . . .46 Imperial Manufactory . . . . S&vres . . . 53, 163, 214, 223 March, E. . . 220, 287, 301 Minton and Co. . . . . . . Stoke-on-Trent . . .21, 93, 257 Pannier-Lahoche . . .108 PlLLIVUYT AND Co. . . . . . Paris . . . .266 Richard, J . .216 Rousseau . Royal Manufactory . . . . . Berlin . . . . ... 28, 272 Royal Manufactory . .... 8, 120 Royal Manufactory . .56 Tielsch and Co. . . . . . . Altwasser . . .126 Wedgwood and Co. . . . . Etniria . . .232 STAINED CLASS. Cox and Son .... .178 Hardman and Co. . . . . . . Birmingham . .158 STONE AND WOOD CARVING, MODELLING, ETC. Mlllerio . . Besarel . . B11OD6KI, V. Canelle. . . Cheret, J. . . Choiselat . . CORDIER, C. De Coninck Dolce, D. . . Dominico . . Forsyth, J. Fort . . . . Frullini, L. . Gajani, E. . . Giuseppe, F. . Leclerq, A. J. Parfoury’ . . Paris .... .... 318 Venice .... .... 207 Rome .... .... 76 Paris .... .... 238 Paris .... Paris .... . ... 231 .... 157 Christiania . . .... 236 Treviso . . . .... 263 Venice .... .... 275 London . . . ... 61, 182 .... 274 Florence . . . Florence . . . . . 125, 210 Milan .... . ... 137 Brussels . . . .... 26 Paris .... .... 258 vn TABLE OF CONTENTS. STONE AND WOOD CARVINC, MODELLING, ETC. ( continued ). MISCELLANEOUS. PAGE PAGE Rogers, G. A. ... 48 Bechsteix, C. . . Berlin . . . Pianofortes .... Rosetti. 133 Betjemans and Sons London . . Album, &c. . 118 Rousseaux, J. ... . . . Antwerp. 258 Bettridge, J. . . Birmingham. Papier-Mache . . . . 50 Salome, S. 219 Cogkshott . . . Manchester . Carriage. . 206 Stovesandt .... 1S3 CoMPAGNIE DES ONYX Paris . . . Vases, &c. ... 64, 112, 309 Tishback and Moser . . . . Vienna. 242 Danish Society Copenhagen . Pianoforte .... . 201 Wyatt, J. H. . . . 214 Delapierre . . . Paris . . . Ornamental Decoration . 324 Zamolo, G. 207 Deyisme .... Paris . . . Pistol. . 238 Guillet, N. . . . Paris . . . Ornamental Design . . 298 WORKS IN IRON. Indian Museum London . . Carved Work, &c. . . . 49 Barbezat and Co. Paris . . Barnard, Bishop, and Co. . . . Norwich . . Chubb. London . . Crighley and Co. Birmingham . Dimeidel, Count. Lauchammer . Ducbl and Son. Paris Durenne. Paris Huby .Paris Kissing and Mollman .... Iserlohn Require and Pecqueur .... Liege . . Skidmore and Co. Coventry . Stolberg, Count von. Ilsenburg . Tucker .New York Klein . . . Lathy and Co. Loveridge Maw and Co. Rowley, C. . Salviati . . Schwartz and Son Tayler and Harry Treloar and Co. . Walker and Sons . White, E. . . . Werth and Son Vienna Paris . Wlvrhampton Broseley . Manchester Venice Copenhagen London . London . London- . London London . Jewel Box, &c.142 Works in Bois Durci ... 80 Papier-Milch^.182 Encaustic Tiles.30 Picture-Frames.47 Mosaic Work.33 Drinking Horn.191 Pantulicon.199 Cocoa-nut Fibre . . . . 211 Watches.88 Watches.130 Parquetage.235 HIS Introduction to an Illustrated Catalogue oe the Universal Exhi¬ bition at Paris in 1867, may be brief. All that is requisite for our purpose ‘will be best set forth in the pages which fol¬ low ; the general public has been so f ull y informed upon the several topics connected with the event, that to go into details here would be to occupy space which may be better expended. Some introductory remarks are, how¬ ever, expedient, and may be necessary. In certain particulars the success of the Exhibition of 1867 must be admitted to be less decided than in others, while here and there it would be impossible to gainsay the existence of positive failure: but that in no respect or degree affects the generally prosperous issue of the entire undertaking; nor do such errors demand any special or detailed notice, except so far as may lead to their being available for much eminently valuable suggestion. In the all-important matter of exact punctuality the Exhibition was faithful to the conditions of its programme. Whatever the difficulties that had to be overcome, nothing was permitted to pre¬ vent the formal opening of the Exhibi¬ tion by the Emperor on the day origin¬ ally fixed for that ceremonial, April 1st, 1867. And, in like manner, with the close of the month of October the Exhibition virtually closed. The Edifice itself, which so many critics considered to occupy a foremost position amongst the works exhibited, and which they were pleased to regard from an architectural point of view, and to estimate and denounce accordingly, when fairly and cor¬ rectly judged with reference to the circumstances of its erection, and to the duty it was destined to discharge, must be pro¬ nounced to have been highly creditable to the Imperial Com¬ missioners. It was a mistake to expect in the Building anything whatever, except as good a case as possible for containing, pro¬ tecting, and displaying the contents of the Exhibition. Whether or not in some matters of detail the external aspect of the Structure might have been improved, without requiring an un¬ justifiable increase of its cost, must remain an open question; but thus much is certain, that whatever modifications in the treatment or in the decoration of their Exhibition Building would have added largely to the cost of producing it, the Imperial Commissioners exercised a wise discretion in refusing to adopt. They had to prepare an edifice of vast extent, which must fulfil certain essential conditions without any doubt or uncertainty, which must also be completed in a very short space of time, and upon which it was their bounden duty to expend both all that would be necessary and nothing that would be unnecessary. It was not for them to project and to erect a great work of archi¬ tectural art; but it was their duty to project and to erect a becoming Exhibition Building. And the Commissioners fulfilled that duty well. Their Building was of sufficient extent; it was commodious; it was secure; it admitted excellent arrangements of its contents ; it did not entail any extravagant outlay; and it was complete on the day fixed for its completion. It must be added that the Edifice was easy of access, well adapted for dis¬ tributing large assemblages of visitors throughout its various departments, and that at the close of each day it was effectually secured by the simplest arrangements. The Park which surrounded the Exhibition Building, with its numerous and varied edifices, and their strangely diversified con¬ tents, and the Reserved Garden with its conservatories and aquaria, were happy conceptions happily carried out: and they will always be remembered as having contributed in a remarkable manner to the peculiar and characteristic attributes of the Exhibition of 1867, by which it was distinguished from all its predecessors. Our wood-engraving represents the main Exhibition Building as it was seen from the high ground on the other side of the river, and nearly opposite to the principal entrance. It was in form a vast cone, and the entire edifice, constructed of iron and brick and glass, consisted of a series of concentric (if that epithet may be permitted) ovals, each one of them necessarily becoming smaller as it was nearer to the open central space, which was laid out as a garden. And a beautiful, if somewhat formal garden it was, adorned with a profusion of works in sculpture, rich in brilliant flowers, and refreshed with sparkling fountains. In the centre of all was a small domed building, having many sides, in which were displayed the coins, weights and measures of all nations, We have been content to introduce here a single general view of the Exhibition, without any details, or any views in the surrounding Park, because any attempt at more elaborate or comprehensive illustration would necessarily have led on to such a numerous i THE PARIS UNIVERSAL EXHIBITION. large, far beyond all precedent; but the numbers of the visitors were proportionately great, and the sums that flowed into the exchequer of the Imperial Commissioners were such as to leave in their hands a very considerable surplus. That there should have been this excess of receipts over expenditure under the con¬ ditions which the Commissioners appointed to determine their own course of action, proves to demonstration that, under more favour¬ able administrative stipulations the surplus would have been con¬ siderably larger. In the degree that a more liberal policy had been adopted by the Commissioners, in that same degree would the financial success of their enterprise have been more decided. Unhappily, the true wisdom of a genuine and hearty liberality in their entire system of policy was altogether ignored by the Impe¬ rial Commissioners; and, in its stead, they systematically adhered to the contrary policy, which they carried out, even in the most trifling details, and with extreme rigour and tenacity. Conse¬ quently, their surplus arose from the inherent merits of the Exhibition, and from the interest expressed in it by its almost innumerable visitors : it was obtained for the Commissioners and not by them. One example of the grievously mistaken and most unworthy policy of the Commissioners it is sufficient to particularise, and that is the number and the proportionate honorary value of the prizes. Of the medals, which were the only jftizes given, there ought to have been greater variety, marking more gradations in honorary rank; and more especially should there have been a considerable increase in the numbers of the medals of the highest rank, and a still greater increase in the numbers of those of the second rank. It was a Universal Exhibition ; and, therefore, without the slightest risk of detracting from the dignity and worth of the distinctions, it was right in itself, and would have been sound policy, to have provided gold medals in very consider¬ ably greater numbers than those that were actually distributed among the competing exhibitors. Indeed, it was a question of no little moment in itself, and which involved considerations of the gravest importance, whether it would not have been a far series of engravings as it would have been impossible for us to have introduced consistently within those limits beyond which we were not at liberty to range. So different in every primary quality and particular was the Pans Building of 1867 irom our own Exhibition Building erected in London in 1862, that it is not possible to institute any com¬ parison between the two ; without hesitation, however, we assign a very decided general superiority to the great Parisian group of con¬ centric ovals. But no such superiority can be claimed for the edifice that grew up so rapidly in the Champ de Mars over our own Crystal Palace of 1851— that truly original structure of equally rapid growth which, in its fully developed form, still stands without a rival in the world. Like the first Great Exhibition itself, the first Great Exhibition Building was a fresh creation, without precedent and without any predecessor, the true founder of its own order among edifices; and we hold it to be matter for hearty congratulation that the first Exhibition Building should still retain its original supremacy. That the Paris Building should have possessed its own peculiarities and its own excellences must also be considered to be altogether satisfactory. For many reasons—reasons which almost daily receive a perpetually strengthening confirmation— the Universal Exhibition held at Paris in 1867 must be considered to be, if not the very last Universal Exhibition, still certainly the last that may reasonably be expected to be held until after the lapse of many years; and it is well that the Exhibition that thus must be assumed to have closed at least the first group of world¬ wide gatherings of human productions, should in all particulars be distinguished by conditions, circumstances, and attributes peculiar to itself. The Paris Exhibition possessed distinctive peculiarities eminently decided and emphatic; and so too did the Building which contained that last year's Universal Exhibition— the enormous oval casket, wherein were stored up and set forth the collected treasures of all nations and all times. In the particular, at once so important and significant, of finan¬ cial success, the result of the Paris Universal Exhibition has proved to be altogether satisfactory. The expenses incurred were THE PARIS UNIVERSAL EXHIBITION. preferable course of procedure on the part of the Imperial Com¬ missioners to have withheld medals and prizes altogether, rather than to have carried into effect the eminently unsatisfactory arrangements which they had made in this department of their duties. In such a case competent juries, who really were deter¬ mined to do their work as it ought to be done, might have pro¬ duced classified lists of exhibitors, framed and arranged in such a manner as would fully and faithfully have recorded their ranks and gradations of merit. Or (and it is not by any means clear that this after all would not have been the most desirable plan) both juries and reports from them of every kind, together with all prizes, might have been altogether removed from the Exhibition programme ; unless, indeed, it had been submitted to the exhibitors themselves to adjudicate upon their own comparative merits, and they had been either requested or permitted at their own discre¬ tion to draw up and publish class-lists of their own names. As it was, the course of action actually adopted by the Imperial Commissioners on the important point now under our consideration was unfortunate and even disastrous. Eor, if in the nature and numbers of their prize-medals the Commissioners failed to carry out a judiciously liberal policy, in their administration of the jury system and in the ultimate awards of such medals as were actually given, their failure was even more complete and decided. The proceedings of the juries, the principles upon which their awards were determined, together with a large proportion both of the awards that were made, and of those that were not made, were very generally regarded with a strong and a most just dissatis¬ faction. As a matter of course, many of the awards were univer¬ sally approved; but still this would be quite consistent with that prevailing opinion to which we have referred, and which was sufficiently earnest to require either the absolute abolition of the whole system of juries and prizes as' it existed at Paris in 1SG7, or its total revision and reconstruction, should another Universal or Great Exhibition ever again take place. The contents of the Exhibition Building, the component elements, that is to say, of this Universal Exhibition, when considered collectively, wore quite as numerous, as varied, and as charac¬ teristic and significant as w r e had expected they would be; and so high were our expectations, that we are not able to employ any more emphatic form of approval. And the several collections may fairly be considered to have given faithful representations of their respective countries. This does not imply that the capacity of each country for producing and exhibiting works of Art and Industry was so fully and faithfully represented in the Paris Exhibition, that the exhibits of each country may be correctly estimated as measuring and fixing the bounds and limits of that capacity. But the collections exhibited certainly did express the feeling of each country upon the question of a great and universal competitive exhibition. If many of the most competent producers in any one country altogether declined to appear, or were content to be represented only in a partial or a subordinate manner, this must be accepted as evidence, not of their inability to accomplish more, but of their conviction that their true interests demanded from them not to attempt more. These remarks have special application to the English section of the Exhibition. The Art power and the working power of England would be very incor¬ rectly estimated, should the estimate be based upon data derived exclusively from the English exhibits. Those works may be held to show what our producers were willing, and even desirous, to send to the Exhibition ; but by no means did they exemplify our national producing power. It would be simply absurd, for ex¬ ample, to estimate the wealth of England in ancient and early works of Art and Industry by the antiquarian collections, however good, and valuable, and instructive in themselves, that England contributed to the Universal Museum illustrative of the history of Art and Industry. The Sculptors of England were not represented at all; and it would be truly a difficult task for any person to show that the art of Tainting, as it flourishes in England was shown at Paris in the fulness of its energy. And, in like manner, in the case of the Industrial Arts, very much that worthily repre¬ sented the present condition of those Arts among us — their strength and their weakness, their advance towards a very noble perfection and their apparent incapacity to rise above a certain respectable mediocrity—was to be found in the Paris Exhibition. Still here also, without any doubt, the representative picture was a work finished only in part, while in part it was left scarcely sketched in the slightest outline. But this state of things had its own value in the eyes of those who were able to read it aright and to understand its significance. Without setting forth a declaration that, because England had not exhibited at Paris everything that might have been expected and desired from her, consequently she was unable to produce at home anything that would make good these deficiencies, the thoughtful and judicious observer of the English department of the Paris Exhibition would seek for the causes and influences that had made the exhibited collections of his country’s productions to be what they actually were, and had prevented their being what he would well know that they no less certainly might have been. He would thus be led to investigate the comparative conditions, facilities, and dif¬ ficulties of producing certain important works in his own country and in other countries ; he would proceed to inquire into the motives that would influence great producers at home, either to enter upon the costly preparation of works to be exhibited, or to rest content with appearing at the great universal competition in a comparatively humble guise, or perhaps to decline altogether to exhibit and to compete for recognition and fame. There can be no question that the machinery employed by England for a proper representation in Paris was inadequate and inoperative; the Commission charged with the important duties were, we do not say incapable, but singularly defective ; the juries were ill-chosen, ill-qualified, and strangely neglectful, to saj r the least. We were badly represented, our interests were not upheld, our honour was not sustained ; and the harvest we might have reaped was scant, because our labourers were few and apathetic, without heart for the work they had undertaken, and without a true sympathy with the great interests which were intrusted to them. Great Britain, therefore, did not come out with glory in the contest of all nations. The fault was mainly our own—in the construction of our own executive and adminis¬ trative machinery. Some of the British jurors seem to have been selected because they knew nothing of the matter on which they were to adjudicate, although upon other subjects their experience was largo and their knowledge extensive ; other’s whose names were on the list never entered an appearance; others arrived in Paris after decisions had been made and protests were useless; others -were “ brow-beaten’’ into concessions and awards of which they entirely disapproved : in a word, the British juries were totally inoperative. The natural result followed—few medals were awarded to British producers, and in the higher Arts the existence of England was almost ignored. It is not surprising, therefore, that in Great Britain a general feeling as to the issue exists, and ever will exist, as regards the great competition of all nations in Erance. But, we repeat, the fault was mainly our own ; we were ill-represented ; there was no authority to which appeals could be made; during the greater part of the period of the Exhibition there was no British ambas¬ sador in Paris ; the mighty interests of our country—its highest and its lowest—had no advocates, no defenders; no representa¬ tives but the officials of the Department of Science and Art. They were powerless; knew themselves to be so; appeared con¬ tent to be so; and “shrugged their shoulders” whenever com¬ plaints were made and indignant reproaches found vent. Conse¬ quently the medals grudgingly bestowed on Great Britain were few, while some of the classes in which our supremacy was mani¬ fest were omitted altogether. So much we are bound to say in a retrospect of the Universal Exhibition; whether our artists and manufacturers will derive consolation or sustain shame from these disastrous facts is a question we are not bound to answer. Most devoutly indeed it is to be hoped that the Paris Exhibition has taught its great lesson effectually to those among us, to whom it is a subject of such grave and momentous interest to form a sound and true estimate of English Industrial Art. It is not shortcomings or mistaken views concerning that “ technical education,” which at the present moment is attracting so much attention, which alone demands from us thoughtful and earnest efforts to effect improvements on a great scale. The Exhibition plainly told us we still had shortcomings of this nature, and that in this respect our views were, not unfrequently, erroneous ; but it told us also that we had made great progress, that we had already accomplished much, and that we had every en¬ couragement to rely upon being speedily able to accomplish very much more. At the same time, the Exhibition admonished us to place our own productions side by side with those of other countries, and then fairly and fearlessly to consider every circum¬ stance that would affect the whole of these productions, each of them estimated in connection with its own country, in the great race and struggle of universal competition. Wide and compre¬ hensive views thus open out before us. The whole subject of national education in Art, and of national practice and apprecia¬ tion of Industrial Art, is thus brought under consideration. And more than this, the same reflections lead us to take a thoughtful and earnest and impartial survey of every condition of production that may affect our own national industries, either to their advan¬ tage or to their prejudice, as they measure strength with the similar national industries of other lands. To review the Exhibition, if not altogether a task of entire satisfaction, is, at least, a source of profitable pleasure; the hundreds of thousands of all nations % whom it was visited cannot have failed to derive thence a powerful stimulus by which to judge rightly and wisely of Art in its many ramifications. XI The Artist, the Manufacturer, and the Artisan learned the valuable lessons that are derived from comparison in actual and practical schools; they saw, and no doubt studied, the perfections and defects they are required to imitate and to avoid. Of the former especially there were innumerable examples, each of which might have been accepted as an instructor. Already there is evidence that such teachings were not in vain; and, with time, out of this Exhibition will issue immense results for the advance¬ ment of Art and the spread of its salutary influence. The Erench exhibitors certainly came as victors out of this trial for supremacy, excelling, with few exceptions, all competitors of all nations in the several departments of Industrial Art. But France was indebted for this triumph far more to its artisans than to its manufacturers and capitalists. The result of a long- continued system of educational training was apparent upon every “stall” for the display of productions in every class, influencing the commonest not less than the costliest produce of the Atelier and the Workshop. And it is not among the least beneficial of the consequences of this Exhibition that the British public—and no doubt the public of all other countries—is not only admitting the policy of educating the workman, but adopting decisive steps for that wisest of all wise purposes. England will, in many ways, profit by her wisdom in instituting International Exhibitions. In the following Illustrated Catalogue of choice examples, selected from every department of the Paris Exhibition, and from the works there exhibited by every country, we have endeavoured to form a permanent pictorial gallery—a commemorative Museum, indeed—that may be accepted by all who took a part in that Exhibition and who were interested in its success, as a faithful exponent of what it was while yet in existence; and as a true and trustworthy guide to what it could teach, after it had ceased to exist, and when its multifarious component elements had been again dispersed throughout the world. Fortunately ^ ls dispersion has not implied in every instance the return of the exhibited works to their original homes, and to their producers, and to the countries in which were placed the scenes of their pro¬ duction. On the contrary, the prevailing tendency of the ex¬ hibited works has been to seek for themselves new homes, and to establish themselves far away from the homes of their producers. Thus they carry out the interchange of ideas and experiences; and thus the works that originally were exhibited at once develop and perpetuate the grand influences for good of Great Universal Exhibitions. All this changing of the homes of the exhibited works, and all this interchanging of instruction and suggestion that accompanies every excellent production, go where it may, and is inseparable from its presence, serves but to increase the interest and the value of such a faithfully illustrated Catalogue as our own. Each engraved example becomes equally attractive to the new possessor of the original work, and to the producer who called it into existence. Our engravings show to each country what its best works were like, when they stood at Paris in the Exhibition ; and they record what class and what style of works each country has sent away to represent itself, and to establish or to maintain its reputation, in other countries. It has been our anxious care to produce a work that would fulfil faithfully all that could be desired, in order to satisfy requirements such as these. And we feel no hesitation in committing into the hands of the Public of every country this our Illustrated Catalogue of the Paris Universal Exhibition of 1867, with its brief descrip¬ tive notices, and its elaborate essays on various subjects of supreme general interest—sustained by the consciousness that as the Exhi¬ bition provided for us a splendid field for study and research and selection, so we have contributed to the Exhibition a Memorial which may claim to be accepted as a true reflection of itself. THE PARIS UNIVERSAL EXHIBITION. We commence an Illustrated Catalogue by the son of that jeweller and goldsmith who ; pure Art combined with manipulative skill, was styled, and'not unduly, the “ Cellini of Hereafter we shall supply copies of its other, Ladies of Bourdeaux to the then Queen of Naples. The other works are examples of the “ every-day " produce of the Establishment. engraving some works of Fromext Meurice, France.” The firm has lost none of its high renown. Its contributions are examples of I and more important, productions. The principal [ object on this page is a Bracelet, presented by GENERAL INTRODUCTION. E ivalry, without hostility, is a definition at once concise and significant of the principle of all International Exhibi¬ tions. Here, by these same three words, is set forth the true motive for human action ; and in the sentiment which they con¬ vey may be discerned the existence of a power, capable of exercising the most beneficial influence upon human life. That aspiring element in the mind of man which instinctively urges him— ’A ikv apiOTtvuv k al v ~ Eipo\ov t/XfiEvcu dXKojv , “ Ever to press on To name and fame, and highest excellence,”— iplies the existence and the operation of rivalry as a condition ' his being. Every man, in his own strife and struggle to attain iperiority, constitutes himself the rival of his fellows, an ien are conscious that in every other man they may see a com ititor in the common conflict, in which they all alike axe engaged, ut this universal rivalry possesses a twofold nature. As it maj ecome essentially hostile, so also it may continue to be absolutely ithout hostility. The aim and the purpose, indeed, remain ever le same. There always exists the very same strong impulse ot Dontaneons growth, prompting and pressing men on towards elf-exaltation. In the one case, however, the desired achievement I sought, perhaps altogether, certainly m no inconsiderable degree arough the oppression and degradation ot all rivals , and thus a eminent suueriority elevates the successful competitor, by 3 THE ART-JOURNAL CATALOGUE OF The “Outram Shield," engraved on this page, is one of the many rare examples of Aid- work contributed by the renowned firm of Hunt and Roskell, designed and sculptured by Mr. H. H. Armstead, one of the many accomplished , artists of the establishment. It was presented to General Sm James Outram, Bart., in ac¬ knowledgment of his high “deservings” as a soldier, in testimony of the affectionate regard of his brother officers, and “ in appreciation of the sterling qualities that have ever marked his brilliant career.” The frame of the shield is of steel, richly damaskened with gold. The medallion portraits are those of the hero’s bro- thers-in-arms. The circle, in low relief, describes incidents of his career in India. The centre group, in high relief, represents the brave Havelock, after the relief of Lucknow, restoring to Outram the command of the British forces. means of what he may have made his own at the cost and through the loss of others ; while, in the other case, the aspirant to excel¬ lence seeks to stand higher through rising higher. He delights to see others rising with him, in their successes discerning only fresh motives and more urgent stimulants for renewed vigour in his own exertions; and, without relaxing for a single moment his efforts to surpass those around him, tlu9 man cordially encourages and even aids his rivals, should they chance to be able to attain to a position beside himself, or even to rise above himself. The fine rivalry which not only permits, but constrains rivals to regard and to deal with one another as friends, rarely can fail to lead men on to excel (or, at any rate, to seek to excel) in those things that in themselves are excellent. The lofty spirit of such rivalry can be thoroughly congenial only with what is akin to its own nature—it necessarily rejects and refuses to have sympathy with objects and pursuits that are base though perhaps specious, I that may possibly appear attractive or even dazzling, and yet in reality are unworthy and ignominious. And again, a truly peaceful rivalry such as this, which naturally inclines and as naturally attracts all within its influence to whatever is worthy and of intrinsic excellence, also teaches men in the very act of exalting themselves both to advance the general interests of man¬ kind at large, and to promote the personal exaltation of particular individuals. The beneficial influences thus brought into operation, ever acting reciprocally, continually receive fresh strength as they prove to be regularly productive of greater and more important mutual advantages. The grand result is a system of combined action growing out of individual effort—a system based on the THE PARIS UNIVERSAL EXHIBITION. We engrave on this page two of the works of M. Joseph Cheret, to whom many of the principal Manufacturers of Paris are in¬ debted for some of the best of their designs. Evidence of his high intellectual power, his knowledge of Art, and his study of the works of great __ __ masters in ornament, will be fre¬ quently found in these pages—al- " though they will not alway s ^ear his name. Those we engrave are Bas-reliefs, in Terra-cotta : they suffice to exhibit the genius of the artist. broadest and most comprehensive good-will, in strict alliance with the noblest ambition which aims at a perpetual advauce, to be accomplished by the concurrent onward movement of the entire community of mankind. A system such as this, in which aid and encouragement are both sought from all and given to all, cherishes the emulous spirit in its happiest mood, and stimulates to the utmost its inherent energy. When all are advancing, each one that would not fall into the rear must rather redouble than relax his efforts, to ensure his keeping well up with the front; and their efforts must be made again and again, always with more determined resolution, by those who, not content with the general front, aspire to a pre-eminence decidedly in advance of it. By this friendly rivalry, acting under conditions through which it is empowered to accomplish its proper work, Peace achieves its happy triumphs. For, truly, Peace has triumphs signally its own; in nothing inferior to the very proudest that may be won by War. Like thunder-storms, wars may be necessary convulsions; and certainly it is possible that, in their issue, the fierce and deadly contests of hostile rivalry may ultimately prove to have been beneficial. The rough interruption of all friendly enterprise for awhile may have paralysed the arts of peace ; and yet, when the storm shall have cleared away, in resuming their peaceful occupa¬ tions men may find that they are working in a purer atmosphere, with a more open view also, and with fresh vigour and animation. A great European war last year threatened to obstruct, if not actually to overthrow, the grandest of the triumphs of peace. Messrs. Sy and Wagner (Goldsmiths to the King and Court of Prussia) exhibit a variety j bition of 1S62. It is a work of the highest Art, of of Works in Gold and Silver, unsurpassed by those of any Art-manufacturer of the world. They are, in the liighest sense, original; generally from admirable designs by the great artists ! of Germany. For the present, our selections are limited to two: the first is a Centre-piece (for flowers) of great beauty, designed by the architect Kolcher. The Vase was pre¬ sented by the Prussian Government to Sir Francis Sandford, Knight, secretary to the Exhi- I exquisite beauty, and perfect in modelling and finish. But the peaceful enterprise, after a brief period of anxious suspense, has held on the steady course of its prosperous advance, so that now in perfect confidence we rely upon a glorious consummation. The scene, indeed, is a “ Field of Marsstill the rivalry is with¬ out hostility, the contest is conducted in all amicable kindliness, the chiefs in high authority are Art and Science and Manufacture, and the presiding genius is Peace. Rivalry, whether warlike or peaceful, requires that the rivals should meet and make trial of their relative strength. Accord¬ ingly , whatever practical influences for good a friendly competition may be able to exercise upon the communities and nations of mankind, in a veiy great degree must be dependent upon these two conditions— Exhibition and Comparison. Men must bring together the typical examples of what they are severally compe¬ tent to accomplish, and they must show to one another their various works, with all their highest perfections, and all their unavoidable shortcomings; so that thus, through the broadest and the most comprehensive and searching comparison between the visible exponents of their existing capacities placed side by side, the workers of All Nations may learn both to form a correct estimate of their own deficiencies, and duly to appreciate each other’s achievements. At the same time, and by the same means, every competitor in the noble rivalry of excellence may contribute to the inestimably precious lessons for the universal advancement, which are certain to be conveyed in the concentrated teaching of an universal assemblage and exposition of works of Art and Industry. THE PARIS UNIVERSAL EXHIBITION. There is no work, of any class or order, in the Exhibition more perfect than this-one of the contributions of Messrs. Jackson and Gkakam, of London-a Cabinet of ebony, inlaid with ivory, relieved with lapis-lazuli and red jasper, in the Italian Renaissance style of the sixteenth re doubt a AtfSxmn that would do honour to any period, and has no rival oven where such productions have hitherto have co-operated with him; the skill oi the carvers and engravers are equally prominent. We supply enlargements of some of its parts. The Great Exhibition now open in Paris is an enterprise happily in harmony with the leading and characteristic features of the Beign of the Third Napoleon. Profoundly conscious that the honour and tho well-being of Franco are identified with his name, the Emperor has systematically laboured to advance the interests and to promote the happiness of the great people under his rule. While maturing various sagacious projects for developing tho vast natural resources of the Empire, and giving an impulse before unknown to theNatioual Industries, the Emperor has never neglected to gratify the becoming pride of his people by improving and adorning the Capital and the other cities of France. If not actually changed, after the letter of the boast of the Poman emperor, from brick to marble, under the auspicious administration of Napoleon III., Paris has grown up to be the most beautiful city of the modern World. And this Imperial Paris is the first and foremost of a series of cities, that bear testimony to the improving energy of the same master-mind. Not only throughout the French Empire, however wide that range may be, is Paris this year to send forth some wel¬ come memorial of her Universal Exhibition. All Nations have been invited to take part in the great gathering; contribu¬ tions have been sought from every studio, and atelier, and workshop of tho world; and Paris, in return, will take care that the benefits wrought by her Exhibition, like that Exhi- beautiful Candelabrum, designed by Herr Wiedemann. It is charmingly effective as a whole, being of consider¬ able size—in height 6 feet 6 inches. The bition itself, shall be for “All Nations,” and for all classes in every Nation. Visitors who may enjoy the most advantageous facilities for studying a Great Exhibition, very rarely are able to provide for themselves completely satisfactory records of all that may have fallen under their notice and attracted their admiring attention and regard ; while with the great majority, who find that serious difficulties attend their efforts to examine even the most promi¬ nent objects in the multifarious collections which are spread out around them, the task of making any critical record whatever for future use must be altogether hopeless. And again, visitors, however numerous, must represent only a comparatively insig¬ nificant minority of the persons, all of them deeply interested in a Great Exhibition, who have a right to expect a participation in a composition that will be surpassed by no contribution to the Universal Exhibition. We introduce also two engravings of Vases, elaborately and very beautifully painted. whatever benefits it may have to bestow: certainly for every individual who may actually visit this year’s Exhibition at Paris, j at least fifty persons hope to learn something, and to gain some¬ thing, from that Exhibition without having seen it. In the instance of visitors, much perhaps might be done for their advan¬ tage, and, at the same time, for the advantage of Great Exhibitions, by associating with every department a well-organised system for showing and explaining them; but no possible expedient could render a Great Exhibition thoroughly and universally self-teachin g, self-criticising, and self-chronicling. It is most true, indeed, | that a Great Exhibition possesses in a wonderful degree an inhe- j rent faculty for teaching its own lessons and for criticising itself. I Instruction thus conveyed, however, requires on the part of I students corresponding qualifications for receiving and applying , THE ART-JOURNAL CATALOGUE OF The time-honoured Koval Porcelain Works | of Dresden (Meissen) contributes largely | and liberally to the Universal Exhibition: notwithstanding that the Arts of War displaced for awhile the Arts of Peace in the Kingdom of Saxony. The prin¬ cipal object on this page is a most minor details have all been carefully studied, and are introduced with considerable skill. The figures are exquisitely modelled; they form the more prominent portions of it ; and here therefore, again, under another aspect, is apparent the impossibility of a Great Exhibition fulfilling, unaided, its own proper functions. An alliance with Literature at once removes these difficulties, and secures for a Great Exhibition all it can require of description, criticism, and chronicle. To the Universal Exhibition in Paris of the present year, 1S67, public, attention will be particularly directed for some months to come in the pages of the Art-Journal. Following up what we have already accomplished in recent years, we enter upon our present task (and in this respect we resemble the Directors of the Paris Exhibition) strengthened and guided by a matured expe¬ rience. It is but reasonable to expect, and but just to require, that the forthcoming Universal Exhibition should greatly surpass its predecessors in every quality and condition of excellence; and to declare that there certainly will be no disappointment, we feel to be a safe prediction. Without presuming to extend such prediction to our own work, we do not hesitate to affirm that every possible effort shall be found to have been exerted, in order to realise to the utmost all that may rightly be both expected and required from us. Now, as on former occasions, the Art-Journal has sought from Engraving the aid which that beautiful and versatile art is ever ready to render with an effectiveness peculiar to itself. The most graphic of written descriptions, coupled with the most judicious and felicitous criticism, when deprived of engraved representations, fail to bring the contents of a Great Exhibition vividly before readers who have not seen the objects on which the writers expa- THE PARIS UNIVERSAL EXHIBITION. ings on this page exhibit some of their works; others will follow in due course, for they are liberal con- universally appreciated as to render comment unnecessary. The engrav- tributors to the Exhibition. The Vase —in silver repousse — a produc* Vase in the first column, and the Door-Furniture (a new idea admirably car- The productions of Elkington & Co., whether in silver or in electro¬ plate, are so widely known and so tion of the highest order, is the work of Morel Ladeuil. The enamelled 0i‘. enamelled (the figures in all cases are so), and richly repousse silver, which occupy the centre of the page, are from the designs little more than the forms, copying but faintly the beautiful originals. tiate; and, on the other hand, a familiarity with the original works invariably enhances, rather than detracts from, the value and interest of faithful representations, expressed with true artistic feeling. It is a coincidence no less fortunate than remarkable, that Photography should have created a new era in the history of engraving, exactly at the time in which the rapidly increasing importance of International Exhibitions has caused such extra¬ ordinary demands to be made upon the resources of that art. Engraved representations are now known to be exact reproduc¬ tions of infallible sun-pictures ; and they are estimated, accepted, and trusted accordingly. Accuracy of outline, fidelity and com¬ pleteness of details, and expressive rendering of texture, depending no longer on the skill and conscientiousness of draughtsmen, have become certain elements of all engraved representations that venture to claim public approval; and, while the engravings that accompany and illustrate written descriptive and critical notices thus have risen so highly in their value, they also are produced with greater ease and rapidity. These fresh qualities in engravings have led exhibitors of the most important productions to regard with altered feelings illustrated records of Great Exhibitions; they now have confidence in them, and therefore they readily and cordially co-operate with their authors. The same considerations are equally influential with all lovers of Art-manufactures. To all the Arts, Photography has been a boon of incalculable magnitude; but none has it aided more than that of Manufacture. This general predisposition to accept with confidence a work which, with the assistance of engraved photographs, professes to THE ART-JOURNAL CATALOGUE OF site workmanship, and have much originality of design. The Tazze, of sufficiently correct idea of jewels such as these : the artist can give Mr. Harry Emanuel, of London, supplies us with set with diamonds and pearls, and other precious stones; they are of exqui- of the eminent artist, Pair- point. The idea is to represent contributions we select six —Lockets or Pendants, Night and Morning. It is dif¬ ficult to convey, by engraving, a Messrs. \V. T. Copeland and Sons uphold the renown of British porcelain. The selections we have made from their contributions are limited to ductions of those that form the monument to the Good Prince Albert, in the gardens of the Horticultural Society, the admirable work of Joseph Durham, A.R.A. The Compotier and Cream-bowl are from models by G. Halse and F. M. Miller— sculptors of recognised ability. record the results of a Great Exhibition; and to illustrate, develop, and apply its teachings, of necessity imposes upon the producers of any such work corresponding obligations. If we have good reason for believing that the Art-Journal Illustrated Cata¬ logue oe the Universal Exhibition of 1867 enjoys a distin¬ guished reputation, awarded to it in anticipation of its public appearance, we certainly do feel most deeply that it rests with us to prove ourselves to be not unworthy of the trust. We are content, however, happily content, to appeal to our own pages, as they succeed to each other in groups month by month. We have illustrated the whole magnificent assemblage by means of representative examples. From every department and class, and from every distinct subdivision of each department and class, we have chosen the best, the finest, and the most characteristic works; and we have engraved them, with jealous fidelity, from photographs prepared, and placed in our hands tor that express purpose, by the producers of those works. In our selections, with eminent intrinsic merit we have uniformly sought to associate those qualities in a work, which are rich either in direct teaching or in diversified suggestiveness. Upon the same principle, and with the same objects in view, in all our descriptive and critical essays we shall be found to have sought to work with the Universal Exhibition itself—to have sought, that is, to make tho exhibited objects well known and thoroughly understood,—to cany out a searching and exhaustive system of critical analysis and compa¬ rison,—and to convey, in plain yet emphatic language, such practical and suggestive information as will enable producers and students mutually to acquire and to communicate fresh stores of knowledge. For the requirements of general readers, also, we endeavour to provide by avoiding all superfluous technicalities, and by leading them to perceive how closely connected are the interests of the producers of Art-manufactures and of all classes of persons who may become the possessors of them. This new volume of the Art-Journal, in addition to whatever claims for favourable regard it may eventually possess in itself, will acquire no inconsiderable accession to its value through association with the two other volumes, severally devoted to the Great International Exhibitions held in London in the years 1851 and 1862, that have preceded it. Each of these three illustrated volumes, complete in itself as far as its range would allow, will appear to be a faithful exponent of the Exhibition of which it treats : in the three grouped together, therefore, and brought into contact for the purpose of comparison, may be seen the landmarks that indicate the progressive development of the higher and more artistic manufactures, since that auspicious assemblage of the leading manufacturers of the different nations of the world, when for the first time they met and brought together their choicest works to form a vast united collection under a single roof. Here, before proceeding any further with the consideration of matters that refer, more or less directly, to the Universal Exhi¬ bition of Paris in this present year, 1867, it may be well for us to cast a retrospective glance over the entire series of remarkable THE ART-JOURNAL CATALOGUE OF manufacturers of Fans in Paris; and Paris continues to monopolise “the trade" in the most graceful of all such, articles of cimmerce. M. Guerin- Brecheux is a producer “ en gros he manu¬ factures and exports fans by the thousand ; but avails himself largely of the aid of accomplished THE PARIS UNIVERSAL EXHIBITION. From the many and varied contributions of Mr. J. W. Benson —Goldsmith and Jeweller, of London—we select, for engraving, the Casket in which was presented to Prince Alfred (Duke of Edinburgh) the freedom of the City of London. It is carved in oak by Mr. \V. G. Rogers. Minute tracery of carved work and fine gold in high relief over all parts of the hox. Gold and enamel ornaments, forming the City arms, surmount the a : and in the centre the Prince’s arms are l industrial gatherings, from their first struggle into recognised existence to their present mature condition of world-wide import¬ ance and of corresponding dignity and influence. It will not be possible for us to give more than a sketch, slight and concise, of what may be termed the materiel for forming a history of Great Exhibitions; a sketch, however, will be amply sufficient in an introductory essay, in which it appears not so much in the capacity of an outline of an historical narrative, as an exponent of the gradual recognition of the mercantile value of the Fine Arts (a phrase originated in the Art-Journal , and a subject first freely discussed in its pages), and of the final establish¬ ment of an indissoluble alliance between Art and Manufacture. “Great Exhibitions,” or, as they are entitled by the French themselves, “ Expositions,” originated in France. In connec¬ tion also with the grand event of this present year at Paris, it cannot fail to be regarded as a circumstance of peculiar interest, that the scene of the very first Industrial Exposition was the iden¬ tical spot upon which the new edifice, now prepared to receive visitors from every quarter of the world, has been erected. That first Industrial Congress, the forerunner of such a glorious succes¬ sion of peaceful successes, strange to say, followed closely upon a gorgeous and triumphant display, again upon this same Champ de Mars, of the trophies of war. The recent sounds of hostile g^yi£©j happily, were so far distant from the I rench capital, that in colours on an enamelled panel, it is a beautiful work of manufactured Art. The engravings underneath the Casket are enlargements of some of its parts. THE ART-JOURNAL CATALOGUE OF design, elaborately wrought in panels, and exquisitely orna- and a “ Bonbonniere,” exe¬ rt class of Art-produce in rivalled. The principal work blishment. Toilet-bottles, cuted in oxydised silver— which he remains un- H. Budolphi contributes to our Catalogue four examples of the mented with rare jewels—a chef- \d'ceuvre of the artist, whose fame has gone “all over the World.” beautiful in ordinary productions of the esta- on this page is, however, one of the highest excellence, very by whom he was surrounded; and, accordingly, his exertions were directed to effecting the sale of, the productions of these unfortunate persons under novel and signally advantageous con¬ ditions, The bazaar of the Marquis—for a bazaar it was, in its direct purpose—proved successful beyond his most sanguine expec¬ tations ; and out of this very success arose the obvious suggestion, that in the project itself was embodied a principle applicable on a greatly extended scale, and possessing the faculty ot being ma e productive of infinitely more important results. The governmen did not hesitate on this memorable occasion, nor did they permit the encouraging influences of the Marquis d’Avezes success to subside before they followed up his enterprise with their own. their faint echoes have not seriously affected the present triumph of Peace. The wise and beneficent project formed in the year 1797 by the Marquis d’Aveze, then appointed Commissioner of the great manufactories of Sevres, of Savonnerie, and of the Gobelins, led directly to the adoption of his idea by the French Government, and to the prompt organisation of an Industrial Exposition at Paris under official authority. The Marquis himself, probably rather hoping than expecting from his admirable experiment permanent results of continually increasing magnitude, was con¬ tent, in the first instance, to render immediate aid to the suffering and powerless producers of various objects of utility and luxury Only six weeks after the national military fetes, held on the Champ de Mars to celebrate the early victories of the First Napo¬ leon in Italy, the most -beautiful and useful productions of the industrial arts of France were assembled in great numbers and as great variety in a building surrounded by sixty porticoes, which had been constructed on the same spot for the express purpose of receiving and exhibiting them. It was in this original exposition of the year 1798 that the essential distinction between what is an “ Exposition ” or “ Great Exhibition,” and what is properly only a bazaar, was clearly defined. The bazaar is for sale alone, the “ exposition ” is for instruction also. Even in his bazaar the Marquis d’Aveze dis¬ cerned the germ of the grand principle of comparison , instituted for the sake of leading on to greater excellence. The Exposition of 1798 led to the establishment of this principle. Competition was then taught to aim beyond the securing a present preference in selling; the act of exhibiting was identified with a search lor fresh information, coupled with a readiness, and indeed with a desire, to impart it; and then, for the first time, was adopted the system of investigating and deciding on the comparative merits of the various works exhibited, by juries composed ot persons distinguished for their knowledge, experience, and soundness or judgment. On this occasion several prizes were awarded ; anc thus, by an emphatic tribute of honour bestowed upon superior excellence, all producers who might propose thereafter to become exhibitors, were stimulated to enter upon a course of friendly rivalry■ National Exposition did not take place in France till THE PARIS UNIVERSAL EXHIBITION. These examples of Glass axe exhibited by Mr. J. Donson, of St. James's Street, London, whose productions are of the very highest merit; unsur¬ passed, and, perhaps, unapproached, hy any manufacturer of the world, considered with reference to delicate and elaborate engraving combined with purity of metal. Some of these forms are “ grotesque," others exhibit exceeding grace of design: they are works of an accomplished artist. THE ART-JOURNAL CATALOGUE OF mirable productions ; they are from the models of renowned artists, and are in great variety- manufacturers of works in The eminent firm of those that are mere utilities, and those that are designed to be the ornaments of mansions staircases and halls. in many cases, iron, contribute many ad- Duuenne, of Paris, First Consul, understood at once the value to France of the peace competition of 179S, and he took upon himself to form and to mature the necessary plans for maintaining a succession oi similar Expositions. A will less resolute might have been diverted from its purpose by encountering resistance from so unexpected a quarter as the manufacturers themselves; and, when opposed by the very men on whose special behalf the entire scheme had been devised, a hand less nervous might have declined the thank¬ less office of struggling to confer unwelcome benefits. It is evident that the French manufacturers of eminence at that period entertained grave suspicions of the newly devised “ Expositions of their government. In their estimation, by exhibiting it was equally certain that they might lose very much, and that they 1801, notwithstanding the earnest desire and openly expressed resolution of the government to seek yearly a repetition of the triumphant success of 179S. Peaceful enterprise at that time was compelled, for awhile, to yield to the stern control of political convulsion ; and yet the interval between the first Exposition and its successor was probably not sufficiently long to have been pro¬ ductive of any real injury. There was no fear lest the project should die out in the exultation of its first success—there was a strong vitality in it, because there was in it so much of such com¬ prehensive good. At that same period, also, a new prime mover, of a power before unknown, was preparing to rescue French industrial Expositions from a condition of abeyance, and to urge them forward with a determined impulse. Napoleon I., then The long-renowned firm of Gillows, of London, contributes several admirable ex¬ amples of Furniture. That we engrave on this page is a very beautiful Cabinet (the side piece being an enlargement of the side panel). The style is Italian. the figures—Painting and Architecture—which occupy the “ door-panels ” are inlaid. The work is highly creditable to all the parties engaged in its production—designer, manufacturer, and artisans. could gain veiy little. Comparison, they believed, in their caso could lead only to their helping inferiors to become their equals. They were not disposed to admit any deficiencies, certainly not any grave deficiencies, in their own productions; wherefore, then, meet in a competition equals of whom they were jealous, and inferiors whom they regarded with indifference, if not with con¬ tempt ? On such men the medals, at the best, could confer but a questionable honour ; and a thousand contingencies might bring about an unfavourable award of the juries, which would be un¬ questionably vexatious, and in all probability positively injurious. The First Consul was the right man to encounter and, at any rate in some degree, to overcome opponents of this description. Ac¬ companied by some of the most scientific men in France, he visited personally the most important factories and ateliers of the principal cities and towns, for the purpose of explaining the true character and the real effects of the Exposition proposed to be held, the second of the series, at Paris. Other difficulties of dif¬ ferent kinds had also to bo dealt with, that were scarcely less intractable than manufacturers who had to be convinced, in opposition to their own confirmed belief, of the advantages that would accrue to themselves from supporting such an undertaking. When the Exposition of 1S01 took place, in a temporary building purposely constructed within the Quadrangle of the Louvre, about two hundred exhibitors appeared as competitors for the prizes ; these prizes were ten gold medals, twenty silver, and thirty of bronze; and it ought to be recorded that, on that occasion, the award of one of these thirty bronze medals marked the estimate that was formed of the machine, since so famous, of the able and 17 THE ART-JOURNAL CATALOGUE OF sion, but of such as they have produced for the several Courts of Europe, nearly all of which boast the possession of some examples of their manufacture. The two objects we engrave The Centre-piece and Jardiniere have the arms of the T»iig- r fwf t Service” made for M. Le Due de Galicra. Duke. The figures are the work of M. Gilbert, an artist of the very highest repute. These works are achievements of the loftiest order of Art. ingenious Jacquard. The First Consul proved to bo more saga¬ cious and far-seeing than the manufacturers; and they discovered, and in due time they appreciated, the superiority of his sagacity and penetration. This was shown by the increase of the number of exhibitors from two hundred to six hundred in the third Exposition which was held, after the interval of only a single year, on the same spot, in 1802. The increasing success of the Expositions of 1801 and ISOl at Paris confirmed the soundness of their projectors’ views, and encouraged them to persevere in their plans with redoubled zeal; and, at the same time, the utility and the popularity of these remarkable displays became thoroughly established. More decided steps were at once taken to develop what had grown into a great national institution, and to impart to it a still more secure THE PARIS UNIVERSAL EXHIBITION. Too rapid a succession was soon found to be far from desirable ; indeed, it would bo easy to discover that upon a somewhat pro¬ longed interval between two Expositions would mainly depend the full realisation of the benefits of the system. Time would be required for maturing the lessons that the Exposition last past had taught: and, in like manner, time would be equally neces¬ sary for the practical application of those lessons in the prepara¬ tion for the Exposition next to follow, while yet it was still in prospect. Manufacturers, again, could neither be expected nor desired to regard these displays as the first object of their sus¬ tained interest; they might be truly glad to devote to them thought, and labour, and cost; but it must be impossible for them to do all this continually. And, in the estimation of the com¬ munity at large, the Expositions would inevitably sink into mere commercial speculations on a grand scale, should they assume an aspect bearing a suspicious resemblance to an existence en perma¬ nence. Four years had passed, accordingly, when, in 1806, the fourth Great Exhibition of the productions of French industry and skill was opened to visitors in a building erected, like its temporary predecessors, for the purpose, in front of the Hopital des Invalides, and in the neighbourhood of the Champ de Mars. Instead of 600, on this occasion the competing exhibitors were 1,400 in number; the importance of the prizes was augmented in due proportion, and it was found to be necessary to keep the doors of the Exhibition building open for twenty-fo^r days. The objects that were exhibited were more diversified and more generally meritorious, as well as more numerous; amongst them, for the first time, were seen silks, lace, blonde, various cloths, printed Carved Wood ; they can scarcely be styled manufacturers; their productions, belonging essentially to Art, are results of the labour of artists—no two of them being thoroughly alike. Their enormous esta¬ blishment yields these beautiful works in great variety, simple and elaborate, from the pin-case to the gigantic cabinet. In all cases the forms are pure and good, and the execution free yet finished. This page sup¬ plies examples of a few of them ; they will suffice to sustain high praise, and to justify the awards of Honours they have received in all recent Exhibitions. The Swiss peasants have been long famous for comparatively rude carvings of wood. MM. Wirth have so laboured to educate and direct their natural skill as to convert that which was but casual employment into a productive labour. MM. Wirth, Brothers, of Brienz (Switzerland), of Paris, and also of London, have a wide renown in Europe as 19 ducers of Works ix Broxze; he has skilfully availed himself of the aid of Art in all his issues. Some are entirely original, grace this pag> and a Clock -with Candelabra. cottons, and mixed goods; and, in addition to other inventions and improvements duly honoured, prizes were awarded for the production of steel by a novel process, and for the manufacture of iron through the instrumentality of coke instead of charcoal. These were significant indications of the hold the exposition system had taken upon the manufacturing genius of the Nation. The years that followed, memorable in the annals of France, witnessed the culmination and also the decline and fall of the First Empire, without another great industrial peace triumph at Paris—there had been no time to spare during that stirring period, when the energies of the nation had been absorbed by other thoughts and aspirations. In 1819 the dormant system revived in renewed vigour, and the fifth of the French Great Expositions was opened on the lete of St. Louis. The sixth in the order of these gatherings followed in 1823. In 1827 the seventh Exposition was held in a spacious building, erected tor it in the Place de la Concorde; and the same edifice, in the years 1834, 1839, and 1S44, received the eighth, ninth, and tenth, as they followed in succession. All were successful, all were pro¬ ductive of great good, and all exemplified and bore witness to the great good that had been accomplished. Each of these Exposi¬ tions had its own distinguishing characteristics. In each, as they were developed, the grand discoveries of modem science, and the noble achievements of modem skill, were faithfully repiesented. tions derived from the classic periods of Art-manufacture in France. Those that THE AKT-JOUKNAL CATALOGUE OF G. Servant, of Paris, ranks among its most eminent pro- others are judicious adaptations from the antique, and others are results of sugges- THE PARIS UNIVERSAL EXHIBITION. by side with that of Josiah Wedgwood— it continues to maintain its high and proud position, and upholds the honour of England in France. At present, our selections are limited to four established its fame in every Exhibition that has years $ receivin'- highest Honours in all cases. Owing its renown chiefly to the master-mind of one of the most accomplished men of the age— Herbert Minton, whose name may be printed side On every side, as each fresh collection invited examination, pal¬ pable and decided improvements were visible. Machinery in particular, and all works produced in the hard metals, displayed an advance at once steady, rapid, and progressive. The Exposition of the year 1849, the eleventh in the order of succession, far exceeded all its predecessors in brilliancy, as it rose above them in every quality of sterling excellence and value. The Champs Elysees were the scene of this grand display, in which as many as 4,494 competitors contributed to the collections, and sought from the juries such distinction as their comparative merits might be considered fairly to have won. In this Expo¬ sition, and in a lesser degree in its immediate precursor also (the exhibitors then wore 3 960. about 400 less than in 1839).—both of them carefully described, with copious engraved illustrations, m the Art-Journal ,—the benign influences of Art were felt to have taken a fresh and a more decidedly practical part in connection with industrial productions. A purer and more consistent expres¬ sion of Art was apparent in some of the higher ranks ot manu¬ facture; and indications, more or less definite, of a genuine artistic sentiment were generally prevalent. Another circumstance is particularly remarkable in connection with the signal triumph of the Champs Elysees in 1S49. Still, as on previous occasions, an exclusively national display, open to all France, but restricted within the boundaries of France, this Exhibition rejected a pro- taken place in Europe during the last thirty objects—a Vase ; a Figure in majolica,nearly life-size; a Centre-basket, the figures in Parian and a Composition, the figures also in Parian. They are admirably designed and modelled. THE ART-JOURNAL CATALOGUE OF posal for securing for itself the one then untried quality that alone could have added to the completeness of its own triumphant success. Instead of being, as by its own deliberate decision it was, national, it might have been (at any rate in a qualified acceptation of that term) international, and so have left but one more step to be taken onward by a Great Exhibition for it to become universal. Early in the year 1S49 a suggestion was sub¬ mitted by the French Minister of Agriculture and Commerce, M. Buffet, to the effect that the Exhibition then forthcoming should include specimens of the industrial products of various other nations besides those of France; in order to extend the range of comparison, and to form a species of commercial con¬ federacy for the mutual advancement of interests, in which all nations are equally concerned. So earnest was M. Buffet in acting upon his own convictions, that he determined to ascertain the opinions of the leading manufacturers of France ; and for that purpose he addressed circulars to all the French Chambers of Commerce, proposing the admission of specimens of their manu¬ factures from neighbouring countries. As at the first, when the most serious obstacles to the establishment of national Industrial Expositions were found in the doubts and prejudices of French producers, the proposition of the minister was in advance of the prevailing sentiment of the time. So unfavourable to the adop¬ tion of his design were the replies received by M. Buffet, that without hesitation he decided to abandon his idea, leaving it to be worked out by England. famous “ Gladiateur.” The other engraving is of a Jardiniere, made for the Emperor of France. That work is in bronze (lord ; the figures are by M. Moreau, the ornaments by M. Madroux ; it forms part of an extensive dinner-service, numbering three hundred pieces. The firm of Christofle and Co., of Paris, is known in all parts of the world; its produc- The objects engraved on this page are, pieces of a Tea Service, designed and modelled by perceived, is emblematic of its use. The figure. a statuette of Victory, from a model by M. Maillet, is a “prix de course," gained by the tions in silver, and especially in “ electro-plate-," I having obtained supremacy, chiefly as examples | of rightly. applied Art. This Catalogue will ' supply ample evidence to establish its renown. THE PARIS UNIVERSAL EXHIBITION. M. H. Mourceau, who holds a foremost rank among the Parisian manufacturers of Tapestries, contributes to the Exhibition a large supply of examples, in which are combined the taste and knowledge of the artist with the judgment and skill of the manufacturer. We engrave four of his works, applicable to furniture, that being the branch of Art in which he aims principally to attain the highest excellence. The Exposition of 1849 at Paris closed, with all becoming honour, the goodly succession of national industrial displays of a great and enterprising nation. Before Paris should witness another great assemblage of tho productions of the industrial Arts, the exhibiting system would have been remodelled upon a far nobler and more disinterested plan ; Paris itself again would have become an imperial city, and a. Napoleon would direct the destinies not only of “Universal Expositions” held in France, but of the French empire. Meanwhile the manufacturers of France were to engage in a competition that was to take place, not in their own caphal, but in ours. The idea of M. Buffet, made his own by the Prince Consort of England, and by him expanded and proposed for the acceptance of English manufac¬ turers, was to be received both at home and abroad with a cordiality that speedily would rise into enthusiasm. In the year 1851 London was to establish, on the firmest possible basis, the principle of International Exhibitions; and the French, with the other nations of the world, were to take a part in carrying into full effect, in the capital of England, the wise and generous enterprise of the English Prince and the English people. In England the early fortunes of Industrial Exhibitions present a singular contrast to their career in France. With us they never at any time were National. No influence or movement of the Government either gave or supported any early impulse; nor was it till 182S that even an attempt was made, by means of a so-called “ Boyal Repository,” held in London near Charing Cross, to 23 THE ART-JOURNAL CATALOGUE OF received first- class medals in 18.55 and in 1862. He holds foremost rank among the jewellers of France—and, consequently, of Europe—his on this page some of the pro¬ of M. Weise, of Paris, whe We give ductions WJj works being conspicuous for grace of de¬ sign, and excellence in execution. The Bhacf.let is composed of diamonds, emeralds, and it is in the stylo of the seventeenth century other Bracelet is formed on a Greek model, the cameos representing the months; the diamonds and emeralds. The whole of the contributions of this eminent artist-manufac- contre figure being one of the “ Fates.” One of the Brooches is borrowed, in idea, from the “Etrusque,” enriched with precious stones; the other Brooches are of silver, partially enriched by . turcr are of great merit, upholding the I high' reputation he has acquired in the several exhibi- I tions held in England as well as in France. sale was equal to rather less than 13,000 square feet. Both this exhibition at Birmingham, and its predecessor of the previous year at Manchester, were carefully described, and their contents were illustrated by numerous wood-engravings, in the Art-Journal. Another enterprise of tho same class, but having a special motive associated with its general objects, was carried out in London in the year 184.5 : this was the “ Free Trade Bazaar,” held in Covent Garden, which was elaborately illustrated in the Art-Journal. As would naturally happen, some approach was made in these bazaars to the French Expositions, in consequence of the variety of their collections of national productions, and of their compa¬ ratively comprehensive extent: still, until the year of the last of the eleven French National Expositions, the sustained and increas¬ ing popularity of those remarkable gatherings and their extra- ascertain what might be tho public feeling on the subject. What¬ ever the cause, the Royal Repository was unable to command success, and its failure was accepted as a popular verdict adverse to the introduction of national Great Exhibitions into this country. The original project of the philanthropic Marquis d’Aveze, how¬ ever, was not altogether forgotten in the great centres of English manufactures; and at length, in tho years 1837, 1S39, and 1849, trade Bazaars for the sale of tho various productions of their several neighbourhoods were opened at Manchester, Leeds, and Birmingham. These enterprises, in all important particulars, resembled any ordinary bazaar. At Birmingham, in 1849, for the first time in England, a building was erected expressly for the industrial bazaar of that year ; the sum then expended was £1,300, and the total area covered by the collections offered for THE PARIS UNIVERSAL EXHIBITION. ordinary success, failed altogether to excite in England any thoroughly earnest desire to follow an example which was sup¬ ported oy the powerful recommendation of confirmed experience. The year 1849, accordingly, had come and was passing away before the Prince Consort, the President of the “ Society of Arts and Manufactures,” in these words, addressed to the Society, wrought a complete change in the sentiments of the nation:— “ Now is the time,” said his Royal Highness, “to prepare for a Great Exhibition —an Exhibition worthy of the greatness of this country; not merely national in its scope and benefits, but com¬ prehensive of the whole world : and I offer myself to the public as their leader, if they are willing to assist in the undertaking.” So spoke the Prince : the public heard; and they declared that in such an enterprise they were “ willing” and ready to follow such a “ Leader.” But we felt instinctively that, in order eventually to secure our peace triumphs, with us the French process must be reversed. The French began with an Exposition, on a small scale indeed, but really and avowedly “National” in its character: then, out of this primary undertaking and its somewhat more important successors, they developed their Encouragement Society, and with it all that confirmed and extended their exhibition system and order, supply us -with the objects that grace this page. Many of their productions are of largo size, and will be accepted as admirable pro¬ ductions of the Sculptor’s art. We engrave two of their minor productions, a Tazza and a Cande¬ labrum ; but the principal object we select is a Vase, upheld by three figures—representing the Arts —Painting, Sculpture, and Music. It is the work of the eminent artist A. Carrier. Messrs. Boyer and Sons, of Paris, manu¬ facturers of Works in Bronze of the highest THE ART-JOURNAL CATALOGUE OF grave nearly every country of the World—and especially the mansions of England: for the labours of his large establishment have been much devoted to the peculiar “■wants” of this country. They are always beautiful and pure in design, and carved with consummate skill. ' completed its beneficial action. With us, on the contrary, the first course of procedure was to take a survey of our own position, to mark our weakest points, and to consider by what means we might most effectually infuse fresh life and vigour into all our 1 national industries. Thus, instead of looking to a national Exhi¬ bition to teach us what it was that was most important for us to learn, we resolved, through a system of training and discipline, to prepare ourselves for becoming exhibitors and competitors. Our “ Society of Arts and Manufactures” had been founded long ago (as far back as 1754), and it was destined to work quietly and steadily for nearly a century, before it would come forward to support its illustrious President in preparing and conducting to a triumphant issue the .first International Exhibition. At the same time other agencies were gradually bringing their influence to bear in the same direction. Of the publications that have issued from the English press, the Art-Journal was the first in the field assiduously and systematically labouring to advance the best interests of the great industries of the realm; and, while working out its own plan in independent reliance on its own resources, this Journal has ever cordially co-operated with the Society of Arts. True to its own specific character, from the first the attention of the Art-Journal has been particularly directed to the artistic qualities and capabilities of whatever manufactures have come under its notice. And here was open a wide field, over which eveiywhere were apparent palpable evidences of the most scanty cultivation. That union between Art and Manufacture, which ought to be indissoluble throughout all time, had ceased to be regarded as a probable condition of things; so M. A. J. Leclercq of Brussels, has obtained | merited renown in all the Exhibitions that have | taken place in Paris and in London, chiefly by the production of Chimney-pieces, in which the influence of Art has been brought to bear on manufacture; if, indeed, those works may be described as “manufactured” which are in all cases efforts of the Sculptor’s mind and hand. He supplies with such objects as those we en- that the subject actually appeared quite fresh and untried when, with the commencement of the year 1842, the association of Art with Manufactures, and the practical connection between beauty and utility, were discussed formally and in detail in these pages. From that period, without intermission or hesitation, the same policy has been steadily pursued by us. We have demonstrated the mercantile value of the Fine Arts, and have shown how consistently and how honourably they may be applied to industrial operations: the claims which manufacturers have upon artists have been investigated by us, and the mutual advantages to be derived from their conjoint action have been set forth. For skilled artisans we have striven to secure an education in Art. We have visited our manufacturing districts, and have illustrated our Tours in them with engraved representations of every class of meritorious productions. More than twenty years ago we even formed in London a little Exhibition of our own, that we might be able to appeal to actual specimens of works which were distinguished as “ Art-manufactures and thus was the way laid open for other private enterprises of a more speculative character, that led on to results of unexpected importance. Our illustrations of the French National Expositions of 1844 and 1849, and of the corresponding display that took place in 1846 at Brussels, familiarised English designers and producers with methods of treatment differing from their own, in which they readily discovered that their Art- education would be lamentably imperfect without lessons learned as well from abroad as at home. In 1846 also we pressed con- furnished by C. Peters, an eminent sculptor of Denmark. The story illustrated is that of a princess held captive by a sorcerer, and rescued by a prince, her lover. The work is full of carefully studied subject- matter, finished with marvellous skill—from the accurately modelled figures to the least of its minor details. The Flower-Stand, also represented in this—the most important—department of Art-manufacture. THE PARIS UNIVERSAL EXHIBITION. Y. Ciiristesen, Goldsmith and Jeweller of Copenhagen, exhibits a collection of rare and beautiful works, the produce of his renowned establishment. Two of them we engrave, and shall, in due course, engrave others. The principal object (silver-gilt, oxydised) is a Drinking Horn, the design for which was of silver, is a beautiful work of Art. Denmark is, therefore, well Service, containing compositions by Von Blom- productions of the highest order of Ceramic Art. The principal object engraved on this page berg. In modelling, in painting, and general is a Vase, of great beauty, containing eight figures in high relief, representing the eight old finish, these contributions are of rare excellence. siderations such as these upon public attention by some copious and earnest “Notes on the Application of the Arts of Design to Manufacturing Industry in France.” Two years later, we empha¬ tically declared that “ toe wanted an Exposition of British Manu¬ factures in London.” Such a grand and all-comprehensive National Exhibition of British Manufactures as eventually was merged in the Inter¬ national Exhibition of 1851, was first submitted to the public, and earnestly and repeatedly advocated, in the pages of the Art- Journal. Mr. S. C. Hall, then as now the editor, endeavoured to obtain from three prominent members of her Majesty’s Govern¬ ment at that time in office (Sir George Grey, Lord Carlisle, and the Bight Hon. Thomas Wyse), not only a recognition of the sound¬ ness of his views, but also material assistance for carrying them into effect. The great successes that had been achieved in France he urged as weighty evidence in favour of similar industrial gatherings in our own country. The ministers to whom the appeal had been made expressed no unwillingness to encourage the project; but the difficulties which they considered to be con¬ nected with its accomplishment appeared to them to be so serious and so many in number, that they gave no sign of any disposi¬ tion to take the initiative in the matter. Sir George Grey having stated that under no circumstances would the Government contri¬ bute any monetary aid, it was submitted by Mr. Hall, in reply, THE ART-JOURNAL CATALOGUE OF The Eoyal Porcelain Manufactory of Prussia (Berlin) largely contributes to the Exhibition Provinces of Prussia. The group underneath is a f.AvA; that the only aid desired was an express and authoritative sanc- $;<>"•£* , e * Se a s ^ e * n one ^h® parks for a temporary Exhibition building, and the medals which would be awarded as prizes. Lord Carlisle, then Lord Morpeth, declared that in his judgment the time was not yet at hand for making the proposed attempt; and he added, that he entertained grave doubts as to the co-operation of manufacturers. And the Right Hon. Thomas Wyse, conceived that the necessary organisation would prove to be beset with obstacles, almost if not absolutely insurmountable. Under these circumstances, his confidence in his own convictions remaining unshaken, Mi-. Hall caused a communication to be made to the Society of Arts, to the effect that it was their duty to make the great national enterprise their own, and to conduct it to a successful issue; and, it was further added, that the illus¬ trious Prince who was President of the Society ought to be placed at the head of the movement. From “little causes” “great events ” frequently are produced. The proposal, when made to the “ Good Prince Albert,” was favourably received, and from the first it was cordially advocated by his Royal Highness. In his hands also the original project expanded from the range of a National to that of an International Exhibition. The suggestion of a distinguished member of the Society of Arts, the late Mr. Winkworth, that the Exhibition should include the produc¬ tions, not of our own nation only, hut of all nations, at once commended itself to the sagacious and far-seeing mind of the Prince, who discerned the vast advantages that would certainly THE PARIS UNIVERSAL EXHIBITION. M. Tahax, of Paris (the seductive corner of the Rue de la Paix), is a large contributor to the Exhibition of very varied mainly rests his reputation, however, are articles of Furniture, m carved woods. These are charmingly wrought. We a Cabinet ; the latter being an example of the best achievements of the Firm. BEMTiEitand works: they comprise graceful and beautiful productions of all classes, for the drawing-room and the boudoir, in metals, inlaid woods—and, in short, all matters upon which “ fancy” I can be advantageously employed; those on which M. Tahan have selected— THE ART-JOURNAL CATALOGUE OF Messrs. Maw & Co., of Broseley, Salop, have generally from original designs, but some- I tiles, and majolica embossed, for wall linings, Pavements,” which they manufacture of many | bavc a egcen( ied to us from Art-loving ancestors. I have made great and very praiseworthy exer. kinds—from the plainest to the most elaborate; in all cases, however, they are examples of pure Thus they exhibit tiles for ordinary uses, en- I tions to uphold the character of England rn tHs caustic tiles of various colours, “figured,” glazed branch of Art, which they carefully cultivate. result from an International Exhibition.* So the plan was formed and Prince Albert took the lead in carrying it into effect. Working zealously with the Society of Arts, he imparted a most powerful impulse to their operations. His name was a tower of strength; hi8 example an irresistible stimulus. A compact body of strong supporters rallied around him. All difficulties were surmounted, all opponents wore overcome, all prejudices were converted into sympathies; and the Great Exhibition of 1851, the first ' Vide Minutes of the Society of Arts, July 26. 1?49. That meeting may be described as the first meeting: for although Mr. Scott Russell, then secretary to the society, reported his having been honoured with an audience by his Royal Highness Prince Albert, it was for the formation of a National Exhibition only: until that day nothing had been said as to a project International. At the meeting there were present Messrs. W mkworth ti¬ the chair), S. Redgrave. P. Le Neve Fostt r ' : ~* A 17 w ’° - Dickson, and F.Wlshaw. “International Exhibition,” thus became a matter of history. Throughout this period the Schools of Design, founded by the Government at Somerset House in 1837, and subsequently trans¬ ferred from thence to Marlborough House, on their way to a final settlement at South Kensington, were working with the same general view after their own peculiar fashion, Nor may it do forgotten that the sympathies of the educated portion ot the general community were gradually attracted to Ait-man ac tures” in preference to Art-Zess manufactures; and that a tar purer taste and a much higher capacity for the appreciation ol excel¬ lence, both in design and in Art-workmanship, were beginning to prevail. This all-important change for the better did not begin to exhibit any decided evidences of its progress until within a THE PARIS UNIVERSAL EXHIBITION. The Centre-piece and “ AssiettesMontjees,” engraved on this page, form parts of a Silver Dessert Service exhibited by the long-eminent firm of Messrs. Howell, James & Co., of Lon¬ don. The Sendee was presented to Sir Benjamin Samuel Phillips, late Lord Mayor of London, as a testimonial of personal regard and respect from his fellow-citizens of his Ward of Far- ringdon Within. They represented a sentiment universal in England—produced not alone by cordial and wide-spread hospitality, nor by evi¬ dence of social and moral worth, nor by zealous advocacy of all charities and useful Institutions with an eloquence rarely experienced within the boundaries of London—but by large and gene- nani- ordinary satisfaction in engraving this very City graceful and beautiful tribute of esteem and than respect to the late Lord Mayor of London. S hort period of the memorable era of 1851. Before the approach ot that year, Art-manufactures (as we now understand that term 1 ) were neither known nor desired. Whenever, by some rare good fortune or happy accident, a manufacturer chanced to produce any objects artistically much better than usual, without knowing or even suspecting that they were better, by the public such productions were regarded either as mere accidental deviations irom established usage, or perhaps as curious examples of manu¬ facturing eccentricity. While the manufacturers were content to repeat yet again what already they had repeated so often and so long, and while m the introduction of what they considered to be “novelties, they had no higher aim than to copy some French model which had not been copied by them already the prevailing standard of public taste continued to be lamentably degraded. At last, however, by purchasers as well as by pro¬ ducers, the truth was discovered; all alike began to perceive how much they had both to unlearn and to learn; and so the promise ! of a better state of things arose, and by degrees was confirmed. The part that was taken by the Art-Journal in arousing and directing public attention to the entire subject of an alliance between Art and Manufactures is shown by our volumes for the years immediately preceding 1851. They may show—the records of our tour to the manufacturing districts especially—what obstacles we had to encounter and prejudices to overcome. Then, for the first time, we adopted a phrase we have since used often—endeavouring to show, and to a great extent succeeding in showing, that in reality beauty is cheaper THAN DEFOR- l mity ; and that in Art, as in all things else, knowledge is a power ' in all the varieties of the numerous issues of ! and sometimes adaptations. We have selected his atelier; they are sometimes entirely original, , for engraving a Clock— Greek in character of much grace and beauty, and may follow it up by other of his many meritorious productions. that may always be made profitable. Then, exactly at the right time, when a strong impulse was needed to set forward in the right direction the dawning change in public taste and feeling, there came the famous “International” proposition of the Prince Consort, to be so triumphantly realised under his direction and through his influence. From that time the popularity of Art- manufactures has continued steadily to increase, as the value ot the alliance between Art and Manufactures has become better and more thoroughly understood. . , , The Great Exhibition of 1851 became a landmark, which has fixed and given its distinctive character to a new era in commer¬ cial enterprise. It was worthy of so high a destiny. Advise y and yet boldly taken in hand, from the first the project was carried on to its splendid success with masterly ability and i indomitable energy. Tbe Prince, and the men -who supported him, and who wofked under him and with ^ere weti fied to grapple with all the conditions of the work which the 5 halt set themselyes to accomplish, and to convert even apparent sources ! of doubt and difficulty into elements of strength, Then“P ac '>5 and their resolution were speedily tested by various orrcumstances of grave importance, which at first sight threatened to ba rather of disaster than of triumph. An International]5xh b't.on such as they had proposed was altogether without preceded : nor ; had any Industrial Exhibition whatever been prevroiusly attempted in London on a scale of the first magnitude; on also rested the entire weight and responsibility of their taking, without any direct support or aid This want of government help the Great Exhibition Commis THE ART-JOURNAL CATALOGUE OF Bam, e Z K C0 £™^e“us E ^d ri of | tionTt ffie E^ti^'ffi Varti and London hio-h order: he sustained a prominent posi- I of 1855 and 1862, receiving medals at both. ° . .a T7i l -i..-it— smi t yvnrinn I jxis models arc conspicuous tor punty ot stjie THE PARIS UNIVERSAL EXHIBITION. Dr. Salviati, of Venice, and also of London, enables us to engrave a selection of bis repro¬ ductions of the more rare and renowned Objects ! in Glass, with which the Queen of the Adriatic once supplied the world. The modern are scarcely to be distinguished from the old; whatever ; Dr. Salviati's works in Glass Mosaic, of which many now exist in public structures of England. is curious and beautiful in the one appears again in the other. We engrave also an example of sioners rightly considered to imply freedom from official control and interference; and, in like manner, in their estimation a want of exhibition experience served only to confirm the complete independence of their position. Accordingly, in the necessity that thus was imposed on the Commissioners to originate and develop their own course of action, and also to rely on their own resources, , they discerned the fundamental principles of success. Their view j was a sound and a just one. A clear stage was everything to j them. Their sole real danger would arise, not from any insuf- j ficiency in their powers, but from whatever might possibly fetter I their free independence in employing and applying them. At a J later period, again, the apparently formidable difficulty of obtain¬ ing a building of sufficient size, and of suitable proportions and arrangements, within the required time, and without involving any extravagant cost, resolved itself into an impulse which, from a most unexpected quarter, produced a new order of edifice, unprecedented as the Exhibition itself, exactly the right thing in every essential quality, and qualified at once to add a fresh feature and to impart a peculiar attractiveness to the enterprise. Paxton's design for the Exhibition building was one of those felicitous inspirations that, at rare intervals, Hash suddenly into mature existence. Professional architects of ability and expe¬ rience had worked assiduously at the production of conclusive proofs, that from them no really suitable building was to be expected; and the anxiety of the Commissioners was beginning to show painfully distinct indications of changing into despair, 33 sculptured wood can be carried. The leading I graced the British Exhibition of 1862. We object in this page is the. Ebony Cabinet which were then unable to do it justice, and therefore Chairs which serve to fill up this page are exam¬ ples of the ordinary produce of the establishment. when, in the splendid conservatory he had recently completed for the Duke of Devonshire at Chatsworth, Paxton saw an image which he sketched instantly with the materials that chanced to be ready at hand—pen and ink and a sheet of blotting-paper. The Com¬ missioners were still sitting in grave and perplexed deliberation ; the memorable sheet of blotting-paper was placed before them, and it was seen at once that the problem had been solved and the difficulties cleared away. Paxton had made the Exhibition cer¬ tain by making the budding possible. On the 29th of June, 1849, several gentlemen who were well known to be devoted to the advancement of the Industrial Arts, assembled at Buckingham Palace, and to them the Prince Consort communicated his plan for the formation of a grand collection of various productions in London in the year 1851, for the purposes of exhibition, competition, comparison, instruction, and encourage¬ ment. On that occasion his Royal Highness proposed that all the various contributions should be classified to form these four great groups or divisions—raw materials, manufactures properly so called, machinery and mechanical inventions, and works of sculp¬ ture and of the plastic Art under all its modifications. The best comment upon this proposition, which, at the same time, is the most honourable tribute to the sagacity and discernment of the Prince, is the simple statement that in the Exhibition these first I suggestions, almost without alteration or addition, were literally ! carried into effect. A second meeting at the Royal Palace of Osborne followed within a month, to be succeeded in its turn by it for exposition as a chej-d'ctuvre of Art-manu- M. Focrdinois, of Paris, ranks among the fore¬ most “Cabinet-makers” of the world ; his pro¬ ductions are regarded as works of Art-examples of the extreme of merit and value to which engrave it now. It became the property of Alfred Morrison, Esq., of Fonthill, who lends facture in the nineteenth century. The three THE PARIS UNIVERSAL EXHIBITION. M. Lemaire occupies a prominent position among &c.; sometimes combined with onyx, marbles, or glass. We select five examples* -sufficient the Bronze manufacturers of Paris • he exhibits to show the variety of his productions. They are generally admirable in design (the I Chandeliers, Candelabra, Clocks, Figures, Groups, J productions of eminent artists), and of great excellence as specimens of Art-manufacture. several others. The Society of Arts, in their corporate capacity, took up the enterprise thoroughly in earnest. Visits, signally encouraging in their results, were paid to the manufacturing districts at home ; and replies of a corresponding character were received, in answer to inquiries, from the great centres of indus¬ trial energy in foreign countries. Important meetings were held under the highest sanction in London, when the most cordial spirit was displayed by the most influential merchants, bankers, and traders of the metropolis. The same sentiments prevailed throughout the provinces, and declared the hearty unanimity of the entire nation. In January, 1850, a Royal Commission was appointed, under the Presidency of the Prince Consort; and, in tiie July following, letters patent were issued, incorporating the Commissioners, and finally confirming their powers and authority. A Guarantee Fund of ample amount meanwhile had been formed ; subscriptions flowed in freely; intending exhibitors commenced their preparations ; the press worthily fulfilled its proper duty; and thus the Royal Commissioners found that nothing remained for them to accomplish, but—the Exhibition itself. In due time that was accomplished also ; and, when their work was done, the Commissioners were able to appeal to it, with a proud satisfaction, to confirm the anticipation of their President, that “ the Exhibition of 1851 would afford a true test of the point of development at which the whole of mankind had then arrived in the great task of industrial improvement, and a new starting- point from which all nations would be able to direct their further exertions. ” With a slight sketch of a few details connected with the Great 35 THE ART-JOURNAL CATALOGUE OF Messrs. Trollope, of London, rank ebony, but they are inlaid principally with engraved ivory, and are mounted with ormolu. These three among the foremost of British Cabinet¬ makers. The principal object on this Exhibition of 1851, wo shall pass on to glance rapidly at its suc¬ cessors, those other Exhibitions which led the way to the grandest project that has yet been undertaken—the Universal Exposition of Paris, now before us in the present year, 1S67. "We shall thus, in accordance with our plan, enable the reader to trace from its commencement the history of each Exhibition. At the exact moment that his presence there was required, Paxton came to the front, and the problem as to the Exhibition Building was promptly solved. In extent about 19 acres, the site chosen for the edifice in Hyde Park was fortunate in every circumstance of position, accessibility, and local attractiveness. The structure itself—in plan an oblong, having its principal front¬ age extending east and west—measured 1,848 feet in length, and 408 feet in width (563j and 124 French metres), the great central avenue, or nave, being in height 64 feet (191 metres). Of iron, glass, and wood, the building materials almost exclusively employed, the quantities were,—wrought-iron, 550 tons, and cast- iron 3,500 tons (550,000 and 35,000,000 of French kilogrammes): of glass 900,000 superficial feet, and of wood 600,000. The total area of the ground-floor was 772,784 square feet, and that of the galleries 212,100 in addition. The galleries extended nearly to a mile. The total cubic contents of the building were 33 millions of feet, this measurement including the wing which extended from the north side of the main edifice 936 feet, and was 48 feet wide. The first column was fixed on the 26th of September, 1850; and on May-day following the opening ceremonial took place. On the day preceding the opening the Commissioners had received no less a sum than £113,044, arising from public subscriptions page is a Cabinet of ebony, very beau¬ tifully carved from a design in the j purest taste. We fill the column with i the end of an “Occasional Table” and a portion of an Octagon Table. In both cases the groundwork is objects honourably and worthily compete with the best productions of the “Ebenistes” of France. THE PARIS UNIVERSAL EXHIBITION. describe the suggestive and various other sources, and including £40,000 for season tickets. The Exhibition continued open above 23 weeks, alto¬ gether 144 days, and was closed to the public oil tho 11th of October, when it was found that the number of visitors had amounted to 6,1,0 000, averaging 43,536 persons every day; the greatest number of visitors in any one day-it was October the of,on,r aS 109, ' b ° h “l 14 , of tlle3e ’ at ~ °’ clock P.H., not less than 93,000 were present at the same time—by far the largest assem¬ blage of human beings recorded ever to have taken place beneath a single roof. The total sum paid for admissions, including season tickets, was £505,107, which left in the hands of the Commissioners, after the payment of every charge, a surplus of about £lo0,000. The exhibitors exceeded 17,000, of whom 6 566 1 were foreigners. There were awarded 170 “ Council,” or First class Medals, and 2,918 “ Prize,” or Second-class Medals. The cost of the building was £176,030; and it was sold by the con¬ tractors, to whom it was surrendered December 1st, 1851, for £70,000 to a company, in whose hands it was transformed into the Crystal Palace. Sculptors alone, of artists of the highest order, had been invited to contribute to this first International Exhibition; its principal contents, consequently, were the various productions of the Indus¬ trial Arts, and its chief teaching had almost exclusively to do with those Arts in their practical application. The first great lesson taught by the Exhibition was the infinite importance of its own existence as a teacher. Palpably evident indeed it was, that the comprehensive conception of the Prince Consort had not been realised a single day too soon. The entire Exhibition, as Pans, whose issues of works J skill of manipulative labour is manifest in all the productions of the firm. It is needless to examples here engraved. boudoir. ! : The firm of Bardezat & Co., in cast-iron have a renown un¬ equalled in Europe, supply us with a first instalment of their varied and valuable contributions. They are of all classes and orders from ordinary street utilities tc vases and statues that may deco¬ rate the drawing-room and thi ihe best artists of France are engaged in their production, while the utmost 37 The accompanying illustrations we select as examples of works ex¬ hibited by Mr. Charles J. Fhillp, THE ART-JOURNAL CATALOGUE OF ji r Philip o-enerally introduces the “classical'' styles of ornament into his prodSSs, hut there is no tendency to a slavsh adherence skill and care. The metal used thereto, as our engraved examples will clearly show. They consist of Birmingham, one of the leading manufacturers of Gas Fittings of an ornamental character in that l ^ ^ briffiancy - 1 more remarkable than the. e3 “?jWorfc? th tot am0Qggt peting artists was 2 , 106 , who exhibite , tist g ne arly one- them 461 honours were awarded. Of all the artists, ^ ks half were Frenchmen, and by them more than were exhibited, and more than one-half of Q5S . their away. The actual numbers were.-Erench LOSS . them works, 2,130; and their honours 289. The ; from Great Britain were 295; their works, i 8 o, and me honours, 63. The three countries which contnbirted ne t^ numerical order, were Belgium, Austria, and ^ numbers of their exhibiting artists severaUy were,--l«, ™ 100; their works, 274, 215, and 227; and their honouis, 31, lo, THE PARIS UNIVERSAL EXHIBITION. We engrave on this page five of many Picture-frames made and contributed by Mr. Charles Rowley, Carver and Gilder of Manchester. They show how admirably Art may bo thus applied, substituting what is excellent for that which is poor and common—making the subordinate artists; these frames are from the designs of Mr. Muckley (head-master of the Manchester School), Mr. Harry Rogers, and Mr. J. Whitehead. has found its most liberal patrons), that in the comparatively minor accessories of Art the best efforts of London frame-makers have been surpassed. and 20. Thus, 43 honours were distributed amongst 441 artists lrom all other countries, who exhibited S47 works. In the productions of the Industrial Arts and in Miscellaneous Manufactures, four ranks or orders of merit were distinguished by the same number of different medals— 11 Gold Grand Medals of Honour,” “Gold Medals of Honour,” “Silver,” and “Bronze Medals.” The exhibitors of Franco 9,790 iu number, and to them were awarded medals of the four classes as follows,—1st Class, 05 ; 2nd Class, 137; 3rd Class, 322; and 4th Class, 2,OSS. In the same classes the following awards were severally made:—Great Britain, 1,568 exhibitors; medals, 17, 32, 282, and 329: Austria, 1,362 exhibitors; medals, 15, 15, 202, and 309: Prussia, 1,133 exhibitors; medals, 5, 3, 130, and 239 : Belgium, 740 exhibitors ; medals, 7, 7, 106, and 147. To four other groups of exhibitors in the same department, the awards were,—Sweden and Norway, 600 exhibitors; medals, 1, 1, 31, and 60: Spain, 550 exhibitors; medals, 0, 1, 27, and 54: Switzerland, 454 exhibitors; medals, 0, 10, 61, and 91: and the United States of America, 140 exhibitors; medals, 2, 3, 13, and 24. The possible fresh conditions which might determine the distin¬ guishing characteristics of a Great Exhibition were not exhausted by the French, when in 1855 they brought together at Paris col¬ lections of the productions of the Fine Arts and the Industrial Arts, and combined them to form a single grand display. All those collections, like the collections in the London Exhibition of 1851, belonged to our own era. They exemplified the status of the Arts and Industries of the time then present, when the collections themselves were formed, examined, and criticised. If there were 47 THE ART-JOURNAL CATALOGUE OF Mr. G. A. Rogers, who has succeeded charming works in Carved Wood ; they are in great which, he has been educated. There is much his venerable father, W. G. Rogers (whose variety, for useful as well as ornamental purposes: those we engrave are chiefly Brackets and Picture-frames They are designed as well as carved by Mr. Rogers, ant works have been famous during the last excellence, with earnest desire to achieve it. show, in all instances, the influence of the good school half century), exhibits a case of very any reminiscences of earlier times in those collections, they sen ed simply to declare that living producers were not so forgetful of their predecessors as to be unwilling to trust implicitly to some < i tiem, j and to imitate and reproduce their works, and then to consider | and to call them their own. What Art and Industry had ever done, > apart or in alliance, in past ages, or whether in those ages Art | and Industry ever had worked together, or their happy fellowship j ever had severed-these and all such like considerations were , left untouched by Great Exhibitions until after the year ISoo. It | was not very probable that what the olden time had to say on its own behalf, and for our sakes also, would much longer remain neglected and unheard. And the olden time was invited to speak, and spoke at Manchester in courtly phrase significantly, unre- L-vedly, and thoroughly to tho purpose in the year 1857, inwhat is happily enough entitled an Art-Treasures Kxhiiiitiok. i Exhibition bearing such a title must take very high ground and sume the loftiest dignity. Possibly, a rigid criticism might ques- m upon some points the exact propriety ot the style and title so Burned, but certainly such an Exhibition could need no explana- m of its aim and general character. It could be composed only works of high Art, noble in themselves, and of the more perfect id precious achievements of Art when working hand in hand ith manufacture. ,, ... , Tho “Art-Treasures Exhibition” of 1857 ably vindicated its ght to bear its own magnificent title. It was, indeed, the mar- illous realisation of a scheme, which could have been projected 48 engrave two of them—a Box, in sandal wood, I from Mysore, delicately and beautifully carved ; I and a small Salver, enamelled, from Delhi. only by as marvellous an enthusiasm. The amazing extent, variety, and completeness of the collections exhibited, and their inestimable preciousness, showed how rich England is in genuine treasures of Art, and how justly she may be proud of the liberality of those who would lend them with generous confidence for public exhibition. Without being exclusively devoted to early works, by far the greater part of this Exhibition was provided from the Art-treasury of the past. A few works, and a few only, of a very high order of Art were admitted from the studios of living artists, or were selected from the bequests of their immediate pre¬ decessors to the artistic wealth of the nation. Everything else— pictures, sculpture, engravings, goldsmiths’ work, gems, jewellery, enamels, metal-work of every kind, ivoiy carvings, all the varied expressions of ceramic Art, glaoS, textile fabrics, armour, mis¬ cellaneous decorative objects,—all had been producedjong ago, all had become recognised as “treasures of Art, all were authorities , rather than specimens. In but one circumstance of moment did this remarkable display fall short of complete success ; it took place at Manchester, whereas it ought to have taken place in London. The right thing—it was in the wrong place. An “Art-Treasures Exhibition” had strangely drifted away from the proper scene for its full triumph, when it established itself in that great centre of modern manufactures without Art Man¬ chester. This misplacing of the “Art-Treasures Exhibition,” which had been ineffectual to check the bringing together such collections as could have surprised none so much as the very THE PARIS UNIVERSAL EXHIBITION. From the Indian Museum, London, a very large supply of rare, interesting, and instructive works has been contributed to the Exhibition, under the direction and arrangement of Dr. Forres Watson. They are of all orders—in 1 i £ a j| be suggestive, and, therefore, practically metal, in wood, and especially in textile fabric— | derived from every part of India ; they cannot j useful to several classes of manufacturers. We -19 in' Papier-Mache. It is an art that has not progressed of late years Mr. John Bettuidgr, of Birmingham, has long hold, and continues to but, we believe, there has not been at any time a production so altogether maintain, the highest position in England as a manufacturer of Works tridge has introduced into several of his works j a judicious use of aluminium. We engrave also a j Card-box and a small Tray, of excellent desij excellent as the Piano we engrav rho devised the scheme, and made the appeal that brought Art-manufactures. But, in the absence of any other practically oved fatal to the production by the exhibition of any 1 beneficial memorials of its having existed, than such as observant n a degree worthy of itself. All, in fact, that was and thoughtful visitors may have constructed independently for -hed in the way of result may be thus briefly summed themselves, the “ Manchester Art-Treasures Exhibition” has left i contents of the Art-treasuries of England were made it permanently on record that, after a while, there must be an the noble-hearted and confiding munificence of their “ Art-Treasures Exhibition,” under masterly administrative direc- s was proved; the surpassing excellencies of early works turn, in London. leir comprehensive range, and their possession of infinitely Indirectly, the Manchester Exhibition has done eminently •wers of precious teaching, were fully revealed; the union valuable service. It attracted attention, with an impressive ,th Manufacture was shown to be a privilege of the one, emphasis before unknown, to the character, the capabilities, and acessity for the other, and its felicitous and mutually the achievements of early Art; and it convinced us that in these ;eous effects were exemplified in thousands of admirable our days, signally distinguished as they are by the splendid THE PARIS UNIVERSAL EXHIBITION. Messrs. J. Defries and Sons, of London, have established renown as manufacturers of Glass Chandeliers, especially such as are of large size, and intend', d for public buildings. Xot only in England, but in various parts of Europe, in Asia, and in America, they have supplied “light” to many huge edifices, where their peculiar facilities and immense resources have been exerted with the most beneficial effects. This column contains some of the ordinary productions of their trade, but the principal object on the page is a Candelabrum, IS feet high, for forty-eight lights, made for the Exhibition: it is named “ the Crystal jewelled Cande- but for the amazing labour it has received, with the best results. labrum.” Our space will not permit description. It is a pro¬ duction that may be. lauded not only for its magnitude, triumphs of Science, and also by a commensurate advance in general knowledge, our manufactures must continue to be dis¬ tinguished by a lamentable and disgraceful inferiority, until, in the highest sense of that term, we shall have taught them to become Art-manufactures. Again : the example so honourably set by the contributors to the Exhibition at Manchester, has induced the possessors of Art-treasures of all kinds to open their cabinets for the purpose of forming small loan exhibitions— collections, that is, of rare and precious works, lent for public exhibition, and consequently made available as instructors of tho highest authority and influence for the general good. It is im¬ possible to form too high an estimate of the importance and excel¬ lence of these “ Loan Exhibitions,” which now are periodically held at the South Kensington Museum, under the direction of the officers of that most valuable National Institution. The possessors of “ Art-treasures,” having thus learned to regard themselves as treasurers for the benefit of the highest industries of their own times, have invested oven tho most precious gems of early Art with a fresh value and a new interest. And, on tho other hand, the treasure-cabinets of the wealthy, instead of being regarded with envious regret, as barriers hopeless to be passed by students and workers, have become storehouses, no less generous than secure, for preserving the heir-looms of Art, that they may give instruction to those who would learn from them. Archceology, under the practical influence of the “Art-Treasures Exhibition,” has vindicated more fully than before its claim for universal popularity. Always tho most faithful handmaid of History, Archceology now is tho most efficient ally of living Art. 51 THE ART-JOURNAL CATALOGUE OF sox, of Berlin, and Jacoby, cf Lon- Messrs. Louis and Siegfried Loven- with materials for this page. Their productions are infinitely varied, for use and ornament, or both combined; the works of skilful artists in all eases, and often admirable examples of truth and beauty in numbers ; they are consequently not :ks in Carved Wood, supply us grace and elegance they introduce into the more ordinary furniture of domestic life. These are generally of oak, firmly made, so as to stand “wear and tear.” The firm produces such works in enormous Now that the early Arts have been discovered to be the most accomplished and able of guides for the producers of the Art- manufactures of to-day, the systematic search for the relics of every early Art, the careful preservation and the publication of equally careful descriptions and illustrations of them, can no longer be attributed to an eccentric admiration for what is both curious and old, or even to a more intellectual interest in what is illustrative of the past. We now know that works of early Art possess the greatest present value and utility, and consequently we have ceased to regard them simply as “ objects of antiquarian curiosity.” We entitle, and esteem them to be, “Art-treasures, not because they were produced long ago, but rather because of the example they set forth, and the lessons they convey. No attempt was made by the authorities, who alone in any degree could have succeeded had they attempted, to produce a complete descriptive catalogue of the Manchester Exhibition: and it is obvious that the production of even a partially illustrated catalogue (and more particularlj’' by those who were not autho¬ rities) was absolutely impossible. Without illustrations, and therefore not in accordance with its customary practice, the Art- Journal gave a faithful general description of the “ Art-Treasures Exhibition,” pointed out its intrinsic excellencies and its defective administration, and demonstrated the infinite importance of what it would serve rather indirectly to accomplish than directly to achieve. Without now attempting to discuss the circumstances which deprived the Manchester “Art-Treasures Exhibition” ot ita only really appropriate memorial—a complete and masterly catalogue, accompanied with at least a well-selected series of choice illustrations, it is impossible here to pass over without notice the extraordinary value that such a catalogue would have possessed had it been produced as it ought to have been. A cata¬ logue such as this, treating of such works and such collections as were brought together at Manchester, would have been a “ hand¬ book of suggestive authorities ” of the highest rank ; it would have recorded both the true character of vast numbers of early examples of Art-manufacture, and also where they are preserved j and more than this, it might have passed from direct description to critical comparison, and have grouped together works of the same class, which would leave Manchester to return some to one col¬ lector’s cabinet and others to very different Art-treasuries. Most unhappily, when the Exhibition was formed, and the work might have been produced, without any serious difficulty and with a certainty of success, the local authorities proved altogether unequal to the duties that grew out of their official position; they were blind to the real importance of their own success; and, accordingly, the idea never occurred to them, that upon them devolved the noble task of applying their magnificent Exhibition to the great and beneficent purposes that it was pre-eminently ■ I I Sa£* 2ShEz&n?Z£& “* THE ART-JOURNAL CATALOGUE OF Shawl, of groat beauty and delicacy of finish. The pattern—designed by an artist o: Not¬ tingham, under Mrs. Treadivin's superintendence I wreaths or entwining the scroll, which extends from coiner to comer. It is a work of obvious -is formed of roses and convolvoli in pendant labour, but one that has yielded the best results. qualified to accomplish. It is scarcely necessary to add that the Manchester authorities wero not tho people to accept suggestions that mmht havo led them to make good their shortcomings, or sanction” the desire of others to undertake and accomplish what they neglected and ignored. And so this splendid opportunity P X i Slr?iue t of the grand experiment of 1851, while it confirmed tho soundness of tho “international principle m great 1 Exhibitions, naturally led to the .formation ofa plan for the systematic establishment of similar displays,to r ™ P™ callv after certain intervals. Ten years were held to constitute an 'interval of sufficient length both to enable each successive Exhibition to mark a distinct era m manufacturmg progress, and also to prevent any one Exhibition from absorb g portion of the time, and thought, and labour of manufacturers ; and, on the other hand, it was considered that would not be so far prolonged as to.isolate each Exhibition flora its predecessor and successor or to interrupt ^stoinedcon- tinuity of whatever beneficial influences these Exhibitions might be able to exercise. . , . , A continental war, sharp, but of short duration, after_the manner of I860, rendered it necessary to fix the second great International Exhibition of London for 1802 instead of 1801 and between those two years, as unexpected as it was sad, here came a national bereavement which inflicted a severe shock upon I the preparations for this second Exhibition, and proved signally disastrous to the enterprise itself. The value of the -Prince Consort to the first Exhibition of 1851 was indeed most forcibly THE PARIS UNIVERSAL EXHIBITION. Works in Bronze. In the present number I Clock-case, and a Jardiniere. we engrave three of them: a Candelabrum, a These will I suffice as examples of the admirable character | of their issues. MM. Raingo are conspicuous for the gildin; by which they give brilliancy to the articles they produce. They have had the highest “Honours” in all Exhibitions. demonstrated by the gravity of the loss occasioned by his absence in 1802. Painful was the contrast between the administration of the Exhibition of 1851, under the presidency of the Prince, and that of 1802, after he had been called away. Nor was this contrast apparent in a less painful degree in the result of the Exhibition, as it was expressed by its financial success; for, while in 1S51 an entirely novel enterprise left a clear gain, that of 1862, with all the advantages of precedent and experience, but without the Prince Consort, left no balance whatsoever. As early as May, 1S00, a charter of incorporation was issued by the Crown to Royal Commissioners, under the presidency of the Prince Consort, defining their duties, and investing them with full powers. A guarantee fund amounting to no less a sum than £‘451,000, was readily formed; and thus the popularity of the project promptly received the most substantial confirmation by anticipation. The general preparations were conducted in a manner no less encouraging and satisfactory ; and the assurances of support and co-operation, both abroad and at home, were unanimous and cordial. The interruption caused by the war in Italy did not extend beyond a single year; and with the return 55 THE ART-JOURNAL CATALOGUE OF productions are among the most valued acquisi¬ tions of the connoisseur in Ceramic Art. So wil! F.S.A., the Works have issued many examples not only of grace and beauty, but with evidence of The Royal Porcelain Manufactory at Worcester has been renowned for more careful study and matured knowledge. The Works at Worcester are not large contributors; but the be its later produce, when Time has made it rare. Under the direction of Mr. R. W. Binns, but a limited extent. Its few productions have attracted, and deserved, universal admiration. five examples we engrave in this page will show that Worcester is worthily represented, although to than a century, and some of its earlier architectural profession. Instead of either of these courses of action, it pleased the Commissioners, to instruct an officer of the Royal Engineers, Captain Eowke, to erect the required building from a plan and design prepared by him—subject, however, to certain modifications and alterations suggested and ordered to bo carried into effect by the Commissioners themselves. How far what was Captain Fowke’s real intention in his own plan and design became distorted under the control of the Commissioners probably never will be made publicly known ; but thus much is certain—that the building actually erected was generally con¬ demned, and that, ultimately, a vote of Parliament peremptorily of peace, with the sole exception of the early death of the lamented Prince Consort, all went on with the fairest promise. As before, the grand difficulty to be encountered and overcome by the Com¬ missioners was the Exhibition building; and now this problem involved a fresh element of difficulty, in the requirement of a principal portion of the edifice to be specially adapted for the safe keeping and the effective exhibition of a series of grand collections of pictures and drawings of the highest order of Art, and of the greatest value. The creator of the building of 1851 was still living; but no application was made to Sir Joseph Paxton for his services. Nor was any appeal addressed to the members of the THE PARIS UNIVERSAL EXHIBITION. Messrs. Grace, of London, have obtained the highest honours in all Exhibitions; their contributions to that of Paris amply sustain their fame. The Cabinet we engrave is classic rendering of the Cinque-cento Italian. In the upper portion the pilasters are of ivory, inlaid with dark woods, the caps and bases being of or-molu. The door panels are of satinwood, inlaid with coloured woods. Between the an example of the elegance to be obtained by the use of various coloured woods, both in construction and as marquetrie. The style of ornamentation adopted is a rather panel and frame arc margins of ebony inlaid with ivory; the frame being of purple wood, and all the mouldings of or-molu. We engrave also the carved Panel of another Cabinet—a work of great beauty and in the purest taste. ordered its demolition. It is no less certain also, that Captain Fowke (who, like the Prince Consort, has been called away in the prime of life), a gentleman of no ordinary ability, subsequently produced designs for various public buildings in connection with the Government Department of Science and Art, which designs are powerfully suggestive of a suspicion that whatever was com¬ paratively good in the Exhibition building of 1862 ought to be assigned to Captain Fowke, the “modifications and alterations” of his plans haying the credit, such as it is, of much, if not of all, that was positively bad. Without attempting, or even desiring to carry out suggestions and suspicions such as these, we are content to record, first, that unhappily the Exhibition building was erected; and, secondly, that happily it was demolished. So far as the requirements of the Exhibition were concerned, this building provided sufficiently well for them, its great demerits consisting in its own architectural unworthiness, and in the enormous cost of its erection. In two grand conditions the Exhibition of 1862 differed from its predecessor of 1851. In the first place, it contained picture- galleries, in which the pictorial and the plastic arts appeared in happy alliance. Pictures, the works of foreign artists, lately had become gradually better known to those who yearly were enabled to visit the London galleries specially devoted to the reception and exhibition of them; still, to vast numbers of the visitors of the Great Exhibition of 1862 foreign collections of pictures, the works of living artists, were altogether novelties; and also, in those same collections several schools of Art for the first time were represented in any English exhibition. Thus was the 57 manufacture of Silk Figured Terries compete with the leading producers of the eye. The designs of Messrs. IJ^are them issues These Terries are of silk and worsted, and their use is for curtams ^ pure in taste, harmonious in composition, and artistically true. England. “International” principle carried out in a fresh direction; and the great community of artists thus was enabled to form new friendships, to observe Art under novel aspects, and to study under teachers before unknown. Again: as the Exhibition of 1S51 was a grand demonstration of what the exhibitors had to learn, so in 1862 was shown what application had been made of the lessons learned eleven years before, and what advance had been achioved under the practical influence of this good guidance. A comment of a practical character had, indeed, been set forth upon these very points at Paris in 1855; but P then was pre¬ mature ; it then was required too soon, before sufficient time had been given for the learners to grasp even the whole range of the lessons that they were studying, and consequently before it was possible for them to accomplish more than what might be avail¬ able for future encouragement. In 1862 the time had come foi definite results of some kind or other, to be expressed with some degree or other of emphasis. And the Exhibition.of 1862 told its own tale, no less clearly than its predecessor of 1851 had done. On every side were evidences of progress in design, coupled with equally decided evidences that this progress was not yet very far advanced, because it was not yet based upon a thorough knowledge of Art. An approach towards a just appreciation of the high qualities of Art might readily be discerned; and here and there were significant signs that clear ideas as to style in THE PAHIS UNIVERSAL EXHIBITION. tions: the two Figures —bearing gas-burners these works are from models by accom¬ plished artists. MM. Miroy occupy two and one for those by which it is successfully imitated. design were beginning to gain ground. It was specially remark- I able that the worthiness of early Art was beginning to be felt and understood ; and that the infinite superiority of the earlier in pre- ! ference to the later styles of decorative Art was fairly acknowledged, i Thus a grand advance was made—or rather, thus a most impor- ! tant first step was made towards a truly grand advance. As was ! inevitable in the case of students who had everything to learn, the highest aim in dealing with early Art in 1862 was to attain to a faultless copying of fine and authoritative early examples, and this was accomplished again and again with signal success, since here, as before, there was the ever-present exemplification of a manual skill, competent to produce anything and everything. The faculty of comparison afforded by the Exhibition of 1862 was singularly interesting and of extraordinary value. There j was progress in all its varied forms, developed from every variety of aim and motive, and worked out under conditions and with agencies no less various. The diverse ways in which the thinkers and workers of different countries had simultaneously set them¬ selves to accomplish the very same thing—improvement in their productions, were eminently curious, and always abounding both in direct instruction and in indirect suggestiveness. In this com¬ parison English works generally stood in an honourable position. As would be expected, both in English works and in those of other countries, there were constantly apparent those attempts to travel by a royal road to excellence, which always indicate a desire to rest content with only a partial and superficial knowledge. All these things combined to indicate a state of transition in Indus¬ trial Art—a satisfactory transition, however, since it was leading -are in the latter, the tripod Lamp-stand in the former. It will be obvious that stalls in the Exhibition—one for works in the true metal, MM. Miroy, FrUres, of Paris, exhibit excel¬ lent works in Bronze, and in Bronze Imita- THE ART-JOURNAL CATALOGUE OF mounted by a gablet with a carved subject, in bas-relief, and mottoes from “ Pericles the arched panels below the canopy are filled with solid inlays, representing fish, fruit, game, &e. by gilding, the centre of the canopy being sur- ©I ©1 ©I©!© ■irininirntiii.l of I that it fully sustains the renown of an establish re, mcnt that has long been, everywhere, famous. the noble works were few in number, and exceptional in r, a sentimental style verging on th~ ——cnal, z nied with an excessive refinement of treatment, being too a nTTMii t i ri . f „ __ the sensational, and accompanied with an excessive refinement of treatment, being too prevalent to be consistent with a really healthy condition ot the sculptor’s art. . . . Concurrent with the decided general improvement m Ait- manufactures, so honourably characteristic of this Great -kxhibi- tion, there was evident an increasing tendency to introduce the bazaar element on a comprehensive scale. Vast quantities of objects were sent, and (what was much less pardonable) were accepted and permitted to take a part in the display, which had no claim what¬ ever to be exhibited, however well qualified they might be to be sold. A retrograde movement of this order may be promptly detected, and it is imperative that it should be checked at once, Strong in painting, in sculpture the Exhibition of 1S62 was weak, and in architecture (as exemplified m architectural draw¬ ings) weaker still. The history of the Exhibition building was probably more than sufficient to deter many architects, and par¬ ticularly those of the highest power, from exhibiting within its walls; but, whether this were so or not, the condition of the Ait of Architecture, as it then existed, if dependent upon the testimony of the 1862 Exhibition, would have appeared low indeed, had it not been for one splendid exception to the prevailing rule—the new choir-screen for Hereford Cathedral. In sculptuie, in like msiimmi 9 Pill 1 |-i: THE PARIS UNIVERSAL EXHIBITION. Market-place, both being munificent gifts of the Earl of Dudley to the town; they are the work of Mr. James Forsyth, the eminent sculptor of London In constructing the Fountain he has been assisted by the tfv sculptor Monti, and in the Font by the architect Bloke. It is impossible hero XatfV-. to describe them. They are works of the former to be placed in the Church of very highest order, designed with great ability and executed with consummate skill. We may congra- ot. lnomas, Dudley, the latter in the tulate the town of Dudley, and join the general public in thanking the noble Earl for his generous gifts. and with decided resolution. T3'pical examples of such works as will command a ready and an advantageous sale, differ altogether from numerous collections of objects that are repetitions of one another, and that are distinguished by nothing in particular beyond being all of them comparatively good of their kind. Every work that is admitted into a Great Exhibition, as its quali¬ fication for admission, ought to possess some distinct quality of excellence. Of course it is not intended, as it would be very far from desirable, that single specimens, and single specimens only, of every variety of the productions of the Industrial Arts should be sent to a great Exhibition; but, the contrary extreme is that which it is most important to prevent—the multiplying specimens to an extravagant excess, palpably and necessarily with no other object than a lucrative commercial speculation. Of objects of absolute mediocrity in their own department of use or ornamenta¬ tion, or which are common as articles of commerce, it would be superfluous to adduce any argument to disqualify them alto¬ gether—the bazaar is the place for them, certainly not a Great Exhibition. For the sake of comparison on such points with the earlier Exhibitions, and also in order to facilitate a similar comparison with the Paris Universal Exposition of this present year, we now proceed to give, in as concise a form as possible, some of the most characteristic statistics of the London Great Exhibition of 1862. On Thursday, May the 1st, the Exhibition was formally opened with a state ceremonial, in which the Duke of Cambridge bore the principal part; but, from various causes, the work of prepa¬ ration and arrangement was not complete earlier than the com- 61 mencemont of June. The admissions were by season tickets at five and three guineas (the former including admission mto the adjoining Horticultural Gardens), or by payment at the entrance after May, of Is. on four days in each week, 2s. 6 d. on one other day and y 5s. on the sixth day. During the bustle and confusion of the month of May, visitors not possessed of season tacken enjoyed the privilege of paying for admission only to two higher rates that have just been specified, with the payment of £1 on either the 2nd or the 3rd days of that month. The total number of visitors of all classes, including the e , , , officials of all ranks, who entered the Exhibition from first to last appears from the official returns to have been 6,211,103 , the average number of visitors present each day was 6b,6Zb , ana me greatest number present on any one day—it was on Thursday, October 30th—was 67,891. The Exhibition was finally closed on the 15th of November, without any impressive public recognition of the fact; but a second ceremonial had previously taken place, on the occasion of the formal declaration of the prizes, on hriclay, July the 11th. For many reasons it was well to dispense witn ah display that might be avoided without injurious eflects, espe¬ cially because of the painful associations inseparable from any and all great Exhibition pageantry in London in the year lob-. The admissions by payment at the door produced the sum £328,858; to this is to be added for season tickets, ot wmcn 27,800 in all were sold, £79,602 ; and from varioiis other sources, £51,171: thus making the entire sum received by the Koyai Art-industry, is Herr D. Hollenbach of Vienna, THE ART-JOURNAL CATALOGUE OF Among the most eminent of the manufacturers of whose numerous contributions are very varied, and all of the highest excel- designs being furnished by some of the best artists of the Empire—but in gilding they are unsurpassed, Austria who have successfully combined Art with if indeed they are reached, by any other produc¬ tions exhibited. We shall engrave several of valuable contributions in Candela¬ bra, Chandeliers, and Lamp Stands. ence, conspicuous not only for accuracy )f finish and excellence of design—the THE PARIS UNIVERSAL EXHIBITION. Heir Lobmeyr, of Vienna, a famous and ex¬ tensive manufacturer of Glass, exhibits ob- are specially named the Professors Hansen, Hieseii, and Schmidt, and the architects Stokck and Rincklake. This resort to the best authorities as aids to the manufacturer has enabled him to attain the excellence that marks all his lh works. Many of them are admirably jects of all classes and orders, from the ordinary drinking-cup to tho elaborate candelabrum. They are, for the most part, of very beautiful designs—the designs being supplied, indeed, by eminent artists of Austria, among whom engraved; in some instances the glass is mixed with bronze (as in each of the cases wo engrave). It is also worthy of special record that his works are produced at singularly small cost. Commissioners to amount to £459,631. The expenses of the Exhibition, from first to last, and of every kind, absorbed pre¬ cisely that very sum, leaving the Eoyal Commissioners in the full possession of the accomplished fact of their Great Exhibition, and without any debt whatever, or any, even the smallest, surplus funds. The ground covered by the main building was about 16 acres in extent; it measured from east to west 1,200 feet, and 560 from north to south. A further area of about 7 acres was covered by the two “ annexesthus the total area roofed over amounted to 988,000 square feet. In 1851, as has been shown, the Exhibi¬ tion building covered 799,000 square feet; and, in 1855, at Paris, the space roofed over was 953,000 square feet. Again, in London, in 1862, an additional uncovered space, adjoining the building, of 35,000 square feet, was used for the purposes of the Exhibition ; but at Paris more favourable local circumstances enabled the authorities, in 1855, to occupy the large uncovered space of 547,000 square feet, equal to moro than half of the whole area of their roofed-in edifice. It appears, consequently, that the total areas, under the cover of roofs and uncovered in the open air, occupied by the two Great Exhibitions of Paris in 1855, and of London in 1862, amounted respectively to one million and a half and to one million and twenty-three thousand square feet. The total area of the Exhibition building of 1862, including all its gallery space, was 1,291,827 square feet; and of this 1,144,827 square feet were available for the purposes of the Exhibition. The Exhibition itself was divided into two grand primary departments, which again were subdivided into various sections; M. Viot, contributes admirably, though not extensively, to the Art fountains &c.: and are rather issues of the atelier of the sculptor than the workshop of the manufacturer, conferring high honour on each. first, the Fine Art Department; and, secondly, the Industrial Department. I The Fine Art Department included these lour sections 1. Architecture: 2. Painting in Oil and Water-colours, and Draw¬ ings ; with a sub-section assigned to Art Designs for Manufactures. 3. Sculpture, Models, Die-sinking, and Intaglios: and, 4. etch¬ ings and Engravings. The main galleries set apart, for the display of works in these four sections, afforded altogether 2,428 linear feet of wall space, in halls 60 feet wide, 43 feet high and lighted from above ; and auxiliary galleries, 25 feet wide, and in height 17 ieet, also lighted from above, added no less than 2,356 linear nearly doubling the whole of the main wall space. Of the whole of this space one-half was assigned to Foreign Countries, the otner half being reserved for our own country and her dependencies- The total number of the works exhibited was 6,529, by which 2,305 artists were represented. The works of the United Kingdom and the Colonies were 3,651, representing 990 artists: of these 633 works by 197 artists were in section 1 : 1.8/4 works by o4o artists, in section 2; 321 works by 06 artists, in section 3; and 823 works by 1.12 artists, in section 4. The foreign works m all were 2,876, by 1,315 artists: 350 works by 107 artists in section 1; in section 2 were 1,496 works by 777 artists; 580 works by 2ob artists in section 3 : and 452 -works by 175 aTtists in section 4. France exhibited 500 works, including 284 pictures, representing 255 artists. Italy, 441 works, including 123 pictures, by 201 artists. Austria, 157 works(120 pictures) by91 artists; Germany, THE ART-JOURNAL CATALOGUE OF The SociEte des Makbkes Onyx d’Algerie, under the direction of with the peculiar and very beautiful marble of Algeria. Its “ exhibits " are .... ^ , .1 _ C — i. iiYviYiVia nf nrticifif* rrpnilis JITKl of the very highest order—perfect skill. They are of vases and figures, triumphs of artistic genius and applied as candelabra, clocks, THE PARIS UNIVERSAL EXHIBITION. On this column we engrave a very beautiful work—a Monstrance, . after the design of Professor Frederic atA Schmidt, Cathedral Architect. It is in jjK silver-gilt, by An¬ ton Baser, artist in silver and bronze, of Vienna. it is a production of the very highest order of Art-manufacture. The establishment of Herr Tinpe is the largest of the kind in Saxony, and supplies many of the mansions of Europe. Herr Turfe, of Dresden, exhibits, among other works of merit, a Cabinet of great beauty, exquisitely carved. It is of ebony, but the bas-reliefs are in pear-tree wood. The sculptured portions are the work of a true artist, and as a whole 4S4 works (193 pictures) by 300 artists; Belgium, 182 works (MS pictures) by 92 artists; Holland, 142 works (12S pictures) by 70 artists; Borne, 291 works (sculpture 181) by 106 artists; Bussia, 1S4 works (79 pictures) by 72 artists; Spain, 66 works (50 pictures) by 41 artists; Denmark, 113 works (85 pictures) by 63 artists; Norway and Sweden, 109 works (97 pictures) by 45 artists; Switzerland, 123 works (109 pictures) by 55 artists; the United States, 27 works (20 pictures) by 12 artists; Turkey, 5 pictures by a single artist; and Brazil, 10 works, 6 of them pictures, by 9 artists. Diving artists were invited to name for exhibition only such of their works as had already been exhibited. In the case of the artists of the United Kingdom, of Italy, Austria, Denmark, and Bussia, and to some extent also of Spain, the Exhibition included the works of artists who were living on, or subsequent to, May 1st, 1762. In other schools, only the works of living or of lately deceased artists were admitted. In France, the limitation was drawn within very narrow limits : in regard to living artists, to works executed since 1850 ; and in regard to deceased masters, to artists born since 1790, and to pictures painted since 1840. It was decided that in tho Fine Art Department no prizes what¬ ever should be awarded. II. The Industrial Department was first divided into the three great sections of Raw Materials, Machinery, and Manufactures, and, secondly, into 36 classes, as follows :—Raw Materials —1. Mining, Quarrying, Metallurgy, and Mineral Products. 2. Chemical and Medical Substances, Products, and Processes. 3. Substances and Preparations used for Food. And, 4. Animal and 65 capital of the metal district. We add one of the suspending pillars. Those who call to mind the collection . ,. perfection of finish exhibited by this eminent firm in 1862, will readily believe that these contributions manifest exceeding and invaluable peilection ol fimsn. Vegetable Substances used in Manufactures. Machinery—5. Kailway Plant and Appliances. 6. Carriages not connected with Kail or Tramways. 7. Manufacturing Machinery, Tools, and Appliances. 8. General Machinery. 9. Agricultural and Horti¬ cultural Machines and Implements. 10. Civil Engineering, Architectural and Building Contrivances and Appliances. 11. Military Engineering and Equipments, Ordnance and Arms. 12. Naval Architecture and Marine Appliances. 13. Philosophical Instruments, and Processes depending upon their use. 14. Photo¬ graphic Apparatus and Photography. 15. Horological Instru¬ ments. 1G. Musical Instruments. And, 17. Surgical Instru¬ ments and Appliances. Manufactures —18. Cotton and its Products. 19. Flax and Hemp. 20. Silk and Velvet. 21. Woollen, Worsted, and all Mixed Fabrics. 22. Carpets. 23. Various Fabrics shown as specimens of Printing or Dyeing. 24 . Tapestry, Lace, and Embroidery. 25. Skins, Furs, Feathers, and Han\ 26. Leather, including Harness. 27. Articles of Clothing of every variety, to form 4 sub-classes. 28. Paper, Stationery, Printing, and Book¬ binding. 29. Educational Works, Appliances, Specimens, and Apparatus, in 4 sub-classes. 30. Furniture, Upholstery, Paper Hangings, and Papier-Mache. 31. Manufactures m Iron, Tm, Lead, Zinc, and Pewter, and General Braziery. 32. Steel Manufactures, Cutlery, and Edge Tools. 33. Works in the Precious Metals and their imitations, and Jewellery. 34. Glass. 35. Pottery. An , 36. Dressing Cases, Despatch Boxes, and Travelling Cases, in these 36 classes there were—from Foreign Countries, 18 ,Obi exhibitors; from the United Kingdom, 5,415; and from the British Colonies and Dependencies, 3,072; making a grand total THE ART-JOURNAL CATALOGUE OF we give two admirable examples; they are of considerable merit, and confer honour on the great of works in Brass and Or-molu, more especially Bedsteads and Chandeliers, contribute several of 26,548 exhibitors in the Industrial Department. The prizes awarded in this Department by the juries, which included 641 persons of eminence, were of two orders or degrees only—Medals (designed and executed by Mr. Leonard Wyon, of London) and Honourable Mentions. The awards consisted of 6,335 Medals and 5,072 Honourable Mentions. Of tho former, 4,417, and of the latter, 3,297, wei'e awarded to Foreign Exhibitors; consequently, to the Exhibitors of the United Kingdom and its Dependencies there were awarded 1,918 Medals, and 1,775 Honourable Mentions. The Awards to the Foreign Exhibitors may be classified as follows:—the French Empiro—Exhibitors, 4,030, Medals, 1,629, j Honourable Mentions, 1,049; Austria—Ex., 1,413, M., 504,1 H. M., 377 ; German, Minor Kingdoms and States—Ex., 1,158, j M., 388, H. M., 293; Prussia—Ex., 1,189, M., 330, H. M., 233; ! Italy—Ex., 2,099, M., 322, H. M., 317 ; Belgium—Ex., 799, M., 251, H. M., 194; Russia—Ex., 724, M. 176, H. M., Sweden and Norway—Ex., 727, M., 153, H. M., 153; Spain Ex., 1,643, M., 133, H. M., 149; Switzerland—Ex., 3/4, M., 119, H. M., 94; Holland—Ex., 348, M., 69, H. M., 79; Denmark— Ex., 285, M., 59, H. M., 50; Greece—Ex., 296, M., 57, H. M., 47 ; Rome—Ex., 76, M., 19, H. M., 6 ; Turkey and Egypt—Ex <87, M., 86 , H. M., 43; United States of America—Ex., 128, M., 08 , H. M. 31; Brazil—Ex., 230, M., 46, H. M., 38; South American States, Ex., 110, M., 18, H. M., 12; Miscellaneous—Ex., 6 o, 1 The ’'illustrated Catalogue of the Great Exhibition of 1862 in London, published with the Art-Journal, will be found to have been produced upon the same general plan as our present companion THE PARIS UNIVERSAL EXHIBITION. From the collection of Glass exhibited by merit in form, cutting, and engraving, and of unsurpassed value for clearness, and purity, and brilliancy of metal. Our page conveys some idea of the varied charac¬ ter of the “ display,’ ’ showing the graceful contour of some and the charming designs Messrs. Phillips and Pearce we select engraved on others. To Mr. Pearce England is indebted for much of the supremacy she maintains in this department of Art-manufacture, in which we, admittedly, surpass all other countries. It was several examples ; they are pre-eminent for he who chiefly introduced the many and great improvements to which table-glass more ^P^ially has been of late years subjected; and it is gratifying to find him in 1867 keeping the place he held in 67 s i'V : v y//:-;: THE ART-JOURNAL CATALOGUE OF We engrave two graceful examples of Boudoir Mirrors, selected from works contributed by MM. Lionnet, Freres, of Paris. They The beautiful Cabinet and Clock, in Buhl, are engraved from the contri¬ butions of MM. Pecquereau and Son, eminent producers of are of iron silvered —“ galvano-plastique ”—and though cheap, volume for this year’s Paris Exposition. Photography in 1862 lent its powerful aid, as it lends it now in 1867 ; and our Engrav¬ ings, accordingly, in both these volumes for fidelity of representa¬ tion and in their artistic character may take rank together. In addition to the various essays which, with brief descriptive notices of the works illustrated in our pages, accompanied our engravings, the Art-Journal contained a scries of articles, both critical and descriptive, devoted to the Exhibition of 1862 and its more important contents; and to them we now refer, as being introductory to the corresponding articles that will appear in due succession in the Art-Journal for some time to come. In treating of the present Paris Exposition, we have decided by no means to restrict our attention to those exhibited works that we illustrate; but, on the contrary, it is our purpose to describe and to criticise with the same caro and the same interest where engraved illustration is neither possible nor desirable. The Universal Exposition wo deal with as a grand whole. We have resolved it into its component elements; and, as our work proceeds, we shall be found to have analysed and investigated and reported wheresoever Art has, or ought to have, anything to do. And we are well assured that the sympathies of our readers are with us, when we declare that we have looked to this Exposition with a confident expectation of finding Art at work in it with an energy unprecedented in modern times, and having its field of action expanded far away beyond all recent conventional boundaries, so as to have approached to its old universal compre- have much of the value that Art so often bestows on costlier metals. Furniture, who take high rank among the most eminent manufacturers of Paris. THE PARIS UNIVERSAL EXHIBITION. This very beautiful Cabinet is the -work of principal manufacturer of the Grand Duchy of wood’’—the body of German, the ornaments of Men- Gustav Stovesandt, of Carlsruhe, the 1 Baden, a large exporter of first-class works to Italian, and the carved bas-reliefs of American. England, America, Spain, Russia, and India, and other countries; his fame being indeed established in all parts of the world. The cabinet is composed of threo different kinds of “nut It is a production of the best order of Art, and confers the highest credit on the manufacturer. hensiyeness. In tins Exposition, also, we have both hoped ar expected to witness the ratification and the final acceptance SI™?, ex ? ellc v perty of closo aI liance between Art ar Manufacture, by which alone both can be raised to their liighe dignity, and which at the same time cannot fail to empower flier P TT T V ^ i0n ' t0 lengthen and to draw more close! together the bands of international amity throughout the world. These are, indeed, high hopes, and expectations of no commc magnitude; but they are such as it is impossible not to entertaii e\en while conscious that a certain degree of disappointment mu be encountered before they may be fully realised. Nothin- easier and nothing, also, is more delusive, than to look at°tl close of a single year for results which ought to require the lap! of several years in order to produce their accomplishment. Thu truly marvellous as has been the rapidity with which Art, in our own times, has extended and strengthened its beneficent influences in connection with Manufactures, still a certain space of time must bo occupied in carrying on this great work, and that neces¬ sary time must be conceded before the complete triumph of Art can be achieved—that is, before all manufactures can become Art- Manufactures, as a necessary quality and condition of their existence. Since the year 1851 taught to the artists and producers of the world its great lessons, sixteen years only have passed away. And when we now call that fact to our remembrance, we are constrained to admit that sixteen years ago we could not have anticipated for the year 1867 such an Exhibition as exists at this moment at Paris. When we pass over the boundary, also, that lies between what we look forward to seeing and what we 69 THE ART-JOURNAL CATALOGUE OF ^. E e ~' SSSStaSSSSS KI "n toilet of ttl actually see, and when we stand face to face with the msible and tangible demonstration of the veritable present status of Art and Manufacture, we are bound to keep m view the all-important circumstance, that during the interval that has elapsed since the first International Exhibition in 1851, itself both positively and comparatively brief, the progressive development of the peaceful Arts has been very far from encountering no serious obstacle. On the contrary, this whole period has been an era of world-wide agitation. If, in the matter of Art, the minds of men have been thoroughly aroused from a strange and a long-protracted toipor, they have by no means been permitted to concentrate upon Art their awakened energies. All along, _ the Arts of Peace aye been compelled to struggle onwards, in the midst of pai u y uncongenial sights and sounds. They haye been required to encounter fierce hostility, as well as privileged to sympathy. They have felt influences powerful both to encourage and to depress, both to render valuable aid and to stimulate formidable resistance. These are things that demand^the fuUest and the most impartial consideration, when any estimate is to formed, on the one hand, of the true character of tins war s Universal Exposition, and, on the other hand on the distrnguidnng characteristics of its teaching. Most certainly we s ’j“ Un0 ”? rB f that, since 1851, the world has had on its 1hands .otter affaim of moment, besides preparing the various Great Exhibitions that since that year have been held, and then applying them ®L . course of preparation for the latest and greatest o _ . Exhibitions, now open to visitors from all nations in the capita France. minent among the many admirable contribu¬ tions that sustain the Art-fame of Austria. We engrave some of them ; the principal is The real question, accordingly, to bo considered and answered has reference, not to the actual advance made by the present Exhibition beyond any and all of its predecessors, whether in Erance or in England, but to the degree of advancement which it has accomplished under the conditions that have been imposed upon it by external circumstances. The final answer to this question cannot be made with justice until the Exposition itself shall have run its course, and become a matter of history. Mean¬ while, with very much before us that tells its own tale, there yet 'remain both means and opportunities for completing many things that now are imperfect, for supplying casual deficiencies, for confirming representations that have been made without sufficient emphasis, and more particularly for correcting palpable shortcomings and errors of administration. One great and most honourable fact in connection with the Universal Exposition claims both immediate and admiring recog¬ nition—the fact, that is, of its own existence. Nothing has been permitted to affect the faithful and punctual realisation of the original project, as it was announced at the first to the world by the Emperor. The course of events may have threatened to bring the success of the enterprise into the greatest peril, through depriving it of many of its most important elements; but still, with admirable constancy and firmness, the preparations were carried forward, the building and its accessories in due time were erected, and on the appointed day the Emperor and Empress opened the Exposition. It was resolved that the best that could be done in France should be done; and elsewhere all other nations were invited to do their best also, as they might be able or willing, so that in 1867 Paris might make good the promise of a Universal Exposition that had been proclaimed in 1863. It was on the 22nd of June, 1863, that an Imperial Decree was promulgated to the following effectThat an Exposition should be held at Paris in the year 1867 ; that in its range and character this Exposition should be more completely “ Universal” than any of its predecessors; and with that view, that it should comprehend, as far as possible, typical examples of the works of Art, and of the industrial productions, of all countries; in fact, that m it should be represented the expressions of every branch of human activity; and, finally, that public notice of this intended Exposi¬ tion should be given, accompanied with suitable invitations to the artists, the manufacturers, and the workers of All Nations, to take a part in carrying the project into effect. And, it was expressly stated, that notice of the proposed Exposition was given so long in advance of the time fixed for it to take place, in order to afford ample space for mature consideration and reflection, and for arranging and carrying out the necessary preparations. A second decree followed in February, 1865, confirming the provisions of the previous decree, setting forth such details and explaining such particulars as might be necessary at that stage of the enterprise, and defining the leading features of the proposed coru’so of action. An Imperial Commission then was appointed ; a Guarantee Fund was provided; Commissions and Committees were formed both at home and abroad; and a comprehensive system of co-operation was duly organised and brought into action. The Imperial Commission, as it was originally constituted, without including its President, or those Ministers of State who THE ART-JOURNAL CATALOGUE OF Messrs. Watherston and Son, of London, ideas only of their forms ; we can give no notion of the comparatively small cost to that of great value 3 —all displaying taste, judgment, and good brilliancy of the jewels to which they have given, in marked attention. Our engravings convey | These jewels are of various ordors-from the gem of I Clahet Jugs, of which they exhibit several. workmanship. Messrs. Watherston have obtained renown as makers of gold chains, so many cases, such graceful and effective setting. in which they surpass all competitors in the Exhibition. We engrave also two of the of Embroidery for the the needle. To the Banner of M. Braugwyn was awarded the prize offered for Embroidery, in 1866, hy the church—a Banner and a ltoman Catholic Congress of Malines. There is no manufacturer of Belgium by whom this manufacturer is surpassed. would be ex officio members, consisted of sixty persons. Of these, j part, a classification that would bring together all the produc- twenty-two specially represented the Guarantee Fund; and, in tions of the same order and character, the contributions of every consideration of the distinguished part that had been taken by J country; while on the other part there might be a separate and England in forming Great Exhibitions, three were Englishmen— distinct aggroupment of the various productions contributed by Lord Cowley, then British ambassador at Paris ; Earl Granville, J each particular country. then Lord President of the Council; and the late Mr. Cobden. The Champ de Mars placed at the disposal of the Commissioners In two most important particulars the Imperial Commissioners, | a site of suitable extent, which might be made available to satisfy from the very commencement of their labours, resolved that they all the requirements of their Building and its accessories. For would not be guided by the precedent of the London Exhibition the plan of the main Edifice itself, the most advantageous outline of 1862. They decided, in the first place, that their Exhibition was found to be an oval. This general outline at once determined Building shouid be sufficiently spacious to receive and display the the character of the principal divisions or components of the whole whole of its contents on a single floor without the aid of galleries : structure, and it caused them to follow its own curvatures. Con- and, secondly, that the arrangement of all their “ exhibits ” should sequently, the Paris Exhibition Building, which throughout is of be such as would provide for a twofold classification ; on the one a single story only in height, is composed of a series of vast THE PARIS UNIVERSAL EXHIBITION. On this page we engrave Stole —productions of the renowned firm of Braugwyn, of Bruges. They are exquisitely wrought, and confer two very beautiful examples honour on the Belgian Court, in which are found so many admirable specimens of refined and delicate works of 73 .v; tially French, but they are pure in design, and I very attractive as compositions. “We engrave thi’ee of I his Clocks and two of his Candelabra. concentric ovals, the innermost of the series enclosing a central garden open to the air and encircled by an open colonnade. Each one of the oval compartments, as it is continued around the entire plan, contains one separate class or group of “exhibits,” as they are exhibited by all nations. A walk completely round any one oval compartment of the Building, therefore, conducts the spectator from the representatives of one country to those of another; all of them, however, representing the same Art or Industry or Product; and, thus, such a walk as this implies a continuous series of visits to the contiguous collections of works or productions of the same class, assembled from all parts of the world. Again: lines drawn from the exterior of the Building to the central garden, and cutting through the whole of the concentric ovals, form a second set of compartments, of which each one is assigned to the various works or productions of one and the same country. These compartments, having a plan somewhat resembling a wedge, necessarily vary considerably in extent, while they all preserve the same general form. Here, then, the visitor, who walks from the outermost oval to the innermost in a direct line, may pass through the entire group of the collections contributed by one country, so that with the utmost facility and convenience he may inspect and study them all in their collective capacity. THE ART-JOURNAL CATALOGUE OF Among the best exhibitors of Works in Bronze though not extensive, is of great excellence. His pro¬ ductions—those at least that are placed in his stall—are of bronze gilt, and the gilding cannot fail to attract excellence in the style that belongs to a jL is M. Ernest Royer, of Paris, whose “ show,” notice by its purity and richness. They arc all carefully and elaborately finished, while the designs are obviously from the best artists. M. Ernest Royer aims at special utilities to those that advance pretensions to being, indeed, accurate copies from admirable I Figure that bears a vase—will sufficiently indi- compare, and not disadvantageous^, with the models. Our engravings—a Fountain and a cate that they owe their origin to the minds of best efforts of the best manufacturers in bronze. The Classification adopted by the Imperial Commission, in con¬ formity with the structural plan and arrangement of the Palace of the Exposition, first, distributed the whole of the “exhibits” amongst twelve Groups: and then, subdividing these primary Groups, assigned their contents to secondary Classes, in all amounting to ninety-five, but the numbers of the Classes varying in the different Groups. Hereafter we shall place on record in our pages full particulars of both the Groups and the Classes; also all such details as may appear to be desirable concerning the extent, the construction, and the fitting up of the Building; together with a carefully prepared narrative of the proceedings and awards of the Juries, and a full description of every incident connected with the Exposition that may be interesting in itself, or may rightly be considered to have claims upon our regard. It is enough for us now to advert briefly to the first public announce¬ ment of this year’s Exposition; to point out both its aim and range, and the leading features of the general arrangements that have been carried into effect; and, having done this, to invite all who are interested in this marvellous gathering of the expres¬ sions of human thought and the productions of human hands, to accompany us as we are prepared to lead them, step by step, through each class of its manifold groupings. We shall have to direct attention to very much that will universally be regarded with unqualified approbation. More THE PARIS UNIVERSAL EXHIBITION. M. Ducel, of Paris, exhibits a very large col- they are wonderfully sharp and clear in execu- accomplished sculptors. M. Ducel produces lection of admirable productions in Cast Iron ; | tion, and have rare excellence as works of Art, objects of all classes and orders, from common 75 ingly designed and exquisitely carved, and is I classed as a production of Art-manufacture, j ture court of Italy, where we find several marble to be regarded as a work of high Art, although j Victor Brodski, however, triumphs in the sculp- statues of very great merit hearing his name. than a little also will pass under our notice, concerning which widely conflicting opinions will have been formed and expressed. And, perhaps, before our task shall have been completed, we shall feel constrained to admit that here and there we have encountered what has excited either indignant surprise or sor¬ rowing disappointment. While it is passing through a transitional state, and settling down to that fully developed condition which eventually will stamp it with the authoritative impress of its true character, it rests with the Imperial Commission to determine the degree in which, in time to come, this year's Universal Exposition shall justly be considered to have realised, or to have failed to realise, what the world has a right to expect from it. With a combination of energy and skill beyond all praise, a broad waste has been transformed into a felicitous compound of a park and an open air museum; and, in the midst of this varied and wonderful scene the vast edifice has grown up,—an iron Coliseum of far greater than even Coliseum magnitude, that has gathered together beneath its roof the works of nearly 50,000 exhibitors from all parts of the world, and that expects from all parts of the world some millions of visitors. We call upon the Imperial Commissioners to fulfil their administrative duties with becoming magnanimity. Their own dignity, no less than the importance of the charge entrusted to them, demands from the Commissioners a dignified, comprehensive, and truly noble course of action—such as will reflect fresh honour upon France, because it will promote the best and dearest interests of mankind. Charles Boutell, M.A. THE ART-JOURNAL CATALOGUE OF Victou Buodski, a subject of Russia, resident the Russian Court one of the most meritorious and attractive of the many objects of value it in Rome, a sculptor of rare ability, supplies to | | contains. It is a marble Chimney-piece, charm- 76 THE PAKIS UNIVERSAL EXHIBITION. portion of it is finished with the minutest care; I of rare excellence. Its chief merit, however, I ence of which it has been subjected ; the orna- even as a specimen of mere workmanship it is consists in the true and pure Art to the influ- mentation is of the very best and highest order. THE GLASS—DOMESTIC AND DECORATIVE. BY GEORGE WALLIS, SOUTH KENSINGTON MUSEUM. It is not too much to say that Glass is essentially a modern material, for its present perfection is due to the advanced state of chemical science in its application to vitreous substances, andwhat- ever credit may be due to workers in glass of past ages for the beauty and delicacy of the forms into which their skill and artistic ability wrought it, modern glass must bear away the palm as regards beauty of colour and brilliancy of the material itself. Even the Venetians compensated for the comparative opacity, or at least want of purity, in their material, by the mai-vellous thinness and the extreme lightness of form into which they fashioned tho vessels they produced. This skill in manipulation is again reappearing, although in a now form, and, aided as it must be by a perfection of material which the Venetians never dreamed of, the result cannot fail to be highly satisfactory in an artistic sense. For as the glass formed of sand, and the soda extracted from the seaweed of the lagunes of Venice, and practically unpurified by the small amount of saltpetre which could be added to it, was superseded by the crystal of the Bohemians, manufactured from pure quartz and lime and the alkali resulting from their use of their great forest trees in the production of potash, even so this latter material has given way before the gem-like flint glass, which the use of lead has enabled the chemists and glass manu¬ facturers of England to produce in more recent times. If it were worth while, at this day, to enter into an argument The Cabinet of Bevrdeley, of Paris, is de¬ servedly classed among the best works contained in the Exhibition. M. Beurdeley has availed himself of all the resources at his command to render it supremely excellent, and he has been entirely successful. The groundwork is ebony, the mountings are in matted gold, and every THE ART-JOURNAL CATALOGUE OF On this page we engrave a Chandelier of crystal glass, one of the many beautiful con¬ tributions of Mr. Dobson. His extensive col¬ lection attracts universal attention, exciting, indeed, the admiration of “ All Nations,” and contributing largely to uphold the honour of England in the Exhibition. It is admitted on all hands, as indisputable, that in crystal glass- in, purity of metal, in grace of form, and in elegance of ornamentation—the works exhibited by England surpass those of any other country; and it is certain that for much of this supre¬ macy we are indebted to Mr. Dobson or, rather, to the productions he exhibits in Paris. upon the absurdity of fiscal restrictions on industrial processes, no illustration could be found more thoroughly calculated to prove their folly than the condition of the glass trade of England under the dead weight of Excise surveillance, and the perfection and develop¬ ment to which it has attained under the perfect freedom of action, which it has so happily obtained during the last quarter of a century. It would, however, be quite out of place to go into such a question here; nor is it necessary to say anything respecting the history and past progress of the manufacture of glass, since the primary object of this paper is to show, as far as possible, the precise condition of this special department of Art-Industry as illustrated in the International Exhibition of 1S67 ; to compare the relative merits of the products of each country, so far as they have taken care to display their products, and to point out— especially to our own countrymen—the principles of design which should govern their productions in this beautiful material, citing as an evidence of the truth of these principles, the examples winch present themselves as the most successful realisations of peilect adaptations of means and materials to a given artistic result. Nor is it necessary to enter into any description of processes or disquisition on the chemical constituents of glass, tor these points are best illustrated by the many admirable papers which have appeared from time to time on these points. The remarks it may be necessary to make as to the causes of certain points ot inferiority or superiority of material, or the final results as depen¬ dent on special processes, will therefore be confined to the special object requiring such an illustration, in order to render its excel¬ lence or defects easily understood. THE PARIS UNIVERSAL EXHIBITION. rence, exhibits a large collection of charming the styles of great predecessors in these arts; so accurately, Paris and London, receiving the highest The Marquis Ginoiu, of Doccia, near Flo- For facility of reference, it is proposed to discuss and illustrate the exhibits of glass—Domestic and Decorative—under the heads of the respective countries displaying examples of this department of art and industry. In no case ■will invidious comparisons be drawn either between the specimens of individual manufacturers, or the collective exhibits of nations. Such comparisons cannot be productive of any useful result, ard in too many cases would only tend to irritate the producer, and mystify the public, instead of doing justice to the one-and instructing the other. At the same time it is not intended to shrink from those broad comparisons and illustrations, as well as the enunciation of unmistakable superiority on the one hand, or marked inferiority on the other, which can alone render the efforts of the art critic worthy of attention. As might be reasonably expected, there are certain well marked and distinctly intelligible features which distinguish the products of one country from another; hence the setting up of any narrow based national standard would only lead to injustice. This is, unfortunately, one of the difficulties which frequently attend attempts to define by a system of rewards the special excellencies of industrial works as shown in International Exhibitions. It is really expecting too much from human nature to require it to throw, aside foregone conclusions on points which the mind has been systematically trained to consider as essential to excellence, or as constituting excellence in its highest form, and to consider that the very opposite of these qualities, presented under a new set of circumstances, in a new material, or in a new dress, are also deserving of appreciation, perhaps of reward. Thus the points of excellence in French and Bohemian glass are classes, chiefly Majolica and Capo di Monte, the famous manufacturer having been eminently successful in imitating “ Manifattura Ginori ” has been ob¬ tained at the several exhibitions of examples of Ceramic Art; they are of several indeed, that it is by no means uncommon to find the modern sold as the ancient works. The renown of the “ honours." They are admirable as compositions, and beautifully modelled. THE ART-JOURNAL CATALOGUE OF Consort, designed "by G. G. Scott, Esq., K.A., will be a canopied statue of colossal proportions, having associated with it various groups of sculpture of a signally important character. The canopy, in the Gothic stylo of Art, is surmounted by a lofty spire of the most elaborate splendour and beauty. The spire, executed entirely by Mr. Skidmore, of Coventry, is formed throughout of metal, with enrichments produced by inlays rich stones, and I the entire Spire, which rises, in five stages, to I also the Cross, drawn to a lMjge sc^e, ■ravings represent the height of 150 feet above the ground ; and order to show the details more distinctly. of crystals, jaspers, various brilliant enamels. Our very far from being in any way parallel to, or as partaking in any easily understood degree in, the qualities which distinguish English crystal glass, and the judgment which would probably be satisfied with the one would be very far from admitting any very marked and distinctive degree of positive excellence in the other. It is only then in viewing each trom something like an approach to its own standard of excellence, that a fair conclusion as to their relative position can be arrived at. To do this effectively and honestly ought to be the aim of all who undertake to pronounce an opinion upon the efforts of the various nations exhibiting their products, whether as illustrative of the position to which any special industry has attained, and as an evidence of its right to international honours, or as an example and lesson to its rivals. To hope that international jealousies and rivalries will cease, would be utterly utopian; but efforts shruld be made m these gatherings of the nations to so conduct the competitions which must ensue, as to give honour where honour is due, whether the form in which the skill of a people manifests itself is in accordance with certain received opiuions or not; so long as it can be snown that those who produced the works to be judged of have been true to their own national instincts and the purposes and ends for which they have laboured. . Looking back to the Paris Exhibition of 1855, one is struck with the much greater extent to which the illustration ot tno manufacture of domestic and decorative glass is carried on this occasion, except, perhaps, in the solitary case of Bohemian glass. The British National Memorial to the Prince SO Generally, too, the forms are much less florid, have been better con¬ sidered in relation to the use of the vessels, and this is especially marked in the objects intended for illuminating purposes; whilst weight and mass of metal have given way to more consideration of outline, and splendour of general effect to more perfection of detail. Commencing the examination under the head of each country, it appears best to begin with the British display, because tor certain qualities, and those too of the highest kind, in relation to the material and special industry, it certainly stands almost unrivalled; and whilst in 1855 it was one of the worst represented branches of national manufacture, it is on this occasion one of the best. Moreover, nearly all, if not entirely all, the British pro¬ ducers of glass—domestic and decorative—are contributors to this great Exhibition of All Nations in 1867. BRITISH GLASS. Even if the display of British glass were less marked in extent than it is, the sterling quality of the greater portion of the pro¬ ductions would be a fair subject for congratulation. The pertectly crystalline and pure character of the material, as the eye ranges over the masses which form the leading features of the arrange¬ ment, is at once recognised by the most casual observer; but it is only after careful and minute examination that the true cha¬ racter and quality of this material in its varied forms can be fully understood and appreciated. The shades of difference between the various exhibits are frequently very minute, and at times not easily appreciable, and certainly very difficult to describe. One thin 0- , however, is undoubted; the general quality of the British THE PARIS UNIVERSAL EXHIBITION. We have already engraved some of the contributions of principally rests the supremacy maintained by j for the interests of Prussia on that occasion. We regret Prussia in productions of the precious metals—a re- , suit they have obtained by resort to the best artists | llerren Sv and Wagner, of Berlin. They supply us, how¬ ever, with a largo number of most beautiful works, and are surpassed by no competitors of any country, in reference we cannot find space to describe it; it is a work of singular beauty—a true example of true Art. either to Art or to Manufac¬ ture. Upon them, indeed, of their Kingdom. The chief object engraved on this page is a Vase, presented by the Prussian Commissioners of the Exhibition, 1862, to Philip Owen, Esq., of the Department of Science and Art, in acknowledgment of his exertions THE ART-JOURNAL CATALOGUE OE artists of France, and arc finished with the nicest skill. He holds, M. C'harpentieu is surpassed by none of his competitors in the fabrica¬ tion of Works in Bronze. They are designed and modelled by eminent consequently, the highest rank among the manufacturers of Paris. We engrave three of his produc¬ tions—a Vase of great beauty, and two Tripods with Lamps. In due course we shall give other examples. crystal glass is immeasurabty superior to that of any other in the Exhibition, either for colour, purity, or any other quality essential to glass as a material. The forms in which this material is pre¬ sented by the respective manufacturers and exhibitors must be a subject for detailed investigation. By the classification adopted by the French authorities, “Crystal, Fancy Glass, add Stained Glass,” is placed Class XVI., Group III.. “ Furniture' and other objects for the Use of Dwellings.” In accordance with that arrangement, the British exhibits have been displayed, not always very happily, in the section of the Exhibition building assigned to this group. One of the smallest, and at the same time one of the most interesting contributions, is that of the old and well-known firm of Pellatt And Co., Falcon Glass Works, Blackfriars, and Baker Street, London (14, Class XVI.). In this display refinement, rather than show and size, has evidently been the aim of the exhibitors, and although, in all probability, the very limited collection may be quoted against them, the objects themselves are an evidence of power, which a greater display would have only rendered more palpable to the crowd, but not to the expert. The great feature of the contribution is the excellence of the engraved specimens, which are all of an elegant character. A claret jug, engraved with an arrangement of flowers, masks, and amorini, is especially noticeable, and almost reconciles one to imitations of nature, from the excellence of the geometric arrange¬ ment of the quantities. The most perfect and legitimately deco¬ rated specimen is a bottle with a triangular lip, engraved with a design based on moresque details, most admirably drawn and 82 engrave is one of the panels made for the box of the Emperor and Empress in the Opera House of Vienna. The material is silk “ rep,” on which—above and at the carved wood—attached to the silk—by the sculptor— H. Schonthaler. The combined effoi'ts of artists and manufacturers have produced a work of unsurpassed excellence. I arranged. The ornament makes a perfect diaper over the whole I surface of the vessel, and the result is great elegance and refine¬ ment. The tripods of twisted work for holding amphono for oil are very cleverly designed, and the execution and workmanship show great skill and perfection in manipulation. It may be remarked that, as usual, the engraved attempts to j represent the human figure are, more or less, failures, alike in adaptation to the ornamentation, as in the actual execution. The j artistic power to engrave the human figure on glass is an acqui- j sition so rare, that one would wish to see it avoided altogether, since, in the best circumstances, it is always more or less out of j place. The extent and variety of the exhibits of Mr. Jamies Green, j Thames Cut Glass Works, London (7, Class XVI.), is in marked contrast to that of Messrs. Pellatt; nor is the excellence of the more notable examples to be overlooked, because the exhibitor has had the enterprise and courage to show specimens of his more ordinary productions, since these latter are equally worthy of attention in their relative position. The special feature of Mr. James Green’s display is cut glass, much of which is in excellent taste. The forms are generally good, and the workmanship of a high class. The crystalline character of the material has been carefully kept in view, and the details of the ornamentation are designed so that the facets tell well in the masses, and agree with the general forms. The smaller decanters are especially noticeable for simplicity and elegance, but the larger ones are somewhat heavy in form and detail, and The ornaments arc of THE PARIS UNIVERSAL EXHIBITION. excellent in colours, texture, and quality, but are, for the most part, admirable as examples of a judicious applica¬ tion of Art to manufacture. We introduce two of their ordinary fabrics for curtains; but the principal object we Herren Philipp Haas and Sons are the most exten¬ sive manufacturers in Vienna of Silks for all the pur¬ poses of “ furnishing.” Their productions are not only sides—are charming paintings, 'by the artist Herr Sturm. THE ART-JOURNAL CATALOGUE OF collection of M. Lefcvre, although the choicest of the objects he exhibits may be obtained at small cost. We engrave some of them, Clocks and Candelabra, llis works are of varied styles. Those who attach little value to the material M. J. Lefevre is justly pro¬ in which good Art is presented to the eye, and prefer a fine minent among the eminent pro- It is obvious that he obtains the aid of accomplished artists, and studies how best to avail himself of their valuable services. terra-cotta to a base production in pure gold, will be gratified by the ducers of Imitation Bronze- for engraved decoration, a point which is not alwaye attended to as it ought to he. The general style of ornament is that mostly in vogue, and so well adapted to the purpose of glass ornamen¬ tation—that of the fifteenth century. There are] a few small examples of combined cutting and en¬ graving which are very good. The cutting decorates the body of the vessel, and the engraving is introduced in the form of frets on the facia near the edges, or in bands. The effect is pretty' and satisfactory. Probably the best specimen of engraved work as a whole is a water jug of excellent form. The design, which is based on one selected by the Society of Arts from the South Kensington Mu¬ seum, after Lucas Yan Leyden, as the theme for some of the lib-- - y' THE PARIS UNIVERSAL EXHIBITION. Messrs. Pellatt & Co., of the Falcon Glass Works, Blackfriars, and of Baker Street, Lon- which few of the exhibitors in that department are. The purity and brilliancy of the metal they produce have long been famous, while tho Art by which it is rendered valuable is second surpassed by any competitor. We engrave a the grace and beauty of the forms and decoration I they give to Table Glass. They aro exqui- I sitely engraved by artisans who are really artists. annual prize designs executed by Aid-workmen, is adapted with skill to the special purpose and style of execution required in this instance. An engraved claret jug, too, is of elegant form; the handle being especially artistic in the detail. The few examples of coloured glass exhibited by Mr. James Green are very tasteful. A pale ruby tint, the product of oxide of gold, is especially • noticeable for its delicacy and its marked contrast to the violent effects which sometimes characterise fancy- coloured glass. The risk in tho manufacture of this tint renders its production costly; but when successfully achieved, the result is charming. The chandeliers and candelabra produced and exhibited by tbis house are generally well designed. They are crystalline in detail, heavy members being avoided. One or two lustres or candelabra aro especially successful, being light and elegant. Generally these objects are too ponderous, and suggest insecurity by the weight of material used in their construction. A novelty in the use of glass has been introduced by Mr. Jnines Green, and exhibited in connection with Messrs. George Trollope and Sons, in Class XIV. (Fancy Furniture, &c.) This is a glass bracket in pressed glass, so constructed that it can be fixed in the centre or at the base of a mirror, for the purpose of sustaining a figure in marble, parian. or bronze, or a flower-vase. The bracket exhibited is well adapted to the purpose, and has a figure in relief as the principal decoration, with foliated ornament springing from a “ nest ” or starting-point. The effect produced in Messrs. don, are both makers and decorators of glass, to that of no other exhibitor of any country. They are thus Glass Manufacturers in the strictest sense; and although their contributions are not numerous, they are of excellence un- few of their works; they will suffice to show 85 ■$W scribe this substance as pulverised wood, hardened I nently scientific, ingenious, and skilful. Wo I interesting process, which wc shall elsewhere by a series of processes that are at once emi- engrave four examples of this most useful and —with its many applications fully describe. Trollope's mirror is striking and pretty, but the result of a figure and foliations in relief, the forms of which are necessarily based on, and in fact are absolutely imitative of those intended to be seen in an opaque substance, is, after all, unsatisfactory in prin¬ ciple. One expects to see the forms expressed by light and shadow, but instead of that, the light which should produce the shadow plays through the substance of the material in which the forms are produced. As a novelty, a whim or caprice of fashion, these brackets in glass may “takebut as artistic and decorative details they cannot be admitted as true, or in sound taste. Messrs. James Powell and Sons, Whitefriars, London (17 Class XVL), show glass of exquisite purity and colour. It is scarcely possible to conceive “metal” of greater excellence or more crystalline translucency. The varied display of this house sustains its reputation most fully in this respect, but there are certain discrepancies in the designs which produce unsatisfactory results. With abundant skill in manufacture, the decorated forms are frequently over redundant in ornamentation. Some ot the vessels in which the forms are preserved in their simplicity are very elegant, and the extreme beauty of the material is best shown in these. In the objects to which coloured glass in the old Venetian manner has been applied, the result is sometimes both successful and effective, where the variation of colour is not carried too far. It is, however, so much more easy to run into extreme contrasts, ending in vulgarity, than to so manage the variation and com- THE ART-JOURNAL CATALOGUE OF The works represented in this page exemplify | some of the almost innumerable purposes to | which the equally curious and valuable material, tie invention of HU. Lathy and Co., of Paris, | may le applied witl perfect success By tho | inventor entitled “ So is Surei," we must de- THE PARIS UNIVERSAL EXHIBITION. sculptor Joseph Durham, A.R.A., “Chastity” of England is upheld by this eminent firm. The two Statuettes are from the models of the and “ Santa Filomcnathe Vases are decorated faction of our subscribers: their great merit —it is universally admitted— is originality. We give on this page other of the many contri¬ butions of Messrs. Copeland and Sons, of London and Stokc-upon-Trent. They are of universally admitted excellence: the renown Messrs. Copeland and Sons might be engraved with advantage to this work and to the satis- bination of colour so as to produce tho harmonious result which is the great charm of the old Venetian glass, that in some of their examples Messrs. Powell have not achieved all the success which their enterprising efforts in this direction deserve. At some distance from the great mass of the English exhibits of glass, and suspended from the girders or tie-beams above tho avenue running parallel with the British Picture Gallery, from the grand avenue which separates tho French from the English space, Messrs. F. & C. Osler, of London and Birmingham, exhibit six chandeliers. As these were not placed until the sixth week of the Exhibition, and after tho Juries had practically concluded their examinations, if not settled tho awards, it is not likely that they will receive notice from those whose especial business it is to dis¬ tinguish excellence. It is possible, however, that Messrs. Osier may, in this instance, have only themselves to blame, or which is quite as likely, considering the late period at which tho objects were displayed, they are alike indifferent to the praise or blame, the reward or neglect of juries or critic. When it is said that these chandeliers are of the usual excellence in material and workmanship, which lias for so many years characterised the chandeliers and candelabra of this house, enough has been said on that point. It is, doubtful, however, if some of the designs are so successful as a whole, and there are certain deviations from the severe and correct principles of construction and detail which characterised the specimen exhibited by this house in 1855,—the one candelabra which stood alone in its per¬ fection of form and detail on that occasion, and the fine examples shown in 1862. S7 THE ART-JOURNAL CATALOGUE OF Messrs. Woodward, Palmer, and Radford, of Kidderminster, uphold the long-established fame of made and exhibited by Messrs. John Walker as Art-works. This firm has obtained renown for the merit of the watches they manufacture. workmanship, fairly competing with the best productions of other countries. We engrave two of them. The largest chandelier exhibited on this occasion is a magnifi¬ cent piece of construction, but the glass scrolls or branches for the lights suggest fragility. The centre is a rare and splendid specimen of pure design in glass, the proportions and details being equally effective. As a whole, this chandelier is a pure example, perhaps the purest example, in the whole Exhibition, of skill in glass construction, and perfection of cutting for the purposes of illumination. The pendants from the scrolls by rings are very beautiful in form, and the effect of the whole is novel and artistic. . . . , Of the smaller examples, the one lightest m construction is the best. It is a marvel of elegance and purity of style, in spite of ! the objectionable fragility of the crocketted details of the scrolls ' which decorate the central portion. These are somewhat contra¬ dictory to the nature of the material, and partake too much of a j metallic tvpe to be thoroughly satisfactory. I The gem-like spots of another of the smaller specimens is a triumph of skilful ornamental arrangement of details subordinated to special construction. Another, however, is heavy; although, i as a whole, very successful as a small chandelier of the old pon¬ derous type, in which square masses of prisms did duty for deco¬ rative details of a more ornate character. Thus far, those exhibitors who are also manufacturers of the objects they have taken the trouble to contribute, have claimed Af s’d Sons, of Comhill. are of great beaut}' means eminent for Art- of Frome, distinguished himself at the Exhibition of 1862; but in Paris his collection far surpasses previous produc- candlesticks and crosses, screen-work, font-covers, &c. As designs they have great excellence, being, indeed, in all cases based.on established “authorities they are original, I by artisans of Frome, who have been all “ educated ” in and not slavish copies. The works are entirely produced the establishment, and, obviously, under the best auspices. attention, as they were entitled to precedence. For whatever may be the commercial tact and enterprise of buyers of glass, or even its producers through the skill of others, these cannot claim that merit which is due to those whose practical knowledge can alone direct delicate scientific and artistic operations, and bring out successful results. Not that it is desired for a moment to undervalue the position of those by whose ability, industry, and spirit the public is supplied with the varied objects which the dealer can alone undertake to bring together for selection. All honour to the enterprise that prompts the buyer to sustain the manufacturer, to encourage him in new and often high efforts after excellence; and all contempt for thoso who, setting them¬ selves up as the arbiters of taste, dare to cripple the real producer by their crotchets and foregone conclusions as to what will and will not “sell;” simply because, in their ignorance of anything approaching to true Art principles, they presume to consider their notions of beauty and taste as final, and make up their minds that certain things shall not sell, because they have not been first consulted respecting their production, and allowed to mutilate them by their suggestions, in order to be enabled to speak of them as “ our own designs.” It is not long since that an enterprising and skilful manu¬ facturer of the Midland Counties called upon one of his best customers in London, and in the triumph of his love of Art told this buyer and seller of his works that he had suc¬ ceeded, at considerable expense, in engaging a practical artist THE PARIS UNIVERSAL EXHIBITION. Provincial town, by no produce, that in one branch of Art-manufacture—Mediaeval Metal-work—it can compete with London. Mr. J. W. Singer, tions. They are of brass, iron, and silver, chiefly for church purposes—altar-rails, gas-standards, lecterns,altar- THE ART-JOURNAL CATALOGUE OF M. Matifat has long held a foremost place taste, and combines the educated skill of the tion of the various works he issues. And these artist with that of the artisan, in the produc- | “issues” are of all the “sorts and kinds” to of groat skill and experience, and hoped to be able very shortly to show some works which would do credit to himself and to those who did business with him. The only encouragement he received was the reply, “ I don't want you to supply me with such things as you like, and think good, hut with such things as I like, and care to sell.” The fact or possibility of a higher taste than his own in any customer, never seemed to have entered this man’s mind; and, of course, what he chose to buy to meet the customers’ wants, however ugly and outrageous the object may be, the latter must be content with, or go without. Happily a new race of buyers is now springing up, and the old dogmatic patrons of commonness and ugliness, who because certain forms had “ sold” resolved they should continue to “ sell,” are disappearing. Thus in the exhibits of the various houses whose business it is to supply the general public, the conventional types are less visible than formerly, and there is an evidence of a growth of the conviction that novelty may be combined with beauty, and does not always depend upon mere eccentricity. It is to be regretted that such firms as Lloyd and Summerfield, and some of the Stourbridge houses, have not exhibited per¬ sonally; because their productions, shown in their own names, must have commanded that attention from those entrusted with the adjudication of the awards, which they certainly could not receive under existing circumstances. An extensive and well-arranged display is made by Mi - . J. Dobson, St. James’s Street, London (4, Class XVI.), by which the reputation of the firm, while under the practical and artistic direction of Mr. Pearce—who has done so much to improve the among the leading Bronze Manufacturers of which bronze is applicable: chandeliers, can- I the whole of the “ varieties ” that constitute delabra, clocks, inkstands, vases; in a word, | “the trade.” Moreover, many of his produc- Paris, and has received “honours” in several tions are from models furnished to him by I We engrave several, small in size, but sufficient eminent sculptors and other artists of France. | to sustain the high opinion we form and re- • cord of his varied and various productions. I supplied many mansions of our aristocracy exhibitions. He is a man of knowledge and M. Matifat is well known in England, having with choicest treasures of Art-manufacture. THE PARIS UNIVERSAL EXHIBITION. character of decorative glass—is thoroughly sustained. The lead¬ ing feature is the engraved glass, which is generally of high excellence. The forms of the objects, too, are well considered, the details of the engraved ornamentation being delicate and to the purpose, except in some instances where the human figure has been introduced. The tendril effect of the ivy is charmingly wrought out in some of the examples, and proves most unmis¬ takably that simple effects, well drawn and executed with skill, are immeasurably the most successful. The cut glass of this house is thoroughly crystalline in design, and the execution of the work very admirable. Flower-holders and flower-stands were the marked specialite of the exhibits of Messrs. Dobson and Pearce in the Exhibition of 1862, and they prove an important feature of the present display. Twisted woi'k is very skilfully introduced, and the con¬ struction of the objects being well considered, the result is generally very happy both as regards use and artistic effect. The occasional introduction of colour—green and ruby—is exceedingly well managed, and, not being overdone, is effective and tasteful. The variety of these flower-stands is very great, and gives evidence of a great demand. The beer jugs of this firm are charming examples of what may bo done in skilful hands with forms which, at first sight, would appear to be most unpromising; for there is a quaint beauty about established repute of that town by exhibiting a collection of admir- Henry Crichley and Co., of Birmingham, uphold the long- stands, and so forth. Of Umi!Rella-staxds we engrave two, and one of a Hat-stand, or rather a combination of both. They are good in design, excellent able works in Cast Iron—stoves, fenders, hat-stands, umbrella- in execution, and admirably cast. Messrs. Crichley thus sustain one of the staples of the Birmingham trade, which supplies so large a portion of the world. THE ART-JOURNAL CATALOGUE OF some of tli 3 examples that makes them very interesting as speci¬ mens of manufacture. The larger examples of engraved jugs are very skilfully designed and executed. One is especially noticeable for the high Art excellence of the design and great skill of execution. The principal forms are reptiles, distributed with such a perfect regard to the decorative result, that every detail tends to give expression to the work. The error of over-crowding is carefully avoided, and the exquisite skill of the engraver is shown at every point. It is the work of a skilful German engraver located in England, and the influence which such an artist must bring to bear upon those around him, cannot be over-estimated; while the spirit and enterprise of those who employ his talent ought to be properly recognised. The chandeliers exhibited by Mr. Dobson are of a very decora¬ tive and tasteful character. The conventional types have been got rid of in a great measure, while lightness and elegance take the place of weight in metal and the massive in form. The intro¬ duction of bulbous drops cut in facets, instead of prisms, and the combination of these in varied sizes, produce an excellent effect. Mr. Pearce’s reputation as a designer in glass is further sus¬ tained by the exhibits of Messrs. W. P. and G. Phillips and Pearce, New Bond Street, London (1G, Class NYI.) As a mem¬ ber of this firm, since his connection with Mr. Dobson ceased, he brings all his skill and experience to bear upon a series of objects which, considering the small space within which they are shown, is practically unrivalled in the Exhibition. The elegance of the forms, and the thorough adaptation of the monial from the “ Corporation ” of Vienna, presented to Professor A. Camesina. Silver. We engrave three of their ad¬ mirable works; they are, it will be ob¬ served, productions for church uses, and furnished by “ first-class ” artists of Vienna. Thus, No. 1 is a Gothic Monstraxce ; No. 2, a Vessel of silver, the property of the Archduke Carl Ludwig ; and No. 3, a Testi- Herren Brix and Anders, of Vienna, are of great merit with regard to finish of workmanship, as are eminent manufacturers of Bronze and well as grace and purity of design; but the designs are THE PARIS UNIVERSAL EXHIBITION. We engrave four other works contributed by the renowned firm of Minton, of Stoke- is, moreover, worthy of remark that the none. best of their productions are the work of British artists. upon-Trent. It would be superfluous to offer any comments on their merit—it has been freely and universally admitted, they have competed with “all nations,” and are surpassed rqffiip8PMg§!K details of the engraved ornamentation to these forms, show an artistic perception which a sound Art-education, aided by great experience, can alone give. The decoration is never contradictory to the lines of the form decorated, unity of style is therefore insured. There are some very novel forms of flower-stands, &c., exe¬ cuted with great skill in twisted work, the contrasts between the more delicate details and the bolder work being very effective. This has been spoken of as an imitation of the Venetian glass; but. although somewhat akin to it in appearance, the mode of production is very different. All these works are produced from the “pot; ” whilst the Venetian work—at least, in the ornamen¬ tation and decorative adjuncts—is the result of a skilful use of the lamp and blow-pipe. j A glass lustre, of elegant design and construction, is a remark - I able example of what can be done with this beautiful material in hands that can thoroughly master all the mechanical difficulties, directed by heads which can keep in view the true relation of material to form and use. The branches of this lustre are formed with twisted air-lines; the spiral detail running throughout. These are decorated with pendant ornaments in glass, designed and cut with great skill. The result is great brilliancy of effect. Messrs. Phillips and Pearce exhibit the most skilful and artistic example of engraving in the Exhibition. It is a bottle of the same size and form as that already quoted as decorated with reptiles in the display of Mr. Dobson. The details of the design are larger and bolder, perhaps a little too much so for the final 93 Messrs. Doultox and Watts, of Lam- i beth, occupy a very prominent position in Paris; their stall is full of utilities; Cabinet of ebony, inlaid and partially carved, and the top of another Cabinet, carved in oak. Both THE ART-JOURNAL CATALOGUE OF M. E. Gobaut, of Ghent, exhibits some fine examples of Furniture, from which we have selected a among them, however, arc several Water-filters, which show how tho- I roughly “common things” may be sub¬ jected to the beneficial influence of Art. in which M. Gobart is pre-eminent in Belgium, and renowned in other countries. are examples of an art result; but the effect is very rich and highly artistic, while the very skilful execution of human figures, which are introduced into the composition with great tact, places it on higher ground, as a work of art, than the specimen in which the reptile forms are the leading features. Both are evidently engraved by the same skilled hand, as they have both been designed by the same artist. As a piece of decoration, Dobson’s is to be preferred ; but as a specimen of skill in engraving, that of Phillips and Pearce is immeasur¬ ably the best; for the design might have been made as a crucial test of the powers of the engraver, to render the most crowded decoration thoroughly intelligible. Messrs. H. and J. Gardner (5, Class XYI.) exhibit a great variety of articles, the excellent quality of the glass being the chief feature. The cut glass is, with some exceptions, which are very excellent, heavy in design, and of the old type of facets, being cut with great skill, but not always well designed. The engraved glass of this house is light and elegant; but there is rather too much tendency to follow the mere imitation of floral forms, rather than the more legitimate details of decoration. The specimens of etched glass exhibited by Messrs. Gardner are very charmingly designed and executed. There is a delicacy of effect about this style of ornamentation which renders it espe¬ cially pleasing when applied to goblets, wine glasses, and the smaller vessels for the table. 94 THE PARIS UNIVERSAL EXHIBITION. They have been made, without thought to We expenditure. The “exhibits” of Messrs. comparison with the costlier productions of London firms, arc of great excellence in metal, in forms, and in engravinj Messrs. John Millar and Co., Glass copy several of them; they show careful, and often elaborate cutting, the tools of intelligent Art-workers having been employed under Manufacturers of Edinburgh, exhibit a 0 Millar are brought within the reach of ordinary purchasers, yet they judicious guidance. They are very varied in character, but chiefly such as are used for the table—Decanters, Goblets, and Water-jugs. It is greatly to the credit of Scotland that it can “ hold its own” in a competition to achieve supremacy in which immense exertions may satisfy the most fastidious lovers of excellence in Art-manufacture. collection of works that suffer little by Two or three mirror frames, decorated with cut glass details, combined as frames or borders, are rather good, but they are more suggestive than complete. Mr. Henry Greene, London (8, Class XVI.), makes a very effective display of cut glass of a bold and distinctive character, and generally of good design. There is a certain originality in the masses of the forms which givo a very decided effect and character to the objects, and contrasts well with those of smaller details. The engraved glass is also good. A dessert service, in which coloured glass is introduced in bulbs at special points of the engraved design, is “ spotty,” the contrast of colour being a little too great upon the pure crystal, while the aqua marina tint is by no means agreeable in colour. Yet there is more in the idea suggested than has been realised. Messrs. J. Defries and Sons, London (3, Class XVI.), make a good commercial display ; but the effects of the coloured glass are inartistic, and there is more of conventionality than originality about the greater proportion of the objects exhibited. A few examples of engraved glass are exceptional in this respect, and are really both artistically designed and executed. The exhibit of Messrs. John Millar and Co., Edinburgh (3, Class XVI.), is an effective example of the influence of a taste for pure forms and elegance of detail in ornamentation. Most of the outlines of the objects in this display are good, and the details, when not overcrowded, as is the case in some instances, are elegant and effective. There is, however, a tendency to redun¬ dancy in the ornamentation, which, even when appropriate, as it certainly is not in some of the examples, tends to injure and 95 THE ART-JOURNAL CATALOGUE OF It is to the credit of England that so many them. We engrave on this page some of the works contributed by Mr. J. A. Wheatley, Goldsmith honours at the Paris Exhibition—and have won j and presented by the ladies of Cumberland to Her Royal Highness the Princess of V ales. detract from the effect of otherwise good work. The excellent quality of the metal in Messrs. Millar’s exhibit fully keeps up the general character of the British glass in this respect. In addition to their remarkable and effective display of Porcelain, &c., Messrs. W. T. Copeland and Sons, London (18, Class XVI.), have a small but very excellent exhibit of glass. In point of colour, purity, and brilliancy, it is very doubtful if any glass in the Exhibition is equal, certainly not superior, to it. With the exception of two claret jugs, Messrs. Copeland have confined their contribution to such glass as any customer of average means might be expected to purchase in the regular course of business. The cut glass, in design, detail, and form, is admirable. The engraved glass is chiefly noticeable for the simple classic forms amfdetails of the engraved work. No attempt at gradation, or play of light and shadow, is attempted ; but the forms are dis¬ tinctly given as pure planes, the lines being elegantly designed and drawn, whilst the skill of the engraver is shown in accuracy of repetition. The two claret jugs (not a pair) already alluded to, are very clever examples of artistic engraving. One has for its principal decorative subject the chimerm of Lucas Van Leyden, already men¬ tioned as used so effectively on a water jug, in Mr. James Green s exhibit. This seems to be a favourite subject with glass engravers, and is certainly an effective one, when skilfully treated. The and Jeweller, of Carlisle and Penrith: conspi¬ cuous for merit oi’ design and great excellence of workmanship. They are of various orders and classes—“elegancies” and utili- ' s: chief among them being a Vase much beauty, made of native silver, of its Provincial manufacturers have sought to obtain THE PARIS UNIVERSAL EXHIBITION. spirit of the ornament is carried out with great skill and beauty of detail. The other jug is in the same style and of the same form, but the central subject is an armorial blazon, skilfully arranged. The manner in -which the lateral ornaments supporting the central ones are introduced and executed is thoroughly artistic; the only objectionable point being the detail of a group of flowers surmount¬ ing a tazza placed as a finish to the side ornaments, as it is not in character with the rest of the work. Before finishing these detailed notices of the British Glass Exhibits, it is necessary to call attention to the Toilet Mirrors exhibited by Petre & Tucker, London (15, Class XVI.) The effects produced are very delicate and artistic. The simplicity of detail is rendered valuable, ornamentally, by the alternation of opal and crj'stal glass in segments on the balls. Mr. T. C. March’s Toilet Mirrors (10, Class XYL), with deco¬ rations in twisted chain work and bulbs, all in crystal glass, are very excellent. The plateaux and other contrivances for arranging flowers are effective and ingenious. Having endeavoured to do justice to the British glass manu¬ facture as shown on this occasion, the productions of our enter¬ prising hosts, the French, must claim attention. FRENCH GLASS. As might be expected, the glass manufacture of France is largely and well represented; and if the chief purpose of glass was to display its productions as ornaments, rather than to serve the domestic uses of the table and the household, undoubtedly tho French glass would take even a much higher position than it display of his productions in the avenue M. Boulonnois, of Paris, makes a good of the various objects, cither for use or ornament, are widely famed. In some of his works we or both, for which the bronze manufacturers of Paris | observe a judicious combination of porcelain with 97 u u does, even with the fact before us that the great aim is to produce objects of luxury, rather than articles of utility combined with elegance and beauty of form. The first glance at the French display, as a whole, produces some astonishment at the immense variety of coloured, gilded, and painted objects, brought together as glass; followed by disappoint¬ ment at the remarkable want of purity of colour in the white crystal glass as compared with that of the British section. The masses of chandeliers which hang above the general display practically overshadow it in more senses then one, for the colour of these masses is grey and cloudy, as compared with the brilliancy and translucency of the English chandeliers. This characteristic runs through most of the French crystal glass, and arises from the same cause which detracts from richness, brilliancy, and softness of glaze in the French porcelain—the want of lead in the compo¬ sition of the glaze. As a matter of course the French are wedded to their own system; but how it is possible for them to deny that the result is against them, in this matter of brightness and purity, is almost inexplicable: yet their experts, both in porcelain and glass, maintain, in argument, that which appears to everybody else the very reverse of the fact. This inferiority in the quality of metal, especially when seen in masses, as in the case of chandeliers, candelabra, lustres, &c., has a fatal effect in many very important works. It is singular too THE ART-JOURNAL CATALOGUE OF Messrs. Best and Hobson, of Birmingham, supply us with the Chandeliers we engrave to lag behind in the race for excellence. It is obvious that these manufacturers have consulted safe authorities, and have not been on this page; they are of an exceedingly good order, manifesting the marked improvement in articles of the class where they are chiefly produced. THE PARIS UNIVERSAL EXHIBITION. classed among the best manu- consists of clocks, candelabra, caps, statuettes, chande¬ liers, tazzc, &c. &c., in the production of which they offer good artistic designs at a moderate cost. The Clock and Candelabra engraved on this page are selected from a large variety of objects they exhibit. The figures in the'former are noticeable as novelties. how the French designers in glass continue to ignore, more or less, the principle of the crystalline character of the material, and persist in producing details in forms that contradict the very nature of glass itself; leaves, brackets, bosses, and scrolls, which depend for their effect upon the forms being seen under strong light and shadow, are wholly out of place when seen with the light in tran¬ sition through them, instead of upon them. The best chandeliers, candelabra, and lustres, are those in which ormolu is introduced as the basis of the structure; and when the metallic portion of the construction is not carried into the ornamental, the result is invariably satisfactory. There are a few exhibits which are fairly representative of the whole, and as these take the lead in the display, it will be sufficient to quote some of the principal productions shown within them. L. J. Maes, Cristallerie de Clichy, Seine (1, Class XVI.), con¬ tributes some very striking examples of coloured, cut, and gut glass. The skill observed in the management of some oi the effects is very great, but in many' instances the result is heavy and commonplace. Three green vases decorated with twisted festoons in white glass are very elegant, and a tazza of charming form with engraved decorations is noticeable for the purity ot its style; so also is a tray with jug and goblets, en suite. It is possible that the great variety of objects, producing great contrasts in colour, detracts in a degree from, the real merit of some of the objects exhibited, and that, if more isolated, they would bo found more worthy of attention; practically, they are lost in the mass of commonplace'articles around. Compagnie des CitisTALLERiE de St. Louis, Moselle (2, Class facturers in Paris of Imitation Bronzes; in proof of awarded to them in the various International Exhibi- which it is only necessary* to say that medals have been | tions in Paris, London, and Dublin. Their “ stock ” oust, axd Fouciiet, may be THE ART-JOURNAL CATALOGUE OF XVI.), makes a grand display. Here coloured glass, gilding, and painting prevail, and the purpose for which the object is intended, and the material of which it is made, are frequently overlooked in order to produce a striking effect. The chief works are at once large in size and heavy in effect. Some caskets in ormolu mounts, the coloured surfaces being cut and engraved, are worthy of distinct notice, not so much for the taste displayed in them, as being suggestive of very much better things. The imitations of malachite in cut glass, mounted in ormolu, are novel, and very rich in effect. The productions of E. Monot, Cristalline de Pantin, Seine (3, Class XVI.), are of a varied, and, in many respects, excellent character. The effect of one casket in coloured cut glass, mounted in silver, is very good. The blue surface tint, the white and silver, harmonize and produce a charming result. The orna¬ mental effects in many of the more noticeable objects are over- | done. This is the case in a circular casket for liqueurs, mounted I in ormolu, which, but for excess in engraved work, would be very admirable. The most extensive and varied, as in many special points it is the best display in the French section, is that of the_ Baccarat Compagxie des Cristalleries, Meurthe (10, Class XVI.). The table glass, especially the cut specimens, are decidedly the best among the French. The forms are generally excellent, and in In the immediate vicinity of the beautiful Church of St. Sulpice, various metallic objects, both for uso and ornament, employed in church service. Among these last-named fabricant s, M. T. Thierry stands almost pre-eminent for the richness and ele¬ gance of his works—in the precious metals especially—of which there is a notable display in the Exhibition. The Flagon, Chalice, and Monstrance on this page afford examples of his taste. in Paris, distinguished manufacturers of ecclesiastical robes, vestments, &c., and of the THE PARIS UNIVERSAL EXHIBITION. Dr. Salviati, of Venice, and also now of Lon¬ don, enriches tho Venetian Court by contribut¬ ing a large collection of his renowned imitations of the ancient glass of Venice; they are in immense variety, and manifest the best results | of thought and labour given to the subject during a quarter of a century past by the eminent manufacturer. He exhibits several I very beautiful Chandeliers, one or two of oS has adapted to the modern requirement I remarkable. Colours have been here skilfully I glass. It is a work of delicacy, grace, and refined ' e c handehers we engrave the most introduced, but its principal parts are of crystal beauty, worthy of Venice in its “ palmy state.” a pure .style, while the arrangement of the ornamentation in facets approaches the perfection of geometric arrangement in pro- portionate quantities, the larger masses being well contrasted with tho smaller details.. This gives a variety of light and shadow, so to speak, rarely seen in cut glass. The engraved specimens, too, are elegant in design, and emi¬ nently artistic m the distribution of the lines of ornamental construction. The details are kept light and in tendrils, rather than given m masses, and thus the crystalline character of tho material is never interfered -with. Some of the etched examples, too aro very happily designed and skilfully executed A dinner-table service of crystal glass, mounted in ormolu, is striking in effect and very ornate ; but the weight of metal makes the glass look secondary, which is a decided mistake. Tho problem is a difficult one to solve as to the relative quantity of the two materials to be employed in such instances as this, as also in chandeliers and candelabra. Some of the chandeliers and lustres of this firm are good, especially those in which colour has been introduced, as the violent contrast of colour, so objectionable in many of the objects exhibited, has been avoided. Many of the painted examples of opal glass aro very fine, hut it is questionable if such works can he regarded as coming within the true range of glass manufacture in an artistic sense, whatever they may be technically. Opaque and semi-transparent effects produced upon or in a material, the greatest beauty of c c ■which, ought to be its absolute transparency and the transmission of light through it, as an element of colour, whether mono¬ chromatic or poly-chromatic, are more within the category of porcelain than of glass proper. The most novel method of decorating glass in the whole Exhi¬ bition is that applied to the ornamentation of a plateau, punch¬ bowl, and glasses, en suite, exhibited by Baccarat. These are of crystal glass, with a surface tint of deep blue. The effects are obtained by etching into the surface after the manner, as it appears, of cutting a wood engraving; the lines being left in the dark blue tint, slightly reduced, the half tint, being simply a reduction of the original blue by the action of acid. Thus there are three tints of blue,—the original ‘‘flashed” colour, this a little reduced for the lines of the forms, and then the half tint. Finally, the effect is completed by the absolute reduction of the surface tint down to the white glass. The effect is excellent, and the amount of refinement of which the process is susceptible is so great, that, excellent as this example is in many respects, very much more may he expected in future efforts in the same direction. . A collection of mirrors and frames, engraved and decorated in the Venetian manner, is exhibited by A. A. Ullmakn, Paris (41 and 44, Class XVI.), which deserves special attention from the excellence of some of the designs. The effects produced by the introduction of blue glass are very pleasing. A few of the designs are rather extravagant, but the manufacturer has to con¬ sult his market in these objects as in others of less mark. We now proceed to notice, briefly, the Glass of Belgium. is of brilliants, we engrave it of actual size, value, not only for intrinsic worth, but as works of the most renowned jewellers of the world. merit in design and workmanship. The Tiara although they enter into competition with those THE ART-JOURNAL CATALOGUE OF of Ait. We can but give outlines, which con¬ vey little idea of the grace and beauty of the From the extensive collection of Jewels ex- | hibited by Messrs. Howell and James, of j selecting other works of various styles. They objects exhibited: holding prominent rank, of shading is here happily introduced, so as to I give to the border that surrounds the foliage I the very remarkable effect of being fluted. AUSTRIAN GLASS. BELGIAN GLASS. This comes next in the arrangement, but consists of a compara¬ tively small display, which does not require any special remark. The character of the table glass is good, and the forms generally are in good taste. There is no extravagance in decorative details, and as the objects exhibited are all for ordinary domestic use, the productions are so far useful as showing what Belgium can do to supply its own wants in this direction. There are some excellent examples of wine bottle manufacture, which it seems to have been the especial aim of the Belgian executive for the Exhibition to illustrate thoroughly. The Bohemian glass exhibited in the Austrian department maintains the traditional reputation of the manufacturers of these objects of domestic art and decoration. In all essential par¬ ticulars, the characteristics so well known in connection with this branch of continental industry have been preserved without change. There are certainly many variations of form, and some are improvements on former types ; but, as a whole, the improve¬ ment is rather to be found in the skilful manipulation of the gilding than in the glass itself. Tho decorations in gold of some of the specimens are superb, alike chemically as in their artistic THE PARIS UNIVERSAL EXHIBITION. ART-JOURNAL CATALOGUE We engrave the veiy beautiful "Wrought Iron Gates of Messrs. Barnard, Bishop, and Barnard, of Norwich, a firm that has obtained high renown, which the eminent manufacturers fully maintain in Paris, where this work occupies the place of honour to which it is fully entitled. The gates are designed for a terrace or garden approach, and the intention has been to produce a work that effected; there is nothing in the Exhibition more per¬ fect in design and finish. Wild natural flowers form the basis of the composition, hut a wise license has been used in adapting them. There are other accessories borrowed from nature; the whole design is one of grace and beauty, united with boldness in its general effect; while the minor parts are exquisitely wrought. would please the eye, and afford scope for the develop¬ ment of skill in the artisan. The purpose has been effects. The raised gold is especially successful, and when com¬ bined with the lighter tints of colour, so as to avoid violent contrasts, the effect is very charming; and this is the more decided when in connection with the dead or ground-glass effects. It would be quite useless to select out of the number of exhibitors, all more or less distinguished for some special excel¬ lence ; as even this selection would involve a description of a considerable number of exhibits, if justice were to be done in each case. In the best examples, the Bohemian glass has that quality which the French aim at; for the gilding and colour are applied in such a manner as not to contradict the material of which the object itself is made, or the purpose for which it is made. The green glass is superb in tone and quality of colour, and the contrast with tho gilding is fine and artistic in effect. Some of the most interesting examples exhibited are imitations of old German glass, enamelled with conventional opacity and crudity of colour. The forms of several of these vessels are very quaint and excellent; so much so, that one would rather see them without the enamelled adjuncts. The most remarkable exhibit of Austrian glass is that of Lobmeyu, Vienna (19, Class XVI.). The crystal glass employed by this firm in the production of candelabra, chandeliers, lustres, &c., is fine; and the designs to which the material has been adapted are the most perfect of their kind in tho Exhibition, with a few exceptions among the British glass. The problem of the exact quantity of ormolu to be used in the structural arrangement and incidental decoration of candelabra and chandeliers seems practically solved by Messrs. Lobmeyr. 1 04 THE PARIS UNIVERSAL EXHIBITION. workmen have been employed to carry out the I the general design is plan of the artist. The artist who furnished engraving of the ivory One pair of candelabra is of excellent design, the ormolu, however, forming the leading feature; but the glass is brought in and treated with such skill and judgment as to leave nothing to be desired. In some of the chandeliers the whole structure of ormolu is shown as a decided basis, with a very slight deviation from lines into ornamental adjuncts, and upon this the glass is arranged as a decorative clothing, in no way concealing the construction, but adding to its importance by its marked dependence upon the lines and essential points of structure for support. The result is a logical unity of purpose throughout, which is highly satisfactory, j This absence of ormolu itself as a decorative material competing i Luigi Annoni, and the I Brambilla. Italy, which contributes so many is executed by Giovanni admirable works, has sent none better than this. | with the glass, the latter never being used structurally or to conceal structure, are novel features, based upon a great principle discoverable in all natural construction, which it were better for I the arts of design was more clearly understood and acted upon by our designers and manufacturers. ITALIAN GLASS. This notice of the glass manufactures of the Universal Exhibi¬ tion of 1S67 may be very properly concluded with some description of the remarkable specimens exhibited by Dr. Salviati, of Yenice, shown with the specimens of his mosaics. In these examples of modern glass manufacture, produced at the resusci- ing works of the Exhibition—a pure example of high Ai t applied to manufacture. Every portion of it has been carefully studied and drawn; all the details are clear and distinct. Accomplished This most beautiful Cabinet— of ebony, inlaid with ivory, engraved—is contributed by De Amici Angelo, of Milan. It is one of the lead- 105 D D THE ART-JOURNAL CATALOGUE OF The two works on this page are productions in bronze, executed by M. Jules Graux, a distinguished bronze manufacturer of Pans. Ihe Statuette occupies able work, from the design of M. Gautier, an ornamental sculptor a central position m the .KiosqueligTndis S?£Z3Z “ distributing honours to successful contributors to the Exhibition. It is a very I tated works at Murano, the glories of the Venetian glass of the | fourteenth and fifteenth centuries have been revived. The admirable manner in which various characteristics of old Venetian glass arc reproduced is another evidence of the great advance in the manipulation of this beautiful material. Gold, metallic particles floating, so to speak, in the glass, thread work in all its variety, the quaint but elegant forms, the dainty touches of colour, and the filmy fabric, are all imitated in a very remarkable and successful manner, and with so much taste and judgment that, however distinguished for certain peculiarities the old Vene¬ tian glass may be, it is quite clear that this revival of the manipu¬ lation by successful imitation, promises to give to the admirers of this kind of glass an opportunity for gratifying their wishes at a comparatively easy rate; and whilst the old glass may hold its own by its susceptibility to .lamp and atmospheric changes,-in short/its “sweating" qualities, which may be prized or not, according to circumstances,-yet in an artistic sense the modern examples will hayo great claims upon all lovers of Art from its excellence of execution, its Art merits, and the quality of the “Vverylaree mirror, decorated in the Venetian manner with tinted, opaque, semi-opaque, and transparent glass, as als o some chandeliers and candelabra in tinted glass, form features of this display in the Italian department which merit attention. In conclusion it may he as well to state, that neither the Spanish, Swedish, nor Bussian specimens require special notice. Those exhibited in the Bussian department are more ornate than tasteful, and consequently are more for show than real use. THE PARIS UNIVERSAL EXHIBITION. Messrs. Clabburn, Sons, and Crisp, of Nor¬ wich, sustain the reputation of England by the exhibition of many admirable Shawls, the pecu¬ liar and time-honoured fabric of their city. They are made with considerable improvements upon their patented shawls, for which they have gained universal reputation during the last fifteen years. Their characteristic features I are, perfection of make, design, and brilliancy I and purity of colour, and lightness of fabric. THE LACE AND EMBROIDERY. BY MRS. BURY PALLISER. In bringing this notice of a most interesting branch of Art- industry to a conclusion, it is only right to say that an endeavour has been made to bring out fully and fairly the merits and salient peculiarities of the various exhibits ot which the space available for the purpose would allow. Demerits have been touched upon rather as a warning than in a spirit of captious criticism ; and it may happen, as certainly has been the case ere now, that the dis¬ cussion of the faults may prove more really useful than the praise due to well-earned success. In this branch of Industrial Art, at least, England has obtained honour, and deserved it. Lace is made of various materials—of flax, cotton, and mohair, of silk, gold, and silver. It is fabricated in various manners—by the needle, on the pillow, and by machinery. To Italy is assigned the invention of point or needle-made lace, but its fabrication has always been the favourite occupation of the Convent in all countries, and throughout many centuries to the present day, for the adornment of the altar and its Ministers. 107 THE ART-JOURNAL CATALOGUE OF M. Pannier-Lahoche, of the Palais Royal, •whose many beautiful works arc well known to English visitors to Paris, exhibits a large col¬ lection of charming objects of painted and de- unauestionably his “ show” adds much to the reputation of France. We engrave two of them, and may hereafter select others; the first is a Vase, the body of which exhibits some excellent painting of figure-subjects. The Ci.ock iseomposed of porcelain,'a Both of these objects are hold and massive in design, yet not heavy. . . true artist, and personally superintends the works that emanate from his estabhshment. The earliest productions of the needle consisted of darned netting and outwork. In the first, a network arranged m squares upon a frame was darned or embroidered with patterns or figures. This work has lately "been revived under the old name ° Outwork was formed by drawing tbe threads of linen, and working them with button-hole stitch into various geometric figures, the superfluous cloth being cut away. For these works various pattern-books were published in the fifteenth and sixteenth centuries, among which that of the Venetian Vmciolo, was most widely circulated. It was printed at Pans and dedicated to Louise de Vaudemont, wife of King Henry IH. These hooks are now of the greatest rarity. . The Netherlands lay claim to the invention of the pillow, and during the fifteenth and sixteenth centuries, she supplied lace- makers to all Northern Europe. From I landers Barbara Uttmann procured assistants to set up her workshop at Annaberg, and ex¬ tended tbe art of lace-making over the Hartz mountains; Brabant workmen established tbe lace manufacture of Denmark at bonder, and refugees from the Alva persecutions carried their industry to Honiton. When Colbert gave the first impulse to the lace manu¬ factures in France, so great was the rush of the lace-makers to that country, that the government of the Netherlands issued an edict prohibiting their emigration under severe penalties. France, more especially, is a lace-wearing as well as a lace¬ making country. Of the Valenciennes lace made in Belgium, France alone buys more than all other countries united. The taste for wearing lace, introduced by the Italian queens of Trance, pousse, and was executed for the first Earl of Ellesmere. On surrounded by the Graces; on the other, Psyche is presented to Venus by a group one side a relievo represents Cupid carrying Psyche to heaven, of little Loves. A figure of the deserted Psyche crowns the summit of the vase. attained under Louis XIII. to ti e most extravagant pitch. The queen-mother, Mary de Medicis, loved outward adornment, as her portraits in the Louvre, by Rubens and Porbus, bear ample testimony. The lords and ladies of her court wore lace in the greatest profusion. The falling collars and cuffs were trimmed with deep scalloped lace of geometric design, while garters, shoe- roses, and even the tops of the boots, were decorated with the same material. Nor were the courtiers of the Regency, in the ensuing reign, less lavish in their use of this costly fabric, and fortunes were expended in its purchase. In vain were sumptuary edicts issued by successive ministers prohibiting the entry of the laces of Italy and Flanders. Pro¬ hibition only increased the demand, and eveiy attempt to stop the growing evil was fruitless, until Colbert came into power, and devised a surer remedy. He resolved to develop the lace in¬ dustry in France, and to produce fabrics which should rival in beauty the coveted points of Italy and Flanders ; so that if fabu¬ lous sums were expended on such luxuries, the money to procure them should not go out of the country. Sending to Venice for practised workwomen, he established them at his chateau of Lonray, near Alen<,'on, under the direction of Madame Gilbert, herself an experienced lace-maker. The king, Louis XIV., was invited to inspect the first productions of his fabric. He expressed himself delighted, gave large orders THE PARIS UNIVERSAL EXHIBITION. The fame of England is largely upheld in the Universal Exhibition by the renowned firm of Hunt and Roskell, who contribute ex tensively some of the most perfect and the most costly of their rare productions. On this page we engrave two of great beauty ; the one is a “ Centiie-piece,” made for H.It.H. the Princo of Wales : it tells the story of Edward I. pre¬ senting his new-born son to the Welsh chief¬ tains. A statue of St. David surmounts the tazza for flowers. It is designed and modelled by Mr. A. J. Barrett. The Vase —a work of the very highest order of Art—is the production of Antoine Vechte, a name that is honoured in England as in France; it is in silver re- E E X an Altar CLOTir. The engraving convey notion of the merit of the.design, hut of the deli- I cacyof the workmanship it gives only a faint idea. himself, and desired no other lace should be worn at court except the new manufacture, upon which he bestowed the name of “Point de France.” Encouraged by his success, Colbert esta¬ blished fabrics of point and pillow lace in other towns of the kingdom; lace manufactories started up in every direction; and to Colbert France owes the development of an industry which now employs 200,000 of her female population. The principal lace manufactures of France are Point d Alen^on, the black lace of Normandy, and the laces of Auvergne, of which Le Puy is the centre, and those of Lorraine at Mirecourt, with the light fabrics of Lille and Arras. Point d’Alen^on is the only French lace not made on the pillow. It is worked entirely by hand with a fine needle upon a green parchment pattern in segments about ten inches long. These are afterwards joined by invisible seams—a task of great nicety, which devolves on the head of the establishment. At Alengon each part is executed by a special workwoman ; to one is given the ground, to another the flowers, and so on. About twelve hands are required to finish each piece of Alenin lace. Formerly it took more. Hence the high price it always attains, being the most costly of all kinds of lace. The manufacture of Alee9on, supported by fashion and court favour, continued to flourish, and never were its products m greater demand than in the reign of Louis XV. It fell with the monarchy, but was revived by the first Napoleon, who gave large orders to Alen^on on his marriage with Marie Louise. A bed furniture powdered with bees, and enriched with the imperial escutcheons, must have been a marvellous work of time and labour. Herron Glam, of Vienna, exhibit many ad- I They are productions of singular beauty, and I the needle can do, ^ el ? J^uce om rf'th'em- mirable svorks, principally for church use. | may be accepted as perfect specimens ot what | and intelligence. We introduce one ol them THE ART-JOURNAL CATALOGUE OF Messrs. Filmer and Sox, of London, do not make a “grand display” in Paris, but they show one work of very great excellence, suf¬ ficient to sustain the high reputation they have obtained for combination of merit in design | I with sound workmanship. We engrave a Fau- j teuil of their production ; it is circular, but so 1 ■ constructed as to separate and divide into a sofa, I and for easy-chairs. The plan is most inge¬ nious, simple, and of manifest utility. As a specimen of manufacture, it is not surpassed by any work of its own kind in the Exhibition. The fabric again fell with the First Empire, to revive in un¬ equalled splendour under the Second. Specimens of matchless beauty appeared in the corbeille de marriage of Her Majesty the Empress, and the layette of the Prince Imperial was no less costly, ihe curtains and bed-trimmings of the cradle presented by the city ot laris to the imperial infant were of the most finished workmanship, and cost 120,000 francs (£4,800). This cradle, with its nch enamels, is among the objects exhibited by the Imperial Manufactory of Sevres; but where are the Alenron curtains? J3oth should have been exhibited together, and the latter deposited among the historic treasures of the “ Musee des Souverains” at the Louvre. The most remarkable example of Alenron point m the present exhibition is the production of M. Lefebure, the eminent lace manufacturer at Bayeux, where he has established a fabric for making Alenron point, and brought lace-makers from that town to carry it on. It consists of two magnificent flounces, of faultless execution and elegant design. In the festooned border, which has the appearance of being fluted, we have a specimen of the great improvement that has lately taken place in lace-making—that of giving the effect of light and shade by an ingenious variation of the stitches. Next in importance to Alenron, is the black lace of Normandy. The fabric extends throughout the department of Calvados, but it is at Bayeux it has attained its greatest perfection. The Normandy lace-makers owe their prosperity to the invention of the “point de raccroc,” or fine-joining, by means of which they are enabled to make shawls, flounces, and other large pieces, in a number of separate segments, and then join them invisibly together. A THE ART-JOURNAL CATALOGUE OF The three grand “pieces” engraved on this page are among the principal attractions of the Exhibition—“ the observed of all a gentleman of large experience, sound judgment, and matured taste. The issues of the Company are, in all are from models supplied by the famous sculptor, Carrier Belleuse. The Clock . — .1 O i \-np# imi * “the ExUbitiom the sculptor Franzosi Giuseppe, both of Milan, permit us to describe its many beauties ; it is one of the works of highe all this reproduction, has appeared to present no other variation than diversity in the styles that were reproduced, and in the capacity of the reproducers. The object which all alike appeared to have in view for a while seemed to be the very same—to cause some ancient or early style to repeat itself as our own style, or to induce several ancient or early styles to concur in a similar simultaneous act of self-repetition. With some reproducers the one aspiration appeared to he a return either to the severe gran¬ deur of primitive classic antiquity, or to the more ornate mag¬ nificence which Greek Art acquired at Rome. Others, taking their stand in direct opposition to any such revival as this, advo¬ cated the Gothic of the middle ages in the genuine purity of its mediaeval aspect. The first Renaissance modification of classic Art in the estimation of a third class of restorers alone was admirable, and therefore it alone could be adapted to our present need. More or less debased forms of the Benaissance found favour with others, who could sympathise more readily with the classic us was it seen through a French than through an Italian medium. All this conflicting reproduction very naturally led to what has been called a “ Battle of the Styles. Each group of reproducers included partisans, whose allegiance to their own style implied implacable hostility to all other styles And so there arose a struggle, not only for the revival of certain styles, but also for the exclusive supremacy of some one style. It will be kept in remembrance, that the necessity for some kind or degree of revival was admitted on all sides. That is to say, it had become an axiom that Art had either died out, or become hopelessly dormant; and, consequently, a revival of Art was the only thing that remained possible and practicable. A revival of Art, accordingly, was taken in hand, by common con¬ sent, though altogether without any community of feeling as to any course of procedure. Very recently the revival of Art has given indications of the gradual advance of a fresh phase in the system of reproduction. The repeating action of Art has now reached its second stage. The revival has begun to give assurance of results far more excellent than the most successful of copying. It has arrived at the era of Adaptation. The students of early Art, who from the first have been thoughtful as well as observant, have discovered that the mastery over principles in Art gives them a power which extends very widely beyond the faculty of reproducing old types, and resusci¬ tating ancient processes. It was necessary, indeed, for them to learn to work exactly as they would have worked had they lived centuries ago, in order that they might become competent to apply old principles under the altered conditions imposed by new requirements, and associations, and sympathies. But it also was impossible that they, living and working now, should be content continually to go on working, as if they were really living in the age of the first Edward of England, or the first Ccesar of Borne. The very first lesson that they would learn from their mastery of early principles in Art would be the elasticity of those same THE ART-JOURNAL CATALOGUE OF have established renown in all parts of the world. Their productions are estimated and valued for the enduring qualities derived from sound and good workmanship, but they derive also additional worth from Art, as exem¬ plified in their ornamental character. of Messrs. Bishop and Barnard, of Norwich. Messrs. Peyton and Peyton, of Birmingham, manufacturers of Bedsteads in Brass and in Iron, 138 THE PARIS UNIVERSAL EXHIBITION. I principles, and their faculty of adapting themselves to external I changes and altered circumstances. If it were not so, if they ! found in the principles of an early Art, or style of Art, an in- I herent immutability which could admit only one system of action and one form of expression, in this fact there would be conclusive evidence before them that this was not the Art or the style of Art that it would be desirable to recall to practical life. It might be well worthy of study as a dead Art or style of Art, but for pre¬ sent general use its principles could not be applicable, because its practice refused to become consistent. Again: if an Art be con¬ sidered incapable of any fresh application, and be held to be competent only to repeat its original expressions, such sentiments imply a belief that the principles of the Art in question had in ! reality exhausted their powers in their first matured efforts ; and j here, as before, however valuable as a subject for study, it must be evident that the revival of an exhausted Art falls but little short of infatuation. And, once more : it would not be possible to attain to perfection in reproducing early works of Art by early processes, without becoming impressed with the existence in those works of essential qualities by which they are identified with other races and periods, and which consequently prevent their identification with ourselves. Our most perfect reproductions must continue to be reproductions, neither more nor less, of objects foreign and remote ; and this foreign and remote element is fixed in them the more firmly precisely in the degree in which our reproduction approximates to absolute perfection. In our present revival of Art, therefore, there are two grand objects that have equal claims upon our thoughtful and careful these productions are of considerable merit; as mere castings they are unsurpassed. The designs also are of more than ordinary ^ value. Their peculiar worth, how¬ ever, is derived from a new and very interesting process of manufacture, to describe which here is impossible, hut to which we shall elsewhere direct public attention. We engrave on this page four Chandeliers of Cast New York and Boston. America gives but scant material for introduction into our Catalogue, but Iron, manufactured and exhibited by Mr. Tucker, of 139 M. Clavier, of Paris, exhibits a large and most THE ART-JOURNAL CATALOGUE OF less enter. His models are all of great excel- sometimes silvered and sometimes gilt. As will attractive collection of fenders, “fire-dogs,” and be seen, many of them may be described as Art- lence, the produce of good artists; and the works; there is, indeed, no one of M. Clavier’s workmanship is-worthy of the designs. They so forth, of which the examples we give may supply a just idea; they are of bronze and iron, | contributions into which Art does not more or I are suggestive as examples of good and true Art. observance. The one, that we thoroughly search out ancient principles, and make ourselves masters of them ; also that we familiarise ourselves with ancient designs, and that we acquire an experimental knowledge of ancient processes. And our other grand object, growing out of the former and inseparable from it, is that we look steadily forward beyond a perfect reproduction of early works of Art to such a judicious, comprehensive, and truly artistic system of adaptation, as may cause our revived Art to become in very deed our own Art. In this year’s Universal Exposition we find, as we well knew that we should find, abundant evidences of the assiduity and earnestness with which the Arts of Antiquity, of the Middle Ages, and of the Renaissance, have been taught to rehearse the act of self-repetition. And, intermixed with repetitions pure and simple, we have recognised, with cordial satisfaction, not a few examples of genuine adaptation. As might have been expected, the adaptations are not affrays the most appropriate, the happiest, or the most successful; just as the deliberate and direct repro¬ ductions are not invariably in their way perfectly happy, or crowned with complete success. The merit and value of the adaptations, however, is found to be governed by the character ol the reproductions that preceded them. Those ai-tists prove them¬ selves to be best qualified to adapt the early Arts to present use, whose mastery over the early styles has been proved to be most complete. These are the men who may adapt with safety, because they know how to reproduce with certainty. In their hands the early Arts are secure, when they are being subjected to the trying process of adaptation to new and diverse conditions. They un- THE PARIS UNIVERSAL EXHIBITION. It is impossible, either by pen or pencil, to do justice to the Cabinet of M. Foukdinois, the chef-d'ccuvre of the Exhibition, and certainly the best work of its class that has been produced, in modern times, by any manufacturer. But it is not a production of manufacture, not even of Art-manufacture ; it is a collection of sculp- ! tured works, brought together and made to j constitute parts of a cabinet—these “parts" all exquisitely sculptured ; “carving” is not a word sufficient to express their delicacy and beauty. We engrave it; yet no engraving, however large, could convey an idea of the per- fection of this perfect work. The grand prix has been allotted to M. Fourdinois, and, we believe, by universal consent of his compeers, for this, his latest and best production, is unrivalled. derstand that the adaptation they have to accomplish is both direct and indirect; that it extends from principles to designs, and to the manner of working ; and that it has to be adjusted to the employment of all modern facilities and appliances, as well as taught to harmonise with the existing state of things. It is enough for us to know that the revival of Art has entered in earnest upon this grand enterprise of adaptation. Time and experience, with repeated efforts, with many failures too, leading to ultimate successes, are required in order to put the second half cf the nineteenth century in possession of such a revived Art as may be true both to itself and to the present time. Meanwhile, there is more than a little that is both interesting and valuable, which may be learned by all who love the cause of Art, by observing the progress of the revival as it is now passing under our eyes. As might naturally have been expected, the first and earliest efforts towards adaptation in the revival of early Art are very generally found to have aimed at such modifications only of early examples, as might be accomplished either by bringing together certain characteristic features of a revived style from different eras THE ART-JOURNAL CATALOGUE OF are all “matted” gilt, inlaid with gems. His I cellence; from the most important to the most productions are very varied, and all of rare ex- | trifling of his works, each derives value from of his exhibits by engraving an Album-Cover, | a Jewel-Box, and a Perfume-Burner. These Auguste Klelv, of Vienna (who has also an facturer of objets dc luxe for the drawing-room, establishment in Paris), is an extensive manu- the boudoir, and the library: we give examples Art. His large and very beautiful case is, therefore, universally attractive. He receives a gold medal, and also two silver medals. I i of its early existence, or by engrafting certain details and pecu¬ liarities of treatment from one country upon the contemporaneous expressions of the same style which were once prevalent in some other country. Or, in some instances, the adaptation may be observed to have sought for its own materials both from different eras and from various countries, and to have produced a compound system of expression by adapting these mollified elements to one another, and so blending or fusing them in the formation of a single whole. And, once more, by extending still more widely the range of such operations, the process of adaptation may have admitted into its treatment of some one early style peculiarities, which belong distinctly and decidedly to other styles. All this, however, is mere experiment at the best; and it also is experiment I which deals exclusively with known materials, and aims at nothing higher than fresh combinations and novel alliances. Such a condition of things denotes an elementary stage in the work or adaptation, as it indicates in the adapters the existence °f but little of that self-reliant originality of thought and purpose, which alone can lead them to really great achievements. Adaptation carried on after some such manner as has just been described, has very recently been exemplified in the treatment of architectuia works in the revived Gothic style. The style of the revivers, or, more correctly speaking, the revived style in the hands ot the revivers, is taught to look, at one and the same time, both backward and forward, and also both north and south : thus the early Gothic of Italy is incorporated with the early Gothic of England, and 142 THE PARIS UNIVERSAL EXHIBITION. MM. Blot .and Drouard are “ leaders” are equalled, certainly they are not surpassed, by any of the exhibitors of works in that class. Their contributions are numerous and in great variety, comprising, indeed, all the objects to which the arc is applicable—elegancies and among the many manufacturers of objects in utilities. All their productions derive benefit from Art-study, consequently even their less important works recommend themselves to persons of discernment. They have received a silver medal. both countries are required to contribute for present use from several eras of their history; while it is far from improbable that France or Germany may be considered to possess in their early Gothic some additional elements, which may be introduced with advantage into the new adaptation. But it is not our intention at this time to discuss this method and process of adaptation with referonce to its effect upon the existing condition or the future prospects of the architectural art of our own times ; and, accord¬ ingly, we now' direct our special attention to the present working of the Industrial Arts, leaving for consideration elsewhere whatever architecture and sculpture may be doing in carrying forward a work in which all the Arts combine to take a common interest. Since 1862 the system of reproducing early works of Art., from being general, has expanded into becoming universal. It is now found applying itself to every purpose and embracing every variety of work ; and besides, a matter of no small importance, it has widened its range in another dii’ection, so as to have com¬ prehended every really valuable and important style of ancient and early Art. Here we pause for a moment, before carrying our inquiries onward, that we may briefly record the important part that was taken in the work of “Adaptation from the Antique” by two fellow-countrymen of our own, in anticipation of the age of Great Exhibitions and of their influences. It is not modern Ceramic I TOT Hi Bill THE ART-JOURNAL CATALOGUE OF I>IM. GufitET. Fibres, arc, deser¬ vedly among the furniture ma¬ nufacturers of France who have obtained a “decoration” as well as a give on this page two very hpautiful examples—a gold medal. Their supremacy is chiefly up- I held by works in carved wood, of which we Cabinet, and also the “wing” of another Cabinet. Art alone, however great may bo its own widely diversified importance 1 , that owes an infinite debt of gratitude to the conjoint labours of WEDGWOOD and Flaxmax. They may truly be said both to have demonstrated the value and excellence of adaptations from the antique, and to have shown the right spirit and the true method in which such adaptations should be conducted. Theirs was something by far more admirable than the best of repro¬ ductions, pure and simple; and their works suggested at least as much as they exemplified. The suggestions also of what may correctly be designated original Wedgwood Art, extend to every Industrial Art, showing how happily and how effectively Art-workers in other materials, and using other processes of pro¬ duction, might accept and carry out the same principles of design, and might infuse into their own works the same spirit which animated and gave such dignity to theirs. It is impossible to estimate too highly the worthiness of the Wedgwood and Flaxman system of adaptation, or too strongly to urge upon our own living industrial artists the excellence and value of their example. Passing on to our own times, wo find the first reproducer who formed a just estimate of the necessity of achieving that absolutely perfect reproduction of ancient works of Art of which we have spoken, and accordingly who imposed on himself the task ot becoming a perfect master of the practice of ancient Art in the ancient manner, to be Signor Castellan I, the artist in gold, of Rome and Naples. Long familiar with the most precious and rare works of the artists of antiquity, Castellani had learned that the reproduction of their designs could not possibly be carried into effect by him with perfect success, unless he could also acquire — ~ 1~1 ?HE PARIS UNIVERSAL EXHIBITION. The Lace Curtains here represented are embroidered in crochet upon net. and are exhibited by the house of Huffier Leutner, of Tarare, near si»n are introduced dogs, stags, horns, and other attributes oi hunting, is after a panel of Claude Gillet, an artist of the time of Louis XV I., id is of great beauty. These curtains are of the class called ‘ stores Lyons. The first represents the arms of the City of Paris, accompanied by appropriate emblems. The other is styled “ Diane Chasseuresse,” and represents the goddess armed for the chase, while in other parts of the a practical knowledge of the ancient processes and modes of treat¬ ment. Acting upon such conviction, this true artist refused to be satisfied with anything short of a complete revival of the ancient modus operandi. It was no easy enterprise that Castel- lani thus resolved to carry on. Those ancient goldsmiths, whose works had been brought to light after so many centuries of undis¬ turbed repose in Greek and Etruscan tombs, in every respect and particular were masters of their craft—rich iu varied practical resources, exquisitely skilful in manipulation, thoroughly con¬ versant with the qualities and capabilities of the material in which they worked, and as designers having but few equals and no superiors. Ilis resolute perseverance carried him triumphantly over every difficulty, so that in the Great Exhibition of 1862 Signor Castellani was enabled to display such collections of his by the French, destined to be placed across a window like a blind, and therefore better calculated than the festooned, or looped-up curtain, to exhibit to the full advantage their elegant and artistic patterns. own works, all of them fac-simile reproductions of ancient works, as were seen and examined with no less of surprise and astonish¬ ment than of delighted admiration—collections, also, which left upon the revival of Art the impress of a new and a most energetic impulse. In the interval since 1862, while Castellani has been worthily following up his own triumph as a master in reproduction, many kindred spirits have gathered around him, followers of his example, and partakers of his success; and m some few instances Castellani has had the satisfaction to see that his fellow-workers, besides making honourable progress by his side on his own chosen ground, have struck out other untried pathways for themselves. . . . . In the present year’s Great Exposition, Signor Castellani is nobly represented, though his collection i3 comparatively very THE ART-JOURNAL CATALOGUE OF small, and notwithstanding the circumstance that he has exhibited reproductions only of ancient Greek and of early Byzantine works, the originals of the latter being very fine and eminently characteristic examples of the eleventh century. It is especially I to be noticed, that in every example in his present collection I Castellani still adheres to his former rule of exact and complete I reproduction, without oven a suggestion of deviation from ancient precedent either in design or execution, and consequently without I the faintest trace of any such adaptation as would imply a modi¬ fication of the original types or the introduction of any original j element. The time for this adaptation Castellani does not consider yet to have arrived: he holds that the practice of a rigidly faithful reproduction needs to be maintained until a perfect familiarity with the ancient works has been, not acquired merely, but made so thoroughly our own, that we are enabled to identify the ancient workers with ourselves. Thus is Castellani applying the results of his laborious and long-sustained researches in the same earnest and determined spirit, that enabled him to conduct them to their triumphant issue. As a special and all-important characteristic of all Signor Cas- tellani’s reproductions, it must be kept in remembrance that he has invariably selected as his models works that are distinguished in character, the latter simple. Both, how- | ever, have great merit in design and in execution, | as, indeed, have all the productions—and they are which we give two examples—a Centre-piece and a Jardiniere; the former very elaborate numerous — contributed by this M. IIerleaux, one of the leading goldsmiths of Paris, exhibits many admirable works, of eminent and well-known firm. THE PARIS UNIVERSAL EXHIBITION. Wc give on this page engravings of some of of the Count Dimeidel), in Prussian Silesia. | example of Art, the casting being remarkably -- the works in Cast Iron produced at the famous The principal object is a Door, or rather the ' sharp and brilliant. It is designed by Stu Foundry of Lauchammer (the establishment one half of it. This door is a most exquisite j and modelled by Dankberg, a sculptor of 1 for their intrinsic beauty of form, of composition, of detail, and of treatment—such as also are eminently qualified to fulfil with signal effectiveness their own peculiar decorative office, and con¬ sequently such as at all times and under all circumstances must retain their original appropriate excellence. And theso are con¬ siderations of the greatest and gravest importance, when the revival of Art is to be based upon the reproduction of ancient works of Art. The eminent qualities of so many works of ancient Art may very easily lead a reproducer, whose enthusiasm far exceeds both his judgment and discrimination as an archaeologist and his feeling and taste as an artist, to assume that all ancient works are equally excellent in themselves, and therefore equally worthy and suitable for him to accept as his guides, and to repro¬ duce for present use. It is the same in the no less important matter of styles of ancient Art. Every style of antiquity is not necessarily qualified to be restored to a fresh working existence, because once its own existence was happily identified with a great people who flourished in a remote age ; or because, on the other hand, some other ancient style has proved to be equally consistent and felicitous, whether at the first among its own people, or now when reproduced by ourselves. Here, indeed, lie the great perils of reproducers—here, in the selection of ancient styles for present reproduction, and in the choice of ancient examples which may be accepted as models, and may become types, and may be | recognised as authorities. And, in this very matter of selection j it is that reproducers, who are skilful enough in the execution of 147 contribute to the Exhibition— Tapestries for I Walls — as tine as any painted canvases. I The second shows a scene from “ l)oi their reproductions, so often and so signally fall short of genuine success. They find a great and a general interest to have been con¬ centrated upon certain early works, which, after being buried away from human sight for centuries, have been discovered and removed from their obscure resting-places, and placed in positions where they are easy of access ; and so they assume that these are works suitable for present reproduction, from the fact that they com¬ mand present interest and admiration. No such inference ought ever to be drawn, unless the proposed models possess other quali¬ ties altogether distinct from their abstract antiquarian attributes. It may happen that these works are specially unsuited for repro¬ duction now, simply in consequence of their having been so well suited for general use two or three thousand years ago. And, in like manner, it may also happen that the very same early style which has provided for us very mpy models of the highest excel¬ lence, in ancient times may have produced other works exactly suited to those times, and as decidedly disqualified for our own reproduction. Truly excellent and worthy models must be appropriate as well as beautiful, as they must be beautiful in addition to being curious. And, again, it cannot be too strongly impressed upon reproducers that all ancient works in the same style, and of the same order or class, are not of necessity equal in THE ART-JOURNAL CATALOGUE OF JIM. Reck - ill art Rovssel and Chocqueei,, of | Paris, are foremost among its manufacturers of | Tapestries, and also of “stuffs” of all kinds for I furniture: they have made a reputation that is | acknowledged throughout the world. Ween- | grave two of the many beautiful works they THE PARIS UNIVERSAL EXHIBITION. This most beautiful Catiinet, made for, and contributed by, her Majesty the Empress ot Russia, is one of the principal adornments of the Russian Court, the manufacturers of that great empire having made most successful efforts ornamented: these are exquisite; nothing in the Exhibition surpasses them. They are formed intrinsic merit. They do not all necessarily take the same rank as ■works of Art, and they cannot alike in every instance claim to he accepted by us as equals in authority. Thus it appears that in the work of reproducing an ancient Art, or of adapting the expressions of an ancient Art to modern use, the first quality in the reproducers must be the faculty of judicious selection. And no less for his possession of this faculty and for his admirable practical application of it, than for his other distinguished quali¬ ties, both as an archceologist and an artist, Signor Castellani commands the grateful respect of his contemporaries, and from his and their successors he must continue to command a similar tribute. He has demonstrated the excellence of ancient and early Art, and its fitness for reproduction and adaptation by ourselves; he has associated the revived practice of ancient processes with the revival of antique designs; and he has completed his work, by accepting for systematic reproduction, and by adopting as models of unquestionable present authority, only such ancient and early examples as combine the varied qualities which constitute real excellence. And one of these qualities is appropriateness for reproduction—that kind and degree of appropriateness which will secure for the reproduced works the same consistent admiration now, that the originals in the first instance certainly and justly experienced in their own era and on their native soil. This year’s Universal Exposition illustrates in a most impres¬ sive manner the supreme importance ot a prudent and judicious discrimination in selecting ancient styles and works of Art for reproduction and adaptation. The Castellani collections of the present Exhibition, as has to sustain and extend its renown in almost every department of Industrial enterprise. The chief merit of this work has, however, been given to it by the artist who designed and executed the groups and bouquets of flowers with which it is of precious stones of various natural colours, I harmoniously blended as well as delicately cut. 149 THE ART-JOURNAL CATALOGUE OF Wc engrave one of the Fenders made and contributed by Messrs Steel and Garland, of Sheffield. It is of good work, from a good design. Herren Schaeffer and Walcker, of Ber¬ lin exhibit a collection of admirable works in'Bronze, chiefly Chandeliers and Cande¬ labra ; they are of great excellence in design, the drawings being furnished by Herr C. Devos, the artist of the establish¬ ment. These objects exhibit con¬ siderable Art-knowledge, and are very graceful in form and character already been stated, exemplify two styles only—the ancient Greek in the rich purity of its perfected beauty, and the Byzantine when that all-suggestive style was in possession of its full powers. The collections of other reproducers, on the contrary, comprehend almost every known style ; and they show under what varied feelings, and with what diversity of aim, the work of reproduction has been carried on. The ablest and the most successful of the fellow-workers with Signor Castellani, Mr. Phillips, of Cockspur Street, London, in two very important particulars, has adopted a course of action that must exert a powerful influence upon the progress of the reproduction of works of ancient and early Art. In the first place, unlike Castellani, Phillips has accepted and regarded with nearly equal favour, models from numerous styles:—Egyptian, Greek, Roman, Byzantine, Scandinavian, Persian, the Classic Renaissance the styles of France from the cinque cento downwards, and (last, though far from least in both inherent interest and present value) the Gothic. And, secondly, in addition to faithful reproductions of particular ancient examples, this able artist has initiated a system of thoughtful, consistent, and eminently successful adapt¬ ations of ancient examples without cm exact adherence in either design or treatment to the ancient practice. In other words, Phillips feels himself to be strong enough to adapt under his own guidance, as well as to follow in implicit faith the guidance of early authorities. He feels also that, if antiquity has bequeathed much to the present, the present is by no means destitute oi resources of its own. Thus, he both reproduces some ancient works, as the ancient workers would have produced and did pro- 150 — castings of ox¬ idised bronze — with his cabinet- WWt i which is presented in our annexed engraving, represents the I Merovigninn conqueror ofAttila careering through the battle- THE PARIS UNIVERSAL EXHIBITION. M. Diehl is dis- I remarkable in its kind, and in which he has few competitors, tinguished among I the “Ebenistes” of Paris for a special mode of work, very I We engrave two of many excel- work. One of these, | field in a rude chariot, urged onward bj r savage oxen. This alto- relief is truly artistic. tured by Signor Devers, of Milan. duce them; and, availing himself of all that modern science and experience have contributed to the accumulated store of general knowledge, in his reproductions of other ancient works he modifies the ancient treatment of those works, so that at one and the same time he adheres to his model and improves upon it. Again; Phillips places ancient works before him as models and authorities; and then, in the spirit of those works, and in harmony with their artistic sentiment and feeling, he produces and carries out into execution, designs that are his own. This is true adaptation. This also is such an adaptation from the antique as will lead the way to an highly disciplined modern independence. In his method of dealing with Egyptian Art, Mr. Phillips most happily exemplifies his system of adaptation. Sometimes he sees in an ancient Egyptian symbol or ornament or architectural accessory a ! model, which may be consistently reproduced with approximate or, perhaps, with exact, fidelity. At other times, with Egyptian ' Art present as his own style of Art, he follows no particular ! Egyptian model; but, in the forms of ornamentation used in ancient Egypt, in the authorities accepted and followed by the ancient Egyptians, and in their traditional treatment of colour he finds materials, admirably adapted for present use, which produce works strictly after the ancient Egyptian manner, without being absolutely ancient Egyptian. By such a system as this, ancient Art is saved from distortions and misapplications: the deference that thus is paid to ancient rule and usage preserves the consistency of the style, while a well-regulated and disciplined freedom so di¬ rects the application of it that, when taught to conform to modern requirements, the style maintains the integrity of its character. lent works in earthenware manufac- 151 “house” has long been eminent, not alone for the substantial and enduring character of its been awarded to him in many exhibitions, both I ductions chiefly, if not exclusively, appertains mi home and abroad. Their merit as Art-pro- to M. Faxniere, an artist ot great eminence. His success in adaptation, and the attractiveness inseparable from such a habit of applying ancient Art, have not in any degree tempted Mr. Phillips to relax his efforts to obtain perfect repro¬ ductions, 'whenever it may appear to him to be desirable to reproduce perfectly any ancient examples. Nothing can be more severely truthful than his professed reproductions—truthful alike in method and processes of treatment, in general character, and in every detail of design and composition. In his Scandinavian ■works, in almost every instance true and faithful reproductions, Mr. Phillips is particularly happy, as in his earnest zeal for the restoration of this equally -wonderful and beautiful early northern Art to energetic life he merits the warmest commendation. Den¬ mark supports and sympathises with Mr. Phillips in his Scandi¬ navian reproductions; and she has sent to the Exposition a numerous series of examples of her own works, executed at the present time with skill, and taste, and feeling, in the ancient manner, and after ancient designs. Without either specifying particular instances of his success in other styles, or comparing the relative merits of his reproductions and adaptations in various styles, while all are distinguished alike by the same judicious discrimination, and the same severe purity of taste, the introduc¬ tion of Persian Art among the reproductions of Mr. Phillips claims from us a distinct and decided expression of our satisfaction. Ihe Arts of the East are peculiarly qualified to render good service to the reproducer, both from the delicately graceful forms in which they abound, and from the rich treasury of colour, and also because in so many instances they provide palpably valuable suggestions rather than any more direct teaching. M. Charles II. Gudin, Horologor to their Ma¬ jesties the Emperor and Empress, and to the “ works,” but for the aid the3 T derive from Art. Of these we give three examples, sufficient to sustain the high praise M. Oudin has received in all countries, and the “honours” that have Imperial Marine, exhibits a rare and very valu¬ able collection of Clocks and Watches. The 152 The JardiniSre which fills this page is also one of the many admirable productions of M. Christofle. It is in the style Louis Quatorze, or rather a judicious adaptation of it; for in nothing do the artists who work for this establishment slavishly copy predecessors; although it is frequently ob- vious that the best works of a long past fri time have been carefully studied by them. If not always shown to ho particularly judicious or very fortu¬ nate in its practical application, a lovo (or a least a fancy) for the Art of ancient Egypt is demonstrated by the Exposition to be prevalent among) not a few of the living reproducers of the Arts of antiquity. Except in the case of the truly fine and beautiful works of Mr. Phillips, the somewhat numerous reproductions of Egyptian models rarely illustrate the existence of any attempt to work out a genuine adaptation ; and still more rare are evidences of judicious aspirations, when treating of Egyptian Art, to attain to a comparative independence. The greater number of the works in the Egyptian manner are either simple reproductions on a reduced scale, generally with the substitution of a material differing from the original, and not unfrequently with the applica¬ tion of colour to one example which had been obtained from the authority of another. A happily appropriate and thoroughly successful adaptation of Egyptian Art, the work of M. COFFIGNON, of Pai'is, is the large tazza supported by a cluster of five square shafts, which, in 1S62, was presented by the employes of the Suez Canal to the son of M. Lesseps, on the occasion of the marriage of that gentleman. The design of this remarkable object is of singular excellence, and it has been worked out and executed in every detail with thoughtful care and admirable skill. The same THE PARIS UNIVERSAL EXHIBITION. This engraving, from one of the best productions of Chris¬ tofle, entitled “Navigation,” is of a testimonial presented by the French Government to Walter Faruuhar Larkins, Esq., of the Board of Trade, in acknow¬ ledgment of his sendees (in connection with M. Ch. Sallandrouze de Lamornaix) in reference to reforms in international law. It is a most beautiful work ; the group of figures is from a model supplied by the eminent sculptor Carrier-Belleuse, one of the artists to whom has been awarded a gold medal. THE ART-JOURNAL CATALOGUE OF ■\Ve engrave a Stove of very elegant cha¬ racter, manufactured and contributed by M. Lapekche, of Paris; it is of polished steel, —every portion of it—and has a singularly bril¬ liant effect, for it is of massive form and size, i yet is made, by the shill of the designer and the workman, to seem light and graceful. This stove, or fire-place, is architecturally con- | structed, so to speak, and suggests the idea of ; the facade of a building. Each of its several parts is appropriately ornamented in a bold style, and all combine into a harmonious whole. In some baronial hall or mansion of our own country, or in one of the picturesque chateaux in the provinces of France, this—in its spe¬ ciality, “noble”—example of industrial Art I pect England to excel; but there is nothing would find an appropriate resting-place. It is from our own manufacturers—or indeed from in such productions of metal-work that we ex- any country—that approaches this m merit as a specimen of perfect workmanship, carried out from the drawings of an artist who has evi¬ dently studied Italian design to a good purpose. goldsmith also exhibits a beautiful casket in oxydised silver, which exemplifies under other conditions his ability to work in the spirit of the old artists of the Nile. Another eminent gold¬ smith of Paris, M. Baugrand, has a more numerous and varied collection of important works in this style. A large statuette of 1 Isis,’ in silver, enriched with enamels in glowing colours, is the first object that attracts the attention, as it stands in a command¬ ing position in the midst of M. Baugrand s productions. The figure is well modelled, and perfectly Egyptian, but the colour is executed only in cold enamel. A casket—like the Isis, on a large scale—ranks next in importance in this collection. It is of gold, with cold enamels of brilliant and beautiful colours, the form being a square shiine or temple resting on silver sphinxes. Other objects worthy of remark are a hand-mirror of Homan form and style, with Egyptian ornamentation; a very excellent brooch; a figure forming a letter-weight; and a palanquin of jade, with four most characteristic bearers, the whole admirably designed and executed, and intended to fulfil the modern duty of receiving visiting cards. An Egyptian tea and coffee service in silver has also evidently been produced with every possible effort to obtain a successful result; but, nevertheless, the necessary conditions of such a group, and their strictly modern associations as they have been treated by M. Baugrand, ‘have proved obstacles to any com¬ plete success too difficult to be surmounted; the service is thoroughly modern, with decided indications of Egyptian forms and ornamentation. Mr. BROGDEN, of Loiidon, has produced a variety of ornamental works in the precious ^metals in the style of ancient Egyptian Art, such as ancient Egyptian artists THE PARIS UNIVERSAL EXHIBITION. Messrs. Elkington have received one of the | gold medals, and the jury awarded another to | M. Morf.l-Ladf.uil, the artist to whom the house is largely indebted for much of its admitted | supremacy. The Chess-Table is one of his | many admirable works. The “stall of Messrs. of silver-gilt, and enamelled; others are in the less costly material by which the repute of the firm has been principally established. “exhibits” that does not uphold the renown of England among the goldsmiths of France. would have regarded with warm admiration, such also as tho | most distinguished of the ancient Egyptians might have been j justly proud to wear. His necklets, armlets, brooches, pendants, ! and lockets, alike claim the highest commendation, as well from ! the care and discrimination with which the designs have been ; selected and adapted, as for the excellence of their workmanship i and the beauty of their general appearance. With works of the i same order executed in the styles of ancient Assyria, Mr. Brogden j has been equally successful. And his success is the more honour- j able to him, and in itself is more genuine and complete, in con¬ sequence of its being based solely upon an earnest and thoughtful j study of the existing ancient authorities. Excellent as they are in j their capacity of modern ornaments, his truly beautiful Egyp- i tian and Assyrian jewels are also especially valuable as models of j ancient production. In many instances the designs may havo been obtained from old works of a class and character very different from those of the modern objects to which they are to be applied , still, the result is altogether satisfactory, from the adaptation having been conducted on a sound system. And Mr. Brogden has not been content with any superficial or imperfect style of reproduction. Far from this, he has made himself a master oi the true principles of the ancient artists, and accordingly he is now able to work in their spirit and in true sympathy with them. The fidelity with which minute details are rendered m this beautiful jewellery is truly remarkable. In some cases figures not an inch in height are wrought out in gold with such con¬ scientious truthfulness, that if sufficiently magnified they would appear to be golden fac-simile models of the original life-size, or Elkington, at Paris, is fall of exquisite Art-works: some, as in this table, are The Vases and Dishes engraved on this page are most beautiful. There is no one of their THE ART-JOURNAL CATALOGUE OF M. Sasixoff, of St. Petersburg and of Moscow, on this page ; for adequate description we have no space. M. Sasilcoff was awarded a gold collection of very beautiful works, admirable in de- medal, and has also been dccori. He is represented in Paris by M. Gait.haru, Rue Vivienne. even colossal sculptures in stone and alabaster. It is the same with the colours of the enamels ; they are the right tints of the right colours, and are executed in perfect harmony with the works that they adorn and enrich with happy effectiveness. Mr. Watiteiiston', also of London, has been another practical student of ancient Assyrian Art, and his studies have been pro¬ ductive of very satisfactory results. He exhibits, however, so small a group of Assyrian jewels, that they rather demonstrate what he is able to effect in this style than exemplify what he has actually accomplished in it. Works such as these, which repro¬ duce ancient models and adapt them for use as modern personal ornaments, exemplify ancient Art in an agreeable and attractive manner, notwithstanding the circumstance that it is not possible for them to possess special intrinsic merit through present asso¬ ciation in more than a few exceptional instances. When introduced for the ornamentation of clocks, on the other hand, Egyptian and Assyrian figures and devices will secure a ready sympathy through a very significant association: since, however recent they may be themselves in their actual principles of construction and opera¬ tion, clocks refer directly to those astronomical studies and specu¬ lations which were at once the delight and the glory of ancient Assyrian and Egyptian philosophers. One very different class of modern works, in which practical utility and important decorative duties are combined, has been found to be capable of receiving sign and ornamentation. Some idea of their merit may be conveyed by the selection engraved Goldsmith to the Imperial Court, exhibits a large .56 abmty, who has received the highest industry, of these we engrave three. The Statues (in- the heads, arms, and feet being of bronze. valuable aid from the ancient designers of Nineveh and Babylon. We refer to carpets, for which designs of the highest order of appropriate excellence, and rich in suggestions also, have been either directly obtained or indirectly adapted from the enriched pavements of the Assyrians. It is remarkable that the Universal Exhibition, while it exemplifies in so striking a manner the revival of ancient Arts for modern uses by artists and manufacturers m France, England and Italy, and also in Denmark and Sweden, in the entire section ot the Derman exhibitors contains scarcely a single illustration of the same practice. It is the same with the sections of Spain and Portugal, and also in that of Russia. Certain Greek forms and ornaments, in the majority of instances more or less modified, may be seen exercising in some degree their habitual influence ; but, as a, general and prevailing rule, local traditional usages in connection with the later expressions of the Renaissance, are seen to have excluded the Arts of antiquity from northern, central, and south-western Europe. More towards the north-west, and in classic Italy, the votaries of the Arts of ancient Greece and Rome are shown by the Exposition to be no less numerous than enthu¬ siastic ; and classic forms, classic ornamentation, and the fascina¬ tions of the classic mythologies, are found to exercise their full influence in modern works of almost every conceivable variety. It is unnecessary to adduce more than a few of the more remark¬ able examples of reproduced classic Art; indeed, to attempt to describe all or even the greater number of the works, which are 157 of Birmingham. The first is a Window of stained I glass, designed, for the parish church of St. Neot s. Cento period. The second illustra¬ tion represents a silver Hanaf, or drinking-cup, made for Mr. G. S. Kennedy, the eminent engineer of Leeds, by the mediaeval processes of working metals, of which, we believe, Messrs. Hardman were the revivers. either actual reproductions of ancient Greek or Roman models, or are directly derived from them, would amount to nothing less than a fresh version of a large portion of the Catalogue of the Exposition. . The goldsmith’s work and jewellery of M. Foxtexay, of 1 aris, in the Greek, Etruscan, and Greco-Roman styles, are of the highest order of excellence, showing a happy combination of judicious selection of authorities, and of ability to apply them 'successfully to present use. The Pompeian jewellery of this artist is singularly beautiful, admirable alike in design, m the happy introduction of colour, and in delicacy combined with decision in execution. M. Froment Meuuice also has derived from Pompeu the designs for a most beautiful set of jewels ; and the same rich mine has been explored with equal success by Mr. Phillips, Mr Brogden, and Mr. Watherston. M. BouCHERON, again, another able goldsmith of Paris, with a variety of exquisite jewels, has exhibited a silver-gilt coffee-service, which is one oi the gems of the whole Exposition. The form of every object m this tine group has been modelled with infinite care and perfect taste and the ornamentation in delicate enamels of the true Pompeian red and of a rich black leaves nothing to be desired. The two published volumes of the “Life of Caesar, by the Emperor Napoleon, appear in M. Boucheron’s collection, bound, in a thoroughly classic style, with ancient Roman coins inserted I in the binding, and cameos reproduced with great skill Irom [famous ancient examples. Classic mythological subjects have 1 been produced, with signal success, in their various works in the ! precious metals by MM. Christofle, Odiot, Marrel, and other The engravings on this page are from works pro- | duced and exhibited by Messrs. Hardman & Co. Huntingdonshire, by Mr. John Hard¬ man Powell, who in it has certainly caught the spirit of the medieval glass painters. The subject of the picture is the Adoration of the Magi; I it is treated in the style of the Cinque From the very beautiful collection of Jewels premacy maintained, by the jewellers of France: few or none of them will return to London. Perhaps the best of Mr. Brogden’s works are those he has adapted from exhibited by Mr. John Brogden, of London, ancient models; these, especially, ma nif est judgment, taste, and skill. He claims to be “ the originator and proprietor of his own designs and no doubt he is so. we select some examples. They have been appreciated in Paris, notwithstanding the su- from several private “gatherings” of an His collection is very varied, from jewels of large value to those of small cost—resorting to the best autho- ities with the best results. Thus, in the specimens we give, there are “borrowings” from Pompeii, from Nineveh, from Assyria, from Egypt, and from the collections at the British Museum, the Louvre, Naples, and Copen- cient relics and modern gems. Mr. Brog den treats his art as a scholar, and he is evidently aided by accomplished artists. eminent Parisian goldsmiths. In the Italian Department, Signor Casalta has followed the example of Castellani, hut without attaining to such excellence as he might have achieved, had he followed his guide in reproducing ancient designs with the ancient method of treatment. In the ceramic works of several countries, the influence of the great masters of ancient classic Art is seen to have been productive of very happy results. Direct copies of the vases of antiquity have been produced in Denmark, and exhibited in the Danish Department; similar fac-simile reproductions appear from more than one producer in the British section, some remarkably successful specimens having been executed by a company recently formed for working the valuable clays dis¬ covered at Bishop’s Waltham, in Hampshire. Adaptations from the antique, without any attempt actually to reproduce ancient fictile works, are generally prevalent, and in very many instances the results are decidedly satisfactory, while in other cases a more thorough knowledge of the true character of ancient Art would have led to more fortunate illustrations of its revival and use by modern ceramic artists. The application of fine forms, derived directly from the antique, tc objects produced at the present time from the simplest materials, and destined for every-day uses, is exemplified in a manner that claims the warmest commendation in the stone-ware pottery of Mr. Doultox, of Lambeth. Nothing can be more desirable than this method of familiarising the public at large with beautiful forms by means of common things. The difficulty that attends the process of indirect adaptation is demon¬ strated in the partial failure evident in some of the finest works of French glass, in which the forms and ornamentation of ancient THE ART-JOURNAL CATALOGUE OF We engrave from the im- m j try (chiefly for the use of upholsterers) exhibited by M. Mourceau— one of his'“ Portieres,” I no manufacturer of portant and valuable col¬ lection of -works in Tapes- and also two Borders for curtains. To M. Mourceau has been awarded one of the gold medals, and ceramic works have been translated into a different material. The modern glass-maker might learn much from the ancient ceramist; j but he ought to study with a constant remembrance that in his i own adaptations the different natures of transparent and opaque materials must be observed, and consequently that ho ought in no instance to permit himself to produce what really would be glass models of fine pottery. In bronze the forms and the treat¬ ment of ceramic works may be adapted with greater ease and more certain success; and yet even here the artist in bronze can scarcely expect unqualified success without a constant reference to those constructive qualities which distinguish a metal as well i from glass as from clay. With the exception of one important class of works—those France is better en titled to the honour. which arc of a strictly ecclesiastical character, and destined to be associated with the ritual of the Eoman Church—the Exposition is remarkable rather for the absence than for the presence of repro¬ ductions and adaptations in the Gothic style. Here and there _ a solitary example of Gothic jewellery may be distinguished, as in the instance of the beautiful morse of Bishop William of Wyke- ham, reproduced as a brooch by Mr. Phillips, and the Gothic bracelet of Mr. Brogden; and, in like manner, a few experimental pieces of Gothic furniture have established themselves in the midst of the multitudes of Eenaissance works of the same class, the most important being the fine dressoir for a dining-hall, exhi¬ bited by the Messrs. Holland, of London. With this last-named work may be associated an object of a very different character, 160 THE ART-JOURNAL CATALOGUE OF Of the works contributed by Herren Dzledzixski a Wall Chandelier, of bronze-dore, one of those that adorn the Imperial Theatre at amples ; we supply three others, the principal being Vienna. It is of very graceful construction, the design of a skilful and experienced artist. their -workmanship. A model in silver, on a reduced scale, of the reproduction in stone of the memorial-cross of Queen Eleanor of Castile, lately erected by Mr. E. Barry, R.A. at Charing Cross, London, has been added to his collections in the Exposition by Mi - . Phillips, and it shows how beautifully the Gothic stylo is qualified to produce the most perfect expressions of the goldsmith’s art. Again, the Illuminations of Marcus Ward, of Belfast, illustrate, in a different manner, but with a similar effectiveness, the perennial value of Gothic Art, and show how great things may be achieved by reproduction of early Art, when the repro¬ ducer thoroughly understands both the early Art and the true principles for adapting it to present uses. It would be no easy task to produce any class of works, whether merely decorative in their character, or which combine utility with beauty, that has not been employed to exemplify in the Exposition the high estimation in which Renaissance Art is held by modern artists and manufacturers. Bronzes, furniture, personal ornaments, architectural accessories, alike appear in every phase, and in the peculiar manner of every period of the classic revival. And on eveiy side, in the midst of these diversified and almost innumerable productions, there are conclusive evidences that in the hands of living producers this style has been raised to the highest perfection to which it is possible for it to attain. The bronzes of Barbadiexne, the furniture of Fourdixois, and the enamels of Rebec, all of Paris, are amongst the finest and most perfect of the works, or they may more correctly be described as the three engravings on this page will convey some idea I and beautiful collection of works of high Art from should engrave nearly all its exhibited of the great and instructive merit of this extensive an establishment whose fame is universally recognised. very finest and most perfect works that have been produced in the Renaissance style. Other masterly works in the same style are exhibited in the French Department by MM. Lemoire, Meynard, Gueret, Satjvrezy, Dutin, Richstaedt, Roux, and Grohe ; and in the English Department by Messrs. Jackson and Graham, Crace, Wright, and Mansfield, Gillow and Trollope ; with many others in both departments, as well as in other sections of the Exposition. The Renaissance goldsmiths’ work and jewellery is also everywhere abundant, and in many instances of great excellence, while in some cases it is of a degenerate character. The Renaissance repousse work in silver exhibited by the Messrs. Elkington, of Birmingham, is unsurpassed in beauty and in perfection of execution. Messrs. Hunt and Roskell, of London, have some fine plaques, executed in the same manner. The col¬ lections of MM. Duron, Baugrand, Bernard, and Boucheron, of Paris, are rich, varied, and truly excellent. The crystal vases of the first of this group of artists, and the hand-mirror enriched with translucent enamels of the last, claim special notice and the highest admiration. Signor Cortellazzo, of \ icenza, again, has produced a vase, two shields, and several other works in wrought iron, inlaid with silver which is richly embossed and chased, that are second to no productions of the same Renaissance period of Art. It is unnecessary, as it would be impossible, to refer parti¬ cularly to other characteristic and admirable examples of this style. One collection remains to be noticed, the collection of admira¬ ble works in mosaic and decorative glass of Dr, Salyiati, of Yenice and London, which, in the happiest and most completely THE PARIS UNIVERSAL EXHIBITION. To render sufficient justice to the Im- productions: they are exquisite examples of Ceramic may bo studied, with advantage, by manufacturers Art modelled and painted by artists of renown, and | of all orders and classes throughout the world. The ferial Manufactory of Sevres, we THE ART-JOURNAL CATALOGUE OF side is another bas-relief, which aptly records I the “Reading of the Manifesto of Freedom” I on the memorable 19th of February, 1861. successful manner, exemplifies the adaptation of early Art to the tastes and requirements of our own times. With the examples of Adaptations from the Antique which the Exposition contains in such vast numbers, the wise thoughtful¬ ness of the Emperor has associated a museum of veritable ancient i Art within the walls and under the roof of the Palace of the Exposition itself. The innermost circle has been specially assigned for the formation of a museum, to which all countries might con¬ tribute specimens from their own choicest collections, with a view to illustrate the history of human thought and human work in all past ages and in every quarter of the globe. Thus, in this un¬ rivalled museum ancient Art speaks out for itself through its works. What ancient Art has accomplished, and consequently what it is able to teach, is here shown by actual examples. The early Arts of different races and regions, as well as of successive eras in the progress of tho same race and in the history of the same region, may be here studied separately; or they may bo brought together for comparison; their full powers may be discovered, and their teaching may be rightly applied. The immense value of this connection of the works of past ages with the productions of to-day may not be generally felt in tho first instance; but, assuredly, it will be correctly understood and duly estimated by all who have learned to distinguish what is noble and precious in Art, and who also have taken a part in the grand enterprise which aspires to gather together, for the benefit ot the present and the future, whatever is noblest and most precious in all Art throughout all time. This very beautiful work, in silver, is the production of Paul Ovtchinnikoff, an eminent goldsmith of Moscow. It is constructed as an Inkstand, but is designed to commemorate that great boon to Russia which gave freedom to the serfs. A freed serf is “ crossing himself” as he scatters seed over his own land. The figures and bassi-relievi touchingly illustrate the most glorious incident in the history of Russia : the upper bas-rclicf in front illustrates the people taught by the Bible; on the opposite THE PARIS UNIVERSAL EXHIBITION. M. Fhoment-Meurice ranks not only forc- during the greater part of the century. We j engrave on this page two of his Jewels and a most of the jewellers and goldsmiths of Paris, but takes high place among those of the World: the Firm has been renowned Candelabrum of exceeding beauty. Our limited I space deprives us of the power to describe them. ART MATERIALS AND PRODUCTS IN CLAY, ARTIFICIAL STONE, STONE, MARBLES, GRANITES, &c. BY PROFESSOR D. T. ANSTED, M.A., F.R.S. In the department of raw material, the Exhibition of 1867, though not without considerable interest, is in all respects less striking and less effective than former Universal Exhibitions. This is more especially the case with the minerals, and most especially with tho non-metallic minerals. There are not, indeed, wanting numerous small specimens of stones and marbles of various kinds from certain countries, but there are few general or complete series from any country. Tho best represented are France, Bel¬ gium, Italy, Portugal, and Greece. From each of these countries are general, but incomplete, collections. From other countries, there are only a few partial illustrations. It is not altogether to be wondered at that this should be the case. As Art-materials, it is almost impossible to estimate fully the value of stone, marble, or clay by any such samples, however large and complete, as could be sent for exhibition. It is chiefly, if not entirely, by results that such things must be judged, and it i will often happen that a really good material may be presented as ! a sample in such a way as to give no intimation of its value, while useless rubbish may be made to look in the highest degree promising. The best materials, again, are rarely found near the earth's surface, and those that look best near the surface cannot T T THE ART-JOURNAL CATALOGUE OF The en»r tvin" underneath is from one of the charming produc- | This Bedstead, “complete,” is contributed by the renowned firm of Eourdinots, tions “Invented” by Mr. Thomas C. Marsh— an application and is surpassed by no work in the Exhibition in any style of Art-manufacture ; not | of glass to the surface of mirrors—for lights and (low I even by the beautiful Cabinet, produced by the same master-mind and band, which ■crs. '• we have previously engraved. It is impossible adequately to picture or to describe it. always be depended on as yielding a large and uniform supply. Thus new sources are not trustworthy. Under these circumstances it is fairest and best, and will certainly be most calculated to do justice to the Exhibition, if I consider together Art-materials and the Art-manufactures, or Art-products obtained from them, rather than describe first all the materials, and then all the results. It may be the case that some of the works of Art I shall have to allude to will be described elsewhere. I shall, however, endeavour in all cases to limit my remarks and criticisms to the result as connected with the material, and not to the absolute result as a work of Art. In many of the simpler cases this is easy enough. I propose to consider in succession the principal materials. Thus I shall first speak a few words concerning the clays, to the terra-cottas, and afterwards to the artificial stones and marbles. Next will come the stones as distinguished from marbles, and then the whole group of marbles (the finest aiul most valuable of the stones) and all other materials, whether really similar or not, which are generally spoken of in the trade or among artists as marbles. These, of course, include a number of materials capable of being treated in many ways, having many properties, and varying much in quality, in value, and in adaptability to Art-purposes. These I shall also subdivide. In this manner 1 hope to be able to give a useful and practical outline of the chief contents of this vast and imposing collection, so far as it relates to the subject before us. 166 engrave two of their works. It is needless to I the exceeding delicacy and refinement of these I however, he conveys a correct notion. The say that the engraver gives hut a faint idea of | exquisitely beautiful' works ; of the designs, | first is a black Baycux lacc, and the second an. THE PARIS UNIVERSAL EXHIBITION. { The Comi’Axir DBS Indes is represented by MAh | among the best contributors of Lace, obtaining of the “ Legion d’Honneur;” having received Verd£ Delisle, The res ; they are foremost j in 18b7 a medal ot gold and tho decoration | Honours in several preceding Exhibitions. We example of Point d Alen«jon. 1 hey are unsur- I Exhibition, and may vie with the best of those I nownin gone-by times; for the accord of cen- passeci by any productions of the art in the | that have, so to speak, obtained national re- turies has established tho fame of French lace. C lays.— Clays are materials used largely for Art-purposes, and are subservient to many uses. Under this general name are included both the substances employed iu making brick and terra-cotta, and those valuable for porcelain and all kinds of pottery. Specimens of clay, however, are neither ornamental nor are they very instructive, and where the results are not forwarded with the raw material, are of small value. Still the Exhibition contains many samples, some from various well-known localities, and others from sources not yet recognised. From tho former the samples bear out the reputation already acquired, and those from the latter promise good results ; but as lumps of brick-clay, fire-clay, china-clay, and clay adapted for terra-cotta work can be judged of by small samples, provided we have also a chemical analysis, it is neither to be expected nor desired that large quantities of material or any showy display of it should bo presented. Franco sends a few samples, and, perhaps, it may bo useful to record that they are exhibited from the following localities, among first products (Class XL.), viz.:—Forges-les-Eaux (Oise), Monturet (Allier), Colettes (Allier), St. Yrieux (Haute Yienne), Plemet (Cotes du Nord). They are also sent by several manufacturers to accompany their finished works. Some of theso are in Class XVII. (Porcelain), and others arc among the general series of French minerals, but the greater part wilL he found in Class LXY., where there are about forty exhibitors of stone and cement. England also sends several samples, but it is needless to recapitulate the names of the exhibitors, all of them being already familiar to those interested. And it is the more unnecessary, inasmuch as there is really no striking or important novelty, and the best samples are from 167 THE ART-JOURNAL CATALOGUE OF M. Mauchand holds highest rank among the ; a gold medal in recognition of his services to his many admirable works: one is a Fountain Art. We have selected for engraving two of | for chamber use, very beautiful in design—it is o'f bronze, silvered; tho other is a Jardiniere, I composed with exquisite skill and thoroughknow- bronze manufacturers of Paris ; ho has received of bronze-dore, a production of exceeding grace, J ledge ol Art; the work ot an accomplished artist. places already known. Belgium sends a few specimens. Others j must ever rank high among Art-products. No one can examine are from Prussia, and some from Italy. There are also some from ; the collections in the great museums of Europe without perceiving gp a j n that original designs and accuracy ot modelling have often been By far the most important of the clays for Art purposes are perpetuated in this way; and it is, perhaps, to be regretted those available for terra-cotta. Of these there is, however, no ! that a material so manageable is now only regarded as a means special exhibit. Most of the finer varieties of plastic clay are j of obtaining indefinite repetition ot second-rate works for arefu- adapted for this purpose, but inasmuch as irregular shrinking in tectural purposes and garden decoration. Ihis is the case, at feast the furnace is a fault which is capital, and entirely destroys the so far as its larger use is concerned, though a monumental value of the result, there is much care required in the manipula- : composition of somo pretence from England, anti a number tion, and not a little in the original selection of the material. I admirable figures sent from Germany, show that there is some Terr a-Cotta. —The manufacture of figures, vases, and various I tendency in the Exhibition to raise the manufacture into Ait. architectural ornaments moulded in plastic clay, and afterwards j Of terra-cottas, properly so called, there are, indeed, several hardened by burning into a kind of brick, is so ancient, and has exhibitors, many of whom have sent creditable material and good been so successfully applied to Art purposes, that terra-cotta I designs. Tho first to be mentioned is M. Drasciie (Fiu.. 5 ), THE PARIS UNIVERSAL EXHIBITION. Of the Enamels of M. Charles Lepec, it is not too much to say they are the most admirable as well as the most attractive Al t-objects in the I | Exhibition. To this great artist public attention I hasbeen repeatedly directed in tho Art- Journal; | it is gratifying to find the judgment there ac¬ corded to his works confirmed by a verdict uni¬ versal of “all nations.” We can but refer to them on this page; a better opportunity for who has presented a group of objects as remarkable for cheapness as for their excellent Art and admirable style of manufacture. They occupy a prominent place iu the Park. The chubby Cupids representing(l) Trade andlndustry, (2) Gardening and Agriculture, (3) Art and Science, and (4) Hunting and Fishing, are so good in feeling, and are turned out so well, that they are worthy to be placed by the side of some of the old Roman work of the same material. The four figures of workmen, especially the Brickmaker and the Collier, are equally worthy of notice, and the price at which they are offered is such as to admit of their being intro¬ duced as decorative objects even in cottages. I need not say that there is no distortion observable in the specimens exhibited, but whether this would be the case generally is another question. The French terra-cottas exhibit nothing extraordinary, but they serve to keep up the reputation of the country. Of the English exhibitors, Mr. Puliiam seems to be the principal, as he alone sends a distinct subject. His material and work are good, and the results satisfactory. Strode’s terra-cotta is also good. Other well-known manufacturers are represented, but there is no novelty either in material or application. The Italian terra-cottas arc good both in material and design, but there is no very important work that could be specified. For pavements Italy has always been celebrated, and fully preserves its reputation. They are known, and have frequently been described. The most interesting specimens of terra-cotta, both French and from other countries, will be found in the detached buildings in the Park, and are in large groups. Cement and Artificiae Stone.—A rtificial stone, adapted for description and comment will be afforded us. The case in which they are contained arrests all Art-lovers; they refresh and delight the eye and the mind. The object we now engrave is “a gold cup in the form of a nef—& boat.” It I ductions have been purchased for England by has been bought for a large sum (but not for j Mr. Robert Phillips, who was the first in this more than its worth) by Mr. Alfred Morrison; I country lo appreciate the great artist, and who and, indeed, nearly ihe whole of Lepec’s pro- | must rejoice to witness his accumulated fame. 169 THE ART-JOURNAL CATALOGUE OF There may be more intrinsic value in some of the English cases, but for grace and taste, and true Art, based on an¬ tique authorities (and not unl'requently nised in all the Exhibitions of Paris and London, the highest Honours having been awarded to them, and a medal of gold in 1867. Our engravings will convey some idea of the grace I improving on them), the jewellers of I France far surpass those of all other | l countries. The fame of Rouvenat ! | (established in 1812) has been rccog- | Art-purposes, is tolerably well represented in the Exhibi¬ tion. France sends a fair series. There is some from England and some from Germany; Italy, also, in addition to her natural stones and marbles, is not without a special manufacture of imitative material of excellent qualitj'. Of the French, the most interesting groups will be found in one of the constmctions in the Park, where are admirable specimens sent by several exhibitors. The shed containing them is near the Porte Rapp, at the side of the building nearest to Paris. I particularly noticed a cement stone and artificial brecciated marble manufac¬ tured into chimney-pieces, columns, &c., exhibited by Cousin. This material seems very hard, and certainly takes a fine polish. It consists of hydraulic lime, natural stone, millstone, and terra¬ cotta, but is said to be made up with certain chemical substances I and beauty of M. P.ouvenat’s designs ; I to do justice to their exquisite bril- ' liancy (augmented by judicious and j skilful setting) is beyond our power. not stated. It is not very easy to judge without experience, both as to durability and facility of handling, how far it is likely to supersede the ordinary cements, nor is the price quoted. In the same shed are floors of artificial stone of a material very smooth and well adapted for pavement, and inlaid in excellent patterns, very neat and in very good taste. These are priced at 15 francs per square metre, and are therefore extremely cheap. Messrs. Bocil, Freres, are the exhibitors. Inside the build¬ ing, in the Machinery Court, are specimens of imitation stone sent by Chattehoue. They are well deserving notice. The material exhibited by Lifpmann & C'o., under the name of “ Simili-pierre ” (France, LXY., 3 and 409), is shown on a very large scale by columns and monumental works. It is not new having obtained a medal in London in 1802. The general style of M. L. Rouvenat occupies a fore¬ most place among the most eminent Jewellers of Paris, and, consequently, of the World, for it is certain that no country competes with France in set¬ ting and arranging gems of price. 17C 1867, their ancient renown: the Beauvais tapestry defies competition ; hut it must not he forgotten that the issues of this establishment are produced at the cost of the Empire. It would he unjust, therefore, to place them side by side, for comparison, with the achievements of private firms. THE PARIS UNIVERSAL EXHIBITION. the work done is satisfactory, and there is an absence of the white joints too common in artificial stone. The material is certainly worthy of consideration both for external and internal purposes. No. 3 is a complete fountain, with all architectural details, pedestal, columns, and capitals, groups and statues, the whole con¬ structed of simiii-pierre and simili-marbre. Very fair illustra¬ tions are exhibited in the central garden, where are circular fluted pedestals and slabs exposed to the weather. In the chapel will be found a complete altar, illustrating the use of the substance for church work. The price is not stated. The manufacture is carried on in Paris, and there seems to have been much done already. The climate of Paris is certainly more favourable to these imitative stones and marbles than that of London, and this may account for the greater appearance of substantial success in reference to large detached objects, like those here alluded to, manufactured in France, than can generally be given by rival materials in England. The exhibits of cement in its various forms (obtained essentially from sulphate of lime or gypsum burnt in a kiln and afterwards mixed with water) are sufficiently numerous, but hardly any (perhaps not one) has any special reference to material. The various compositions of which Keen’s cement is an excellent ex¬ ample, and the results (scagUola is the most familiar) are employed generally for decorative rather than Art purposes, but are capable from their nature of many artistic uses. Among artificial stones the material invented and patented long For the present, our selections from the very beautiful works in Tapestry exhibited by the Imferial Manufactory of Beauvais —“the Gobelins”—unrivalled during the centuries present and past—are limited to M. Badin, and aided by some of the best artists | of France, these long-famous works uphold, cnarmingiy composed " border; tneomcr a Fire Screen, of which we engrave also the frame. Under the superintendence of its estimable and accomplished director, 171 _ THE ART-JOURNAL CATALOGUE OF ago by Mr. Baxsome, and exhibited by the “Patent Concrete Stone Company,” is certainly one of the most interesting. It is familiar in England to all interested in this subject, and is about to be manufactured on so large a scale at the new works of the company at Blackwall, that it cannot fail to attract much atten¬ tion. It is beyond comparison the most simple and natural material that can be manufactured; and those who are not yet acquainted with it would do well to examine the results after learning the process of manufacture. This stone (like concrete) solidities at once, being completed on the spot without requiring burning, and it owes this entirely to the nature of the manufacture. It is simply enough made of almost any material ground to powder, and worked into a paste by admixture with Huid silicate of soda, obtained by the solution of Hints by caustic soda in boilers, under a considerable pressure of steam. The paste thus made is moulded and then dipped into or soaked with a solution of chloride of calcium. A double decomposition immediately takes place, resulting, in the formation of silicate of lime and chloride of sodium (common salt). The former serves as an immediate and perma¬ nent cementing material, insoluble and hardening with time. The latter is washed out -frith repeated applications of fresh water. Air drying, and exposure for a day or two completes the process. The cost for ornamental work is much less than that of any stone; and the material is much superior in durability, being altogether unaffected by rain and frost, so far as a limited experience can enable us to judge. The objects exhibited are not very ornamental, but the straightness of the lines will enable the architect to form an estimate of the value of the stone. It is very well adapted for j this volume. The “exhibits” of Barbedienne are very varied, comprising all the more refined requirements of the drawing-room, but includ¬ ing many for ordinary uses, all of which have The works exhibited by Baubedienxf, are of the highest order of Art-manufacture. His pro¬ ductions in Bronze compete with and rival those of the best manufacturers in what are termed I boon subjected to the influence of pure taste, and are from the designs and models of accom¬ plished artists. That we engrave on this page is a Clock, of small size but of great beauty. i “ precious" metals ; he has, indeed, so elevated i the art he professes as to give it rank with that I of the goldsmith. Evidence of this will be I found in the several engravings that will grace THE PARIS UNIVERSAL EXHIBITION. A Cabinet ornamented by inlaid woods, in the “ style of the time of Christian IV. the inlay¬ ing is executed hy C. Bonne, the design is by of many meritorious productions issued by a Professor Heinr. Haxsen. The work is one \ society in Copenhagen, founded in 18G0, “ for all the higher and better kinds of garden work, for capitals of columns, for ornamental trusses, and various other works usually requiring stone, and easily injured. There is every reason to believe that it is altogether unaffected by weather. Stone.— Of stone, the varieties exhibited adapted for Art pur¬ poses are few and not very interesting. Many countries send small cubes, and some others hand-specimens uncut, or with one or more faces dressed so as to enable the careful observer to become familiar with the available materials of the country. But this supposes that the specimens furnished are fairly selected ; that on the one hand they are not too carefully picked, and on the other that they have not been taken from unopened quarries, and are not already injured by exposure. The element of climate is, more¬ over, so very important in all considerations as to the value of a material to be used externally, that an opinion can hardly be hazarded from such samples. Thus, even the Maltese stone, the softer kinds of which may be cut with knives, like cheese, into the most varied and intricate forms, does not stand exposure badly in its native soil, and if properly managed, will last for years. This stone, however, in England, requires to be kept under a glass shade if we would retain its pleasing colour and avoid a rapid destruction. There are examples of common stones in the exhibi¬ tion from France and Algiers, Italy, Austria, Spain, Portugal, Turkey, and other countries. They vary greatly in colour, in texture, in hardness, and in cost. In all these respects and also in enduring power and absolute strength they are gene¬ rally inferior to Portland, but equal or superior to Bath. Of English work in English stone, or samples of English stone for encouraging the Union of the Fine Arts and the I cellence of design (obtaining, in all cases, the aid j manship. We hope to see a society with simi- Arts of Industry,” with a view to combine ex- of eminent artists) with superiority of work- lar objects and results established in London. of M. Houdehixe, of Taris. and excellence of not in a capricious tistic feeling in all the issues of his atelier. Art-purposes, there is little or nothing except some objects (vases) exhibited by Seymour, and carved in Bath stone. Forsyth exhibits vases in Caen stone in the English department. There are several varieties of French stone, but nothing calling for special notice. Algiers sends much, but little beyond small hand specimens. Of the Malta stone there are a few examples of the kind so well known. The cutting is overdone, depriving the material of its character, and giving it a nondescript appearance in very indifferent taste. There is a good specimen of material and workmanship by J. Doppeler, of Salzburg (Austria), in one of the avenues. It is a monumental fountain, and consists of a group of figures in stone, supporting a plain marble tazza for a fountain. Above the tazza are other figures, all grotesque, and rather heavy; but there is much talent in the design, and in the carving of the figures, which are made to harmonize thoroughly with the material. It may be a question whether the marble tazza is an improvement, but in other respects no fault can be found. There is rather a curious oval table with twisted legs, constructed of fossil limestone, and consisting exclusively of ammonites, that may be mentioned among the few stone manufactures. It is also Austrian. From Greece there is sent a curious variety of lithographic stone showing a good face. It is covered with blue streaks. From Turkey is a good collection of building stones. Slate. —There are some fine specimen of slate and slabs from the well-known quarries of Angers, and also from those of the Ardennes. The former are particularly good; but though occa¬ sionally introduced for monuments, they cannot be said to lend some of the Works in Bronze TTIE ART-JOURNAL CATALOGUE OF His various and varied productions arc remarkable for purity of style ing. There is evidence of thought and ar- We engrave on this page of predecessors, he has avoided actual copy- THE PARIS UNIVERSAL EXHIBITION. Herr Elster, of Berlin, is a renowned manufacturer of Chaxde- works are, in all cases, admirable examples of Art applied to manufacture; his designs and models being supplied by artists of ability and renown. We liers, Candelabra, &c., in Bronze and in Bronze-dore. His give on this page three examples of his contributions to the Universal Exhibition. themselves very readily to Art-purposes. The manufactured slates and various objects constructed of slate and slab are interesting illustrations of the great improvement mado recently in France in the development of such mineral treasures of this kind as she possesses. There are no slates of importance exhibited from other countries. Several exhibitors of enamelled slate for various purposes will be found. Mr. Magnus, one of the earliest in this department, is not absent, but he has now many rivals. Some are more useful than ornamental, but many are really artistic. The magnificent slabs of England and Ireland there is neither inducement nor wish to forward to such exhibitions as the present in their natural state, but as worked into billiard tables and enamelled for house decora¬ tion they are superior to anything else of the kind. Statuary Marble. —Of the different stones that bear the name of marble, by far the largest proportion is only fit for decorative purposes, and not for the higher works of sculpture. Such mate¬ rials are very varied in composition, some being carbonates of lime, others sulphates, and others again totally different. Under the present head I propose to consider only those crystalline lime¬ stones that possess the peculiar saccharoidal crystallization or sugar-like grain that is valued for statuary purposes. Of the rest, the common and less valuable kinds, are, for the most part, fine¬ grained limestones, and differ from common limestones only in a greater delicacy of texture and a capacity for higher and more perfect polish. Such marbles are common in most countries; whereas, the pure white saccharoidal varieties are rare and ex¬ ceptional. Geologically the common kinds are bedded and often 175 g, and one for Leather Work. No one mil question the justice of these | Europe. We are justified, therefore, in giving them prominence in this awards for in creating what has been rightly termed a “new industry Catalogue We select for engraving the Covens of four of their hooks ; for Ireland,” and thus promoting the best'interests of their country, they they are of unsurpassed merit as examples of book-binding. But we fussiliferous; but the statuary marbles are veins entirely without organic traces, and highly metamorphosed. Included among the marbles for practical purposes are the serpentines and the exqui¬ sitely beautiful varieties known as onyx marble, or oriental alabaster, chiefly obtained from Algiers and Egypt. Excluded, aud requiring separate notice, are alabaster, porphyry of all kinds, granite, and jade; malachite is also excepted. As Art materials, the marbles are beyond all comparison the best and the most important among minerals, and of all known kinds the white saccharoidal marbles are tho finest. In texture, as well as in the absence of definite colour, they far exceed all others. They work smoothly, and they admit of a perfect polish. It would have been satisfactory to be able to announce a new discovery of such material, but we cannot congratulate the exhibi¬ tion on anything very important in this way. Carrara still yields not only the largest quantity of the best kind, but is really almost the only available source of supply. The fine Parian marbles, and the' Pentelic marbles of Greece are not quarried, nor are they equal in many respects to best C'ai'rara. India has sent a few manufactured specimens, but no prospect of large supply, nor is it certain that artists would altogether like the rather sickly white I of the best Indian kinds. Erom Algiers we have a few specimens, but nothing to show that quantity exists. Carrara, therefore, remains triumphant. The supply from thence is large and in¬ teresting ; and includes several valuable blocks for statuary pur¬ poses up to about three cubic yards. With regard to quality, these specimens are in appearance perfect; but the absence of streaks and veins in the exterior is no proof of the purit}’ of the THE ART-JOURNAL CATALOGUE OF Messrs. Ward and Sons, of Belfast, have, in the Universal Exhibition, received Three medals, one for Illuminating Books, one for Lookbmd- have attained so high a degree of excellence in the Arts they profess as to challenge comparison with the best producers of all the Nations of -no orOmry ' 3 oxcm o to feurcits iimen 1 , 1 i: lion i iDxiilxyoiuw um coiiri-j! THE PARIS UNIVERSAL EXHIBITION. engrave also four illuminated pages, taking one of them from an Address presented by the town of Belfast to the Prince of Wales, and the others who, at his sole cost, “restored” the Cathedral: one of the engravings being from his “ Reply.” We have no space for any descriptive from beautiful works—volumes presented to Sir B. L. Guinness, Bart., matter; but these works have been fully described elsewhere in the M.P., by the Corporation of Dublin and the Dean and Chapter of St. Patrick's, in expression of gratitude to that truly great and good man block throughout. A knowledge of the geological conditions, and the locality of the vein from which the stone is obtained, and of the particular part of the vein that has yielded the specimen sent, would afford better indications. But although there seems no danger of rivalry to Carrara, there are several other claimants for notice in respect to statuary marble. Thus M. Delcros, of Ceret, in the Eastern Pyrenees (near Perpignan), has sent a very interesting sample (LXV. 47), not absolutely pure, but of good quality, and not unpromising. The Pyrenees are so rich in marbles generally, and the position of Perpignan is so favourable, that the quarries containing this marble would be well worth working, if the quality should justify it. And as there is a large demand for white statuary marble of inferior quality for decorative furniture, there is no danger of an Art-Journal. It must suffice to say that the Illuminated Pages are from drawings , in all cases the productions of artists native of Belfast. unfavourable result. The same may be said with regard to good specimens of statuary marble from Algiers, Greece, Turkey, and other localities. More might be said of India, were it not that similar and even better samples than those here shown were in the Exhibitions of 1851, 1855, and 1862, without any importations of fine marble having followed the notice then given as to the utility and value of such products. Of statuary marble used for decorative purposes, there are many examples. Most of those that are worth special notice are chimney-pieces, more or less richly and ably sculptured. Some are made up with ormolu; some are carved and others are inlaid. The material being everywhere obtainable (though for the most part by importation from Italy), the exhibitor desires to illustrate his power as an artist without other reference to the marble than THE ART-JOURNAL CATALOGUE OF Painted Glass, and Monu- Messrs. Cox are manufacturers of all classes of works for the Church—pulpits, benches, altar-tables, chairs, alms-chests, altar-rails, brackets, gas and candle standards, coronas, church plate, fonts, with a long et cetera. They are, in all cases, based on “ autho- “ uses ” and decorations, has of late years received from Art. as it lends itself to his design. The statuary marble chimney- pieces are numerous, and some are very good. I noticed par- ' ticularly one by Galinier, of Marseilles (XIV. 135), hut there j are many others. There are also several from Belgium. From Russia, however, we have the best. It is a chimney-piece of [ large size in white polished marble. It includes a really superb j group of three Cupids, the upper one holding a clock. The whole is admirably designed, and is remarkable for the boldness as well as the extreme beauty of the style. This specimen is priced at j 5,(U0 roubles (£400). There are other objects in the same material. Thus from Turkey we have a delicately executed and well-designed Unitier, or some similar construction. Both material and work are worth notice, but the locality of the marble is not stated. It is probably Italian, and if so it is well selected; if not Italian, the quarries from which it proceeds ought to be looked after. From the United States is a chimney-piece of white marble, of some interest, though not in very good taste. The marble is from the State of Vermont, and is of remarkably good colour, and free from veins. The grain is, however, coarse, and the material does not seem to admit of a very perfect polish, nor is the general result pleasing. Belgium has sent several good chimney-pieces of statuary marble, some (XIV. 126) very rich and costly and nobly treated. Others are heavy and tasteless. M. Rousseau, of Antwerp, has sent a very elegant and comparatively simple design in excellent taste. I must not omit to mention a most elegant fountain of triangular form, with a group consisting of a goat and young Bacchanals. of London, manufactu¬ rers of Church Furniture, the benefit the Church, in all its ments, exhibit several good productions of their peculiar trade, some of which wc rities,” and supply evidence of grave, the leading object being a "Window of Painted Glass —a production in | all respects creditable. We publish also engravings of Lecterns and a Gas-staxdard. Messrs. Cox and Sons, I value as works of Art, and certainly lose nothing of positive worth because they are produced in material that is not costly. The collection exhibited by M. Lefevre attracts, and merits, T fppviip r.f cr\rr \n much attention. All his contributions are of great excellence. The court, which contains the ’ ‘ ’ sc contributions | productions of more than twenty manufacturers of Zinc d’Art, presents many objects of interest. The material is very good, and is tenderly and well managed. It is exhioited m the Roman Court. Both here and in the general Italian collection there are a number of works of sculpture. These I do not notice, as belonging more especially to the subject of Art. Onyx Marble and Oriental Alabaster.— Under these names are included certain beautiful and very valuable coloured marbles, long known and used from the earliest period of Egyptian, Etruscan, and Roman Art, but neglected for many centuries, and now somewhat largely introduced and almost regarded as a new material. Urn onyx marble is a variety of coloured marble, but is so peculiar in its appearance and uses as to deserve separate consideration —the more so as it is largely exhibited chiefly in the Trench Courts. The limestones thus named are chiefly obtained irom Algiers at present, but formerly they were introduced from Egypt. They are translucent stalagmitic marbles, crystalline in texture, of an exceedingly beautiful warm yellowish brown tint, marked rather than veined somewhat in the manner of malachite. They have often been seen, but never to such extent or such advantage. They are perhaps best shown by French exhibitors in (.'lass XIV., but they also appear among sculptures (Class III.) Some of the works in onyx marble assume to belong to high Art, rivalling the noble specimens of mixed marble willi bronze, preserved in the great museums of the Vatican and the Louvre. It requires the exercise of ripe judgment to mix marbles of different colours and adapt them to bronze : but this is attempted with success by M. Cordier, and some of his figures are exceed¬ ingly effective and noble. I may mention as examples the two really grand candelabra by this artist, exhibited in one of the THE PARIS UNIVERSAL EXHIBITION. We engrave two other of the works of M. Jules have already been illustrated in our Catalogue ; the one is a graceful Candelabrum, the other a group— Cornelia —surmounting a Clock. It is the work of an accomplished sculptor, M. Matrix, and is admirably modelled. These works are only in zinc, but they have great 179 Pillau, others of the admirable compositions in Cast Iron of merit as Art-works ; being, indeed, for the most part from the models of emi- justly obtained one of the gold medals awarded for special merit. avenues, and the superb groups in the court occupied chiefly by YiOT and Cie (XV., 67), which in their way are quite unrivalled. Among them is a large vase of onyx marble supported on an elephant (the whole standing six feet high), which is so much more beautiful than the conventional and often repeated alabaster vases of Florence, that these appear more unsightly than ever when we pass to the Italian Courts in search of beauty of form and elegance of design. These vases are in all respects admirable. Many of the smaller articles are in the finest taste. Such are the small patera and candlesticks. Whether indeed alone or mixed with other marbles of less costly kind, or adapted to bronzes and forming a mixed figure with bronzes, there can be no doubt that the onyx marbles as exhibited by France are among the finest works in marble shown, and deserve special commendation especially for decorative Art as distinguished from high Art Besides the onyx marbles of the finest kind, there are good but inferior qualities exhibited from Egypt, and others manufactured at Rome and sent thence by Italian artists. I must not omit also the Caucasian onyx exhibited by Russia. Some of it appears particularly clear and altogether translucent, but other samples are clouded. There is one noble block of the clouded variety, having a surface of nearly seven square feet. It is not unlikely that stalagmitic marbles might with advantage be obtained from many other localities, and the owners of some of the caverns where thick floors of stalagmite exist may find it worth their while to open as quarries these curious receptacles of stone fresh from t e hand of nature. ,, Serpentines. —Next in importance to the onyx como tne THE ART-JOURNAL CATALOGUE OF We engrave a Fountain, a j MM. Bucel and Son. They are of rare excellence as castings, and of great j nent sculptors. Lamp-Stand, and a Lamp- i M. Ducel has varieties of marble, usually called serpentines, including under this head the vercl antique and other stones sufficiently similar to justify the application of the name. Strictly speaking, the serpentines aro rather magnesia-stones than limestones, but they usually rank as marble. They are found in many countries, and almost always under somewhat similar conditions. Italy is the metropolis of them, as it is of so many other marbles, but they exist and are very fine in France, in England, and in Germany. As a rule these marbles are much veined, and generally contain cracks that interfere with the working of large blocks. Their colour is also heavy and gloomy, and in many cases there are large expanses of a sickly white or cream colour streaked by only thin lines of pale green. The French exhibitors of serpentine have sent chiefly vases and chimney-pieces. Some of the former are handsome, but all are heavy. The latter are in several cases good. There is one especially in which the heaviness of the dead green colour is well corrected by a profusion of ormolu, and the design being simple and neat the result is very pleasing. A far less satisfactory specimen, but one of much greater pretension, is sent by M. Goualt (XIV. 157). It is of a red marble with white spots, the colour deep and the spots ugly, inlaid with a streaky serpentine. There is little to praise in any detail, but the general effect is good. A number of chimney-pieces with serpentine are in the furniture courts of France and of several other countries. Some of them are better than others, and there is in them much to admire, but little that admits of detailed description, or that calls for very special notice. work of great merit, both in design and execu- I tion. It is of walnut-wood, elaborately carved, I with boldness and yet with much delicacy. THE PARIS UNIVERSAL EXHIBITION. The Sideboard (Buffet) engraved on this page | is another of the productions contributed by | Messrs. Trollope and Sons, of London—a 181 z z THE ART-JOURNAL CATALOGUE OP Lines the several forms usual in this kind of I work — the Mosaic, the tesselated, and the I intaglio — all composed of various marbles. The serpentines of England, though sometimes exceedingly beautiful and admitting of many applications, especially for church decoration, are not illustrated in the Exhibition. This is to be regretted, as although the Lizard vaiieties are not uniformly good, they include some of extraordinary beauty and richness, while the Irish kinds may be procured in slabs of great size without serious flaws. There are peculiar serpentines from Sweden, manufactured into tazzas of elegant shape, and some other ornamental forms. The colour is dull and tho material appears harder than the average of the Italian varieties. Of the Florentine serpentines, I can only say that the speci¬ mens exhibited offer a repetition of the heavy and inappropriate forms into which this material has so generally been sculptured. The vases are especially poor, and I observed no single object deserving of praise. There is a prominent copy of a certain pair of huge jugs that seoms to be the limit of design in Florentine serpentine, so invariably have they been forwarded to all the exhi¬ bitions of Europe. From Prussia are two vases and some shafts of a very handsome dark serpentine, without veins and without any white patches. They are of good size (3 feet high), and carefully worked in Egyptian style, but are not otherwise remarkable. Serpentine, on the whole, is better adapted to mix with other marbles and for inlaying, than as a material for large and complete works, and it is to be regretted that in the attempt to exhibit large blocks and produce a great effect this natural limit to its uses should have been so often forgotten. Large slabs of the Messrs. Henry Loveuidge and Co., of Wol¬ verhampton, extensive manufacturers of Papier- Mache and Japanned Ware, contribute highly satisfactory examples of their productions. From these we select a group representing a Sponge- 1 rath and a set of Toilet Ware, based on approved Etruscan forms and ornamentation. I ley Court. It is of great beauty in de- [ sign, and, perhaps, lias not been surpassed I by any work of its class in England. I We therefore engrave it. The floor com- Mr. James Forsyth, of London—whose I Fountain and Font for the town of Dud- ley (by commission of the Earl of Dudley) we have already engraved—has executed a Marble Floor for the vestibule of the noble lord’s seat, Whit- 182 THE PARIS UNIVERSAL EXHIBITION. paler and brighter green varieties are well adapted for altars, and perhaps as a material this mineral is better for church purposes than for house decoration. Small columns constructed of it are, however, both rich and pleasing, and the chief objection to its use is the uncertainty of obtaining any large quantity of the same kind. Besides the two serpentines, there are several green marbles more or less resembling them. Thus from Sweden the peculiar pale green stone already alluded to is neither streaky nor patchy. It has been manufactured to some extent into small table orna¬ ments, vases, &c. It has the appearance of being hard, and is perhaps rather a porphyry than a serpentine. From Canada is sent a large block of the peculiar serpentine, containing fossil remains of an animal of very peculiar organi¬ sation, concerning which geologists have written and said much since its discovery. It is far more interesting in its bearings on scienco than as a material valuable for Art purposes. There are several examples of inlaid serpentine used in the decoration of furniture. These offer nothing worthy of notice in respect to material. Coloueed Maebles. —"We come now to the miscellaneous collection of coloured marbles. This is particularly interesting, inasmuch as specimens more or less completely manufacturei cellent contributions of objects in Carved Wood. facturers, generally, of this class of work, cost I tion ; they are usually issued at half the price of production forms an important considera- to which' English purchasers are accustomed. Herr Stovesandt, of Carlsruhe, supplies us with | He produces such works in great largest and most elaborate, in low and in I manifest much excellence in design and skill high relief, for ornament and for use. They | in workmanship. As with the German manu- materials for another page from his many ex- have been sent not only from most of the districts -where we are accustomed to seek for them, but from many countries which at present do not export material of this kind. English and Irish marbles are, however, entirely absent, and this is to be regretted, for each country contains specimens not only of great beauty, but of great recognised value. There is no finer black marble in Europe than that of Derbyshire, and some of the marbles of Galway and other parts of Ireland are equal to the Italian, Italy naturally and fitly takes the lead among the countries sending material of this kind, and the collection of specimens (chiefly cubes and polished blocks) is very large, and includes many of great beauty. There does not, however, seem to be any¬ thing very new. By far the larger proportion arc brecciated or made up of angular fragments cemented together by carbonate of lime, so as to form a perfectly compact stone. The better kinds are hard, uniform in the dimensions of the fragments, and well crystallised and cemented. Of the special and named varieties, there are several very good. I observed good varieties of broca- tello, and some good yellow marbles. There are some fine specimens of giallo cintico from Borne. Greece is very well represented in mixed marbles. The chief exhibitor is M. Siegel, of Tinos, but there are others. Among the objects exhibited I would direct especial attention to a large and fine slab of rosso-antico, which purports to come from a modern quarry. It is accompanied by other slabs, and by several shafts of columns of considerable dimensions. As specimens they are valu¬ able, but it is not certain that large supplies could be obtained of similar quality. They are grouped into a kind of pyramid. THE ART-JOURNAL CATALOGUE OF sculptor Molin, whose “Northern Gladiators” established his reputation in London in 1862 Iron, from the Works of Count Vox Stolberg. The Swedish Court contains many very excellent works in Porcelain and Earthenware; are principally those of the eminent firm of S. H. Godenius, of Gurtavsherg, Stockholm; others they The Lamp Pillar is a contribution, in Cast are the productions of B. E. Geijers, also of Stockholm. We convey some idea of their merit in the annexed engravings; often they -- are from the designs of renowned artists. The Fountain introduced in the upper vnsg|jflBp^. group is from a model supplied by the 184 THE PARIS UNIVERSAL EX H IBITION. contribute largely, but it occupies a prominent I place in the Exhibition, and establishes high I repute among the Art-productions of the ■world. Portugal is particularly rich in marble, and exhibits in a manner to do credit to all who have contributed. The varieties are repre¬ sented for the most part by slabs, frustra, and shafts of columns and other plain manufactures, sufficient to show the quality of the material, but not claiming to be works of Art. The specimens are polished by steam machinery, and the price is very low. The resources of the country in this respect are thoroughly well brought out, and very great and creditable exertions have been made to place all in the best way. It would not be easy to specify, for the principal interest is derived from the large number of examples, and their general excellence as material, and not from any particular variety more beautiful or more available than others. It is certain that Portugal may supply the European market very largely with brecciated, veined, and coloured marbles of many kinds, at a price sufficiently low to compete seriously even with Belgium and other countries where cheap marbles are produced. The works in coloured marble, exhibited by France, are both numerous and very excellent. The mere specimens of material, are, however, few. Of the works, I may first direct attention to those in which Pyrensean marbles are made use of, as in some respects they are best of all, both for beauty of material and style. Among them is a noble vase of large size, by L. Geruzet, placed in the Avenue de la Seine. It is beautiful in form, and the In the first part of this Catalogue we gave examples of the admirable works other of his meritorious productions; they have attracted much attention, of form; the other objects are Brooches and a Bracelet | the highest merit, surpassed by no pro- i ductions of tho class. Denmark does not and deserve the “Honour” they have received. The Group copied, or rather adapted, with considerable judgment and shill from ancient Scandina contributed by M. Christesen, of is from a table tea-service of silver, having much originality Copenhagen ; we engrave on this page ' vian models. They are not only of very beautiful designs, the workmanship is of 3 - - - - - ---------~ -- um u w UIIU1I ||#|S^ gslilgiil |iiPilil®| iireilolloiloliollo IQI 'ollallo'lolio; ■,|0||C!1C||01IO||0||C||C||0||CI,0||Q1|C||C>1' ration of a room. In this art we have yet much to learn from France, although much has been taught us by its manufacturers. Mr. Woollams maintains the credit of England in this branch of Art-industry. attracted deserved attention. In that special branch of Art-manu- marble, though somewhat streaky, is of very fine quality. There is another fine vase (square on an octagon pedestal of serpentine, with sculptured flowers.) The material of this vase is a yellowish brown marble, and its colour harmonizes well with the subject, which is thoroughly well treated. In one of the courts is a singular and very beautiful ‘what-not,’ in four stages of solid marble, of red colour, prettily streaked. There are slabs of the same marble. A number of detached shafts of columns are distributed both in the Park and in different parts of the building, in the avenues, and in the courts of machinery and raw material. Most of them are of good marbles ; they indicate 'great variety, and the blocks are of considerable size. They are from various localities, and of different merit and value. Near the principal entrance to the Park from the Pont d’Jena, are two groups of three columns each. Am ong them may be observed a very good yellow marble, and a good red variety, almost equal to rosso-untico. All these j are French. I Among the numerous chimney-pieces in the French furniture courts, there are several of coloured marble of considerable beauty and in good taste. That which appeared to me as the most inte¬ resting, is constructed of a peculiar pale green material (not a serpentine), inlaid with white marble, beautifully sculptured, re¬ presenting groups of game and fruits. Another very exquisite combination is to be found (XIV. 94) in a soft pate of porcelain, in- ; troduced as mosaic work into black marble. This is also a fire-place. THE ART-JOURNAL CATALOGUE OF Of the “ Paper-Hangings ” of William Woollams | and Co. we give an example; it is rather the side deco- Mr. Brownfield, of Cobridge, holds a prominent place among the Pot¬ ters of Staffordshire. He exhibits only works in earthenware, but these are of much merit, and have THE PARIS UNIVERSAL EXHIBITION. facture France is unable' to compete with England, with re- We devote part of another page to the productions exhibited by M. Tahan— a Jewel Box of much elegance; and a Cakixet of great beauty— ebony, inlaid with ivory, carved. The establishment of M. Tahan is well known to ference either to quality or price; consequently British ma¬ nufacturers trade largely with Paris in this class of ware, and will seetheimportanceofgivinggoodArtto “commonthings.’ all who visit Paris. He collects there the various works for which the Capital of France is most celebrated, selecting them with matured taste and knowledge. The following may be mentioned as among the most curious iind interesting -works in marble in tbe French department not yet alluded to, Colik, E. J. (XIY. 137), scwei-al specimens of 'l osges marble. Jalol-in (158) ; baptismal fonts and sundry sculptured marbles in the style of the twelfth and fourteenth cen¬ turies. Duchesne (152), some good slabs of veined marble, with other articles (manufactured) not very good in design. There are some excellent brecciated marbles from Algiers. Belgium is rich in marbles, hut except from their convenient position for exportation, they would hardly he so often seen and made use of as they are. Many of them are heavy in colour and marking, and a very large proportion fossiliferous; and what¬ ever the reason may be, there are fewer bright colours and pleasing varieties in the Belgian exhibition of marbles than one might have expected. The number of works (chiefly chimney- pieces) is very large. From Germany are several exhibitors of marble. I noticed som8 slabs of handsome material, and some manufactured works from Yillmar on the Lahn, and some from Berlin—from Silesian marbles. Austria supplies some brecciated marbles. The Sile¬ sian marble columns and arch above the great cannon exhibited by Messrs. Krupp are worth notice. 187 THE ART-JOURNAL CATALOGUE OF I MM. Wirth,, Freres, of Brienz, Switzerland, I modal has been awarded), exhibit a large col¬ lection of works in Carved Wood, chiefly the nrndnr't.inns nf their extensive establishment in Switzerland. We have already engraved some I great excellence, very beautiful as compositions, I They are in. great variety.—large and small: of them, and now engrave another; all are of and carved with exceeding skill and power, this Buffet is one of the best of their works. Russia sends but a few specimens of coloured marbles, and these are not very remarkable. They are made up for by the porphyries and hard stones. There is a curious column and a vase exhibited by Norway. Turkey exhibits some interesting red marbles ; and from theJJnited States are several manufactured works in coloured marbles of various kinds, but none of them of sufficient import¬ ance to require special notice. They are chiefly manufactured chimney-pieces. Granites, Porphyries, and other Hard Marbles. —No country in the world is so remarkable for its sculptured works in the hardest porphyry as Russia, although, no doubt, we may name at the same time, Norway and Sweden, almost the only other countries where the inhabitants devote themselves in any important degree to the tedious and slow labour required to produce these works. In ancient times, Egypt almost enjoyed a' monopoly of such labour, but it has long since passed into other hands. Those who remember the great Exhibition of 1851, may call to mind the effort in this direction there shown. They were barbaresque, representing enormous labour but little taste. The two glorious Rhodolite candelabra in the Russian court—the gems of the exhibition in stone work—are an enormous advance in taste and even in execution of the vases before attempted. They are nearly nine feet high, and their proportions are exquisite. The material, though harder than the hardest granite, is more beautiful than the most delicate marble, and the finish of the work is beyond all praise. It is only in Siberia that these marvellously fine-grained and charmingly tinted materials are found, and it would seem that out of Russia no one would be met with who 188" THE PARIS UNIVERSAL EXHIBITION. would expend sufficient time and labour to bring them into the market. But although the candelabra are certainly the most remarkable objects both for their size and perfection of work, they are not alone among polished porphyries. There are many other smaller objects, all good and all in excellent taste. There is a dark olive green material, almost as hard but less transparent than the rhodolite. There are others also, beautiful but inferior. These are sculptured into various forms, and are, almost without exception, simple and good. In this respect, they offer a marked contrast to the straining after effect, and the consequent produc¬ tion of forms ill adapted to the material, which characterise most other countries in works of this kind. There are, indeed, no other porphyries worth mentioning after these. In granite, there is a fair group from Aberdeen (monumental works); and no less than five, all good, from Finland. They are worked chiefly into monumental forms, for which they are well adapted. The great cost of finished and polished work in material so hard and unmanageable must always greatly check the demand, but the adaptation of steam machinery in working it has already con¬ siderably reduced the price, improving at the same time the mechanical finish and polish. There are porphyries sent from several European countries, some of them very beautiful and admitting of a very high polish,—others, simply hard and not pleasing. Miscellaneous Minerals. —Of these Malachite is the most remarkable. Those who remember the display of this mineral in uses. Their “ exhibits ” arc infinitely varied, comprising, indeed, all the articles made in the materia], from the largest to the smallest, from the most costly to the lowest in price, Sffp' supplying the Old World and the N e\v. The metal is remarkably pure, J| the aid of competent artists is resorted earned the Gold Medal awarded to them for the pro¬ duction of all classes and orders of Glass for domestic to, and a high degree of perfection is and ornamentation. We select for en- for originality of treatment, and two principal artists are M. Bugleau, sculp- Director en chef, M. Didierjean, has re- of Honour. The Director of the Works pany is represented in London by Messrs. attained, with reference both to form graving a Chandelier, conspicuous graceful adaptations for flowers. The tor, and M. Reyen, designer. The ceived the decoration of the Legion in Paris is M. Surloppe. The Com- F. E. Ormerod & Co., of Hatton Garden. The “Compaonie des Cristalleries de St. Louis” have justly the Russian Court, in the Universal Exhibition of 1851, will be perhaps disappointed at seeing so little hei’e. Such a collection, however, had not before been seen, and is not likely to be seen again. What we now find is very interesting as illustrating the peculiar manufacture, but there are no very large objects. The quality of the Siberian malachite appears still to be much superior to that of tha Australian, and in point of grain and markings leaves nothing to be desired. There are some fair specimens of the peculiar veneering that renders the mineral so well adapted for decorative purposes. There is also a block of malachite sent by Prince Demidotf, weighing about two tons, and valued at £3,000. Another fine block of malachite, of fair but not first-rate quality and colour, is from Queensland, and some others of much smaller size are from South Australia. The inferior varieties of this mineral are of comparatively little value for veneering and inlaid work. Alabaster is not largely represented in the Exhibition, but there are of course many examples of it from Italy, whence this substance is chiefly obtained for Art-purposes. I observed very few works in the fine clear white variety, although this is generally regarded as the most valuable. Of the yellow kinds are several works exhibited on the French side, but few of them are important. There is, however, a noble group of four figures, supporting lights, exhibited by Messrs. J. Dupuis et bition than the Gate of which we give an engrav- j ing. The Count has been awarded a gold medal. The Count Yon Stolberg, from his re- specimens of the art—sharp, delicate, and evoked; there arc few better works of the class in the Exhi- nownod Foundry at Usenberg, Prussia, supplies us with the objects that grace THE ART-JOURNAL CATALOGUE OF refined. The aid of first-class designers has been this page. They are of Cast Iron—admirable 190 THE PARIS UNIVERSAL EXHIBITION. pao-e, is one of the contributions in silver of M. | Christesen, of Copenhagen, several of -whoso I admirable works wc have elsewhere engraved. Parfonry. The Italian works in alabaster are of the ordinary kind, and offer nothing original. There are several objects mannfactured of Jade. This mineral seems common in India and China, but its extreme hardness renders it very troublesome to work. It has also few pretensions to beauty of colour, though the polish.it takes is perfect and the grain extremely fine. By far the most interesting work is a pair of very remarkable transparent green square-topped vases, exhibited by Russia. Inlaid Works and Mosaics. —The art of Mosaic is of very ancient date, but of late years it has been almost entirely carried on in Italy. Russia is now overtaking both Rome and Florence in the highest qualities of this interesting art, and there are specimens of Mosaic in the Russian Court superior to any similar work in the Exhibition. The largest of these is intended to ornament the porch or entrance to a church in St. Petersburg. The mosaic surmounts the door, and is treated with perfect taste and knowledge in reference to its intended position. The squares of marble and glass are large, but the drawing and colouring admirable. The style of manufacture is peculiar, and some modifications of treatment are introduced to render the adaptation more perfect It is impossible not to be struck with the extreme beauty of this work, and the admirable promise it gives of the progress of Russian Aid. It is accompanied by some other specimens, all remarkably good. The mosaics exhibited from Rome (made of glass) are of the The Drinking Horn prominent on this page is of carved ivory—a work of exceeding beauty, I manufactured by Messrs. Schwartz and Son, of Copenhagen. It is the property of the esti- I mable Prince Oscar, of Sweden, to whom it was | presented in acknowledgment of his services as President of the Swedish Exhibition of Works of Art and Aid-Industry. The bassi-relievi re¬ present scenes from the Lay of “ Frithioff,” the poem of Tegner, the Swedish poet; and the de¬ signs are by M. Peter, an eminent sculptor. The Coffee-Pot, based on an oriental design, with which we fill this ordinary kind, and adapted for objects near at hand. Perhaps the most pleasing is a white marble chimney-piece inlaid with oblong mosaics about a quarter of an inch long, forming a blue ground, and smaller fragments worked in a white and grey pattern. There is one largo round table also of the most perfect taste, containing eight charming views of Eome in radiating spaces enclosed in trellis work. The views are taken at various times of the day, and the table represents the natural divisions of the day. Thus there is the Colosseum at midnight, the Piazza del Popolo at sunrise, the Piazza do S. Pietro at noon, and the Forum at sunset. There is originality and extreme beauty in j this work. Another table has a most beautiful twined wreath of j convolvulus and honeysuckle on a red ground. The Florentine mosaics (work in pietra dura ,'consisting of small shaped pieces of coloured stones much harder than limestone, inlaid in slabs of black marble, and completely polished before being inlaid) are not so good in point of taste as might have been ex¬ pected. The material and workmanship are all that can be desired, but the designs are poor and ill-adapted to the method, or else old and familiar. There is a staring and vulgar expres¬ sion about many of them that does no credit to the state of this elegant Art in Florence, and it is almost to be feared that mosaic work in the capital of Italy is taken out of the hands of the artist, and has become a mere vulgar manufacture. The Russian work in pietra dura consists of transparent and translucent pebbles, regarded as semi-precious stones (amethyst, to the Church of Notre-Dame des Victoires. of design and manufacture in 'which Franco excels “ all nationsand, as in the ease of MM. Fanniere, closely approaches those which OF 1 Genius has bequeathed as teachers of a Future. The Lamp we engrave, with other beautiful ob¬ jects, is of silver: it is an offering of the Empress highest Honours (a gold medal and a THE AHT-JOURNAL CATALOGUE MM. FanniShe, Fkeres, have obtained the decoration), to which they arc eminently en- | titled, not only as Jewellers and Goldsmiths, ! but as “makers” of those exquisite examples 192 examples of his many admirable con¬ tributions to the Exhibition; they arc of silver, the Coffret being partially gilt. It is designed by M. Jules Fos- sev, and is exquisitely modelled and wrought. The Vase and Cbntke- lat, an artist-sculptor to whom the fabricants goldsmiths of France. This page contains three of Franco are much indebted. He is a man of true genius, who has dedicated his abilities to the advancement of Art-manufacture. I have endeavoured in this account of the minerals employed for Art purposes in the great exhibition to give to the reader of the Art-Journal a tolerably clear outline of all those objects in my department that are most remarkable, and of the impressions made on me. I may not have seen all that are there. I may have passed by some that were well worth pausing to examine and allude to. In a building so vast it is impossible not to have done so, but I think my general impression will be found to re¬ present the true state of the case. I may conclude in a few brief sentences, pointing out that France has exhibited her usual taste, and has shown that she possesses in her own bosom and her colonies Art-materials of great beauty and value. Italy has hardly done justice to the well-known and acknowledged excel¬ lence of her supplies, and the genius of her sons. Greece has carnelian, agates, and other siliceous gems) inlaid in black marble, in bold relief, showing about half the substance represented, and generally so selected that the natural colour of the stone is that of the object imitated. Thus bunches of currants, grapes, &c., are marvellously copied, and form the most beautiful ornaments that can be imagined for caskets and cabinets. Work of this kind is, however, most costly, and not very common. It is, therefore, well fitted to the taste and style of St. Petersburg, and seems especially easy to Russian workmen, who regard time as of little value, and whose patience is almost as remarkable as their taste. Several objects of this manufactui'e are exhibited, and all are good. It is evident, indeed, that Italian inspiration has first guided the taste both of producer and patron; but most of the designs are now the result of native talent. THE PARIS UNIVERSAL EXHIBITION. M. A. Veyrat holds high rank among the j piece are both the productions of M. Choise- 3 c 193 THE ART-JOURNAL CATALOGUE OF This pago contains engravings of three Tea bition. The designs are of the best order, intro- j ducing neither too little nor too much ornament, Services, and other objects in silver, manu¬ factured by Messrs. Tiffany and Co., of New while the} 1- all bear evidence of good workman¬ ship. The establishment of Messrs. Tiffany is the largest in the New "World ; it is of great im¬ portance, therefore, that they should minister to York. They are all designed and executed by American artists, and are not surpassed in pure taste in America; they are doing .so, if we I regret is that they have not sent more; it is, how- may judge from these contributions. Our only | ever, something to show what America is pro¬ merit by anv articles of the kind in the Exlii- ducing and estimating. These “exhibits” hold j their own beside the best of England and France. shown some signs of revival to a more active position with regard to Art-material, but has left much still to do. Portugal has been well and actively superintended, and shows great resources. Germany exhibits little. England has done nothing. Of all European countries, however, Russia has indicated the most decided advance, and has once more astonished all interested in mineral manufactures by exhibiting numerous works of exquisite taste manufactured out of materials which, with all their noble beauty, would be almost useless in the hands of any other people j than the patient Muscovites. Russia deserves every praise, and those who watch Art-progress in Europe must certainly not neglect what she is doing. THE FURNITURE OF THE UNIVERSAL EXHIBITION. BY J. BEAVINGTON ATKINSON. Tiie Exhibition of Furniture in Paris is remarkable for extent, for variety of style, for rich diversity of material, and for excel¬ lence of execution. The collection, viewed geographically, em¬ braces the civilised world ; historically, it constitutes an epitome of all schools; while as an Art manifestation it tells of prevailing modes in architectural design, sculpturesque enrichment, and pictorial or polychromatic ornament. Accordingly, I propose to review this vast assemblage of furniture, in the first place, accord¬ ing to nationalities, and then as to utilitarian uses, Art-styles, and structural or decorative materials. 194 we have already given examples—we add and orders, from large objects to small. We engrave a Tazza and a Lamp-Stand with Lamp ; these are of great excellence. There are few better things, of any metal, in the Exhibition. In International Exhibitions almost the first question that arises is, After what manner have the chief nations demeaned themselves ? In the outset we are happy to say that England, whose fortunes necessarily concern us most, has done herself credit. In previous Exhibitions the inequality of the English furniture has been subject of comment; it was remarked that while some works were refined in conception and execution, others were clumsy and commonplace. This discrepancy, which, not without reason, was taken as a sign that high excellence in design and execution still remained exceptional, is now no longer observed. On the contrary, each piece of furniture exhibited may claim to be a master-work, and thus the entire collection sets forth favourably the several phases of structural and decora¬ tive Art now in vogue. For instance, the recent Gothic revivals are represented by well studied, carefully wrought designs, which place our English makers of Gothic furniture in a wholly excep¬ tional and supremo position. Then, again, in the use of rich and rare woods for polychromatic display, there are works in the English department which surpass all otners. In economy of manufacture, too, we have little reason to fear competition. Fur¬ thermore, English furniture may be commended for correctness, moderation, and balance in design, for simplicity in treatment, for care in execution, for the happy blending of colour, for the skilful use of materials, and withal for the subserviency of orna¬ ment to utility, and tho subjection of dec ative detail to breadth and truth of construction. THE PAllIS UNIVERSAL EXHIBITION. Of the works of MM. Blot and Drouard to them; for these eminent manufacturers of Imitation Bronzes— Zinc d’Art —have produced many of the very highest merit, deriving models from artists of established repute, using the best materials, and employing tho most experienced and ingenious artisans. Their supre¬ macy is, therefore, universally admitted, and their right to the medal they have received. Their issues are of all clashes THE ART-JOURNAL CATALOGUE OF "We engrave a Cabinet designed, and executed by Giuseppe Parvis, of Cairo. He is an Italian, long settled in Egypt, and occupies the post of furniture manufacturer to his Highness the Pacha. This work is composed of vari¬ ously coloured woods, inlaid with considerable skill; the model is strictly Arabic, but the artist has not 1 copied any existing work. On some of the panels are, in relief, Arabic sentences, written by a distinguished living poet of Cairo, Mustafa Salam ; they signify that under the beneficent 196 reign of Ismael, Art and Industry extend their ancient splendour and glory. The cabinet is lent in character and admirable in workmanship, wings that they may return to Egypt in their altogether a production of great merit, excel- It adorns the lviosk of the viceroy m the lai • French furniture is not so much superior to, as different from, the English. The contrast between the two nations in style and design, in use of materials, and in modes of workmanship, is great indeed. English furniture possesses a fitness for our English mansions, while French furniture seems expressly designed for ostentation in grand palaces of the times of the Louis : each suited for its several ends, is at once expressly national and diverse. The French are more florid and lavish every way. To the choicest woods, ceramic plaques, and coloured stones, common in the English department, they add bronze and other metals, and the 5 r are prodigal in the use of ormolu. Thus they gain contrast in colour, relief in light, and strength in shadow. Such expedients as the insertion in an oak cabinet of bronze reproductions of the Elgin frieze or of Donatello’s Choristers, cannot fail of power in effect and a certain imperial opulence. Scarcely less startling and violent is the intrusion'of blue enamels and blocks of lapis lazuli. The English love concords and preserve proprieties; the French, on the contrary, court contrasts; in design they are daring, in the juxtaposition of colour abrupt. Furthermore, it is interesting to observe how Ihe national Arts and Manufactures of France find a place in her domestic furniture. We have seen that in the adap¬ tation of bronze she is exceptional; in the employment of tapestry she is likewise singular; in the free and bold use of the human figure she is equally conspicuous. In the furniture of no otner nation can be reckoned such a multitude of Caryatides for columns and pilasters, so many heroes and Muses perched on pediments, so another page, from the numerous I owes much to Herr Ilollenbach (and to other manu- I facturers also) for extending the renown of the Empire. great a variety of hybrids, half human and half monster, sphynxes, griffins, and the like, disporting themselves as surplus populations on the outside of mongrel classic structures. Here, as elsewhere, the French doubtless are guilty of excess; they are vainglorious in the conscious superiority of power. Yet the cabinets of Fouii- DINOIS, and innumerable other works, give proof of singular mastery over the figure, and of that thoroughness of training, both in artist and artisan, to which French Arts and Manufactures avowedly owe so large a measure of their pre-eminence. This s umm ary of national characteristics were short of completeness did we not point to the mannerism into which the proverbial cleverness of French designers degenerates. There is generally present in Parisian furniture a certain exaggeration, excess, and affectation, which we often at once censure and excuse by the term “French.” Such, in fact, for better or worse, is French nationality in Art. Another singularity, rather than excellence, is the resti’icted range of this French mannerism. There are few countries that possess historic Art-treasures so rich and varied as France. From the time of Charlemagne to the Renaissance, she contains some of the grandest and most perfect works known in the whole history of Art. And yet by strange perversity, French cabinet-makers limit themselves all but exclusively to those cor¬ rupt and fantastic forms of the Renaissance which pandered to the vices of a profligate court, and became degenerate in the decay of a dynasty. Whoever will take the trouble to look through Viollet-le-Huc’s “ Dictionnaire de MobilierFran^ais,” will see that the decorative arts in Paris ignore what is most lovely and true in the country’s annals ; whoever may have passed from THE PARIS UNIVERSAL EXHIBITION. We select other objects, to form and admirable contributions of Herr Hollenbach, ; of Vienna. A gold medal has been awarded to this eminent manufacturer, whose productions undoubtedly I issues of this establishment are all from designs by hold a high place in the Universal Exhibition. The | eminent artists—architects and sculptors. Austria THE ART-JOURNAL CATALOGUE OF The Candelabrum is one of the many beautiful works Mr. Neal, Silversmith and Jeweller of London, exhibits, among other meritorious contributed by Herr Lobmeyr, of Vienna; it is of great merit, as are all the productions of this eminent firm. works, a Centre-piece ; the form is not a novelty, but it is designed with considerable taste and skill, and may be classed among the good specimens of British manufacture. the French furniture in the Exhibition to the collection at the Hotel de Cluny, will bo filled with amaze at the degenerate taste of modern times. Yet, after making considerable allowance for defects in taste and style, none will deny to French cabinet¬ makers a foremost rank. The design is always, for its kind, clever; the management shows knowledge; there is purpose in the placing of each detail, character in every line, intent in every touch; in short, the French, if they violate taste, believe they serve the cause of Art. German furniture, like the German mind, is solid, heavy, and honest; sometimes even clumsy, ponderous, and elaborated over much. The carving has not the cleverness of the French, fancy does not play with the design, the hand plods through the ap¬ pointed task laboriously, and so sometimes the execution lacks the liveliness of instant thought, and settles down into machine routine. Yet has the German furniture great merit, and its nation¬ ality is ruimistakable. It is much given, after a certain naturalistic fashion, to carving; indeed, the inhabitants of Central Europe generally are evidently a carving people. Similarity of Art-treat¬ ment—if treatment it can bo called—marks wood-carving over a wide geographic area, extending from Switzerland in the south up to Belgium and the northern shores of Scandinavia. The style, as may readily be supposed, is wholly different from the French; it will scarcely bear Aid-scrutiny; it abjures the rules of bas-relief and the principles which ought to govern surface- decoration. The designs are powerful in light and shade, and make strong popular appeal by their illusive naturalism. No conven¬ tional treatment of foliage, or other decorative detail, finds place in the furniture of Germany, Belgium, or Switzerland. All this I cannot hut consider a mistake, and matter for regret. Yet may the furniture of Germany, especially of Prussia, be commended for more than usual strict conformity to architectural canons. Cabinets, indeed, are sometimes built up like temples; sideboards are constructed as the facades or terraces of Italian villas. This, doubtless, is going too far; nevertheless in the German Courts are some of the best adaptations of classic styles to modern domestic uses that can be found in the whole Exhibition. The style of Belgian furniture has been already indicated. Sideboards from Brussels are known by their display of bold naturalistic carving, by their effective but inartistic treatment of | ornament. Much of the work is actually machine made, and j therefore claims indulgence. Altogether Belgian furniture scarcely bears severe critical test. Tho bookcase by Snyers-Rang, how¬ ever, may be commended as less overlaid than often ; Snutsel’s sideboard, on the contrary, has been so covered and crowded with carving that little space remains for repose. Verlinden’s chairs are after the well-known national manner, wrought in the lathe, finished by a dashing chisel, effective and cheap. The Swiss school of carved woodwork is sufficiently well knowr. It commends itself to tourists, and is the wonder of minds not specially trained to strict Art-standards. WlRTH Brothers have reached such perfection as is permitted to the manner. Here, again, historic styles have to submit to the immediate exigencies of naturalistic treatment. A bird’s feather, or the frond of a fern, is the sum and substance of the most commendable of these designs. Switzerland, by virtue of such manipulative and national THE PARIS UNIVERSAL EXHIBITION. Mr. Chubb maintains his supremacy as a manufacturer of Locks, and continues to sub¬ ject many of his works, in so far as possible, to the influence of Art. We give here an ex¬ ample. It is a good and appropriate, if not an original, design; a remarkable and very meritorious effort of “ hand-labour,” and in all respects one of the most creditable specimens of wrought iron in the Universal Exhibition. The engravings below will sufficiently indicate the marked improve- i to the influence of Art. To this firm the public is indebted, if not for ments introduced by Messrs. Tayleh, Harry, & Co. into the material ! its invention, certainly for its introduction on a scale of magnitude. they have termed “ Kamptulicona material now in such extensive use, and which it is, therefore, of the very highest importance to subject They have studied, and successfully, in a large number of “patterns,” how to vie in design and ornamentation with the best carpets of all countries. 199 THE ART-JOURNAL CATALOGUE OF The collection of beautiful works exhibited by M. been in selecting; there is scarcely one of j them that might not he engraved for the Barbediennb is so numerous that our difficulty has ! advantage of those who desire and can appre- | ciate the very highest excellence in Art-mnnu- fueture. TVe engrave on this page a “ Coffrf.t," | admirable of M. Barbedicnne's works, tbej' are I facturer of objets dc luxe in bronze or in silver, a Cur, and a Candlestick : if not the most of excellence unsurpassed by any other manu- and are very valuable as suggestive examples. industries, has generally obtained a conspicuous place in Inter¬ national Exhibitions. Denmark, Norway, and Sweden, seem in furniture, as in pic¬ tures, to practise styles analogous to those prevailing in Northern Germany. Denmark exhibits a cabinet, and other articles of 1 furniture, for the palace of Fredericksburg, excellent as examples j of marquetiy. From Stockholm comes a bedstead, in what may bo called four-poster Eenaissance, with carving of Central European | schools. Altogether there seems reason to believe that the furni- j ture of Scandinavia is more indebted to the quantity of material than to the quality of taste or manufacture. The Russian Court glories in a rude facade, crudely coloured, which, taken in itself, would pledge the Empire to an Art con¬ formable with wooden huts and mountain chalets. It is evident, however, that though within the imperial territory certain furniture may be fitted to the peasant’s cot, there are, at the same time, manufactured in the Imperial establishment at St. Petersburg articles of utmost luxury and magnificence. The ebony and ormolu cabinets, richly inlaid with mosaics, and encrusted with high reliefs in pietra dura, are, even as mere displays of riches, without parallel. The taste implied is at once regal and barbarous. Russia, in common with other nations in rapid transit towards civilisation, presents Art-manifestations wide as the poles in contrast. There would appear to be no happy mean between the bald simplicity of the peasant and the inordinate ostentation of princes ambi¬ tious of Oriental pomp. 200 Hf.inr. Hansen. The society exhibits many I successful in advancing: the best interests of I operations, and an example is thus set to Eng- productions of groat merit, anil is undoubtedly | Denmark. A high intelligence presides over its land by which we may hope England will profit. I Italian furniture is marked by that display of fancy, profusion of choicest material, finesse of execution, which the history of deco¬ rative Art in Italy would lead every one to expect. Tables in Florentine mosaic, if not the best of their kind, show that an art long esteemed still survives. Of Tarsia and other inlays the Italian Courts also display characteristic examples. PiCCiir, and other exhibitors, execute works which illustrate in magnificent array materials and methods known in the history of tho decorative arts, such as mosaics, ivory carvings, and inlays, porcelain figures and plaques, lapis-lazuli, precious atones, and marbles brilliant in colour. Such highly complex pieces of furni¬ ture call into concerted action the sister arts of architecture, sculpture, and painting. The style adopted is. of course, one of the many phases of Renaissance—the only style, in fact, known in the decorative works of modern Italy. That the manner can be chaste or correct is scarcely to be expected. Altogether, liow- ; ever, Italian furniture may be accepted as essentially national; it comprises, as it were, an epitome of the Arts of the middle ages. Evidently furniture has not shared the decline fatal to the art of | painting. The taste innate to the Italian character speaks out in the adjuncts of daily life. Having sketched tlio general characteristics by which the | furniture of leading nations is distinguished, I will now pass under review individual works. It will tend to perspicuity if I still preserve the geographic classification of distinct nationalities. Also, for the sake of greater clearness, it will be best to separate into two distinguishing groups, “dining-room and library furniture,” and “ drawing-room and boudoir furniture.” The Piano, in the style Renaissance, is one I encouraging tho Union of Fine Arts with Denmark arc engaged m working out its opera- of the issues of‘‘The Copenhagen Society for | the Arts of Manufacture tho best artists of | tions. The piano is designed by Professor THE ART-JOURNAL CATALOGUE OF We do not attempt in this engraving of one of ] his many admirable contributions to do justice | to M. Graux-Marly. It is, however, the only one of his productions he has enabled us I combination (made for the Sultan); a work of I lapis-lazuli and other valuable gems judiciously to represent—an Inkstand and a Clock, in | refinement and delicacy, of bronze-dore, with | introduced into several of its prominent parts. We fill this page by engraving one of the I Messrs. Steel and Garland, Stove, Grate, and | alone, sustain the reputation of England in this, Fenders manufactured and contributed by I Fender Manufacturers of Sheffield, who, almost I its long-renowned, class of Industrial Art. We will begin with the Dining-room Furniture of England. Dining-room furniture, as distinguished from the furniture suited to a drawing-room, should be substantial, massive, handsome, and in colour somewhat sombre rather than gay. _ The sideboard is the piece do resistance, in which these characteristics usually reach a climax ; this is tho article in which dinner-giving Englishmen take a pride, and, as usual, our cabinet-makers here put out their utmost strength. Once again Messrs. Trollope, and Gillow, fully armed, enter the lists determined on victory ; there are few things more astounding in the whole Exhibition than the side¬ boards which these two renowned houses produce. Both are loaded with decoration after the approved manner of the old school; they are undoubtedly handsome, judged by the standards of our grandfathers, and the}’ may, perhaps, rise even above the reach of criticism; certainly they deliberately set at naught such modern maxims as teach that ornament shall grow out of utility, and decoration be sustained by construction. Trollope’s elaborate and ponderous sideboard has, however, been designed on an archi¬ tectural basis; it is a grandiloquent manifesto of the Renaissance, a style which gives Mr. Rogers free play for his clever carving. Gillow’s sideboard is massive, ornate, and what is usually called handsome ; but the design and treatment are scarcely sufficiently strict in style. Mr. Lamb's imposing sideboard we engraved in 1S62 : it is made conspicuous by a couple of figures unusual in size. The effect is striking, but more subtlety and delicacy are needed for the carrying out of a design which is now little more than daring. Messrs. Whytock, of Edinburgh, exhibit a book¬ case in ebony that does credit to their taste; unlike most adapta- I THE PARIS UNIVERSAL EXHIBITION. Art. At its side is a Cup, the production of the same eminent firm; it is modelled and wrought in repousse by the excellent artist, Thomas Pairpoent. This page contains a Brooch (a “Stomacher") of unusually large tessaas) size, made for a Russian princess by Mr. Harry Emanuel : its adorn- The body is of blood-stone; the cover represents the Offering of Isaac, and ments are diamonds and pearls ; but the jewels derive value from at the base is an angel consoling Hagar, apparently, abandoned in the desert. tions of Italian styles, the treatment is fairly strict, and the composition in its masses has been well kept together. It is really quite a relief to come upon a work moderate and quiet. The Exhibition gives saddest warnings against the squandering of vast labour and richest materials on conceptions and designs worse than worthless. Next let us consider the Drawing-room and Boudoir Furni¬ ture of England. Furniture, to be in keeping with the ladies’ “ withdrawing-room,” should be cheerful, elegant, light, and even festive. It has been commonly said that in this brilliant sphere the French shine to most advantage; it is evident, however, that the English have made satisfactory advance of late years. By common consent the cabinet of Wright and Mansfield is pronounced one of the most exquisite works ever turned out of hand. The design is expressly English, and its nationality is scarcely impugned by the few minor French details that creep in hero and there. A slight mingling of styles, if not inherently dissonant, is seldom objectionable, especially as in most households arts of all epochs and countries jostle closely together without ceremony. This lovely cabinet affords a favourable example of the pictorial com¬ position, of the subtle and beauteous polychromatic harmonies which of late have been the vogue in France and in England. The facade of a cabinet is now-a-days as anxiously studied as it it were a picture. In Wright and Mansfield’s composition the prevailing colour is given by golden satin-wood, into which details of ornament and enrichments of material have been 203 I and reflects great credit upon the makers. In tion, it may be placed in competition with j medal it has gained is, we und< tstand, the thud purity of design and simplicity of ornamenta- I some of the best “mc-ubles” ot France. The similar honour awarded .to this Scottish firm. worked with a delicate hand. The panels are furnished with decorative designs in Wedgwood-ware; the colour of these plaques, celandine and white, is less harsh than blue and white. By the ordinary expedient of gilt garlands, hung from salient points, distant members of the composition gain connection, and rectangular forms are softened by. flowing lines. The harmony of this picture of wood-inlay is wrought to the uttermost pitch by materials of tender intermediate tones; the green and blue are necessarily artificial. Messrs. Jackson and Gp.aitam maintain their good name by an admirably-wrought ebony cabinet in the style of the Italian Renaissance. The surface receives tasteful decoration by an arabesque inlay of ivory, and obtains further illumination from lapis-lazuli and jasper. Other cabinets in ebony —a material in the use of which our English makers evidently are intent upon rivalling the Erench—have been produced by Messrs. Trollope; one of these we engraved, p.. 36. Also we have engraved (p. 17) a choice cabinet by Gillow; the tarsia pictures in the panels are capital for colour, design, and work¬ manship. To the works already enumerated by Trollope must be added, as a magnificent example of tarsia, an octagon table; the ornamentation, including a fret and a honeysuckle, is a good adaptation of the Greek style. The dosign has been honestly wrought out in true and choice materials, such as amboyna. purple, rose, and satin woods. The restraint, symmetry, and chastened beauty in furniture founded on classic styles, administer salutary reproof to the vagaries committed under so-called Gothic revivals. A cabinet by Mr. Cbace, wo may take almost for granted, is THE ART-JOURNAL CATALOGUE OF This F.honiscd Bookcase is the work of Richakd Whytock A Co., of Edinburgh, the 1 only exhibitors of cabinet furniture from Scot¬ land. Although less costly and elaborate than many similar productions in the Exhibition, it is an exceedingly elegant piece of furniture, 204 a careful study of form, detail, and colour. The resources of the Renaissance are here brought into play, -while the extrava¬ gance of the style is restrained. This bijou is one of the many examples now multiplying on every hand of polychromatic com¬ position wrought in wood. Variety and concord of colour are obtained by more than ordinary judgment in the use of such well-known materials as ebony, ivory, gold, Wedgwood plaques, agates, purple and satin wood, and silvery grey sycamore. The transition from tone to tone has been managed with a delicacy truly delicious after the crude contrasts with which the eye in many chromatic attempts comes in collision. The principles of coniposition, light, shade, and colour, are observed so strictly, that j this piece of furniture is nothing less than a work of high Art. j The cabinet we engraved, p. 57. On the same page will be found a panel decorated with Raphaelesque ornament, from a second cabinet exhibited by Mi’. Grace. The entire work we illustrated in 1S62. The exuberance, not to say the extravagance, into which the disciples of the Italian Renaissance are frequently betrayed, has been kept in this cabinet under due restraint. The treatment shows the knowledge of a trained artist. The sober tones of walnut, the favourite wood in Italy of the middle ages, are enlivened by ivory inlays, and colour is focussed in masses of agate, lapis-lazuli, and other rich stones. The com¬ position has been forced up to the ordinary climax of a cornice, and the pediment above is designed expressly to receive a classic vase in bronze. It is better thus to provide simply a standing- THE PARIS UNIVERSAL EXHIBITION. Lamps of 21. Schlossmacheu & Co., of are of sound workmanship. M. fclckloss- works are, for the most part, admirable examples of Art, ! mucker has been awarded a medaille d'or. from models supplied by true artists, and Wo engrave on this page others of the THE ART-JOURNAL CATALOGUE OF England maintains its admitted supremacy in the manufacture of Carriages of all kinds. Their light, elegant, and graceful proportions often bring them under the heading of Art-manufacture. We select from numerous competitors, as truly “a thing of beauty,” the Carriage manufactured by Mr. J. Cockshoot, Jun., of Man- Mr. Lamb, Cabinet Manufacturer of Man¬ chester, upholds the honour of the British provinces. He exhibits two Cabinets of the highest Art-character; that we engrave is of inlaid woods, very beautiful in design, of ad¬ mirable proportions, and unsurpassed as an ex¬ ample of good workmanship. The elegant me¬ dallions are the plaques of Messrs. Wedgwood. place for bronze, than to incorporate metal as the French do in the very structure of the woodwork. Such hybrid mixture of material gives birth to a meretricious Art, like unto certain piebald statues in the corrupt period of the Roman empire. In furniture, as in sculpture, unity and repose are qualities without which the richest materials are worse than thrown away. We have reserved for special consideration certain remarkable manifestations of Gothic for which the English Department is conspicuous. The building of Gothic houses has, of course, natu¬ rally created a demand for Gothic furniture. One of the most ultra, uncompromising, yet successful exponents of this style may be seen in Messrs. Hollands’ sideboard, after the design of Mr. Talbert, engraved in this Catalogue, p. 10. It is remarkable alike for design, materials, and workmanship. This magnificent sideboard, or buffet, is a revival of the mediaeval “ dressoir,” after the quaintest, severest, not to say crudest, of historic prece¬ dents. That these “ dressoirs ” were often flowing in line, and even florid in detail, after the manner, not of austere, but of decorative Gothic styles, every student of mediawal furniture is fully aware. (Vide Viollet le Due ; also not a few plates in the works of Mr. Shaw.) The question may possibly be put, how is it that the most eccentric and forbidding phases of Gothic Art should have been deliberately selected ? The excuse must be that ultra- mediinvalism, the most ultra, in fact, which can be exhumed any¬ where, is now deemed the right sort of thing. The older the idea may be, of course the more worshipful. It must be admitted, 206 THE PARIS UNIVERSAL EXHIBITION. the sculptor being to describe a Pier-Table, exquisitely carved We engrave a Frame (the aim of Love attended by Harmony) and We engrave a marvellous copy of part of the famous Fireplace of the Doge, at Venice. It is the work of a Panciera Besarel, of Venice, and rank among the leading attractions of the Italian in wood by the artists Fratelli These works are honourable to Italy Venetian artist, Giovanni Zamolo. Court. No doubt they will find their way to England, where they can scarcely fail to be appreciated. however, that the utmost has been done to redeem this “ dressoir” from the charge of meanness or austerity. Even the towering up of the back into three successive ranges rescues the design from plebeian origin. High and aristocratic must have been the house¬ hold which could use in daily life a “dressoir” thus distinguished. Neither has any means or appliance been spared which might give to the finished work enrichment. The oak framework receives colour and decorative arabesques from inlays of tulip and other woods. Panels beneath the upper canopy are enriched by tarsia, pictorial compositions of corn, swans, ducks, and other fowl, suggestive of good cheer. The general colour, which is pleasantly varied, is further enhanced by richly-embroidered curtains, of course strictly Gothic in design. Also, as a matter of course, the utmost has been made of brass hinges and other metalwork. A certain antipathy may be provoked by a work, which sacrifices beauty to quaint’ angularity and forbidding medievalism, yet were it impossible to withhold high commenda¬ tion from an effort so well sustained. This sideboard is certainly the most distinguished among competing Gothic works; the treatment is thoroughly artistic, the execution sharp and precise. The Gothic cabinet exhibited by the same firm, also from the design of Mi'. Talbert, gives equal proof of study, care, and skill. The construction is true and honestly confessed, the decoration grows out of the fundamental lines of design, the materials are solid, and' appear for what they are. Thus the principles which sustain the present Gothic revival, the canons enunciated by Pugin and enforced by Buskin, are strictly complied with. And it may be confessed that the effect gained is less than usually harsh, violent, and defiant. In fact, the artist has evidently done his best to bring the composition into nice pictorial harmony. Other like attempts, some abortive and monstrous, might be noticed, did space permit. Mr. Arthur, Mr. Hayward, Messrs. Harland and Fisher, and Messrs. Heaton, Butler, and Bayne, all once more make themselves prominent as mediaeval revivalists. A commendable cabinet in marquetry, by Harland and Fisher, is after the manner which Mr. Burges made memo¬ rable in the Ecclesiological Court of our London Exhibition. The buffet of Messrs. Heaton, Butler, and Bayne is in the man¬ nerism we have already designated ultra-Gothic. Yet the work becomes noteworthy as a characteristic instance of painted fur¬ niture, as distinguished from the more costly inlays of which Hollands “dressoir” is the crowning example. Messrs. Heaton have decorated their buffet with painted panels, containing flowers, birds, and other living objects, symbolic of the months. Mr. Arthur exhibits similar panes, including compositions of flowers, birds, men, and monsters. The whole school is apt to be grotesque in motive, and somewhat crude and opaque in colour. All such painted furniture we incline to look upon as of the nature of a THE ART-JOURNAL CATALOGUE OF page contains examples—MM. .T. G. Requile and L. M. Pbcqueur —hold the highest position among the manufacturers of Belgium; and they contribute largely to uphold the renown of the I markable for originality, has merit, and is a venerable city. The Fountain-, though not re- good casting. Such also arc these minor utilities. hibition are not of the first order, they are de¬ cidedly good—whether with regard to elegancies or utilities. The firm of whose productions this although its contributions to the Universal Ex- Tho Belgian city of Liege has been renowned during centuries for its productions in Iron 20S curiosity, as a caprice to amuse the antiquary; surely the method belongs to past rather thau to present times. The magnificent ancient reredos of Westminster, however, has naturally evoked emulation ; yet the decay of that matchless work says little for the permanence of the process. The Gothic furniture which Mr. Grace has been accustomed to produce in exhibitions may, in common with the sober and well- balanced works of the moderate-minded Gothic architects of the day, be taken as a wholesome protest against prevailing eccentricities, austerities, and extravagances. The Gothic designs of Mr. Crace, like those of Pugin, are beauty-loving. There is, in fact, if we may be permitted the solecism, a certain approach to renaissant exuberance and Italian grace and finish in these later, as distin¬ guished from earlier, manifestations of Gothic. This is nothing more than to say that all high and advanced developments tend to like ends. And it is just these more decorative stages that are most consonant to the uses, refinements, and luxuries of our modern homes. The gable end of a house may be made as severe and angular as the most uncouth of Gothicists could desire. The same treatment in the elbow of chairs or sofas would put the inmates of the house to discomfort and torture. Wo have spoken of English dining-room and drawing-room THE PARIS UNIVERSAL EXHIBITION. On this pago we give some idea of the variety j versal accord of “ all nations” bears testimony ; | one of the evidences of this sentiment is die hibited by Messrs. W. T. Copeland and England in this important class of Art-industry. | The “works” at Stoke-upon-Trent have attained Sons. To their great excellence the uni- of works in Porcelain manufactured and ex¬ gold medal awarded by the jury. This firm | has, therefore, amply sustained the honour of 209 THE ART-JOURNAL CATALOGUE OF This exquisitely beauti¬ ful Frame, in Carved Wood, is the production of Egisto Gajani, of Florence, to whom I we have already accorded jus- 1 tice. 11 is works are of rare ex- cellcnce in execu- I tion, and in design J 1 prominent among | the best of Italy. Wc have already done justice to the admirable examples of Bookbinding exhibited by annasunwirpiT .m ipmiiraffnq^| lfl,lC,.h?.y ri-'l I m r 1 II - *■! • ' This column contains another of the charming inven¬ tions of Mr. T. Marsh— a Mirror, on which are “placed” glass branches and vases, for lights and flowers. They !| h ys'Z ‘I j ! i ! have a mast agreeable effect as decorations for a drawing- Messrs. Marcus Ward and Sons, of Belfast. We engrave two other of their i roductions. room, and are novelties of an order to be appreciated. furniture. Of the furniture of bed-rooms little need be said because, for the most part, it is so simple as seldom to be directly decorative. We cannot, however, pass without notice the ward¬ robe and dressing-table exhibited by Hunter ; the soft harmony cf colour gained from satin-wood, and diversihed by Wedgwood plaques, is most agreeable. Articles in a light key of colour are of great value in the furnishing of rooms; thus variety and lively contrast are obtained. Neither can we fail to commend the tasteful and comparatively inexpensive bed-room suite in imitation woods made by Dyer and Watts. The effect is absolutely illu¬ sive, so closely has the inlay of real woods been copied. Frencui Furniture next falls under notice. Its general cha¬ racteristics have been already described; we now proceed to adduce examples. Little can be said of dining-room furniture, because little is to be seen. It were hard, however, to overlook Gueret’s sideboard, the back whereof encloses nothing less than Cellini’s Nymph of Fontainebleau. It becomes impossible, within the space at our command, to do justice to the magnificent display of furniture for the drawing-room. Again the matchless cabinets of M. Fourdinois, engraved pp. 34 and 141, have been objects of astonishment. These works within comparatively small compass concentrate the merits and the failings of the French school. Here are triumphs of the fancy, the taste, the fertility of resource, and the facility of invention, for which our neighbours have been long famous. The designs are after the manner of the French [Renaissance, a style of proverbial corruption, which yet yields willingly to the allurements of florid decoration. The three master-arts of architecture, sculpture, and painting may be THE PAMS UNIVERSAL EXHIBITION. M. Groh£ ranks among the very best of the | “Ebenistes” of France, and has received all | the “Honours” that could be awarded to him for the production of Furniture, designed by the leading artists of the I Empire, and manufactured with the nicest manipulative skill. He has received first-class medals in all the Exhibitions past as well as the | present. The Cabinet engraved on this page is of ebony, elaborately inlaid. We fill this page—and not unfitly—with two of the many productions of Mr. Treloak, which he has made famous all over the world. They are said, here to unite their forces. Pictures are, as it were, here painted, engraved, carved, and, inlaid; the treatment is in spirit pictorial throughout, decorative also to tho last degree, so that the parent arts of architecture and sculpture are compelled to surrender their dignity, simplicity, and severity. Thus these astounding products, in common with other achievements in which Frenchmen glory, are plunged into extravagance and ex¬ cess. The mannerism of the school is pronounced unmistakably everywhere in the lines of design, and in the details of decora¬ tion. Yet barring such inherent and, with the French, inevitable blemishes, these cabinets are simply perfect. Even the archi¬ tectonic portions of the designs have proportion, symmetry, and beauty; as frameworks they secure compactness and firmness to the structure. Then, again, the sculpturesque enrichments “Cocoa-nut Matting:” nothing more : into which he has introduced great improvements in substance and character, and given to it the aid of Art. prove that command over the figure both in statuesque repose and decorative flow and action, that intention and precision in modelling and carving, which make French Art-workmen tho most skilled and apt in Europe. Furthermore, the decoration which we have termed pictorial is marked by the facility, the fancy, and the aesthetic beauty which render French artists of the nineteenth century the only worthy representatives of the great masters of the Italian Cinque-cento. But it is perhaps as a whole that these cabinets most deserve our study, and call forth our admiration. The facades have been composed so thoughtfully, that they challenge criticism as consummate works of Art. The masses have been preserved in simple breadth. The details are evenly distributed, so that no part of the surface is bald, none overcrowded. In like manner the light, shade, and beauty, and of corresponding worth. The styles I adopted are varied: the greater number of works I exhibited are, however, in that of Louis Seize. colour are tenderly balanced, and yet in points strongly accent¬ uated. The execution, too, is intentional and varied in touch; it is, as a matter of course, sharp and firm; but, furthermore, it lias been modulated with judgment; at times it is sketchy and broad, then detailed and minute, in places the modelling stands in bold relief, and then by transition passages the carved orna¬ mentation passes into delicate low relief and intaglio. Such are the nice subtleties by which the art of furniture-making in France is perfected. A few further examples will best illustrate the resource, the taste, and daring the French in their furniture display. I have already spoken of the power gained by bold bronze bas- reliefs. Of such questionable compounds of heterogeneous materials Messrs. Charmois and Lemarinier exhibit marked examples. The same firm also produces a capital cabinet which, for colour and execution, is exquisite as a gem. The diaper pattern, wrought in tarsia, is forced up by ormolu, not overloaded. Messrs. Rotjx also exhibit articles pre-eminently de luxe ; a table- top, for instance, florid in foliated brass inlay, eminently French and palatial: likewise cabinets unsurpassed for magnificence: of crystal, others of lapis-lazuli, others of plies us with materials for this page. We can¬ not attempt to describe them. .They are pro- ' ductions of modem artists that may vie with | THE ART-JOURNAL CATALOGUE OF M. Beurdet/ey, who exhibits a rare and'very | the richest treasures of the antique. Some are beautiful collection of varied Art-objects, sup- oriental agate, othere of jasper; in nearly all cases they are “emailin'," and frequently orna¬ mented with precious gems. The Mirror, of rock crystal, is a work of tho highest possible THE PARIS UNIVERSAL EXHIBITION. Herr Heniexoer, of Mayence, is an eminent ma¬ nufacturer of F umiture; the Cabinet we engrave as considerable merit, although somewhat too ch elaborated, both as to design and execu¬ tion. It is of oak, and carved in every part. I Among the productions contributed by Ger- I many it holds a deservedly prominent place. the inlays, passing from golden yellow to deep brown, are exquisite as studies of colour. Also M. GrohE gains sumptuous Art-results by lavish use of richest materials—ebony, walnut, mahogany, lapis-lazuli, and other stones, ormolu, &c., he turns to best account. M. Gueret is daring; he inserts into an oak cabinet a plaque of light silver metal: bronze and marble add still further to the hybrid character of tho work. M. Warnemunde is also bold in an oak cabinet; he introduces ceramic painted figures a foot high. Table-tops by the same firm are forced up to utmost brilliancy by marbles, ceramic pictures, and intaglio arabesques. Some of these incised arabesques are lovely. French furniture also, as I have said, is distinguished by the use of the national manufacture of tapestry. Lariyiere-Eenouard mounts this palatial fabric with taste in sofas and chairs. In such elegant compositions, the woodwork frequently becomes little more than a frame to a picture. M. Quigxon hangs, with capital effect, tapestry as a wall decoration to bis exhibition space. The back¬ ground thus dressed throws up chairs rich in the brilliancy of har¬ monious contrast. The French courts, indeed, generally are lessons in harmony ; singular knowledge and taste are evinced in the studied combination of furniture with draperies and wall decoration. The French know that the best furniture in the world cannot make a house look well unless the surroundings of floor, walls, and ceiling b9 brought into harmony'. We may add 213 - . . THE ART-JOURNAL CATALOGUE OF The Mikhou-Fkame, designed and made by Mr. J. H. Wyatt, Carver and G'lder, of London, is of Carved Wood, gilt; the design is good, * and the execution admirable. England has contributed very little of this class to the Universal Exhibition. The work that the house of Mazaroz-Eiratllier manufactures articles in a style the reverse of strict; originality is pushed to eccentricity. We may pass by Diehl’s revivals of Greek furniture as fantastic and bizarre. Lizards in metal creep out from the midst of the design, a bull’s legs make their appearance at the base, while his head and horns obtrude from the top. The Greek cabinet, for a lady’s trousseau, is not quite so extravagant; yet the colours are crude, and the whole treatment is less Grecian than barbarous. French furniture certainly makes the most of ebony, yet it is to be regretted that a material which suggests purity and reticence in Art-treatment should be forced throughout the French courts into harshest of compounds. For example, ebony is brought in contact with oak expressly for the sake of violent contrast in colour, light, and shade. Again, with no better result, ebony is used as a framework to blue enamels. Such compositions neces¬ sarily lack moderating passages.. Even blue and white Wedgwood plaques in our English furniture are apt, save under careful management, to strike the eye with crudity. There is no end to these compounds. Messrs. Charmois and Lemarixikr, for example, exhibit ebony cabinets forced up in colour, and light, and shade by various materials, such as ivory, bronze, lapis-lazuli, bloodstones, Ac. M. Leglas-Maurice produces a mirror-frame in ebony, brilliantly set off with ormolu; also a table rich in tarsia, metal, Ac. Messrs. Meyxard add white metal fastenings to On this column we givo two others of the many beautiful Vases produced , partment; it is certainly of an excel- the credit of our country in France. at the Imperial Manufactory of SfeVKE.s. j of Mr. Wyatt is almost alone in the de- I lent order, and does something to sustain imita- THE PARIS UNIVERSAL EXHIBITION. The Wardrobe manufactured by Messrs. Dyeu and Watts, of Islington, j able works in the Exhibition, for though nothing more than an “ has been purchased by the Empress of the French, and tion,” it has been so successfully carried out as to be they have received one of the silver medals awarded to . quite as refreshing to the eye as if the woods imitated British cabinet-makers. It is among the most remark- ! had been of the rarest and most costly. But Messrs. t?, A——t |@@©t W ;IU- -. 4 'AN --=-- A A- • . — —JlV Dyer and \\ atts have made a “ speciality of I notice is of maple wood; but their especial I express gratification that her Imperial Majesty this art, surpassing all competitors in produc- merit consists in the ornamental “in-laying,” should have selected a work thac maybe ra¬ tions of the class. They imitate all kinds of executed with singular skill and elegance in garded as the only contribution of British fur- wood by painting merely; the wardrobe under t all the issues of the establishment. We may I niture that can be strictly termed original. ebony: the contrast is rather abrupt. M. PeCquereau produces an effective cabinet, dependent for contrast on black ebony and brilliant inlay of metal gilt. M. Mercier lights up ebony by rod incised lines. Beurdeley is content with ivory, the purest and most appropriate decoration ebony can receive. M. Ales- sandri, in a remarkable cabinet for display of articles of virtu, joins with an ebony structure large and highly-wrought ivory plaques. M. Chaix also shows an ebony cabinet for Art objects similar to that wo engraved in 1S62. M. IIunsinger adds to ebony an elaborately-etched figure-picture on ivory. The result is not commendable. Messrs. Racatjlt torture novel effects out of woods by play of fibre, texture, and colour: they introduce paintings of half-nude figures into the panels. The same firm also contributes a cabinet content to consist of ebony solely. The design is massive, architectonic, and sculpturesque. The figures have been well studied, and the drapery is less allied to the Haunt¬ ing Renaissance than to strict classic forms. The treatment may be commended as unusually severe for French cabinet-work. M. Chopin makes ebony little more than a framework to decora¬ tion. He introduces into a cabinet highly-wrought ceramic land¬ scapes; in the back are inserted birds, plants, &c., carved on a warm-coloured wood. In the side panels are blue ceramic plaques, and marbles are added to enhance the display. We need scarcely say that the difficult problem of how to bring furniture within the range of pictorial treatment is not hero solved. The fact is that the moment simple form is forsaken for allurements of THE AHT-JOUHNAL CATALOGUE OF colour, designers arc apt to bo beguiled into picture-making. The imitation-ebony furniture of Messrs. LEMOINE merits a word of commendation. This firm uses, with exquisite effect, mother-of- pearl. The play on the surface of soft light, and the dicker of iridescent colour, are never more lovely than when thrown off from a casket or cabinet. The material deserves more extended application. The preceding enumeration points to the following conclusions: that ebony is the favourite wood of Paris cabinet¬ makers ; that the manufacturers of other countries do not as yet turn it to equal account; that the French, however, put this material to torture by corrupt taste; that they are unwilling to rest content with that purest of all Art-results, a simple black relieved by white, as gained by the exquisite inlay of ivory on ebon 3'. The States of Central, Southern, and Northern Europe have, as already shown, severally contribut ed furniture which marks distinctive nationalities. In the Prussian department, Messrs. Bauer exhibit an ebon v cabinet, elaborate and ornate; M. Turpe, of Dresden, also a similar cabinet, decorated with expressly pic¬ torial bas-reliefs in pear-tree wood (engraved, p. (!".). Also in the German department are displayed some huge and imposing side¬ boards, ostentatiously architectonic in design, supported by figures scarcely less than life-size, and decorated by bold naturalistic carving. Indeed, it may be said that Germany sustains in pon- 2i6 Signor Jules Richard, of Milan, exhibits a large j Earthenware, of collection of productions in Porcelain and j which the accompanying groups contain examples. They are of con- _ I siderable merit, both in design and execution, the designs bung generally furnished by the best j works of the class—elegancies and utilities— I some of which are admirably painted. A few of artists of Italy. They comprise all the ordinary j them are of figures modelled with rare ability. derous dignity her reputation for heavy prandial orgies. Fur¬ thermore, the German courts contain creditable examples of marquetry, among which may bo mentioned works by Knussmaxn, of Mayence. The renowned house of Wirtii exhibits a sideboard, which, if hybrid in design, is better kept together in detail than usual. Austria scarcely sustains the reputation she has acquired at previous exhibitions ; however, Schexzel, of Vienna, produces a sofa, admirable as an adaptation from the Greek; also from the same capital comes a bedstead, unsurpassed for the skill whereby iron is brought under strict and tasteful Art-treatment. As before said, classic styles and architectural treatments, as seen in the temple-formed cabinet of Oscar Merz, are dominant in the furniture of Germany. The characteristics of Belgian furniture, already designated, receive illustration in a “ buffet-dressoir,” by Sxutsel, of Brussels, a work which is not so much a composition as a conglomeration. The panels and back are loaded with birds, stags, and naturalistic studies of foliage: figures support the angles. A vast book¬ case, contributed by Sxyers-Bang, can better withstand critical test. An ebony cabinet (vide engraving, p. 94), by M. GobART, is really a work of Art. With few exceptions, however, the furniture of Belgium is more vigorous in handling than delicate, more THE PARIS UNIVERSAL EXHIBITION. There is a general impression that the work j “ manufacturers," Messrs. Elkinotox, have re- | but for their many contributions of rare Art . •• \ . .1 .i ...i .. it.rUa.l <7,?- ♦ Vi i« nnlv I vnlnr nttri l.tw* n wtiiil Vrm hpen i mini soil liv :i'' hero engraved is the best work exhibited in 1 ceivcd a gold medal, not, indeed, for this only, Paris during the memorable year 1867. The alue, and the award has been endorsed by all the other exhibitors of every kingdom and state. Morel Ladeuil, however, obtains his “medaille d’or” for this production of his mind and hand; he had occupied a high place previously, he is now elevated in the rank of great artists of the epoch. The Milton* Shield is one of the grandest works of its class that has been produced in any age or country. In con¬ ception it is admirable, and in execution perfect. metals. The merit of Herr Lobmeyr is derived from superiority in forms and engraving ; in the Herr Lobmeyr, the eminent and extensive value of the actual metal he may be surpassed by other countries ; but his works are conspicuous for high character in Art, not only in reference to such as are elegancies, but such as are articles of daily use. broadly effective than subtle in treatment, more naturalistic in style of ornament than truly artistic. Italy has the honour of surpassing all competitors in tho way of sideboards after the larder aDd kitchen style. Ferri and Bartolozzi, of Sienna, produce a buffet which, to look upon, is of itself a feast! “I have dined excellently well,” was the expression of a gentleman, as he stole away from the repast this sideboard lays out. Boars’ heads, lobsters and other fish, hares,. partridges,' ducks, and every kind of fruit in season and out, tempt the palate and weaxy the eye. A sphinx keeps order, and a Cupid is ready for merriment. Can it be supposed that such a medley and extravaganza has any claim to rank as a work of Art ? A bit of Renaissance ornament is the only passage with the slightest pretence to style. All that has been written as to the confusion which has befallen the arts of modern Italy receives here cruel attestation. It is fortunate for Italy that her good name for refinement and true Art is substantiated by better though less pretentious works. In walnut-wood Marchi-SIO and Lenera exhibit respectively an elaborately-carved piano and bookcase; indeed, all that comes from Italy is elaborate and overwrought, even to excess. In ebony inlaid with ivory there are commend¬ able works by Oliyerio, Gatti, and Angelo; also worthy of note are small cabinets and tables in varied woods or tarsia by Salyatore, Mengozzi, and Lancetti. Italy also pi-oduces, as THE ART-JOURNAL CATALOGUE OF We have sn- of the abundant graved several Glass manufacturer of Vienna; they are of unsur- contributionsof passed excellence: in all cases designed by the I most distinguished artists of Austria. In the Centre-piece that graces this page, the base and figures are of bronze-dore, the vase being of glass. The Cup is also a judicious mixture of the two THE PARIS UNIVERSAL EXHIBITION. Salmone Salome, of Rome, is a young sculptor of great ability, artist, for he is both the designer and carver. They rank high among heretofore, table-tops in Florentine mosaic, after well-known modes of manufacture. It was reserved, however, for Signor Picchi and Signor Patti to render cabinets the very acme of those decorative arts, which attend in vassalage on the major arts of architecture, sculpture, and painting. In these works, which are to be ranked as gems or jewels rather than furniture, are amassed in prodigal excess mosaics, precious stones, marbles, figures in porcelain, &c. &c. Such products are to be weighed and esti¬ mated according to the richness and multitude of the materials lavished, rather than tested by strict critical standards. On the whole it cannot be said that Italy shows progress; for the last three centuries, indeed, she has been content to reproduce ancient models, and has proved herself incapable of new creations. The famed manufactures of old she still cherishes, but even here she is esteemed more for material and prescriptive methods than for Art qualities vital and creative. The preceding enumeration of chief works may fitly be followed by a few general criticisms. First, as to style. It is interesting to observe how the manner prevalent in the general Art of a country determines the design and decoration of the furniture produced. We have seen, for instance, that the French furniture courts are committed to the French Renaissance, the German to I the many exquisite Art-productions that do honour | to the Italian Court in the Universal Exhibition. as these works will sufficiently show. They are of I Carved Wood, the work of the mind and hand of the | tho pseudo-classicism which is rooted in central Europe, the Italian to the Cinque-cento which survives from the time of Raphael, while the English courts respond to that Gothic revival which has revolutionised our structural and decorative arts gene¬ rally. fc'o far the furniture exhibited by these several countries possesses distinctive nationality. Yet, strictly speaking, nowhere is presented a truly national style. The furniture, in fact, produced throughout Europe, adds force to the dictum of Mr. Burges and others, that so long as a nation is without a dis¬ tinctive national style, so long will all accessory and decorative arts want .character, originality, and life. The present aspect of domestic furniture further shows cause for discouragement, inasmuch as that which is old is best, while that which is new is worst. In the meantime, the display in Paris once more enforces a lesson which, it would appear, designers at this mo¬ ment are loth to learn—that each adopted style, whatever it may be, must be carried out in its intention and integrity. Not a few of the works exhibited, indeed, are loud in warning against the danger and evil of mixed styles; hybrids often turn out monsters. Once more it is seen that the best works are those which seize upon some one good idea, and then carry out that idea to its legitimate issue, without distraction from irrelevant thought. The only way whereby furniture or other Art-products can be made to incorporate or assimilate divers styles is under a wise and well-informed eclecticism. Yet few designers are to be found anywhere who can fuse with congenial spirit the scattered elements of many styles into oneness. Hence bold attempts usually obtain the indifferent success of piecemeal dovetailing. THE ART-JOURNAL CATALOGUE OF Herren March, of Charlottensburg, Berlin, have | long maintained the highest position in Europe | as manufacturers of works in Terra-cotta, not best artists co-operate with j clay of the finest especially there is a superior | . mind, as well as a large expe- the operations of the very varied, and of rare excellence. order at their command; they have artisans who thoroughly to comprehend their task; and them; they have rience, extensive Works. We engrave seve¬ ral of their contributions ; they are only for the architect, but as examples of high Art. The 220 THE PARIS UNIVERSAL EXHIBITION. Another analogous lesson taught in Paris is that the style chosen for adoption, -whatever it may be, should be the best of its kind. This obvious and salutary rule is violated by the furniture which represents the ultra school of Gothic. The unhallowed element of the grotesque should be admitted sparingly into the homes of our daily life. That which in Gothic Art has taint of evil, bears mark of suffering, or implies departure from the perfect type, needs no revival. Surely there is in the best estate of mediaeval Art an essential loveliness which, to the best part of man’s nature, offers perpetual feast. It is such immutable beauty and truth that indeed must be revived, not only in furniture, but every¬ where ; for assuredly eternal varieties can never die. And yet one more lesson or warning may be taken. Furniture, in common with every other Art-manufacture, has, we all know, gained much from the antiquary. Still it is but too evident that the spirit of reverence, rightly fostered, has degenerated into blindness and servility. There is need at this moment for the designer to bo reminded that the worship of antiquity must be a reasonable ser¬ vice. The artist will do well to remember that true Art laws and testimonies reside within his mind, in his own good taste, in clear intuition of abstract principles of proportion, balance, beauty. It is not enough, then, that a piece of furniture should be strictly correct as an antiquarian reproduction, for assuredly ultimate appeal will always lie from the antiquary to the artist. ! the Empress of Eussia. The highest “ Honours,” in ! all exhibitions, have been awarded to M. Alexandre. M. Alexandeb s of Paris, has established throughout | Europe, and in America, the highest reputation as a I sculpture. Those we engrave have been executed for | the Empress of the French, the Queen of Spain, and manufacturer of Fans, employing artists of the highest | ability in their production, both as to painting and 3 x 221 I i THE ART-JOURNAL CATALOGUE OF M. Emile Philippe is at once the belonging to a class of producers unknown in England. We engrave artist manufacturer and artisan, | ,, N an exquisitely beautiful Frame of Silver, partially gilt; a very beau¬ tiful composition, executed with consummate skill. It has been ac¬ quired for the Museum at Edinburgh. M. Emile Philippe is ] the gold medallists, a distinction one of to which he is eminently entitled. There are yet other conclusions to which the Furniture Courts point. We have seen that many of the more elaborate works invoke the co-operation of architecture, sculpture, and painting; that thej- partake of the characteristics and share the fortunes of these" three master Arts individually and collectively. The furniture exhibited in Paris proves how much the perfection of a work depends upon the right balance and just relation main¬ tained between the oft-conflicting claims of these three great or governing Arts. When any one of the three is allowed to tyrannize over the others, then the work suffers violence and confesses to injury. It is manifest that a directly architectural design secures to furniture firmness, symmetry, and dignity. Yet if, as in some German works, architecture assumes upon herself j too much, at once the sideboard, cabinet, &c., seems guilty of pretention, bears on its face a stuck-up air of importance, and looks as if ambitious of enacting high Art in private life. Like errors may arise from the common mistake of transferring to woqd designs intended for stone. Then, secondly, we are taught what are the terms to which sculpture must submit. Here, again, ambition is the chief snare. • Figures approaching life-size, standing prominently ostentatious, of which error there must be at least a dozen examples in Paris, are particularly obnoxious. The censor has a right to insist that sculpture should submit herself decorously to her sister Arts of architecture and paint¬ ing. French cabinet- makers at once ■ tell us what must be done; however lavish they may be in the use of the figure, they seldom sin against the essential unities of composition. In other words, they use the figure decoratively; they play freely with the Hues; especially do they treat with the mastery of knowledge the transitions from ‘ * the round ” to high and low relief. Thus sculp¬ ture is made a mean between the severity of architecture and the facility of painting. Thirdly, a word may he fitly spoken on the growing tendency in modern furniture to pictorial treatment. The love of detail, the delight in prettiness, the passion for colour, all lead in this direction. Bas-reliefs, almost as a matter of course, are beguiled into the alluring pictorial manner, so that the plaques of our own Wedgwood appear almost the only exam¬ ples of classic and strict bas-relief. The result is not necessarily illicit; yet do the works exhibited illustrate the historic law that pictorial schools make form subservient to colour and picturesque effect. The lavish use of draperies leads to like abuse; form is sacrificed to colour or texture of material, furniture ceases to bo an Art when it becomes upholstery. I need scarcely add that the evils pointed out are hut excesses of that which in itself is good ; what may be the just balance becomes the old question of the “ little more or less.” That dosign, however, cannot fail of being a true Art-product which shall bring the several elements of architecture, sculpture, and painting together, not for rivalry, but for mutual aid, so that all shall be blended into one, and it cannot be told where each ends and the others begin. 223 THE PARIS UNIVERSAL EXHIBITION. We engrave other of the many beautiful works plianccs of the Empire are at the disposal of the | Director ; the aid of the best artists and chc- contributcd by the Imperial Manufactory of Sevres. It is needless to state that all the ap- mists is evoked; the artisans are “ the select’ | of the country ; in a word, “ cost” is of no con¬ sideration. It is but just to say, the issues of I Sevres have answered the expectations of France. THE ART-JOURNAL CATALOGUE OF Tho extensive and very beautiful plijs us with materials for another page. We engrave a Lamp Stand and a Mirror. The mir ror is the principal contribution of the eminent Art- ^ manufacturer, and is one of the leading It would also seem needful in this final summary to add some¬ thing on the unexampled variety and richness of materials now placed at the command of the cabinet-maker. Bronze, gold, silver, ivory, enamel, tapestry, lapis-lazuli, agates, bloodstones, mother-of-pearl, ebony, oak, walnut, mahogany, amboyna, tulip, maple, rose, satin, and purple woods, are all seen in actual use in the works exhibited. I need scarcely say that neither Gothic nor Cinque-cento Art-workmen possessed the boundless power over Art-effect here implied. Possibly modern designers may be per¬ plexed under the embarrcis dc richesses, but assuredly they cannot be at fault for apt material wherewith to express conceiving thought. Safeguard against threatened abuse of superabundant resource may be found in the rule that means must be held subordinate to lawful ends, and that Art-manufactures ought not to indulge in beauty and decoration at the cost of utility. Naturally, how¬ ever, the accession of decorative power becomes directed to the attainment of those ends which, for the moment, are most desired. That colour is, for the present, “ all the rage,” is evident on every hand. We find colour in architecture, schools of colour in painting, colour even in sculpture, and, as a consequence, colour is carried into the interior of our dwellings, and settles upon tho furniture of our rooms. Yet, on the other hand, the manufacturer is led to rely on the worth of the material rather than on the quality of the design ; to seek meretricious display rather than to trust those essentially Art-qualities which depend on intelligent form, balanced proportion, and harmony of composing line. collection of M. Barbedienne sup- objects of the Exhibition; argente, partially gilt. it is of Bronze, but Art has given to it the value of gold; it is This exquisite production has become the property of the Earl of Dudley. 224 head of “ manufacture,’' it is in all respects a work of high Art. The j turers, ana artisans, nave comomeu figures are from the models of the eminent sculptor, j to render this production perfect. The three pieces at renowned linn of Chiustofle, and one Carrier Belleuse, the ornaments from the designs ; the side are selections from articles that grace the table. TEXTILE FABRICS. BY MRS. BURY PALLISER. I.—WOOL. TnE stalks of most plants, and the hair of many animals, are susceptible of being converted, into textile filaments, yet the number of these employed is comparatively small; several kinds of wool, the sheep, the goat, and the rabbit, varieties of silk, flax, hemp, and cotton, with some of minor note, complete the list. To begin with wool. The sensible difference in length, thickness, and elasticity between the filaments of wool, is distinct as be¬ tween wool and other textile tissues; some by length, surface, softness, and resistance, may be compared to the fibres of flax, while others, short, firm, and elastic, approach more to cotton. Thus the long wool undergoes the same preparation as flax and hemp, while the first preparation for short wool approaches that of cotton. ITence the two distinctions dei’ive their names of combed and carded fxom the preparation employed for their filaments. Combed, or long wool, includes carpets, tapestry, cashmere shawls, merinos, flannels, &c. Carded, or short wool, is employed for broadcloth and every article of drapery. Tapestry and Carpets. —The use of carpets and woollen hangings is coeval with civilisation. They were among the first THE PARIS UNIVERSAL EXHIBITION. The Taule is the chef-d'oeuvre of the of the chief “ gems ” of the Exhibition. It is im- resources of the establishment have been expended ; possible to overpraise a production on which all the J though but a dressing-table, and classed under the 225 THE ART-JOURNAL CATALOGUE OF ! m. !•: appreciated, and are not unknown in England. I "Wo give, as an example, furniture of man. The pastoral tribes of the elevated plains of Asia employed furs and lleeces to protect them from the chilly exhalations of the night, and from the burning soil of the desert. When the shuttle was invented, a woven material was substituted, to which the loom gave its pattern and the dyer its varied colours. In the time of Homer the fabrics of Babylon, Tyre, and Sidon were celebrated, and Egypt, as well as India, early learned to excel in the art of weaving woollens. The taste of the two countries bears characters of great resemblance, and many of the patterns of ancient Egypt differ little from those of modem India. The Greeks sent to Media for carpets to cover their seats, and it is in Persia this industry was first developed. Time has not modified the manufacture. The vertical loom still used by the one of several designs for | the furnishing and decoration of an apartment. weaver of Lahore and Cashmere is identical with that employed perhaps four thousand years ago, and the frame that produced the carpets celebrated by Ilomer and Virgil, is the same used for those of Turkey and Algiers. The people of northern Europe were long without the use of carpets—a cold, coarse matting replaced the warm woollen mate¬ rial ; yet it appears the Gauls early learned the art, and, in the time of the Romans, the red fabrics of Arras had already attained a certain reputation. Who would have foretold that Gaul and Britain, then scarcely within the pale of civilisation, should in after ages be the seat of a flourishing industry which would rival the manufactures of the East ? As early as the tenth century there was a manufacture of of artistic skill with the most exquisite stones still more precious. The artists have studied in the the highest “honours" of the Exhibition. tapestry in the Abbey of St. Florent, at Saumur, where the monks wove hangings decorated with flowers and animals ; and, a few years later, a Count of Poitiers offers Eobert, King of Prance, for his assistance in an expedition, a sum of money and a hundred pieces of the tapestry for which Poitiers was then celebrated, the Italian prelates sending there for its productions. Tradition also assigns the establishment of the fabric at Aubus- son to refugees of the great army of Abd-cr-Kahman. routed by Charles Martel between Loudun and Tours, in 732. The retreat of the Emir of Spain was so rapid that many were left behind among the Gallo-Franks of Aquitaine. The weaving of carpets was the principal trade of these Saracens, who had invaded Europe by Spain, as they later entered by the Bosphorus. Up to the eleventh century these woollen fabrics of Europe were made for the hangings of churches and palaces, though pro¬ bably foot-carpets were also used in the royal habitations, and to lay before the altar. The Crusades introduced, with other eastern productions, the carpets of Damascus, Alexandria, and Cairo, yet straw and rushes were to a late period still generally used to spread over the apartments. Italy made tapestry at Bergamo ; but the introduction of paper hangings in the fifteenth century led to the decline of the manu¬ facture. Prom the thirteenth century the productions of Plunders were renowned above those of all other countries. They were made at Oudenarde, Brussels, and, principally of all, at Arras (not then in Prance). So famous became this city that it gave its name THE PARIS UNIVERSAL EXHIBITION. MM. Duron arc artist-jewellers; we select for engraving six of their admirable works —works that vie in beauty and perfection productions of the best periods. These Vases are of lapis- | schools of the great masters; their pro¬ ductions are gems of rare value; they have been entitled to, and have received, lazuli and other precious stones, chiselled, and set with 227 THE ART-JOURNAL CATALOGUE OF The Shawl which occupies this page is one of the “exhibits” of the Comvagxie des Ixdes, presided over with great and deserved success by M. VEnnE-D'SLTSLE. It is by far the most perfect work of its class in the Exhibition, made at Cashm 're, by order of the minister of the Maharajah, but not for sale; it is one of an order that money can very rarely acquire, and never directly from the makers, such being re¬ served exclusively as royal gifts. The Com- I ment at Cashmere, and by some fortunate chance j to over-rate the delicacy of the fabric or the pagnie des Indes have, of course, an establish- obtained this precious work. It is impossible i harmony with which the colours are distributed. to the production, tapestry being styled Arazzo in Italian, and “arras” in English; and, after the battle of Nicopolis, in 1396, the ransom paid to Bajazet for the liberation of a son of the Count of Flauders consisted of a sum of money and a series of Arras tapestries representing the life of Alexander the Great. Here, too, were executed in later times the ten pieces sent by Francis I. to Pope Leo X., worked from the designs of llaffaelle, the original cartoons for which are among our choicest Art-treasures. But the tapestries of Flauders have died away; the last piece was made at Brussels in 1781. France alone maintains the manu¬ facture. Until the sixteenth century all the tapestry made in France was due to private enterprise. It was Francis I. who first made it a state manufacture. He collected the best workmen Flanders and Italy could produce, and established them at Fontainebleau. Primaticcio furnished the designs. Henry II. appointed Philibert Delorme director of the new manufacture, and set up another at Paris, in the Hupital de la Tnnitc. The civil and religious wars of his sons were fatal to royal establishments as well as to private industry, but Henry IV. resumed the work of Francis I. He established a fabric of tapestry in the Faubourg St. Antoine, whence, after various transfers, the workmen were placed on the THE PARIS UNIVERSAL EXHIBITION. the collection he exhibits is of great variety and of it is said, from the actual models de- painted by accomplished artists. Some of them are, the modern works are sold as antiques. banks of the Bievre, where Jean Gobelin the dyer had established himself in the fifteenth century, the waters of that river being famous for the dyeing of scarlet; but Jean Gobelin grew rich, his family became ennobled. With Louis XIV. and Colbert all the royal manufactures rose to a new existence. Under the name of “ Royal Manufacture for the Furniture of the Crown,” were united at 'the Gobelins, gold¬ smiths, engravers, lapidaries, furniture and tapestry makers, dyers, &c.—all the workmen of various trades employed for the sovereign. Lebrun was appointed director, and the establish¬ ment of the Gobelins became a school for all the industries con¬ nected with furniture. Louis wished to set his people the example of model manufactures,—not to crush private industry, but to stimulate and give a right direction to its labours. The harmony that pervaded at that epoch in every branch of decoration shows the unity of spirit that inspired them all. The genius of Lebrun was universal. His heroic pieces were the subjects of tho tapestries; even for the locks and bolts he furnished the models; from the ceiling to the floor all was designed under his eye. The first artists lent their assistance in carrying out his conceptions. Yan der Meulen painted pieces with horses and battles, Monnoyer with flowers, and Boule executed the furniture designed by Lebrun. The same activity reigned at the Savonnerie, a royal manufac¬ ture of carpets founded at Chaillot, in an old soap manufactory, whence it derived its name. While tho Gobelins covered the in porcelain and earthenware, of the renowned the highest interest; several, as will he seen from tho engraved examples, are in high relief, others are rived fiom C'apo-da-Monti; many of 229 THE AItT-JOURNAL CATALOGUE OF The beautiful Fax, of carved Ivory, the pro¬ duction of M. Schwartz, of Copenhagen, is one of the most attractive Art-works of the Exhi¬ bition. It is a fac-simile (or nearly so) of that which M. Schwartz executed as a wedding gift from the ladies of Copenhagen to their fair and beloved countrywoman, the Princess of Wales. The principal engravings are from the well- known sculptures of Thorwaldsen. We have engraved a Cabinet by the eminent | “Ebeniste,” Diehl ; we engrave also a Table | by this manufacturer, in the same style. It is in the main borrowed from Egypt, but the de- I sign has been judiciously adapted : it is a grand I composition, in the true spirit of the antique. walls, the Savonnerie decorated the floors. Those of the long j gallery of the Louvre, and the Salle d’Apollon, were among its ' products. The first was begun in the reign of Henry IY. It j comprised ninety-two compartments, each ten yards long by five to six yards wide—doubtless the largest foot-carpet ever made. In 1825 the manufacture of the Savonnerie was united to that of the Gobelins. Two years after the establishment of the Gobelins, Colbert opened a manufacture of tapestry at Beauvais, which had Oudry j and Boucher among its directors. It is now united to the Gobelins. The Gobelin establishment is divided into three branches, one for dyeing, the other two for making tapestry and carpets. The dyeing is considered the first in the world ; the waters of the Seine are substituted for those of the Bievre, now degenerated into a dirty stream. The colours are most lasting, each combi¬ nation of colour has twenty different shades, the gradations being so insensible as only to ‘be distinguished by a practised eye. They are all classed by M. Chevreul in his chromatic scale, which gives to each shade—in all 14,420—its special number, by which ft may be described. His chromatic circle is, at the Gobelins, formed of skeins of silk. The Gobelin tapestry is made on the upright frame [haute lisse), the artist is placed behind, his back to his model. In the carpet manufacture the upright frame is also used, hut the workman sits in front cf his work. The threads of wool which THE PARIS UNIVERSAL EXHIBITION. We engrave a charmingly designed Over- accomplished artist, M. Choiselat. He was sculptor Klagmann, and sxistains the fame_ of door, made for the Baron Rothschild by an | one of the most favoured pupils of the eminent j the school in which he was educated, producing many of the best models which give renown to | the fabricants of France, and securing for | their country pre-eminence in Art-manufacture. A Tarle of Ebony, lavishly decorated -with I renowned firm of Roux, long prominent among I Roux has received a gold medal for this and ornaments in ormolu, the manufacture of the the most eminent “Ebenistcs” of Paris. INI. other works produced and contributed by him. form the velvet pile are secured to the cotton or hemp warp by a double knot. This gives them the greatest solidity. Friction and wear only add to their durability, as they have the effect of drawing closer the knots which fasten the wool to the warp. The wool is carefully cut and shorn, until the pile reaches an inch in thickness. The Savonnerie carpets are perhaps the largest made, generally white, with arabesque borders, of surpassing excellence, from the fine quality of the wool, the delicacy of the dyes, the richness and harmony of the colours, and the precision and skilfulness of their workmanship. The Imperial manufactories are now in full activity, and nothing can exceed the exquisite beauty of the specimens they have dis¬ played—fit decorations for palaces, both from their grand design and perfect execution. The largest piece exhibited has Guido’s Aurora for its subject, and the artist seems almost to have caught the spirit of the painter so long passed away, and reproduced the exquisite hues of his palette. We may say the same of Titian’s Sacred and Profane Love. The other pieces are. the Three Muses, a copy from Lesoeur, and one of Boucher’s charming productions, a group of “ Amorinithey sport in the air, and float about the flowers, rendered in the soft harmonious colouring for which the painter was so celebrated. In the Beauvais tapestries, we especially , admired a pink ccran or fire-screen, a group of chairs, the ground of the medallions a soft cream colour, with charming bouquets of life-like anemones and tulips. In addition is a hunting subject. It is impossible to realise the delicacy and finish of these compositions, whether as regards the harmonious beauty of their colouring, the artistic 231 and many pieces of furniture in the British do- 1 plied. We engraven Chimney-piece, the merit I Wedgwood plaques. We give also two copies partment show the uses to which they are ap- of which consists exclusively in the modern from Etruscan forms, and a Vase in Parian. value of their grouping, or the delicate blending of the lights and shadows. Similar in workmanship to the tapestry of the Gobelins and the carpets of the Savonnerie, are the fabrics of Aubusson, in the department of the Greuze, part of the ancient province of La Marche. We have already alluded to their supposed origin from a colony of Saracens in the eighth century. Until 1740, the manufacturer made only the Gobelin tapestry, fine when used for the hangings of walls, and coarser when destined for the smooth carpet or tapis raz. Since then the long woollen high-piled carpets of the Savonnerie have been imitated. The productions of Aubusson are highly artistic, the finest wools of the best dyes are employed. Established for so many centuries, the special traditions of the art, and the aptitude for execution, like those of glass-making, become hereditary in families. No other place can produce such a staff of workmen as Aubusson, and even there it takes fifteen 3 ’ears to qualify for the work the apprentice who has been accus¬ tomed almost from infancy to handle his father’s frame. Tapestry is produced here at a much cheaper rate than in the Imperial fabric. While a work of tapestry will cost at the Gobelins from £120 to £160 the square metre, at Aubusson it rarely exceeds £16. The great expense is in the fabrication ; the material only enters for twenty per cent, in the value. In a portiere costing £40, £32 goes to the workman. THE ART-JOURNAL CATALOGUE OF The collection exhibited under the renowned moulds”—vases, tazze, tea-sets, plaques, medal- feature of the time-honoured establishment; namoofWEDG woo r>, and manufactured at long- lions—recall, and not unpleasantly, the great, famous Etruria, is attractive on many grounds, i A large number of articles, from “the old | 232 P%S§ JJDIIJf THE PARIS UNIVERSAL EXHIBITION. Louis Frullini, of Florence, exhibits I They are from his own designs—designs of ex- | ceeding beauty; and as examples of carving they two Panels of carved wood in low relief, are among the rarest of the treasures contributed I by Italy, where there is a healthy “ revival” of Art. The specimens exhibited by the different manufacturers of Aubusson are of the highest order. As wall-tapestries, Messrs. Requillart, Roussel, andCuocQUEEL exhibit subjects taken from the_ fables of JEsop, La Fontaine, and Florian, which merit more than a passing description. “ The Peacock complaining to Juno” is a masterpiece. The tail of Juno’s bird is iridescent in all the splendour of nature, the rainbow hues are beautifully blended, and the figure of the goddess is graceful and majestic. In “ The Frogs choosing a Stork for their King,” the flags and rushes are beautifully depicted, and the minutest details are rendered; the frogs in every attitude are leaping in terror from their destroyer. In “ The Jay stripped of its borrowed Plumes,” the terrified bird is flying wildly through the air, pursued by its relentless enemies, who are plucking off its peacock’s feathers. This composition is full of life, the delicacy and clearness of the feathers resemble a finished painting. In the companion subject, taken from La Fontaine’s fable of “ The two Ducks carrying the Tortoise through the Air,” the aerial perspective is excellent, and the burnished plumage of the birds glows in the rays of the sun. One other, and we must stay our pen. A humorous fable of Florian has for moral, the danger incurred by those who seek companionship with people above their sphere. A leopard, richly attired as Seigneur du village, in a fit of condescension attempts some playful freedom with his dependants, a group of monkeys, and gives one a playful tap with his claw. The moment is represented when the frightened animal, with a piteous look, holds up his paw from which the THE ART-JOURNAL CATALOGUE OF TVc have already engraved one of the Chande- and gladly engrave another, for the -works of this eminent manufacturer are of a high order tt -r n 1 1 of Art, and of great merit with regard to gild- blood is flowing, while the rest crouch respectfully to the leopard, whose good-humoured, self-conceited air shows him in ignorance of the hurt he has inflicted. The goats crossing the bridge is another subject from Florian. The same house exhibits a mag¬ nificent state J'uutewil , style Louis XIV., the subjects Syrinx turned into a reed, and Nessus and Dejanira, and smaller chairs worked with the “ Guitar Player, - ’ and the ‘‘Dame a la Canne,” after "Watteau, designed by Gabe, the special artist of the house. Also a sofa-back, or “ Dossier de Canape ,” with a lovely group of flowers, and many others. BRAQUEXif; has a pair of charming pictures, ‘‘The Fete du Chateau,” after Watteau, and “A Pastoral Fete,” from Boucher; the latter a perfect example of the elegant and effective colouring of this 1 * decorateur des petits appartements.” On a folding screen— the subjects allegorical of the four seasons, from the florid designs of Berain—the ground is worked in gold and silver thread, after the ancient fashion in tapestry. A set of chairs, style Louis XVI., show the ground a soft buff, decorated with blue : they have been selected by H.M. the Queen of the Belgians. So also has a small Savonnerie carpet, of the finest texture, with bouquet of flowers. DurLAN exhibits a dessus-de-porte, with partridges well grouped, the plumage of the birds beautifully shaded: a larger piece, representing a wolf hunt, and the “ Cock and the Pearl,” and [ various other subjects taken from fables. Also a pretty pair of ; panels, the one representing children rabbit-hunting, the other j fishing, purchased by the King of the Hellenes. 34 ’ ing and workmanship. The designs are by I artists of established repute: this Chandelier is the ornaments and figures being the produc- designed by the architect Van der Hude, tion of Herren Brlnfort and Berexdes. THE PARIS UNIVERSAL EXHIBITION. , T .. • • . n _ ' ovnoiionf pvnmnlp of his skill in design and execution. The Cabinet is of oak, simple and Herr Bernard Hoen is eminent among German | excelle . l graceful and of very admirable manufacture. “ Ebenistcs." He supplies us with this very I - 1 ° Wo engrave one of the many beautiful examples | of PAnauETion manufactured and exhibited | by Wimh and Sons, of Stuttgart. All are m W/&M charming productions of the art, designed, in I many and very varied styles, with thorough | knowledge and executed with consummate skill. The name of Salandeotjze is almost identified with the pro- dilutions of Aubusson. It was M. Salandrouze who, after the Revolution, first restored the fortunes of the manufacture, and father and son, for more than half a century, have been associated with its welfare. They exhibit a variety of specimens of tapestry, especially a large picture, with figure emblematic of Industry, with two panels of the richest design. These form part of a senes of tapestries ordered for the Grande Salle du Trope, at the Hotel de Ville. We also noticed another pair of panels, entitled “Peche” and “ Chasse,” one representing two swans and implements for fishing, the other two dogs, with emblems of the chase. M. Salandrouze also exhibits a magnificent Savonnerie carpet. Mounier, of Paris, exhibits two beautiful panels, one on a ground of the softest grey, with poppies and other flowers deli¬ cately shaded. This tapestry, imitating closely the Gobelin, is woven in the Jacquard loom. . Thus far our subject has been confined to objects of pure artistic luxury, masterpieces in which the value of the material disappeais under the talent of tho artist. We now arrive at products where the workman is only a weaver—the manufacture of carpets for general use, an industry which first rose in importance with the present century. In Prance the principal seats of the carpet manufacture are Aubusson, Turcoing, Amiens, Abbeville, Ernies, and Beauvais. 235 The moquette, or velvet pile, is the leading carpet of France. Its great manufacture is at Turcoing (Dept, du Nord), whose united manufacturers exhibit a fine collection. France also makes all the usual kinds of carpets. In England, steam-power weaving has almost entirely super¬ seded hand-loom Jacquard weaving. The most important improvement of the age is the invention of the tapestry or printed carpets. The warp of the carpet is placed upon an enormous drum, and as it revolves a sliding inkstand prints it with trans¬ verse lines of colour with extreme rapidity. We have no speci¬ mens in our English section from Sir Francis Crossley’s fabric at Halifax. The carpets made in England are the Axminster, now transferred to Wilton. The Brussels, made at Kidderminster, where the manufacture was first taught in the last century by workmen of Tournay, are also fabricated at Halifax and Durham. Kidder¬ minster, made at Glasgow, Aberdeen, and Yorkshire; Scotch, Venetian, the Dutch or cow-hair carpet; Felt, made in the West Biding of Yorkshire; Jute, at Dundee, where carpets made of this comparatively newly introduced fabric are being extensively manufactured. In the specimens sent to the Exhibition there is nothing to give an idea of the immense development of the carpet-trade in Groat Britain. In Belgium, the Royal Manufactory at Tournay has little varied its style of production. It sends many specimens of her high piled velvet carpets, similar in make to those of the Savon- nerie and Axminster, several imitations of Turkey and moquettes : a large square carpet, with red ground, and some good patterns, of Persian design, with black grounds, in lengths. At Ingle- THE ART-JOU11NAL CATALOGUE OF These works in Carved Wood are the most part, self-taught, although trained by M. Do Coninck (by Borgerson, of Thelemarken; others whose efforts, indeed, the art, if not created, has been revived); they j form a school that is making itself known throughout Europe. Their exhibited by M. De Coninck, of ! bear the names of Halvor, Judseth, i works arc of graceful design and admirable workmanship, possessing, I indeed, a degree of delicacy and refinement found but rarely. The , Christiania, Norway, and arc the [ I and Ole Joslin, examples of whose productions of Norwegian carvers, who are, for principal carvers are the four brothers ! skill arc found among our engravings of their works. THE PAEIS UNIVERSAL EXHIBITION. We give on this page several examples of the the' intelligent fabric-ant has availed himself, de Boissimon does not confine his thought alone bringing sound Art-knowledge and abundant to Art; he claims, by his study of chemistry, factory is at Langrais (Tndre et Loire). The his productions. He received well-earned ho- skill to bear upon the issues of his factory. They are for the most part, as will be seen. to have given strength as well as beauty to works of 11. Ce. De Boissimon, whose manu- ! locality is famous for a peculiar clay, of which tion (sometimes in low relief) in the best taste— paintings of high class on earthenware. M. nours in several Exhibitions, and in that of 1867. chiefly -for gardens and conservatories; the forms are in all cases good, and the ornamenta- munster (West Flanders), M. Braquenie has endeavoured to revive the old national industry, and exhibits two pictures in tapestry representing village subjects. Holland does not produce much, but the Royal Manufactory at Deventer sends a handsome Turkey carpet, of red ground. Prussia, who owes the development of her carpet industry to English enterprise, shows great advancement, and makes imita¬ tion Turkey carpets and printed tapestry, of which, until lately, she sent the warp to be printed in England. Diiren, Berlin, and • Elberfeld are the chief seats of manufacture. A Turkey carpet, of i plain red ground and corner ornaments, with centre, made in j Silesia, is of remarkable beauty. In some small rugs called ! “ mosaic,” exhibited by Otto Peter, of Dresden, the colours of j the flowers are of great brilliancy. The carpet industry in Austria has of late years made much progress. Vienna, Bohemia, and Silesia have fabrics of great merit. Ha as, of Vienna, produces somo fine Turkey carpets of large dimensions, the colours harmoniously blended. Also a splendid carpet of singular colouring and design, copied from one sent from Persia to Peter the Great. It is manufactured by order of the Emperor of Austria for the New Opera House at Vienna, and therefore intended only to be seen by candlelight; the colours are too flaunting for day. Spain sends a Turkey carpet from Barcelona, of ordinary make. Russia, where the Empress Catherine II. founded a manufactory of Gobelin tapestry, has applied herself to the improvement of her carpet industry. Good moquettes are made at St. Petersburg and Moscow, and Turkey carpets successfully imitated. ! 3 o 237 THE ART-JOURNAL CATALOGUE OF has long been renowned for the manufacture of arms, more especially for such as derive cnrich- example—a Pistol of surpassingly beautiful design and workmanship. It is of ebony, sculptured, The houseof Deyisme, of Paris ments from Art. We give a: hfel'l the ornaments being of silver; these represent incidents of the Crusade. Knights are marching out to encounter the Saracens ; the angels of triumph, glory, and renown, announce a victory of the warriors of Christendom. The engraving, modelling, and sculptured work, are of the most delicate and refined character, and altogether this pistol is an achievement of Art. The BfixiTiER and Clock arc of carved ivory, the work of Caxelle, of Paris. They are fine specimens of Art, the best of the many exhibited by manufacturers of this j class of production, beautifully carved, and from designs of considerable merit. Italy sends a Turkey carpet from. Home. This industry is yet of little importance. The small carpets of Greece, made at Athens, resemble that of Turkey, but are inferior. Of the North African States, Algiers exhibits her dusky carpets of blue, black, yellow and red, and Tunis and Morocco their well- dyed but coarse, dark-coloured productions. The manufacture of carpets is the principal branch of Ottoman industry, they are made throughout the whole extent of the empire, in towns, villages, and. even in tents. The Turkish carpet is begun in the centre, it is made chiefly by women, who spin their own wool, dyed with vegetable substances partly collected by themselves. They have no patterns, but copy another carpet. A complete series of the carpets of the Ottoman empire cover the walls of the Turkish court, and may be classed under four heads:— The “ sofrali,” so called becauso they have an ornament in the centre to point out the place of the table ( so/ra ). The “ sirali,” striped carpets of six colours, white, violet, black, green, red, and yellow. The “ ducheme" of short wool, in which goat’s hair predomi¬ nates ; they are made by wandering tribes in encampments. Lastly, the “ sir!jade,” specially made in the little village of Saroukham, near Smyrna; they are used in the mosques and also at the bedside. The pattern is an imitation of the old Persian, an open space in the centre of white, green, or turquoise blue, round which is a complicated design, in brilliant colours, of scrolls, flowers, or fruit. 238 THE PARIS UNIVERSAL EXHIBITION. of carved oak, excellent in design, and of ad- I long been famous, and thoroughly upheld at the mirable workmanship. The establishment has Universal Exhibition its widely-spread renown. There are three great centres of fabrication, Smyrna and its environs, Koniah, and the whole district of the Danube. Con¬ stantinople furnishes carpets for laying over the “ sofras,” or tables on which coffee is served. The felt carpets are from Broussa. Some few years back, Europeans established large fabrics at Ouchack, near Smyrna, with a view to reduce the price by using an inferior wool for the warp : but the carpets thus produced do not possess the qualities so highly valued in the true Turkey carpet, the soft and skilful disposition of the tones and designs, and the indestructible texture and permanency of colour. In the Indian collection is a fine carpet in the good taste, delicacy of pattern, and harmony of colour which distinguish the productions of Hindostan. In Persia we find none of those fine carpets intermixed with silk, such as used to be sent over in former times. We remember seeing one of large size, the ground dark blue, overrun with a pattern of great delicacy. The texture of the carpet was exceed- | ingly close, and the nap short. Such specimens, we believe, have now become almost traditional, j In conclusion, we have only to add that with the marvellous ' productions of the Gobelins, Beauvais, and Aubusson, Prance ! maintains her superiority in beauty of design and finished work- j manship. Prussia and Austria have made great progress in this I branch of industry; and England, with her vast resources of I steam-power and machinery, has raised her carpet trade to bo j among the most important, if not among the most artistic, of her manufactures. in Cast Iron of works by Count Dimeihel, Lauchammcr, and now add threo others. | We have given some of the productions We engrave another of the works of the extensive establishment of MM. Mazakoz-Ribaillier & Co.,Ebe- nistes of Paris. This very beautiful Cabinet was q Q U made for the Countess Waldegravc. It is 239 ■works he occasionally produces; it is a beau- 1 tiful design, and the manipulation is perfect, j also the manufacture of the renowned firm. j Under tlio class of combed wool must be included the woollen stuffs used for hangings and furniture, many of them of a mixed tissue; reps are combined with coarse silk, Utrecht velvet with poil- de-chcvre, Algeriennes with cotton, damask is of pure wool. Of the reps some charming patterns are to be seen in the col¬ lective exhibition of the manufacturers of Tourcoing (Nord). The most varied collection of table-covers is exhibited by Krtjz- makx and Haahiiaus, of Elberfeld; while Haas, of Vienna, shows his Persian “ portiere” for the Opera House at Vienna, and one with Chinese pattern, both of great elegance. His table-cover with borler of purest Persian design and colouring has met with such universal success as to be literally hidden under the cards of per¬ sons who have left orders to have it made. 240 The coloured blankets, check or scarlet, of Wurtemburg, look i very warm and cheering; and the railway wrappers exhibited in \ I Austria by Ginzkey, of Bohemia, are most lively and brilliant j I in colours. But our business is with decorative rather than j | useful Art, so, passing over the various mixed stuffs, called I “ Nouveautes,” exhibited by that “beehive,” the town of Bou- I baix,* of which the Jacquard furnishes above seven hundred i different combinations of pattern, and by our own city of Brad- | ford, the splendid flannels, both plain and printed, merinos, ! mousselines de laine, and endless other tissues, we pause only to admire the lustrous beauty of our Irish poplins, and proceed to— * “ La ville de Roubaix est une ruche, tout le monde y travail \e."—Speech of Napoleon I. THE ART-JOURNAL CATALOGUE and one of the pieces of a Table-service, THE PARIS UNIVERSAL EXHIBITION. We engrave three works by M. Emile Philippe— a Vase, the Cover of a Jewel Box, and a Hand-Mirror. They are enamelled and enriched by precious stones; but they derive their value from Art— from the master-mind that designed them. M. Philippe styles himself “graveur et modelleurhe is a true artist. He has been rewarded by a gold, medal, an honour amply merited and earned. Tiie Cashmere Shawl.— Finest of all woollen textures, and most exquisite in workmanship, is the Indian shawl. Uniting richness of design with freshness of colouring, it has no rival in the world. It is not only the most splendid tissue ever wrought by the hand of man, but it is also the most solid and most durable, whether it adorns the shoulders of a European beauty or girds the waist of an Eastern potentate. The seat of this industry is the Yale of Cashmere, celebrated for “ its roses, the brightest that earth ever gave,” the chosen theme of the poet and the traveller. In this favoured spot and its surrounding mountains the industrious inhabitants are prin¬ cipally employed in this laborious manufacture. The Cashmere shawl is woven from the wool of the Thibet goat; the material for the shawls (which is carried to Cashmere) is found next the skin of the animal, and is surpassingly soft and silky. When employed for fabricating shawls, the wool is first made over to the women to spin—a difficult and costly operation. It is next passed to the dyer to give it its unalterable colours, then delivered to the weaver, who sets up his simple frame and weaves, after the pattern given him, the segment of the shawl allotted tor his task. The shawls are all made in separate pieces, and when the portions distributed to the different weavers arc finished, they are given to 241 THE ART-JOURNAL CATALOGUE OF We engrave a selection of ornaments for the | decoration of Ceilings, executed by Tischback | and Moser, of Vienna, from the designs of Fre- for distinction at tho Universal Exhibition ; and I that so many first-class medals have been | doms classed under a general head. Germany it is mainly owing to their zealous co-operation j awarded to the Empire and the several king- has thus established a very high position. dehick Von Tischbacu, an eminent j “ draughtsman ” in Art and Art-in- j dustry. The German artists, those of j We engrave part of a Window-curtain, the ( manufacture of Herr Faber, of Vienna, also I from the design of Frederick Von Tisehbach. skilled workmen, called rafu-gar, to whom is assigned the difficult duty of joining the segments together. These seams, however, generally require to be re-sewn in Europe before the shawl is offered for sale. The flowers and arabesque patterns are worked in by hand. “When finished, the shawl is well cleaned and covered with a strong paste, principally made from rice. The whole com¬ pleted, it is delivered to the purchaser. Shawls were formerly made in pairs, but since European dealers have invaded Cashmere more than two are made from the same pattern. If destined for Europe, tho shawl has to bo disencumbered of its provisional dressing. For this purpose it is washed in the river flowing from the Lake of Cashmere, whose waters are reputed to preserve the colours, a property attributed to the aromatic plants growing upon its banks. A sheet of paper is laid between each fold of the shawl. It is enclosed in four or five envelopes, and packed with the minutest precaution. So delicate and complicated a work can only be accomplished by workmen versed in it from infancy, and who, living upon a handful of rice, are satisfied with moderate wages. The best workmen scarcely earn more than from three halfpence to two¬ pence a day. The low price of labour will always render Europe tributary to Asia for this luxurious production. A shawl which costs £80 at Cashmere, or at Umritsur, in the Punjaub, where these shawls are also fabricated, could not be made for less than £1,000 to £1,200 by European workmen. The material only enters into 20 per cent, of the cost. Hence many French manu¬ facturers have formed establishments at Cashmere and Umritsur, I Austria more especially, seem to have exerted themselves with much anxiety j to aid the manufacturers in their efforts •242 The piece that fills this page is engraved from I one of the iron castings for a Balcony con- I tributedby MM. Requile and Pecquer, of Liege. where shawls are made by native workmen ; but, in too many instances, they have introduced their own designs, which have changed the national character of the shawl, and often, in these cases, the beautiful tissue is concealed beneath a mass of embroidery. Shawls of inferior quality are also made at Loodiana, where this industry was introduced by a colony from Cashmere, recruited every year from the valley. The colours of those made at Loodiana are very solid, and bear constant washing. They are wanting in brilliancy of tints, consisting principally of brown, black, dark bottle green, and indigo blue. The colours most prized are a dull yellow, shades of amaranth, and, most brilliant of all, a kind of rose pomegranate of the finest thread, used only in shawls of the first quality. The favourite colour in India is a bright copper green; it is false, but very brilliant and costly, and is chiefly employed where palms are introduced into the design. Another shade of the same colour is used for the warp of the finest shawls, as is also turquoise blue, a most costly colour. At Loodiana the workmen are seated three together at the same strip, in front of a cylinder upon which the warp is rolled. Each has, at least, fifty shuttles. The chief sits in the middle, and guides the other two. In one pair ot shawls is six hundred days work ; they would cost at Loodiana, if of the finest quality made, about £23.* The white shawls with green palms are the coarsest. These Loodiana shawls are heavy, the palms stiff and ungrace¬ ful, and they are destitute of the softness so admired in Europe , but this they gain, in a great degree, by wear and washing. Erom their cheapness, Cashmere cannot contend with Loodiana in the Indian market. THE PARIS UNIVERSAL EXHIBITION. We engrave two of several works made and contri- made the metal precious. M. Dufresne is on presume ^‘pXcin^feTworta hated by M. Hesr. DuraESXE, of Paris, one of the artist; he is also the manufacturer, and, we | contents hunselt with producm 0 lew wor s, gold medallists; they are productions of the highest order of Art, surpassed, indeed, by nothing that the Exhibition contained. They are of Bronze : Art has but these are perfect. The larger Vase he I and the warning are obvious. It is a very has named the Cup of Pleasure; the lesson | grand conception, admirably worked out. bronze, iron, and steel, THE ART-JOUBSAL CATALOGUE OF Ho carries his business into the regions of | high Art, making of the commonest articles “things of ing is from a model supplied by Joskpu Cii£ket' and accomplished care. proofs of his great ability. It is lie has amply merited the gold medal needless to say these charming pro- manufacturer of articles in beauty; obtaining the aid of emi¬ nent artists (our principal engrav- chiefly for windows and M. Hu by, of Paris, is a he obtained. The engravings which occupy this page may be accepted as workmen, and “finishing” with elaborate What the Indian produces by years of manual labour the European now obtains in a short time by means of machinery. Shawls are made in the Jacquard loom by workmanship the most intricate and complicated. Though inferior in softness to its Indian rival, the French shawl is the most beautiful and elaborate tissue machinery ever produced. It is also made of the down of the Thibet goat, originally introduced from Russia, at great expense, by Monsieur lernaux, who produced, in 1810, the first Cashmere shawl ever manufactured in France. The weft is entirely of wool, worked like carded wool, to produce a smooth tissue; but in the warp is introduced a thread ol fine silk, called organsinc (for which cocoons of the first quality are reserved), to give it sufficient stability to weave. The French shawl is finer and more clothlike to the touch than the Indian, smoother in surface from its more perfectly spun yarn, which is free from the knotty irregularities of the Indian web. Yet, notwithstanding these improvements, the French shawl never falls in the soft, elegant folds of the true Cashmere. France has only three centres for the manufacture of shawls: Taris for the finest quality, Lyons, and Nimes. The greater part of the shawls sold as Paris are woven in Picardy, at Fresnoy- le-Grand, and Rohain. The Paris manufacturers have always, by their taste and inventive genius, maintained their superioritj' 24-1 THE PARIS UNIVERSAL-EXHIBITION. manufacture. Among his “exhibits” was a Chandelier of much grace and beauty. His table glass also stood the tn ing test of comparison. in this manufacture. It is there that the use of the Jacquard loom has been brought to the greatest perfection, and its work¬ shops of design have the highest reputation. The pattern being “read,” as it is called, on the Jacquard cards, the workman has given to him the warp ready dyed and prepared, and the mate¬ rials necessary to form the weft. "When woven, the shawl is trimmed, washed, and dressed. There was a magnificent display of shawls in the Exhibition. The Paris houses of Verde-Delisle (Compagnie des Indes) and Frainais Gramagniac, who have both establishments at Cashmere and Umritsur, erected detached kiosks in the garden of the Exhibition, so as to have abundant room to display their shawls. There were also some fine Cashmere shawls m the Indian department. Since the introduction of European capital and industry, the Indian shawl has much diminished in price, and has become a formidable rival to the Paris shawl, which formerly replaced the more costly production of the East. The two kinds may always bo distinguished from each other by one marked difference. In the French shawl there is a great loss of material, because the wool passes the whole width of the warp, only to appear where it forms the pattern, and being seen behind in loops, or brides, as they are termed, which are cut away, when the tissue is finished, to diminish the weight of the shawl. The Indian shawl, on the other hand, is woven like a kind of tapestry, each thread following only the outline it has to form, being | fastened by knots on the wrong side. These remain in the state ! the workmen left them, adding much to the solidity and strength 1 of the shawl, which therefore never ravels out. But the great merit of the Indian cacJiemire consists in the | harmony and effect produced from the proper distribution of ! colour and the rich invention of their patterns ; these give them an evident superiority over the French shawls, which last are chiefly distinguished by their well-chosen designs and the perfect regularity of their weaving, equally apparent both in the ground and border. These merits do not appear in the Indian shawl, j where the execution of the pattern is more or less imperfect, 1 according as the strips have been made by more or less competent workmen. The numerous seams required in these shawls to unite the different pieces that compose them, offer also an ungraceful aspect scarcely consistent with the 61fa/antes they adorn. But as these faults serve to give them a special character, they become often a “ quality” instead of a defect in the eyes of the purchaser. It must always be borne in mind that the Cashmere wool is the most delicate and difficult of all tissues to work, and that the Eastern natives, by their success in weaving it, have earned the reputation of being the most patient and most skilful weavers in the world. The Indian shawl, which will be found figured upon one of our pages (228), was specially fabricated for the Maharajah of Cashmere. It is of a quality never offered for sale, and has deservedly ob- 24G tained the gold medal. It forms part of the collection of MM. [ Verde- Delisle. In the display of French shawls, the specimens were all of great elegance of pattern and beauty in execution. None can approach | in fineness the shawl exhibited by M. Duche. It is the climax I of high-Art weaving, the finest woollen yarn ever spun. We may here observe that M. Larsonnier, of Paris, has manufactured shawls of the finest texture from wool produced by the colony at Victoria. The houses of Majllard and Breant, Lacassagne, Boutard, and others, sent magnificent specimens of Paris shawls, both elegant in pattern and harmonious in colouring. Lecoq imitates the Indian c achemirc more closely than any other manufacture except our own at Paisley, which are sent out to the Indian market to reappear in London for sale as genuine cashmere. The shawls made at Nimes are remarkable for their great cheapness. The colours are somewhat bright, with au undue pi'oportion of Indian yellow, compared with the more subdued tones of the Paris masterpieces. Hiawatsh, of Vienna, sent some handsome specimens of French cashmeres, noted for their exact workmanship. The shawls from Prussia and the other German states were decidedly inferior. Indeed, Franco need fear no rivalry in this manufac- THE PARIS UNIVERSAL EXHIBITION. This column contains one of the many admir¬ able works in bronze and in bronze imitation —Zinc d’Art—manufactured and exhibited by MM. Miroy, senior and junior, of Paris. a Wardrobe of Hungarian ash and other woods, enriched with ivory inlays, elaborate carving, and mounted with medallions of modern Wedgwood. It is an example of re¬ markably excellent workmanship. We 217 THE ART-JOURNAL CATALOGUE OF This very beautiful Cabinet, one of the at- I by Andrea Picchi, of Florence. It is of tractions of the Italian Court, was exhibited | Ebony, the enrichments being of ormolu, These are specimens of the filagree work, in Silver, exhibited by Emile Forte, of Genoa. His collection ture, of which she annually exports to the value of one million sterling. Although our observations have been strictly confined to the Cashmere shawls, yet we can hardly pass unnoticed the Scotch tartans, now brought to great perfection. The beautiful wool of the Cheviot sheep goes far to rival the production of the Thibet goat. Cakdep Wool. —The productions in carded wool are most important in an industrial point of view, and constitute the great riches of many nations. So prosperous was this manufacture in the Netherlands, that Duke Philip had the Golden Fleece for the badge of his order of knighthood. Truly the riches of Colchis were not to be compared to the wealth that poured into that country from the woollen trade. From the Alva persecutions, England gained this industry. Carded wool comprises those stuffs whose surface is so close and downy, that it is impossible to see the weaving,—broad cloths, and all the products included in the name of drapery. For black and blue broadcloth, England maintains her su¬ periority. Neither France, Saxony, Belgium, nor Austria, can equal her in richness of dye, softness of touch, or evenness of surface. The brilliancy of the colour of the Austrian cloths, yellow, scarlet, and blue, is most dazzling. But meritorious as they may be, and occupying a great part of the Exhibition, yet we cannot but consider that broad cloths and trouser stuffs, doeskins and meltons, beavers and velvet pile, and with a judicious admixture of mosaic orna- I an admirable order, and all the decoration-; ments, in natural stone. The design is of are modelled with undoubted taste and skill. was large and varied. We engrave two Card-Cases. THE PARIS UNIVERSAL EXHIBITION. MM. Collinot & Co., of Paris, exhibited a large collection of beautiful productions of ceramic Art — Faience ; works of high order, not alone in design, but in some peculiar qualities of manufacture described elsewhere. Many of them were adaptations from Persian, Arabic, and other Eastern suggestions—for example, the mural Fountain of which we I give an engraving; others are tho produce of I original thought. M Collinot is a true artist. a host of other like fabrics, belong more to the province of industry than of Art. II.—SILK. The weaving of silk is of ancient date, and the silk-weavers must have early attained great skilfulness. The production of the Greeks of Constantinople would now astonish us. The toga of a Christian senator often contained six hundred figures, and the whole life of our Saviour, the Resurrection of Lazarus, and His other miracles would be pourtrayed upon a single garment. When Roger, king of Sicily, took Corinth, in the twelfth century, he carried the silk-weavers back with him to Palermo, to teach this Art, then only practised by the Greeks. Prom Sicily the industry passed into Italy, and thence extended to Germany, Prance, and England. Still, silk fabrics were long costly, and of great rarity. They were among the presents of Haroun-al-Raschid to Charlemagne, and were given as offerings to the Church. One hundred and fifty pieces of silk were the ransom, in tho twelfth century, of a duke of Cilicia, and 300 pieces were paid as a tribute by an Eastern vassal. In the West, great was the admiration of these fabrics of the Saracens, and the troubadours represented them as the works of fairies. The use of silk appears to have been very lavish. King Roger caused the palace of Palermo to be hung with silk on the occasion of his coronation. "When Charles VIII. entered Venice, the boats sent to meet him were covered with crimson satin, and the sails 249 excellence unsurpassed, in- : excite wonder at their elaborate finish—at the “ thousand and one ” tints deed, unapproached. Hut the j that have rendered them perfect as copies of Art and Nature. _ Under .the judi- resources of the Empire have eious management of M. Bad in the long-famous Works continue to issue the supply. The Exhibition did not show many, but they were of such excellence as to defy competition. of King Henry YUL's ship, when he crossed to meet Francis I. at the Field of Guisnes, were of cloth of gold. So rich were the satins, as early as the fifteenth century, that “ gayer than satin ” became a proverb. They were chiefly made in Greece, at Bagdad, Bruges, and in the cities of Northern Italy. From the fourteenth to the sixteenth centuries, Flanders, Venice, Lucca, Genoa, and Milan, were famous for their velvets, satins, and damask; Avignon, Barcelona, and Toledo, for velvets. At Lucca, says Montaigne, even the beds of the inns were furnished with silk and cloth of gold. Although there appeal s to have been early a silk manufactory in France, it was Louis XI. that first established looms at Lyons, and four years later at Tours, when he sent to Genoa, Venice, and Lucca for workmen. Till the revocation of the Edict of Nantes, Tours had no rival in the manufacture, but this disastrous act reduced her silk-workers from 40,000 to 4,000, and Lyons took possession of her industry; but Tours still maintains a repu¬ tation for her costly silk damasks for furniture, and the panels for wall decoration in the recent Exhibition were of the first class, both in design and execution. The weavers of Lyons occupied a large space with their gorgeous fabrics. Like their Tourangean rivals, their furniture silks arc of the most magnificent tissues, their designs in the best taste; as, for instance, the satin curtains, style Louis XVI., chosen bj' the Empress, the white satin hangings with velvet foliage in shades of brown, and others to which the introduction of gold adds a fresh richness. In figured silks for dresses, the gay patterns of butterflies, chrysanthemums, heartsease, roses, and THE ART-JOURNAL CATALOGUE OF We give other examples of the Tapestry of Beauvais— “the Gobelins”—which are of been expended to “finish” these productions, and so sustain the renown of the establishment. The work's exhibited iu Paris are, at least, equal to those of any period; they are pictures in the highest sense of the term, and produce of its looms, and to main¬ tain a staff of “ workers ” selected from the most able the world can THE PARIS UNIVERSAL EXHIBITION. The Paper-hangings (Papiers-peints) of Park | maintain their high position; they have an | excellence which the artists and artisans of other countries vainly strive to reach. We engrave on this page the decoration of the side of a room, and part of another, the manufacture nent artist, j\I. Victor Dumont. We can give no idea of the brilliancy and harmony of the colours employed; a notion, however, may bo conveyed by the fact that to produce the land- I scape which fills the panel there have been nearly I one thousand separate and distinct “ printings.” field flowers (fleurs des chimps ), or tlie more correct patterns of a severer taste, conventional forms arranged with due regard to the principles of harmony, presented a most brilliant assemblage ; while moires antiques, velvets, satins, and plain silks, were of no less excellence in their class. The ribbons of themselves occupied one separate salle in the French department of silk goods. No industry is so subject to the caprices of fashion as the ribbon trade : one year in favour, another discarded for some other fabric. Eibbons are essentially a fabrication of luxury, and only sell when accepted by fashion. To produce what is likely' to succeed six months later—for it requires that time to make the designs and arrange the colours—to manufacture, to sell—and, if by good fortune it succeeds, to see the pattern immediately copied by an inferior manufacturer—such are the vicissitudes of the ribbon trade. Of the distress such fluctuations occasion, we have full evidence among our Coventry weavers. In France, St. Etienne (Loire) is the principal centre of this fabric, which for three centuries has mado a considerable increase, due to the great aptitude of the people of that department for industrial works. Ribbons are woven by the Jacquard. The designs in the Exhibition were of great variety; birds work well in with the patterns, but the most common and popular ornament is flowers. Last year the special fashion was for “ fleurs des champs ,” as the French style bouquets of the poppy, cornflower, ox-eye, daisy, corncockle, pink convolvulus, with tlie addition of wheat or barley. We had them then in every combination, beautifully THE ART-JOURNAL CATALOGUE OF The Maison Blanc— the White House—of Paris is well known as perhaps the most extensive establishment in the world, as “ a collec¬ tion ” of all classes and orders of productions in textile fabric. It is designs furnished by artists of ability and renown. M. Leopold Meunier, the enterprising and intelligent director of the Maison Blanc, hesitates at no cost that may secure the supremacy at which he aims and achieves. even more famous for its issues of such works as are capable of being These Curtains are "very beautiful, and of admirable workmanship ; they influenced by Art—Art sometimes of the very highest character—from are but selections, however, from the many we examined of equal merit. grouped and shaded on black, white, or coloured grounds in the ribbons of Gerentet and Coignet, the great manufacturers of yt. Etienne. Nor was the littlo daisy of the field (parquerette of the French) omitted. Its crimson tipped flowers form a graceful ornamentation to one of the prettiest ribbons of PreyNALT and IioziER, who had also the choicest bunches of the poet’s narcissus on a black ground, and bunches of the scarlet poppy on a white. Wo cannot enumerate all the lovely patterns in this class—the orange flowers for the bride, the lilies of the valley, and others. The Eibbon Court was a perfect garden of flowers. The English silk weavers in the Exhibition shone most in their moires antiques, all the specimens of which were purchased by the French houses, and the plain silks of the Spitalfields weavers are also equally esteemed. Those of Taylor and Stokes ; attracted and deserved special notice. The silk shawls of Clab- | burn, of Norwich, have already a European reputation. Of other countries the fabrics were too numerous to particularise, j Austria has made great advances in her ribbons and other silk products. Switzerland, where Zurich manufactured silk, five I centuries back, received golden medals for her silks and ribbons; 1 Russia had abundance of silks in the sixteenth century, when the 1 fair of Novogorod was the emporium of Greece, Turkey, the | Levant, Arabia, and India. The silks she exhibited were of the I richest tissues, together with gold and silver lamas from Moscow, j The fabrics of Turkey. India, and China, offer little variety. ! Faithful to their old traditions, their stuffs are still to be dis- I tinguished for richness of texture, variety of ornament, and per¬ fect management of colour. III.-FLAX. Flax and hemp are the principal stalks whose fibres are used for weaving. A few others may he added to the list: the grass-cloth of the East, the stalk of a kind of nettle (Urtica nivea), from the Island of Formosa, and some of the provinces of China ; abacca, or Mum textilis, and, most delicate of all, the filaments of the leaves of the wild pine-apple of Lu^on, in the Philippine Islands, well known to us in Europe, with its fine embroidery, under the name of pine-apple thread. The New Zealand flax (Phormium tenax), caoutchouc and jute, complete the list.* * To these may be added the vegetable wool made from the leaves of the pin’. The linen of Belfast, of France, and Belgium, and the cambrics of Valenciennes and Lille, are not within our province, but the damask linen of our own country, France, and Saxony, offers more of an artistic character. The French have brought their table linen to great perfection, and unbleached specimens exhibited by Casse, Land re, and others, in which silk is introduced to throw out the pattern, are perfect pictures executed in flax; but none surpass the traditionary beauty of the Saxon damask, still among the choicest hoards of the lover of fine linen, so satin-like, yet so tender from age, as only to be produced on gala days and other important occasions. Proelss, of Dresden, well deserves the gold medal for these fabrics. THE PARIS UNIVERSAL EXHIBITION. The Jewels of M. Fontenay, of Paris, are among their class. They are valued not alone for their in¬ several, principally Brooches and tho most refined and beautiful, as well as costly, of trinsic worth ; tho admiration they excite is the result works of Art. We have engraved drops being of diamonds and rubies. Earrings. Of the two Pendants the ground is jade, the birds and less of their actual value than of their grace and excellence as 3 s 253 THE ART-JOURNAL CATALOGUE OF w 0 ]nve already done I M. Matifat, of Paris, a Bronze manufacturer of merited eminence. Those we j important task. The subjects are suf- I now engrave (from the designs of M. Davioud, modelled by M. Murgey) decorate I the exterior of the Luxembourg, forming parts of the “ improvements” recently I introduced into the grounds that environ the justice to the works of the highest credit for the manner in which he IV.-COTTON. Cotton is the tissue latest applied to fabrication. Wool, silk, and flax had been transformed into perfect stuffs when cotton first began to be woven. Until the fourteenth century, the Orientals and the people of the Levant were alone in possession of the means of working cotton. England was the first to effect for cotton what France and Italy had done for silk. The task was difficult, to twist and unite fila¬ ments so fine and so short as scarcely to exceed an inch in length. It is not necessary to enter into the details of this prodigious industry which, for three quarters of a century, has increased year by year. Following the samo plan as we have adopted with respect to wool and flax, of abstaining from all observations on the plain materials, we would at once direct the attention of our readers to the brilliant display of the manufactures of Mulhausen, a town in Alsace, which has long been celebrated for the beauty of its im¬ pressions upon wool, cotton, and silk. At the beginning of the century indigo-blue and Turkish red were the only colours employed for printing on stuffs, since then the number has progressively enlai’ged, and now above thirty are used. The furniture chintzes ( perses ) were all of the softest grey ground with flowers of colours admirably combined; but more elegant and showy than these are the lately invented cretonnes, a thick tissue covered with patterns imitating the old Indian stuffs in design, and 254 THE PAHIS UNIVERSAL EXHIBITION. M. Coffignon is one of those xnanu- coated with silver, produced in immense variety, at singularly small cost for merit of design. Some are facturers who produce common as well as costly works, giving to the former all the Art-value of the latter, set with gems, others are par- and exhibiting taste in productions of the cheapest order. In addi- Brooches. These are of metal oxidised, thinly j to the purchaser.; each, however, is conspicuous As a manufacturer, he has a foremost place. also in colour. Of this the French cotton printers exhibited a mag¬ nificent display, in the same room with their show of printed cotton and printed muslin for dresses, in which seem concentrated all the artistic taste and invention the eye could desire. Dolfus Mieg’s piques for dresses are printed in flowers, hearts¬ ease or bluets in colours, his muslins with flowers or leaves of grisaille or shades of blue. Some have wreaths of flowers termi¬ nating in small photographs set in medallions. Next in attraction to the French exhibition was the Swiss. The eye is perfectly dazzled with the brilliancy of the scarlet cottons fabricated, not for the rich and the elegant, but for the labouring classes. The Turkey red of Bister, Ziegler, Tsciiudy , and others, was one of tho most remarkable displays in this class. Their grey muslins were also beautifully printed. Of the embroidered muslins we have already made mention. The English section exhibited so few printed cottons or muslins, as to give no means of comparison with the products of other nations, but the display in the French and Swiss courts showed us how great the development in other countries this branch has attained. With their superiority in colour and design they bid fair soon to deprive us of our boasted supremacy, unless more is effected towards the education of our manufacturers. As an accomplished statesman observed on the occasion of the pre¬ ceding exhibition, The French have taught us many lessons, let us only show we have profited by them.” worth but a few francs each, tion to a Monstrance, admirably designed, we engrave nine of his are capital examples of Art. tially enamelled; while others, 255' - uy~ • - THE ART-JOURNAL CATALOGUE OE The collection of jewels and “Art-gems” Exhibition. The leading object of our selection | is a Jewel-box, of Egyptian character. Another of M. Baugrand, of Paris, were among engraving is of a Tea-service, also in the “ style | egyptienne.” The two other subjects are exam- the most perfect and beautiful in the pies of the minor matters which M. Baugrand j subjects to the influence of the highest and best Art. GOLDSMITH’S WOKK, SILVER AND JEWELLERY. BY HAIN ERISWELL. The art of the goldsmith is not only one of the most ancient, but also of the most durable, arts in the world ; for while marble and the brazen monuments of kings have long ago perished by the tooth of time, the disintegration caused by weather, or by chemical change, the personal ornaments of the kings, in silver and gold, or the very jewels which they most prized, as brilliant as when first cut, have been recovered from the graves of Etruria and the sepulchres of Egypt, so fresh and perfect that their patterns— original in their grey antiquity—serve our present workmen, and delight as well as adorn the living beauties of Rome, of Paris, of London, and of that new world undreamt of in those distant ages— America. The passion of adornment is inherent in the human breast; and that the best and dearest part of humanity should be adorned with that which we all hold to be most precious, is but natural. Woad and war-paint, beads and feathers, may serve the savage, but the civilised man naturally betakes him to the precious indestructible gold, and the jewel cut with the nicest art, and polished with ex¬ treme difficulty. So, too, science, which advances us towards that which is useful, aids us in producing the beautiful. Before Newton so plainly demonstrated the diffraction and reflection of light, the highest brilliance of the diamond and other precious stones was THE PARIS UNIVERSAL EXHIBITION. but by the universal accord of “ all nations.” nearly every variety of form and ornamenta- The collection was of great extent, comprising | tion as applied to ceramic art. They were of not known ; and in the jewellery of the Tudor period, as we can perceive even in oil paintings and illuminations, as well as m amples that remain to us, the stones are like those which now adorn Eastern kings—table-cut, transparent-like pieces of flat stone, with bevelled edges, and but little more brilliant than glass itself. Greater knowledge brought us greater beauties in the jewels and in the precious metals; but bright and beautiful, corruscating, sparkling and reflecting, as they have been made, it is yet felt that adornment simply by the aid of the jewel is a rude kind of pleasure. Mr. Ruslan thinks that a time will come when we shall “ relegate to the adornments of the chariot and the trappings of the steeu the heavy roundels of gold and the barbaric pearl,” and call our true jewels the good men and women whom our influence makes; that happy time is not yet reached, but we have at least gained that when all true jewellery and gold and silver work must be in effect not merely a piece ot rich barbarism, but more or less a work of Art. This being conceded, it will be evident that as Art, in a restricted metier, improves but slowly, we can have made but little progress since the Exhibition of 1862; and this advance, we must own frankly, is rather with continental exhibitors in the Paris Exhi¬ bition than with our own. Nor indeed are they alone, since from Trent, obtained augmented renown in the Ex- The principal object we now engrave is a large Vase which attracted general admiration among the best of the works exhibited in 1867. hibition, not only by the award of a gold medal, excellence second to none; and England is greatly indebted to the firm for upholding its character in this branch of Art-manufacture. 257 258 America we noticed some excellent work by Messrs. Tiffany, of New York, including a silver model of the steamer Commonwealth, a paddlewheel boat with four decks, which is marvellously done. There was also a smaller model of the Vanderbilt by J. Dean Benton, and some excellent tea-services of good form and very sound and clean workmanship (vide Art-Journal Catalogue); and drinking cups and centre bowls decidedly good. The Messrs. Tiffany did not send any ambitious Art-work, but the articles they exhibited were thoroughly well wrought. In the same categoiy, as being ingenious work of its kind and well put for¬ ward, we may call attention to the filagree work of Turkish manufacture; and much of East Indian work of the same kind; gilt and frosted baskets, egg-cups, candlesticks, and salvers. In this the Indian far surpasses the Turkish workman. In the Italian Court this fragile but ingenious production was exhibited by M. Emile Forte, of Genoa; and excellent work it is, surpass¬ ing: in design and form, but not equalling in execution, that from Hfndostan. The number of articles which are made up in this way is curious—fans, combs, buckles, boxes, and even passe¬ partouts and picture-frames being of the number. M. Christesen, of Copenhagen, and M. C. Moeller, of the same city, exhibited some excellent solid and durable silver work, partly oxidised; a looking-glass frame by the latter, with stan¬ dards, is truly and worthily wrought out. The Norwegian silver¬ smiths (one would think the climate too rude and cold for such trifling) also put forward a fine bouquet of flowers, wholly oi filagree work; and a waistbelt covered with plaques in filagree, which is curious, if not excellent. It is to be remarked that all contributions of M. Parfoury of white marble, contributed by M. Jacques Eousseaux, of Antwerp. THE PARIS UNIVERSAL EXHIBITION. Messrs. Hart, of London, arc eminent manu- branch of art they have long devoted their energies, and producers of the Continent. They de- facturers of Brass-work, for all purposes, rive aid from accomplished artists, and hy study of the best guides and safest chiefly, however, for church uses. To that with unqualified success—competing, indeed, with the best authorities of all ages and countries. the Danish and Norwegian plate is good in form and of excellent workmanship, if the workers have not yet arrived at the extreme and somewhat useless degree of polish of the English and Erench. Next to form in plain work, we must also praise the colour of the plate of the northern countries. Colour is produced partly by burnishing, that is, rubbing down a soft substance with a harder one, or by blue stone and a series of cutting powders, to which succeeds rouge and the ball of tho workman’s hand. Simple as this process may seem, it is in reality not so. A dull colour with no reflection, a black cloudy appearance, in which there are certain nuances of a red colour, called hy the workmen “foxy,” can be at once detected in plate improperly polished, and is often seen on the surface of electro-plated goods. The beauty of plate made for general use, and without artistic ornamentation, must, therefore, always lie in foim and colour ; and in these two essen¬ tials the productions of Norway, Denmark, Eussia, and Sweden, and also of America, are noticeable in a praiseworthy degree. The question whether Art-work is permissible in the precious metals is one which the custom of antiquity, no less than that of the present time, has answered in the affirmative. Perugino, Michel Angelo, and even Eaflaelle, are asserted or known to have produced designs for silver work ; and the free and bold handling of Julio Eomano may be recognised in the designs of old Italian plate. Benvenuto Cellini, has by this work alone made himself an immortal name, and it is only in the present day—although in minute ornamentation the silversmiths of Louis XV. and Queen 259 THE AHT-JOUENAL CATALOGUE OF Their works, principally in oak, are admirably j tions from established authorities, and sometimes I from models by the best artists of Germany. Anne were not without merit—that we have a genius who can in j certainly never paid the producers except in fame or as an adver- any degree claim to be his successor, Antoine YECHTE. I tisement. Yechte, therefore, is properly a French woi’kman, This great workman, who is insufficiently educated in Art | although his finest works, produced in England, were shown in the (whence certain failures always arising from a temerity which is exhibits of Hunt and Eoskell. But he has his pupils, and pro- the offspring of an imperfect anatomical knowledge), first made perly enough he has founded a school. Of his school the chief his appearance in Paris as an imitator of Cellini, and was thence are the Brothers Fanniere (A. F. and J. T.), of the Bue Yaugi- brought to England by Mr. John Mortimer, one of the founders 1 rard, whose orfevrerie joallerie et bijouterie are truly objets d'Art of the house of Storr and Mortimer. The small vases and cups j (vide Art-Journal Catalogue). These gentlemen carried ofi the produced by Yechte, as the work of Cellini, and sold at a great first gold medal awarded to silver plate; and in repousse work price by the antiquity dealers of Paris, are very charming (perhaps (which, in his report, Mr. Cayley curiously and ignorantly calls his imitations are the finest productions of the artist); but in sculpture) they have attained very high perfection. Two shields, England he was enabled to work on original conceptions, which, 1 one in iron and silver, and the other in steel, were the chief jheces while they dignified silver work, and raised it to the level of Art, of work shown, although one was not finished. The hand of the —furniture for all possible uses. The sometimes adapta- Herren Lovenson, of Berlin, and Mr. Yacoby, carved; they comprise an immense variety of London, were among the most extensive and designs are, for meritorious of the contributors from Prussia. 260 of crystal, the ornamental portions being in I engravings are of an exquisitely modelled Seat., *' enamel,” and a charming Bracelet. Our other ' and a gem of the purest water—a “Coffket” THE PARIS UNIVERSAL EXHIBITION. tiful works, which hold high places among I the most perfect of the many contributed | of rock crystal, made for the Prince JMettemich, I to enclose a precious relic of Charles the Fifth. master can be traced in these; the subjects are taken from the ‘ ‘ Roland hurieux, and are noble in design; the relievo is very high, and the iron has been dealt with as if it were malleable as copper. The repousse work quite equals in force that of Vechte; and in freedom, generosity of thought, and true Art-work, very far surpasses that ot Mr. Armstead, to which it has been com¬ pared. The Boland shield has been purchased by Earon Boo. The Fannieres also exhibited a vase for iceing champagne, covered with artistic work, and very excellent in shape. A silver gilt centre for table, and another'but slighter specialite of theirs, seems to be engraved jewellery and silver work. There was a clock with two subjects, Music and Painting, engraved on it, which is charming. In all the work exhibited by these gentlemen one can see that the heads of the house are themselves Art- workmen, i not mere dealers in gold and silver plate and precious stones, I as too many of our so-called goldsmiths are. There were in their case a cafe Tare, with small silver vases to hold the cups, excel- ' lently executed; a vase and a basin oxidised and partly gilt; a tea-service of very artistic design, made for M. Achille Fould; and a laurel crown of silver gilt, given by his native town, Agen, to Jasmin the poet. Each of these works has had thought, care, great artistic feeling and knowledge, expended upon it; the result, we need not say, is that each piece is worthy of preservation and admiration. Lovers of really line Art-work in the precious metals will be wise to secure such specimens as the Fannieres turn out; it is more than probable that even as a speculation, as such works must increase in price, the purchase would be a wise one. Another pupil of Yechte is Morel Ledeuil, who has boldly, To M. Fkoment-Meurice we have already accorded justice. It is a privilege to engrave by the jewellers and goldsmiths of France. We | engrave on the first column an exquisite Amphora other of his many rare, valuable, and beau- THE ART-JOURNAL CATALOGUE OE This engraving is of a Cabinet manufactured by M. Bom, one of the leadfng libenistes of Paris. It is of ebony, the ornamentation being of bronze-dorr. It is skilfully designed, and vrilh. “nicety, in all its parts; being, indeed, among tbe best of its class in the Exhibition. of exquisite design and refined beauty; of bronze-dore and argente. not rashly, ventured into competition with his master in pro- i ducing the Milton shield, which was seen in Messrs. Elkingtox’s i exhibits, and which is a very graceful, tender, and charming work of Art (engraved in the Art-Journal Catalogue). He justly merits the gold medal he has won. Vechte, it will be re- j membered, produced for Hunt and Eoskell a tripartite shield, in which Shakspere, Newton, and Bacon were illustrated each by an oval plat pie of silver in repousse, set in a frame of iron ( damascened in gold. The house of Fkomext-Meueice has long been known to lovers of artistic plate. Excellence of design, happiness of adaptation, play of fancy, and great care and cleanliness in execution, charac¬ terise all that Meurice has done. There is also a certain love ot luxury visible in his manner that gives a Parisian abandon and richness to his works, many of which are reproductions of Pom¬ peian, Etruscan, anti Grecian forms and patterns, and novel adaptations of these forms to our modern necessities. This, there¬ fore, is true Art-work. There was a group of candelabra and a centrepiece in eristol de roche and silver, made by this firm lor his Imperial Majesty Napoleon III., which stands alone. There was nothing so beautiful in England, nor indeed ot its kind in tbe Exposition. Meurice’s jewellery shows very fine taste; the stones are well selected and set, and are finer, purer, and not so “ showy as those of his Parisian brethren (vide Art-Journal Catalogue). The smaller work of this house, salt-cellars, cream-ewers, Ac., even to dagger and sword handles, is artistic, rich, and worthy woik. They are Wo engrave two of the miniature Frames of M. Christofle. THE PARIS UNIVERSAL EXHIBITION. The Bronze Chandelier, a work of true Art, is the production We engrave a Frame carved in Box-wood by Diotisalvi Dolce, of C'ison, Treviso. We engrave a Basket of silver filagree, executed and exhibited by Herr Thoskrup, of Christiania, Norway; a work of great merit, and of singular beauty in design and finish. It is a fine and forcible “story,’’ told by a master-mind and hand; animals, birds, of' Joseph Miciiielt, a distinguished artist-manufacturer of j and insects, are seen among vine leaves. They work out the purpose of the artist. Venice. The “ Sea-Queen ” was a very valuable contributor. j Next_ to Froment-Meurice, and in the opinion of manv even surpassing it, were the exhibits of M. Odiot. But in richness and delicacy the firm just noticed is far in advance. M. Odiot showed three large and ambitious pieces of presentation plate, which illustrate and celebrate the CTeasot Iron Works {vide Art- Journal Catalogue). Muscular 1 smiths, weary with toil, strong and soiled with work like Vulcan, are seated at the base of the candelabra and centre-piece, in the midst of unfinished portions of their labour ; and the great merit of the work is its thorough fitness. Heavy in design, and somewhat rough in execution "it is still truthful, and full of the right feeling; and the pieces strike one as altogether more worthy of presentation to the Stephensons and Brasseys of the day than the work our English firms turn out. Larger, freer, more generous and important than our own, this work must win admiration—or rather wring it—from a rival. It is but fair to say that the average of the other work exhibited by Odiot is not nearly so high as that of these three chief pieces. Turning to another great firm, that of Ciiristofle, the critic was almost overwhelmed with the magnitude of the collection, the space it occupies, and the number and the richness of the work. But it must be borne in mind that a huge concourse of plate is, in an artistic sense, rather than otherwise, harmful. What one wishes to ascertain is, the ability of the artist or exhibitor; and this may sometimes be seen by a single brick from Babylon. But in M. C’hristofle’s exhibit we had Babylon to judge of the brick. There was a centre of a table, in gilt work, and a looking-glass, a 2G3 THE A TIT-JOURNAL CATALOGUE OF contributed by Messrs. Copeland and* Sons, | of London. They are not glass manufac- We devote a page to engravings of Table-Glass whole gallery of gods and goddesses, Cupids, Victories, Venuses, Neptunes, Amphitrites, and last, but not least, the beautiful city - of Paris, upon whom all these gods and goddesses are attending. This work has all the faults of such pieces. It is diffuse without being effective; and it is so vast that it is only at the great feasts of the Hotel de Ville it can be seen to advantage. The figure-work of Christofle seems to us to be coarsely luxurious, and to want that kind of exquisite finish which is seen in the work of Froment-Meurice, and that artistic excellence which the Brothers Fanniere produce. Still there is a great merit in some of Christofle’s work, and while the crowd is attracted by the “ surtout de table pour 8.M. VEmpereur ,” and the grand silver-gilt galaxy of the “ surtout et service de dessert de la ville de Pans,” others, who are lovers of Art, could step aside and admire a little cafetiere, coffee pot, cream-jug, and sugar-basin, which, at the price of 2,500 francs, would put the purchaser in possession of a real work of Art. It is covered with small foliage, that here and there interlaces a figure, and has, by some process which the worker assures us is a secret, but which surely our silversmiths could easily reproduce, assumed a creamy tint, somewhat between a light oxidisation and our whiter and colder frosted work {vide Art-Journal Catalogue). M. VEYRA.T, of the Rue Chateau d’Eau, exhibited a fine figure of bronze, silvered and oxidised, of Gany¬ mede, which, of course, cannot be distinguished from silver work, and a silver surtout de table, which is very meritorious. \ eyrat also in his work exhibited objects in enamel and gold, which, tor I turers, except in so far as woi-ks made ex- I own designs by artists they employ; conse- ! pressly for them are decorated from their | quently no medal was awarded to them in j this class, although the great merit of their | “exhibits” was universally acknowledged. rare Art-value, commenced by an ancestor of I the cover is The Assumption of the Virgin. his .Royal Highness a.p. 1390. The subject of This production of the accomplished sculptor has been justly classed among the foremost Art-works of the Age—a chef-d'oeuvre of the Exhibition. delicacy of work, tone, and colour, go far to rival the Japanese work, and this is very high praise (vide Art-Journal Catalogue). M. Budolpiii, besides showing a fine dish, oxidi, chased in high relief with the subject, “ Joseph vendu par ses freres” has a method of setting jewels in his silver-work which is a reproduction of a mediaeval method that may now pass for a novelty. The small and delicate oxidised work of Rudolphi is of very high class. He exhibited a most beautiful vase set with emeralds ; scent bottles and dagger handles ; paper-knives made rather to stab the critic than to cut the book, and sundry articles de luxe which are worthy of great praise. There was a small group {vide Art-Journal Catalogue) of the Flight into Egypt, into which pearls arc cunningly and artistically introduced. M. C'OFFIGNON, Aine, had, among some curious chain work in oxidised silver and gold and silver, a coup de chasse which is worthy of remark, and a little casket purchased by the King of Spain, that does credit to the taste of his Majesty (vide Art-Journal Catalogue). Messrs. Maiuiel f,T Fils, of the Boulevard de la Madeleine, put forward several pieces d'Art, which are truly admirable; they exhibited also silver with blue enamel, swords with oxidised silver hilts, and a fine work of Art especially calculated to please the French taste—an ebony and silver arm-case, and an oxidised shield, with a fight chased THE PARIS UNIVERSAL EXHIBITION. The beautiful object engiaved on this page— one of the many admirable issues of Messrs. Hunt and Roskell— is the work of Antoine Vechte, by whom it was executed, in platinum repousse, for his Royal Highness the Duke D’Aumalc. It is the Cover, of a Missal of in high relief on it, which is not unworthy of Yechte. The French, who are fond of romance and Eastern reproductions, think very highly of an Egyptian necklace made by this artist- workman, in which the Egyptian scarabams is introduced. M. DUPONCHEL, who has not the pretensions of his larger rivals, exhibited some excellent plain clean work, good in form, sound in execution ; and some worthy Art-work in silver and enamel, gold, enamel, and crystal—a substance not sufficiently often intro¬ duced in our objects at home—and some silver-gilt moresque work, which is pure and good. French Art in the precious metals, and in copper, brass, and iron, has an impulse given it which at home few of us can wish for. This is in making images for the Eoman Catholic Church, and in forming crucifixes, saints, madonnas, altars, and other church-work. Such productions come within our proper pro¬ vince to notice, and that notice must be one of great, although qualified praise. The two chief firms seem to be those of Armand Calliat and the MM. PoussielgUE. The latter exhibits the designs of M. Violet le Due, and produces some admirable work of the usual character, painstaking, even prayerful in tone, but conven¬ tional in style; the pyxes, crucifixes, monstrances, or ostensoirs, small shrines, lecterns, croziers, and church-work either in plain brass, brass gilt, silvered, or real silver, and sometimes in part of real gold, partly covered with enamel, are all pieces of excel¬ lent work, very conscientiously executed, the only fault perhaps of which is the conventionality that is simply inseparable from church tradition. Armand Calliat exhibited a very gorgeous col¬ lection of this work; some of his shrines are of immense size, merit, however, consists in the originality of I of subdued tints. The Court of Porcelain and 1 objects which have, no doubt, been carefully the colours employed; these are principally Earthenware was full of suggestive objects— studied by manufacturers of other countries. THE ART-JOURNAL CATALOGUE OF MAI Ch Piitivuyt VXD Co. are manufacturers establishments in Paris and in London, and M. Pilliyuyt received a gold medal with the of Porcelain at Mehun andNevers; they have | are among the principal fabricants of France. | universal accord of all competitors. The pro¬ ductions of the firm are of the highest order. | In all cases they are ornamented by the skilful | pencils of accomplished artists. Their chief THE PARIS UNIVERSAL EXHIBITION. and covered with a profusion of Gothic work and figures, that i give them the rich appearance which strikes every one so forcibly on going into a foreign cathedral. Messrs. Poussielgue-Russand exhibited some very free and effective church-work, noble in design and sufficiently delicate in execution ; there was a gilt candelabrum, with figures in oxidised silver, made for the Church of the Madeleine, which is remarkably good. M. Bachelet may here be mentioned also as having produced some fine large figures, which are very effective at a distance, and admirably adapted for ecclesiastical adornment; he had some fine monstrances in nrgmt-dore, set with precious stones, recalling in their treatment the delicate painstaking manner of the mediaeval artists. Referring to the Messrs. Poussielgue, we may recall to the reader the very magnificent gilt high altar for Quimpec Cathedral produced by these gentlemen. There is a richness as well as a grandeur about this altar which will delight our friends of Ritualistic proclivities. M. Thiery, an admirable workman in the same branch of art, had a large and fine “tabernacle,” covered with very worthy work, and designed “pour VEglise de la Madeleine Nouvelle,” at Granada; so that we see the French ecclesiastical artists supply all the world. M. Thiery showed other work in smaller objects of a more delicate and finished nature, and equally worthy with his larger work. Messrs. Armand Caeliat, of Lyons, may be men¬ tioned by the side of these artists ; and in addition to them, there were other exhibitors scattered up and down the Fine Art Court who proved that the art of church decoration has, in the middle of a century which has been termed eminently sceptical best works in bronze—they gave to the coarser material an extent of popularity that cannot but “tell” advantageously for it as a branch of commerce; for its application is not only to necessaries, but to works of high Art. M. Durennc has achieved his success by em¬ ploying artists of ability and eminence; and he has worked out their designs with the best possible effect. The Fountain was an ornament of the Park. The varied articles in Cast Iron maim- universal admiration: sharp, distinct, and factured by M. Durenne were objects of | brilliant in execution—rivalling, indeed, the 267 THE ART-JOURNAL CATALOGUE OF the Lace produced by the Compagnie des Indes, under the direction of M. Vekde-Delisle, of I Paris and Brussels. These arc specimens of I the lace of Brussels ; they are of excellence un¬ surpassed by those of any other manufacturer of Belgium, and are evidences of the per- and materialist, reached a period of renaissance ; but that, unfor¬ tunately, it is too easily content with admirable work servilely copied from Gothic patterns, aud is without that freshness ot invention and elasticity of design which can alone save Art from becoming degraded. Let us now turn to the singular but not always happy invention and design which the French exhibit more than any other nation, and let us couple with it the scholarly reproductions and the learned Art by which they have, not for the first time, been so honourably known. We look in vain for the same spirit among our English houses. It is not alone that the English artist wants imagination and fancy: it is too often the fact that his employer has the narrowness of mind which springs from lack ot education, has mo feeling for beauty of design, or novelty of adaptation and fection to which the art has attained. A gold medal was awarded to M. Verde-Delislc. accommodation, that is. for Art. Hence he is content to run on in a narrow groove, and rather to convey his designs from other pio- ducers, either foreign or English, than embark m anyttnng which betokens esprit and mind. English work, therefore shows a lack of fancy, design, novelty of shape and purpose, which to us should b °0f novelties 1 , let us note that of substance first. In the alumi¬ nium-bronze, Messrs. Paul Morin & Co. produced cups, harness several very artistic plaques, busts and statuettes, mountings ot sticks and of harness, for which it seems to us this metal is admirably adapted, Messrs. Veyrat, of whose large statue ol Ganymede I have spoken already, showed some enamel and gold work, which is a close copy of Japanese work, and has all the excellences of that work, and they are many, besides the great THE PARIS UNIVERSAL EXHIBITION. The Cabinet ot Alessandri I is one of the most perfect productions of modern times. It is of ebony, but all figures in low relief, and the merit to European eyes of perfect novelty. M. Herbert gave us somo admirable coral works, with many novel designs ; Messrs. C'harlot, PiOBILLARD & Co., some silver work and gold work, modelled in leaves, flowers, and delicate tracery, very pretty and fantastic: and some modern Limoges, Faience, and other enamels, which are beautiful in colour, and in many respects not to be distinguished from the antique. In a dozen precious little bits of work fancy and design are to be seen, and will at once be gladly recognised. M. Dotin' showed a cup of deep blue enamel, and ltaffaellesque in ornamentation, which was purchased by a rich connoisseur, who has indeed reason to congratulate himself on his acquisition.' I have already referred to the crystal de roche intro¬ (Tecuvre of the Exposition: it mirable in design and execution. duced with such happy effect by M. Froment-Meurice; other artists work agate, jade, and other hard stones, such as blood¬ stone, sardonyx, and cornelian, into form with much novelty and ingenuity. Such introductions, with enamel, oxidisation, and parcel-gilding, break up the surface of the work in precious metals, and at once add richness of appearance and intrinsic worth. In enamels, however, M. Charles Lepec exhibited by far the most delicate and artistic. These are in modern Limoges and in Faience; and the brilliance of colour and soundness of surface of the enamel, as well as the delicacy of the tracery and the excellence of painting, seem to us difficult indeed to surpass. No English house that we know of could, by English workmen, and Son was not only a chef- THE ART-JOUHNAL CATALOGUE OF The observations we have offered in reference equal force to those of M. Bezault, another of to the Papiebs-Peints of M. Hoock apply with | the leading manufacturers of Pans. Ills de- signs also are principally supplied by the facile | and fertile pencil of M. Victor Dumont ; and iveral “ stylos,” are of great excellence— I and as perfect as works of the class can be in j has a large connection 3 d and pure in design, harmonious in colour, “neatness’"and accuracy of finish. M. Bezault a managing agent in Lai England, having aurence Lane, London. produce the equal of a dish by this house, on which is enamelled | the Triumph of Cupid; atazza which bears on it an Indian huntress; , and a casket, whereon is an Indian girl on a gold ground. | M. Aucoc—who proves his Art-knowledge in a tea-set which , is an anachronism only in its pattern, ot Pompeian or Greek j form, partly gilt, and especially in a magnificent set of cameos j which he put forward—had a curious but very effective set of I jewellery, insectes naturelles mantes —actual insects—flies, beetles, | &c.—mounted in gold. Beautiful in form and brilliant in colour, > these New World flies—they are inhabitants of the Brazils and Mexico—would, upon some ladies and with some dresses, create i quite a sensation. Fancy and novelty in form are both shown by M. Boucherox, who exhibited a tea-set, the pieces of which are | set on a plateau of three stages, which may afterwards be used as an ornament, or may previously have decorated the dinner table. The tea-set is remarkable, being gilt and inlaid in enamel, with red and black Greek ornament. Equally novel is the vase in silver by M. Boyer-Callot, made to the order of the Princess Mavro-Cordato; and not unworthy of being classed with the highest works is that by the Mai so Y Fray— a frosted and gilt Area la JPaix, mbre des Arts,. du Commera et dt Vlndustrie. On the sides of this triumphal arch, in silver, as upon those of the Arc de VEtoile , we find bassi-relievi — six silver plates, on which are innumerable little figures, illustrating the process of Com¬ merce, Art, and Industry. The work is dedicated to a lady, Mdlle. C. Curtil. only in objects of that class lie obtains emi¬ nence : all the minor issues of his establishment, his productions have obtained fame in every I gold medal. We engrave the decoration of the I country of Europe. M. Bezault, too, receives a | side of a room, and part of another. It is not | THE PARIS UNIVERSAL EXHIBITION. manufacturer, and merchant; a class of producers unknown productions are chiefly the smaller objects which so fre- in England, but by no means uncommon in France. His | quently arrest attention as examples of pure, indeed, of The Jewellery of M. Fromext-Meurice exhibits much of the fanciful play that we have spoken of. It is said that Napoleon I. in his list of “jewellery ” included harness and stable fittings; we may therefore safely include in ours a fine crystal vase with Eaffael- lesque ornament, gold or silver gilt, and cut into delicate tracery, and, as workmen; term it, brought on the vase; also a fine emerald, pearl, and diamond suite, and a “ coupe et candelabres,” curiously and very effectively gilt in two colours, and purchased by “ S.M. lTmperatrice,” who may well be congratulated on her purchase. We have beforo referred to M. Christofie’s charming little tea-set, which exhibits novelty and fancy in their most charming phases. M. Dupoxchel showed somo remarkably good parcel-gilding, and exhibited an originality and freshness of design in a very fine diamond necklace set with heavy gold, that is worthy of remark. M. Soufflot had also some admirable specimens of settings to his jewellery and diamond work. In this kind of work we must remember the artist is circumscribed in space, has no colour save that contained in the flashing brilliance of the stones, and truly must be intensely careful to securely fasten the precious and transparent carbon which the world so much admires. It is said that a certain Prince Esterhazy never danced without shaking off several hundreds of pounds value from his diamond ornaments. This, with the usual French settings, would not only be possible, but so probable, that the question would merely be of the value of that which he lost. In the fine delicate work, for instance, of M. Wiese, of the Ptue Piichelieu, one is constrained to doubt whether the settings would be strong enough for the ordinary wearer of jewels. In jewels and gold work for personal decora- is at once the designer, sale-room, various examples of Art in electro-bronze, charm- I ingly modelled and delicately chiselled—vases, candlesticks, seals, tazze in great variety, statuettes, and, in fact, a hun¬ dred different articles, all good, and of much beauty. high, Art; such as may be coveted by the educated eon- j within the reach of ordinary buyers of beautiful things, noisseur, although produced at prices which bring them | He exhibits in his atelier, which is his workshop and his M. Meissner, ot Paris, i tion M. Lemoine distinguished himself by his gold bracelets; I MM. Cadet-Picard by their coral and fancy jewellery ; M. Qui- zille-Lemoine by some diamond, emerald, and pearl work, which | is very fine and well mounted; and MM. Lemaitre, Cho- billon, Billard, and IIalley-Lasue by exhibits of French and | foreign orders of knighthood, for which the French, a chivalric ! nation, seem to have claimed a certain speciahte. It is true, | again, that ihese, if made in England—as, lor instance, a star ol 1 the Order of the Garter or of the Bath—would, in solidity, sharp- j ness, and in durability of make, far surpass those made in France; but the enamelling, the colour, and the heraldic designs of the French artist, would be better than that of the English. While, as a rule, the highest educated nobility, and those who have the greatest share of that special knowledge called the savoir vivre, such as the great Russian princes, the grandees of Spam, and the haute noblesse of France, made choice of English jewellery, on account of its intrinsic worth, solidity, fine make, and the simplicity of its setting and arrangement, no less than lor the purity and value of its stones ; the French jewellers are preferred by our own rich countrymen, and by the Americans, on account ol their combined fancy and richness. Let us look for a sample ol this at the case of M. Baugrand, at the Egyptian work m silver and gold, which is at once novel and pleasing, admirable m design, and classical in execution. Not far from this was a fine diamond fillet d la Grecque, that would adorn the head ol a Rachel, which would make severe ugliness look imperial ancl remarkable, and grace the head of the sweetest and gent es beauty. M. Baugrand also showed a very magnificent emerald THE ART-JOURNAL CATALOGUE OF MM. Braquenie, of Paris, We engrave a Vase, the master-piece of the Royal Manufactory of Berlin, eminent manufacturers of Car- | It is good in form, and beautifully painted: the handles are of bronze-dore. pels and works in Tapestry, woven emblems, the one of Peace the other of War; they are of beautifid fabric, and ad- supply us with two examples of their manufacture—B orders or Tavestry— in which they have Prussia held a high position in the Exhibition, competing successfully with the best artists of France in the production and. ornamentation of ceramic Art. mirablc examples of the art. MM. Braquenie are among the extensive fabricants of France. THE PAMS UNIVERSAL EXHIBITION. “ The Education of Achilles,” for so this very beautiful Vase is entitled, is one of The two exquisite Salt-Cellars which fill this column, also the productions of M. Chuistofle, are from models by the late admirable sculptor, Klagmann, to whose genius the manufacturers of France owe a large debt of gratitude. The the many marvellous works of the renowned firm of Chuistofle ; they are modelled, by the artists of the establishment, MM. Mathuuin Moreau and Madhoux. figure, in each case, represents Ondine; the two Cupidons are described as tasting—the one the pepper, the other the salt. brooch with pendants, a charming clock-case with enamel figures, the hours of the dial set with diamonds; but to M. Melleeio the palm must be given of having exhibited the finest jewels—as regards jewels or precious stones purs et simples— for he showed a set of sapphires which we should think were the very richest and purest in all France—nay, in all the world. These stones are so fine that—those who have studied the subject will understand us— they look as if they were the conipletest imitations, such is their size and freedom from flaw. It will be remembered that emeralds and sapphires are the two stones most easily imitated. It was only requisite to look at the abundant evidence furnished by the thea¬ trical jewellery-makers of Paris, faux brillants et morceaux cle crystal, so disguised with foil and colour that it was difficult to distinguish at a short distance the false from the real. M. Duron showed us another speciality in Fine Art work—by far the best and largest cups in jade, onyx, lapis-lazuli, and crystal, cut out of tho solid stone, that were in the Exhibition (vide Art- Journal Catalogue). Nothing could be more beautiful of their kind than these cups. The amount of patience and hard work which the harder stone, onyx, jade, bloodstone, and crystal, must take to cut is no doubt immense. M. Fontaine ex¬ hibited a very large kingly crown, and several commendable suites in sapphires, emeralds, rubies, &c.; MM. Dubois and Demarchez two gold crowns,—an every-day and a Sunday one, THE ART-JOURNAL CATALOGUE OF We engrave a Chasdelier ami a Cards- tained high renown; it exhibited many admirable | works in 1S62, and has since made large advances, labrtjm, the production of Messrs. Kissing i and Mollman, of Iscrlohn, Prussia; they are of iron, but bear all the delicacy and I refinement of bronze. This firm has ob- obtaining admirable designs as boys say of their suits of clothes,—made for the Queen of I Madagascar; M. Bouciierox a pink coral necklace, very valuable, ; and also a necklet set with large single diamonds, which must be very effective on the wearer; M. Mellerio a fine large amethyst j set, and a crown prettily disposed, and made of leaves studded with small diamonds; M. Foxtexay is to be especially praised for his Pompeian jewellery; M. Bafst showed some diamond crowns, an emerald and diamond suite, fine diamond stomacher, crown, and collier , very worthy of being illustrated and handed down to posterity, although no illustration could do justice to the beauty of the work and stones, or to a pearl head-dress, which is very remarkable. M. Challoux showed as his speciality a goodly col- ; lection of those Russian snuff-boxes which are covered with a dark and most durable enamel; and M. BumeatT' 3orp.e gold snuff-boxes from accomplished I artists, and executing them with consummate shill. very admirably made; and let us tell the reader that the gold¬ smith who can make a really fine snuff-box, perfect in closing and opening from the very lip to the joint, is no mean workman. M. Eouvexat showed some diamonds and precious stones admir¬ ably set (vide Art-Journal Catalogue); M. Constant Yales numerous fine pearls; M. Tossait some imitation pearls, in which, as we have hinted, the French are unsurpassed; M. 0. Massix a fine diamond aigrette for the Pasha of Egypt. The English jewellers we have placed, as guests, next after those of France. There can be no doubt that the best work in the world is to be found in these two countries, and each country has its peculiarity. As a rule, the English manufacturers are inferior to the French in novelty, in design, in education and in fancy; and this remark applies rgore particularly to the heads of It was of plaster ; but, as a work of great merit is, no doubt, destined to occupy a prominent place among the many new fountains of Paris. Adjoining the Pavilion of the Emperor, was the Fountain— the Birth of Venus—we engrave, designed and modelled by the sculptor tomr. | firms. On the other hand, they are superior to the French in sound I work, in solidity, endurance, finish, richness, and excellency both I of material and execution. Hence it is that true perfection—so far as an age can advance thereto—is to be found in a firm with workmen combining both qualities. In France there are fewer lets and hindrances to the judgment and capacity of the individual than there are in England. The purchaser is more often brought face to face with the designer or executant of his order ; hence there always will be more liveliness and vivacity of taste apparent in that of the Frenchman; while from the shoi^keeper, naturally looking to finish in the work he pro¬ duces and getting blunted as to novelty of design, we obtain plenty j of solidity and finish without any originality. It is possible that . new relations between master and workmen will materially alter this in England. There is also another thing to be observed : that apparently the great English firms have become tired of the expense, without any adequate return, which these exhibitions cost them, and have remained quietly satisfied with their indisputable position at home without seeking any further honour abroad. Hence we met in the cases of our English goldsmiths and jewellers certain old familiar forms over which we are surely not required to linger. Mr. Harry Emanuel, of London, exhibited a swan in silver, with a movable jointed neck, neither very novel nor very good; one or two tazze of excellent form and execution; a fine silver shield, and many articles in jewellery. Messrs. Crouch, of THE PARIS UNIVERSAL EXHIBITION. able productions of the class that graced the Italian Court—proofs of the revival of Art in that ever interesting country. The exhibitors, are true artists, giving evidence of skill in finishing and genius in designing. We give another of the Bracelets of Herr Christessen, of Copen¬ hagen, one of the many beautiful works in gold by that manufacturer. generally, held the rank of artisans, working with their own hands: but they We engrave two exquisitely carved Frames, the work of Signor Dominico, of Venice; they were foremost among the many adinir- THE ART-JOURNAL CATALOGUE OF We engrave another page of works in Bronze j They were exhibited in great variety, principally Royer is himself an artist; hence the great merit of the several issues of his establish¬ ment, from the simple Candlestick to Edinburgh, had some good brooches in cameo, and other sound jewellery work ; Mr. Donne, a silver-engraver, a fine plate of the Resurrection of our Lord, a fox’s head after Landseer, well en¬ graved, and a subject from Bartolozzi, in which the Cupids ai’e remarkably good; Messrs. SHORE and Fisher some capital Britannia metal-work tea-services, &c.; Messrs. Howell and James various novelties in metal-work, gilt, silver tazze, and table ornaments; Mr. Benson, in addition to his clocks and watches, some fine claret jugs, and two remarkable caskets, made to contain the Freedom of the City, and presented the one to H.R.H. the Prince of Wales, and the other to the Duke of Edin¬ burgh (vide Art-Journal Catalogue); Messrs. Cattywaes, of Calcutta, silver filigree-work of excellent kind, of native manu¬ facture, and some silver-work imitative of the English. Messrs. C. F. Hancock showed some table clocks of various designs and excellent workmanship ; Messrs. Elktngton a baptismal present to Prince Albert Victor from the Queen; shields and tables in oxidised silver repousse; a silver oxidised service, with a centre¬ piece of very novel form, introducing enamels of boys, beautifully painted and designed by Willms ; a 6wer of enamel and gold, with salver to match, very beautiful in form and charming in execution: indeed, all the work exhibited in the case of Messrs. Elkington deserves especial commendation. The" Messrs. Phillips, of 23, Cockspur Street, to whom the gold medal has justly been awarded, exhibited some diamond and other work in precious stones, pink coral, &c., of the very finest character, admirable in design, rich, and at the same time chaste, and of very excellent execution; in fact, leaving nothing to be designs supplied by some of the best artists of France : for example, the Clock is from a model by Joseph Ch£uet. But M. Ernest manufactured by M. Eknest Royer, of Paris. the elaborate and highly ornamented Vase. gilt, and were all of admirable workmanship, from We give, as an example, one of the Frames for minia-I magnitude, the applications of the ingenious and tures; hut the art is applied to productions of greater peculiar process being very numerous and very varied. desired; Mr. W. J. Thomas, of Oxford Street, some excellent diamond work; Messrs. Skidmore some gold and silver plate, artistically designed (in the Architectural Court); and Mr. John Brogden, ot Henrietta Street, Covent Garden, gold chains, brace¬ lets, and other jewellery, for which the firm has become justly celebrated. In silver work Messrs. Hancock had in the centre aisle some very fine English cups, one by Monti, illustrative of the poetry of Great Britain—a cup thus dedicated to, and illustrative of, Lord Byron; a tazza to Thomas Moore; another to John Milton. These are very good. Mr. Hancock showed, in another case in the avenue, two parcel-gilt cups of sound work; the Doncaster race cup; a testimonial presented to their commanding officer by the officers of the 1st regiment of the Life Guards, with troopers in the uniform of a regiment at three periods, 1671, 1742, 1855. In another case we noticed four English groups and cups, the Don¬ caster of 1863, the Goodwood of 1S64 and 1866. These are perhaps more than usually carefully finished; but it is time we had more variety and more utility introduced into these large and generally useless masses of silver, which are now simply memorials of the triumph of a particular racehorse. Of the same class Messrs. Attenborough showed a fine cup of the York races, made by Messrs. Bell, of York. There were also exhibited a series of all the race prizes won since the year 1855, the work of various English silversmiths, which present the sameness and general want of possible adaptation to any use, THE ART-JOURNAL CATALOGUE OF We engrave a Clock and a Chandelier, part of j a very ‘beautiful suite in ormolu exhibited by] M. Beurdeley. He was not a large, but a W tm valuable, contributor of Art-gems of varied | character, some of which are in England, | having been purchased by the Earl of Dudley. They are the productions of several of the most eminent artists of France, commissioned by M. Beurdeley, and selected with sound judgment and matured taste. We fiH the page by selecting a “bit” from one I of the Decorations for Booms, the production of I M. Hoock, manufacturer of “ Papiers-peints.” of which we have complained. Messrs. Emanuel, of Portsmouth, showed a cup good in design, rich in colour, but wanting in finish, won at Stockton in I 860 ; while Messrs. Preston, of York, sent the York cup for 1866, also partly gilt, and evidently made from the same design as the Stockton cup; Messrs. Garrard the Ascot cup of 1866; Messrs. Hunt and Roskell one also at the same place, and in the same year. The Goodwood cup of 1865, made by Messrs. Hunt and Roskell, exhibits a model of Queen Elizabeth on horseback, carefully executed. The Bath clip of 1S65 is of sound work, made by Garrard ; and that of York, of 1865, made by T. Smith, of London, is also good. We have reserved to the last the firm of Messrs. Hunt and Roskell, which, under the names of its founders, Storr and Mortimer, made a great reputation. Although Messrs. Rundell and Bridge, and one or two other silversmiths, in the beginning of this century did something to elevate a mere trade into an art, yet the pieces produced were heavy and inelegant, although remarkable for sound workmanship and clean finish. It was reserved for Mr. Storr, in conjunction with Mr. Mortimer, to introduce such an artist as John Elaxman as a designer for silver, and the late Academician Baily, as one who superintended Art-work in silver. To these artists may be added the names of Yechte, Armstead, Brown, E. Hunt, and Barrett, with others. Tho list suffices to show that this firm should be recognised as one that has gone j beyond the old routine of mere shopkeeping, and has endea- j voured to bring to bear upon work in the precious metals the ; higher instincts of the artist. THE PATHS UNIVERSAL EXHIBITION. PORCELAIN AND POTTERY. BY JAMES DAFFORNE. From an artistic point of view there is no department of manu¬ factures so attractive, and which possesses such varied elements of beauty, as that described under the generic term, Ceramic Ware. To constitute excellence it must have either form or colour, or, better still, the union of both; and either of these admits of such infinite variety, and offers so wide a field for the taste of the designer and the ornamentist, that there is scarcely any limit to the range of their labours. One thing, however, must always be borne in mind, that no artistic work—no decoration, elaborate as it may be; no pencilling, however truthful and brilliant in colour—can, in the least degree, com¬ pensate for the absence of graceful form. Form must ever be the first consideration with the potter who seeks to produce a beautiful object: it was this special quality which, above all others, has given such enduring value to the ceramic works of the old Greeks, who were accustomed to submit all novelties to a jury of them¬ selves ; by whose order every object was destroyed which did not attain to their idea of excellence: no wonder, then, that wo see in all which have come down to us from that remote period— whether it be a sumptuous vase for the ashes of the illustrious dead, a wine-flask for the use of some Athenian voluptuary, or which we give engravings, are designed with Messrs. Heal and Son, of London, are the great of thousands those to whom they give “ balmy bed-makers of the world, counting by hundreds | sleep.” Their trade is limited to articles for bed- and the Bedroom Furniture cn suite, of rooms, and in these it is but justice to say they 1 excellence, from very surpass all competitors, producing works of great common and cheap. 279 THE ART-JOURNAL CATALOGUE OF a cup out of which the helot quenched his thirst—forms and shapes which have served as models for the great potters of after ages. The art is almost “ as old as the hills; ” as old, that is, as the clays which are the potter’s materials. Possibly Adam and his immediate descendants may have drunk of the cooling w'aters out of the hollow sea-shell, or made a cup of the tough rind of some fruit; but, certainly, men learned at a very early period to employ earths for articles of domestic and other uses, and so we may trace hack the art of the potter to a period long antecedent to that we read of when Joseph interpreted the dream of Pharaoh’s chief butler, and afterwards rode in state in the second chariot of the Egyptian monarch. Yet is it no less singular than true that modern taste and Art-knowledge have added nothing to what has been handed down to us from remote ages, except in the way of decoration, and, it may be, in the employment, or adaptation, of materials. No country, however high it has stood, or still stands, in the civilised Arts, has improved on the forms which were familiar among the polished nations of the world more than two thousand years ago : and the reason is obvious. Nature supplied them, as it has done their descendants, with models, and they so well applied them that others could do no more. The floral and vegetable world has always been the “ manual ” of the designer; and among the paintings left on the walls of ancient Thebes may be traced one of a drinking-cup, the archetype of which was the lotus of the “ flowery Nile,” as well as others showing designs of similar floral origin. But even among these bygone peoples there were degrees of progress: the Etruscans acquired their knowledge from the Egyptians, and improved upon what they had The firm of Phillips and Pearce held a fore¬ most position as producers of Crystal Glass ; of varied and very beautiful forms, and admir¬ able as examples of cutting and engraving; their of any kind has been used in its construction. I The difficulties surmounted must have been I great; the work is indeed a triumph of Art. thorough knowledge of the capabilities of the material. The principal object engraved on this page was a chef-d'oeuvre of the Exhibition. In design it is unique, carrying pendent baskets 1 for holding bouquets of flowers, and being en¬ riched by pendent ornamental pieces, perfectly novel, suspended from branches. As a specimen 1 of glass-making it is perfect; no wire or metal productions merited and obtained universal ‘‘ applause.’’ Mr. Pearce is, indeed, unrivalled in England as a designer of works in glass; adding great experience to artistic skill and 280 THE PARIS UNIVERSAL EXHIBITION. The foundation is of satin-wood, the ornamenta¬ tion of the panels being of various coloured woods, inlaid with marqueterie. The panels are filled bv Wedgwood plaques. As a specimen of manu¬ facture it is not surpassed by the production of any age or country, and will be memorable as the design of an English artist, Mr. Crosse, executed entirely by English artisans. It has been pur¬ chased for the Museum at South Kensington. learned from them; while the Greeks, who had studied in the schools of the Etruscans, surpassed their masters in grace and purity of form. Perhaps it would be impossible to suggest any Art-industry which exhibits so marked a triumph over the comparative worth¬ lessness of the materials used as do pottery and glass. Woods and metals have a pecuniary value in themselves, so also have such raw productions as silk, cotton, and other materials for textile fabrics, from the cost of cultivation : but clay, sand, flint, &c., are held in cheap estimation, indeed, until converted into “ things of beauty ” by the skill, ingenuity, and taste of man: then they sometimes become, in their new condition, objects of inestim¬ able value. The exercise of plastic art, it has already been remarked, must belong to the very infancy of mankind; and it would naturally be suggested, as was said twenty years ago by a writer in our journal, the late Dr. W. Cooke Taylor, “ by the im¬ pressions made by the feet or hands in the soil when moistened by a shower of rain. This conjecture,” a very ingenious one, by the way, “is corroborated by the fact, that the earliest fictile establishments were placed in the neighbourhood of rivers, more or less subject to periodical inundations; the Babylo¬ nians, the Egyptians, and the Etruscans became potters from 4 B 281 their vicinity, respectively, to the Euphrates, the Nile, and the rivers of Northern Italy. The discovery that the forms given to the moist clay might be rendered permanent by heat and pres¬ sure, was indicated by Nature herself whenever an inundation occurred; the soil became hardest where foot-prints had fallen.” The observation of this natural fact would necessarily lead to its artificial imitation; and hence, as the knowledge of it spread among nations dwelling in more temperate climates, they learned in time to substitute artificial heat for that supplied by the solar rays. Thus originated the process of burning in the oven. The potter’s wheel is almost of as ancient a date as is the art itself to which the machine is applied. Many centuries before the prophet Jeremiah wrote,—“Then I went down to the potter’s house, and behold he wrought a work on the wheel,”—it was in use ; and, singularly enough, the wheel of the present day differs but little from that which was employed in the time of Moses and the Pharaohs. The practice of the potter’s art may be called universal; for there is not a country, however rude and uncivilised, which cannot show some examples of this branch of industry. It was long an opinion that the earliest attempts to make a compact earthenware with a painted glaze originated with the Arabian dwellers in Spain, about the ninth century; but the glazed bricks discovered in the ruins of Babylon, the enamelled tiles found among the deserts of the East, and the glazed coffins exhumed from the ancient burying-places of Assyria, all cany THE ART-JOURNAL CATALOGUE OF MM. Garnier and Vandenberghe, of Paris, | were among the most prominent and successful We engrave the centres of four Diadems of exhibitors of works in imitation bronze—Zinc admirable Vases, designed by an accomplished productions demanded universal admiration, d’Art. We select for ongraving one of their artist, and manufactured with surpassing skill. | and to whom a gold medal was awarded. diamonds, selected from many rare and beau¬ tiful jewels, the productions of Tchitcheleff, a renowned jeweller of Moscow, whose 282 the invention back to a much earlier period. It appears, however, tolerably certain that these Spanish Arabians carried the art—or, at least, that it was taken either by them or others—into the island of Majorca, where it was practised with no little success. In the fourteenth centuiy articles made in Majorca found their way into Italy, and there received the name of Majolica. From the time of the Romans to the date of this introduction, pottery appears to have attracted little notice in Europe, but the Italians now turned their attention to it, acquired the art of making the Majolica ware, and erected the first manufactory at Fayenza, in the Papal States; whence the French term Fayence, or Faience :, as it is sometimes written, is derived. Some writers have given the credit of the invention of Majolica to the Floren¬ tine, Luca della Robbia ; but the best and latest authorities are of opinion that he only improved, and very considerably, upon the labours of his predecessors, by the use of finer materials, and the discovery of more perfect glazings. At the close of the fifteenth century and the beginning of the sixteenth, Oruzzio Fortalano, of Pezzaro, earned on an extensive manufactory of ornamental earthenware ; and about the middle of the last-mentioned century, Bernard Palissy, whose history is so well known, in our own country especially, established a factory of what is called “Palissy ware,” at Saintes, in France. This ware is distinguished for its successful imitation of animals and plants, and is remarkable for its beautiful glaze. The dukes of Tuscany, and more particularly, Gondobaldo de Rivira, patronised the new Art by every means in their power. Towards the middle of the sixteenth century, the Dutch, who, THE PARIS UNIVERSAL EXHIBITION. We engrave a Vase of bronze, the work of Mrs. Augusta Freeman, a sculptor resident in Rome. It was a leading attraction of the Roman Court—a production of great merit; one of the examples of female genius so rife in our age. It is in These engravings are of excel¬ lent Bohemian Glass, con tri- ormolu, productions of the firm of Loumeyr, of Vienna, We copy two Claret Jugs, of engraved glass mounted in whose works were unsurpassed hy those of any other country. butions of Guillaume Kralik. depicting children that the talent of the sculptor is principally displayed. The vase is two feet in height, of corresponding width ; an alto-relievo, representing a Bacchic feast. The effects of the carousal are indicated hy figures at the base. 283 THE ART-JOURNAL CATALOGUE OF a around of dark Amboyna; the top is com- I part is in harmony with the top. There was I greater admiration. Mr. Peter Graham being pleted by a moulding of ebony. The lower no work of its class that demanded and deserved of the Jury, the firm was “ Jtors de concours. among their importations from China, brought the ware of that country into Europe, commenced for themselves the manufacture of a substantial and somewhat graceful and ornamental descrip¬ tion of pottery which obtained the name of Delft-ware and Delft- porcelain. In 1709, Bottcher, a native of Dresden, acquired a reputation for his imitation of Chinese porcelain, which ho made at Meissen (Dresden); whence the manufacture_ spread to Berlin, Munich, and other places in Germany, and ultimately to Sevres, where the famous porcelain works wei’e established. The earliest known potteries in England were in Staffordshire . these existed as far back as 1500, if not previously. In 1070 an establishment for the production of a coarse description of earthen¬ ware, coated with a common lead glaze, was founded at Burslem. This may be considered the germ of the numerous and important factories now existing in that county, to which the taste and genius of Wedgwood have given an immortality of renown—one not unworthily maintained by his successors in that locality. It is not our intention here to offer an account of the manufac¬ ture of the various processes, and of the materials used in the production of the diversified objects which come under the general term of pottery; but the brief sketch we have drawn of the early history of this most beautiful and important branch of Industrial Art will not, it may be presumed, prove an unnecessary introduction to a notice of modern porcelain and pottery—of “all nations”—as exemplified in the late International Exhibi¬ tion in Paris. We purpose to arrange our remarks according to Messrs Jackson and Graham, of London, ex- graving, designed by the accomplished artist of manufactured with the rare skill, delicacy, and hibited the Table of which wc give an en- | the establishment, M. Alfred Lcrmier, and | finish, for which the firm is renowned. It is of Amboyna wood, inlaid with marqueterie of various | Amboyna, surrounded with a narrow bay-leafl sisting of bands of various coloured woods, woods. The centre is of tho finest light-coloured | pattern in box-wood, the principal border con- | enclosing a delicate scroll-work of box-wood on THE PARIS UNIVERSAL EXHIBITION. ancient “point de Venise,” which it resembles I while it rivals. These productions are fore- I most among the most perfect of their class. the countries which contributed; and as France was the most extensivo exhibitor, and also the most comprehensive, she is entitled to precedence of notice. France.— In any and every discussion of French porcelain, the Imperial Manufactory of Sevres must always claim primary consideration. It is from this establishment that France derives so large a portion of the ceramic objets de luxe which adorn her palaces and the mansions of her nobility and wealthy classes. The Sevres porcelain would be out of place wherever it was not surrounded by befitting accompaniments in the way of costly furniture and splendid decorations. In its soft yet brilliant colouring, its glowing landscapes, its gay figure-subjects, often set in a frame-work of gilding, it not unfrequently almost rises to the dignity of Fine Art. It must be borne in mind that in its production a very large staff of most skilful and thoroughly- educated artists are employed ; and it would be strange indeed if, with such aid and with all other essential means and appliances at command, the most successful results were not attained. But though the Imperial Manufactory unquestionably takes the lead in certain qualities of its ware, there are, as we shall hereafter show, other producers, both in France and elsewhere, who have proved themselves not altogether unworthy to rank with it. How far the ornamentation to which porcelain of every kind, and of most countries, is frequently subjected—we refer especially to pictures of the Boucher and Watteau class, and to figure-scenes generally, as well as to landscapes—is the most suitable and most in accordance with strict propriety and refined taste, must be We engrave on this page two ex¬ amples of Lace, the manufacture of MM. Auguste Lefebure and 1 Son 8 , of Paris ; they are of exqui- 285 286 matter of opinion: it is, and has long been, the fashion, and therefore, it may be presumed, has passed the bounds of criticism. The Etruscans and Greeks certainly decorated their pottery with figures; but they had not learned the Art of applying the painter's pharmacopoeia to their productions; and if they had so learned, we may reasonably doubt their using it for such purposes. Where beauty and magnificence are the objects aimed at, where perfection of design, and the gorgeousness of colour, and purity of material, and delicate workmanship are sought after, whatever I the cost may be, it is only reasonable to expect that the examples exhibited in the Sevres court should be what we found them. And yet the productions of to-day are scarcely an advance upon those which were sent out from the factory a century ago: they had even then reached a point of excellence which no subsequent scientific knowledge and practical experience have been able, greatly, if at all, to surpass. We recognise in the recent produc¬ tions, better, because more elegant and symmetrical, forms, and improved taste in the decorative paintings introduced; but beyond these qualities of refined progression there is little to distinguish old Sevres porcelain from new. They who are unacquainted with the nature of the Ceramic arts should know that there are two kinds of porcelain—one made of soft paste, and called by the French pate tenclre; the other of hard paste, termed pate dure. The materials differ in each; the THE ART-JOURNAL CATALOGUE OF We engrave a Barometer, the production of Mil. Gueret Fibres ; a A Statuette in imitation bronze —“ Zinc d’Art”—a work of very great work of refined beauty in design, and exquisitely carved. It was, in all respects, a chef-d’oeuvre of the Exhibition, and bought by the Emperor. excellence both in design and execution, the production of M. Boy. The figure holds in one hand a clock, and in the other a barometer. THE PAllIS UNIVERSAL EXHIBITION. sculptor of Prussia, lien-March has carried his art to high | perfection, and has obtained honours in all Exhibitions. This column contains one of the many beautiful Hall We engrave four Figures in terra-cotta, by March, of | Charlottenburg, Berlin, from the models of a great Lamps, in cast iron, by Bariiezat. This Cabinet by Gatti, of Rome is one of the choicest I by Italy. It is of ebony, inlaid with ivory, most of the many choice works of the class contributed beautifully designed, and executed with rare skill. latter being made of powdered granite and felspar, the former of a combination of chymical substances ; the hard porcelain requires but one firing, the soft is subjected to two bakings. The result, when each has passed through the artist’s hands for painting, is, that the surface of the latter, when painted, is somewhat rough under the touch, while the former is perfectly smooth. At Sevres they make both, though the examples of soft porcelain are of secondary importance; in England, our principal manufacturers use the other. Old Sevres may be distinguished from modern by the difference just explained, inasmuch as it is almost without exception made of pate tendre ; and the colours, if less bril¬ liant, are softer and richer, because they have sunk into the glaze of the materials used. And as in a picture on canvas hard colouring produces in appearance what artists know as hardness of texture, so does it also when employed in ceramic wares. Speaking of colour, we must not omit to mention the beautiful and delicate palish green of some of the Sevres porcelain ; it would be impossible to produce any tint so agreeable to the eye, and so adapted to the requirements of good taste, as this. To attempt anything approaching to a systematic detailed description of the contributions from Sevres would require more space than we can assign to it; moreover, such account would be little more than a repetition of words. We found objects of almost every conceivable form into which clay, or other plastic material, can be moulded by the potter’s art, and of sizes varying from two or three inches in height and diameter to four and even 287 THE ART-JOURNAL CATALOGUE OR We devote another page to M. Baugrand, the emi- j rare jewels, a production of surpassing elegance | in design and execution. It has been ac- nent jeweller and goldsmith of Paris. The principal object is a Clock, ornamented with enamel and many i and Jewel-casket five feet. Cups, dishes, plates, vases, plaques , &c. &c., were there, not in profusion, but in variety and abundance enough to satisfy the most exigeant collector and to please the most fastidious con¬ noisseur. Some were decorated with pictures which a Meissonier might have painted, some with landscapes, and others with birds and flowers of the most brilliant hues. A few ot these, enough to show as specimens, have been engraved in the Illustrated Catalogue of this Journal (vide pp. 53, 163, 214, 223). We noticed two large vases, which particularly attracted our admiration, one painted by M. Solon, the other by M. Lome. Among the most skilful disciples of the Sevres school, to adopt an artistic term, is M. Pillivuyt, of Paris, whose exhibition of (o£ jade) are of Egyptian I origin, of great beauty and delicacy of finish. pate dure was in every way excellent, both in pure white and in decorated porcelain; his 6how was limited almost exclusively to dinner-services, liqueur-stands, objects for the toilette and the bed-chamber. Levassor-Boyer, of Paris, had some porcelain, especially dinner-services, of a good order; still better, because more thoroughly artistic in decoration, were the productions of C. Le Eosey ; a dessert-service exhibited by him is the perfection of painting ; he, like Panxier-Latioche, who was also a first-class exhibitor (vide p. 108), is simply a decorator. Both purchase white porcelain from the best makers, and employ the most skilful artists they can find to ornament it. For works of pure white porcelain, Gibus and Co., of Limoges, were pre-eminent; the Earl of Dudley. The Peacock I is of emeralds and diamonds : the Mirror 288 THE PARIS UNIVERSAL EXHIBITION. choice productions of the class, by the firm of I productions of all orders, and from all countries, I —making a “speciality” of curtains, from the Swan and Edgar. —a firm eminent for collecting in which Art is combined with excellence of fabric most costly to those of comparatively small price. the texture of their -wave is most delicate, and well suited for the best decorative purposes, for which it is extensively purchased. J. Maciiereau exhibited some good porcelain in pate dura, decorated with taste aud very considerable artistic talent; but we do not like the bronze mounting of several vases shown by him ; it imparts a heavy and inharmonious appearance to the objects. To the large mass of visitors to the Exhibition the stall of E. Bousseau (vide p. 127) proved less attractive than those of many others, for here were none of the richly-painted and splendid productions to be seen elsewhere. M. Bousseau’s ceramics are mostly of a peculiar kind, both in construction and decoration; and perhaps for this reason it is that they are most acceptable to the connoisseur. He abjures colour in the ordinary sense of the I word, but he has a peculiar method, which we believe to be en- J tirelv his own, of painting the figures and other ornaments of his ; porcelain, and his enamelling is excellent. I At the head of the several exhibitors of Faience must be placed M. Deck. His productions are admirable, both in style and j execution. Among other objects we especially noticed were plates and dishes, the pictures on which are painted with remarkable vigour, and are most brilliant in colour. These seem to have I attracted the special notice of English collectors, whose names, as purchasers, appeared on numerous specimens. It would be unjust to two artists in particular, employed by M. Deck, to omit , mention of their names; these are MM. Banvier and Anker, whose paintings merit all commendation. This beautiful Curtain, of tambour-work, is the manufacture of Rauch and Schaeffer, of St Gall; it attracted general admiration at Ihe Exhibition, and made its title good to the highest honour’ — receiving one of the gold medals It was purchased, with many other THE ART-JOURNAL CATALOGUE OF The long-renowned firm of “ Gtllow and Co._ of London, supplies us_with the objects en¬ graved on this pa; A Wardrobe, inlaid with various woods and ivory. Medallions in low relief, in the four panels, illustrate the Seasons ■ richly carved columns and pilasters support a frieze, also inlaid with choice woods. It was | rightly classed among the best works of British is of satin-wood, richly inlaid, and ornamented Art-manufaeturo in the Exhibition. We engrave I also a Piano of great merit and beauty; it in the best style of the fourteenth century. Scarcely, if at all, inferior to the productions of Deck are those of A. Jean, whose show was in every way as good as it was large. The forms are, in most instances, unexceptionable, and the ornamentation, in its special style, pure. Some large vases are elegantly decorated, and his imitations of arabesques in the manner of Raffaelle, outside the Faience Court, are of the highest kind of such work. The colours ho chiefly employs are bluo and yellow, and this combination gives to his ware a greenish tint, which is rather agreeable than otherwise. Among other objects exhibited by him may be noticed an immense candelabrum of bold design, and a large epergne. Another notable exhibitor in the Faience Court was H. A. Pin art, whose works were described as “ earthenware painted ! on raw enamel, and double baked.” J. Aubry’s (of Meurthe) imitations of old Japanese, and P. Lebotjrg’s imitations of Japa¬ nese and Chinese ware, are very remarkable for their truth and their excellence as specialities. II. F. Signoret (of Nevers) exhibited a vase and a fountain, both highly meritorious in design I and artistic ornamentation ; Boutigny had a noble vase with ' painted pelicans; F. Latjrin (of Bourg la Heine) some vases, : cups, and flower-stands, of a superior class; and Utzschneider ' and Co. (of Arreyne mines, Moselle) some well-painted porcelain. The show of porcelain by M. Baccarat was extensive, and con¬ tained a large proportion of objects highly commendable for form and execution. MM. Collinot and Co. were large and attractive exhibitors of Faience and other ceramic works; one of their THE PARIS UNIVERSAL EXHIBITION. Messrs. Henry Wilkinson & Co. varied and of great excellence, manifesting much satisfactory advance mingham contributed higher works of Art, in design, and more than the usual care in finish. Their pro¬ ductions are, often, from admirable models, gracefully and effectively ornamented, the graver and the chisel having been upheld the long-established fame of Plated Ware. Their collection was used by experienced hands. We engrave a selection. Bir- enteredinto rivalry with “All "Nations.” but none better of their class ; the great town is much indebted to Messrs. Wil¬ kinson & Co. for the spirit with which they principal objects, an Arabic mural fountain, of considerable dimen¬ sions, we have engraved {vide p. 249). The two great modern rivals of Barnard Palissy are MM. Bar- bizet and G. Pull. If we express unqualified approbation of their works, it is not because we admire the productions themselves ex¬ cept for the wonderful skill which is able to turn the potter’s art into a kind of natural-history museum. "We would rather possess a dozen examples of genuine Wedgwood, on which a Plaxman had employed his genius, than a whole room-full of the fishes, reptiles, &c. , which the two manufacturers we have named turn out from their ateliers in such profusion, and so life-like. This may be called want of taste in objects so much coveted by many, but we must plead guilty to any such impeachment. Both M. Barbizet and M. Pull undoubtedly surpass the old potter Palissy in every quality but invention: in truth of portraiture—if the term may bo applied to these imitations—of the lowest orders of the animal world, and in delicacy of execution, they leave the originator of this class of ceramic ware far behind. But, unquestionably, the most remarkable example of Palissy Faience was a magnificent chimney-piece, exhibited by M. Pull, which, as we were told, occupied him three years; for, with the exception of mixing the clay, it is entirely the work of his own hands; each pieco of '291 earthenware being manipulated by him no fewer than fourteen times. We must notice, also, two specimens, by the same artist, in imitation of the famous Henri Deux ware; both very creditable to his skill and ingenuity. M. Briaxchox exhibited some good Palissy vases, plates, &c., and numerous clever specimens of imitation shells most delicately tinted. Another meritorious exhibitor of Palissy was M. Avisseau, of Tours, whose produc¬ tions are remarkable for finish. The practice of decorating earthenware and porcolain by chromo¬ lithography is followed by some French manufacturers with as much success as could reasonably be expected from such a comparatively mechanical process. The principal exhibitors were M. Coblentz, M. Klotz, and M. Mace. M. Poyard and M. Pinot called photography to aid in the ornamentation of their productions. At the corner of one of the passages leading to the avenue where the porcelain-manufacturers “most did congregate,” stood a very beautiful chimney-piece of pure white porcelain, the work of M. J. M. Gille ; it was notable for the good taste which charac¬ terises the design, and the simplicity united with richness of its ornamentation ; all testifying to its being the production of a true artist. The enamelling rivals the most exquisite polish of the finest marble. M. Gille also exhibited a great variety of other objects, vases, epergnes, statues, statuettes, birds, architectural although of iron, suffered nothing by com- I parison with those of the more costly metals. | They were, in all cases, true examples of Art. THE ART-JOURNAL CATALOGUE OF ' modelled by some of the best sculptors of I France. It stood near the grand entrance to I the Exhibition, and was an object of universal | attraction. The productions of Barbezat, The noble Fountain, of Ca3t Iron, en- j graved on this page, is the work of the famous firm of Barbezat. It is a production of great j beauty as well as grandeur, the figures are I THE PARIS UNIVERSAL EXHIBITION. Messrs. C. F. Hancock, Son, and Co., Jewellers and Goldsmiths of London, exhibited many works of great merit, beauty, and value, in of silver partly gilt, illustrating the poems of the Laureate, “ Morte d’Arthur” and “Guinevere.” The work is one of rare excellence; every iewels and in gold and silver plate : occupying a high position. They 'had the honour of a gold medal. We engrave the “Tennyson Vase, designed and modelled by the accomplished artist H. H. Armstead. It portion of the vase-handles, neck, ana base-contributes to the story, the lesser ornament being Byzantine Gothic of the twelfth ceotury. rhis admirable work upheld the renown of England m the Exhibition ornaments, &c., mostly of pure white material— Usque and semi- bisque ; some were painted, but the white is evidently his speciality. Allusion has hitherto been made to objects intended for orna¬ ment rather than use, except by the wealthy. If our examination is extended to productions for ordinary domestic purposes, adapted to the requirements of the middle and lower classes, we find the manufacturers of France infinitely below our own. This, un¬ doubtedly, is owing to the taste— or want of taste, according to English ideas—of the French people of these classes. Their “ crockery,” to use a common phrase, is, generally, such as would not find admittance into an English household, even where the means of the family are but very limited. Take, as an example, their tea, or rather coffee-services; which everywhere are found to be thick, heavy, clumsy, and ill-shaped, such as their forefathers used a century ago. An English cottager would disdain to see such objects on his plain deal-table. The same may be said of no small portion of their dinner-services. Luxurious as our conti¬ nental neighbours may be in their stylo of living, it is evident enough that they think far less of the plates, dishes, &c., on which their meals are served, than of the delicacies that may be placed on them. Art of any kind finds no place here, although a lew services were exhibited of a somewhat better order. France makes comparatively little show in terra-cotta, that is, fire-brick clay, both red and white; a material of which foi purposes of architectural ornament and for certain kinds ot pottery we in England are beginning to learn the true value. Terra-cotta, in what may be termed its natural state, and as ordinarily used, has no glazing; but it admits of it, as we find in the works of J. Devers (p. lol), who produced some excellent vases and other objects in glazed terra-cotta. M. Devers’ factory is, we believe, at Milan, but ho has an establishment in Paris, and exhibited in the French Department. H. F. Signoret, of Nevers, whom we have already mentioned; C. Champignetjlle, of Metz; E. Avisseau, of Tours, a name previously referred to; C. Feliker, of Choisy-le-Boi; MM. Gossin, Brothers; and others, were the chief French exhibitors of terra-cottas; and among their productions were found numerous objects worthy of notice for elegance of form and good decoration. In the Park, outside the building, were many large examples of terra-cotta, particularly a Byzantine altar-piece, in which are figures of the Virgin and Infant Jesus, with the prophets, apostles, and painted Scriptural subjects: it is by Virebext, Brothers, and Son, of Toulouse. Not far from this object, there was, among many others, a large jardiniere, decorated with a circular bas-relief representing a Bacchanalian dance, in which the figures are finely modelled. The work is French, but at the time of our visit we were unable to ascertain the name of the producer. Some admirable bas-reliefs and other ornaments in terra- cotta were exhibited by J. CnfiRET (vide p. 5), an artist of great ability, rising into fame. M. De Boissimox, of Langrais, showed numerous works, prin¬ cipally for out-door use (p. 237), evidencing much taste in the art of design. In many of the more important examples of French cabinet¬ work, the visitor would doubtless have noticed the introduction of THE ART-JOURNAL CATALOGUE OP seiir. The cabinet we selected is of light woods, profusely ornamented with ormolu, the figures being of skilfully painted porcelain. The design is by M. Prig not, to whose many admirable works of this class we have elsewhere made reference. Messrs. Barnard and Bishop, of Norwich, made by then'foreman, James Clitiieroe. exquisitely wrought iron, the works of We engrave one of the Cabinets of Sormani, a distinguished Ebeniste of Paris, whose works deservedly attracted the admiration of the public, and received the marked approval of the connois- We give on this column a bracket Candlestick and a Lectern, in 294 imitation Wedgwood plaques; these, it may be presumed, are also French; and the majority of the specimens are good in design and clever in execution, but are a long way behind, as are our own modern imitations, those on which the genius of Flaxman was exercised. England. —Taking into consideration the extent to which the potter’s art in all its diversified branches is carried on in our own country, English manufacturers who contributed were exceedingly few in number. Several of our principal “ firms” were altogether absent; yet had we a display which in quality was surpassed by that of no other nation, even by those who have all the advantages of state-patronage. English manufacturers have to rely on their own resources entirely, on their own capital, and their own taste and judgment in the selection of those on whose skill and Art-talents they depend for success. The advance we have made of late years is almost more than could have been expected by the most sanguine believer in British enterprise and perseverance. The merit of maintaining the honour of England in tho highest classes of this branch of Art-industry was due to the well-known firms of Copeland and Sons, Minton & Co., and Wedgwood and Son. Taking the first-named firm in the order in which we have placed them—alphabetically, and not on account of priority of excellence, where all stand on equal ground in the artistic value of their productions—we proceed to point out some of the more prominent contributions of each. Messrs. Copeland’s display (vide pp. 11, 87, 209) was most ex¬ tensive, and included in it almost as great a variety as ceramic We engrave another of tho Fenders exhibited and manufactured by Messrs. Steel and Gar¬ land, of Sheffield ; they are of admirable make, and, generally, of excellent designs. Unfortu¬ nately, Sheffield was insufficiently represented, and but for the energy and enterprise of this firm, would have been almost undistinguished at the Universal Exhibition of all Nations. Sheffield, therefore, owes much to Messrs. Steel & Garland. The objects that head this page admirable examples of Brass-work, principally for church uses, manu¬ factured by Messrs. Hart, of London. The contributions of this firm did :t authorities,” and carrying the latter are selected from the many much to uphold the character of England in that class of Art, in design as well as in soundness of workmanship; basing the former on approved to a degree of perfection unsurpassed. 295 obtained, universal approval for THE ART-JOURNAL CATALOGUE OF design and execution. The interior, as well as the exterior, gives evidence of labour I exhibited a collection of directed by judgment and skill Germany was admirably represented in this Class. , purity of metal and excellent art. art in its highest development can produce. Though deprived by death, since the last great International Exhibition, of the valuable aid of Mr. Thomas Battam, the superintendent of the Art department, this firm has found an able successor in Mr. G. Eyre, who certainly deserves a word of commendation for the manner in which he carried out the object of his employers, that is, to maintain their position among the leading manufacturers not of England only, but of the world. As examples of the highest class of decorative porcelain, nothing could by any possibility be richer and more beautiful than their large collection of vases; the forms of these are based on the purest models, and the ornamentation, though, perhaps, a little too redundant some¬ times, is exquisitely painted. Ignoring, for the most part, the figure-subjects which decorate so large a portion of the best French, Prussian, and Dresden porcelain, Messrs. Copelands artists direct their attention chiefly to flower-painting; and we noticed some groups of this kind which the old Dutchman, Van Huysum, or our own lady-artists, the Misses Mutrie, would not disdain to call their own. There was one vase especially, of colossal size, the body of which shows a magnificent floral dis¬ play, arranged with consummate taste in the disposition of the groupings, and with true judgment in the harmonious arrange- Thames Street, London, Mr. James Green, of Herr Friedrick, of Dresden, an eminent upholsterer of Saxony, supplies us with Table Glass that merited, and this excellent example of his art. It is of carved oak, of great merit, both in 296 THE PARIS UNIVERSAL EXHIBITION. We engrave a Fountain, one of the most charming of his works. In the accompanying as a manufacturer. He is also the merchant— a combi¬ nation unknown in England, though common in France. ment of colours. The ornamentation of the neck and foot is elaborate, yet not too much so, and is graceful throughout in design. If, however, Messrs. Copeland had contributed nothing to the Exhibition beyond the magnificent dessert-service made for the Prince of Wales, they would well have maintained their ground against all foreign rivalry; a portion of this service has been engraved for the Illustrated Catalogue published in this Journal (p. 11). The groundwork of the service is white, on which is some very beautiful painting; the borders of the dishes and plates are delicately perforated, and when placed, as we saw some of the pieces, in large dishes of the crimson glass of Bohemia, a glow of colour almost magical was given to the whole, by means of this open-work. The centre-piece consists of two dishes, or baskets, perforated, on a plinth, at the base ot which are four female figures, in parian, representing the four quarters of the world; these were modelled by J. Durham, A.B.A. It is right we should state that the artists to whom tho credit belongs of painting the principal objects in Messrs. Copeland’s display are Messrs. Hlirten, Lucas, and Smith. Less ornate, generally, than the works of the manufacturers just noticed, the porcelain of Messrs. Minton {vide pp. 21, 93, 257) exhibited qualities which in every way merit the highest enco¬ miums. Their principal artists, Messrs. Allen, Mitchell, and Simpson, and a German, Herr Yahn, may claim to rank with tho group, the principal piece is a Vase of great beauty— a very triumph of Art. M. Paillard is an artist as well M. Victor Paillard holds a first place among the Bronze manufacturers of Paris. 297 attracted general attention and admiration. I firm ot Messrs. HonGHTOK, of STew Bond I the taste and judgment displayed in the selection They were acquired, chiefly, hy the eminent Street, -who, as stationers, are unrivalled for of articles to which their attention is devoted. best that France or any other country can boast of at the present time. Figure-subjects, landscapes, and flowers are rendered with equal skill, and with the highest finish in all their details, on vases, jugs, cups, plates, &c. These paintings, too, are remark¬ able for the delicacy and transparency of their colours. Fore¬ most among the contributions of Messrs. Minton is a magnificent vase, decorated by Herr Yahn with figure-subjects in the manner of Watteau; of its kind there was nothing finer than this vase in the Exhibition. There is, however, one description of decorative porcelain in which Messrs. Minton leave all rivals, whatever them nation, in the rear ; it may indeed be called, without the least disparagement of their other works, that in which they pre-eminently excel; certain it is that no firm in England, and but few on the Con¬ tinent, have paid so much unremitting attention to it. We refer to the class of Faience usually designated Majolica; that massive ware, of bold design, and bolder ornaments, and positive colours, principally blues, yellows, and greens. The first great display of majolica by Messrs. Minton was, if we remember rightly, in the Paris Exhibition of 1855, where it attracted universal atten¬ tion and admiration. Since that period the manufacturers have still further developed the resources of their establishment in this branch of their works; and now, as just intimated, they stand without a rival. The variety of objects of this kind exhibited by them was great, and they were seen not alone in the space allotted to them in the building, but dispersed about the gardens in the form of garden-seats, flower-pots, and flower-vases. Among the finest examples were a very large jug, or ewer, decorated with THE ART-JOURNAL CATALOGUE OF We engrave the Cover of an album, of great I refinement in execution. The ground is I and silver gilt. It is the manufacture of F. beauty in design and of much delicacy and j mothcr-of-pearl, the ornamentation is of silver, | Pingot. of Paris, whose works of this order LI. Noel Guillet, one of whose many ex¬ hibited designs we engrave, holds a promi¬ nent place among the artists of Paris. His works are numerous and of great excellence. We select one that is peculiar to France, but which is suggestive of many Art-applications. graved on this page are selections Cast Iron; admirable in design. THE The renowned firm of Rouvenat, of Paris, supplies us with engravings from two of the most perfect of its many beautiful and admirable UNIVERSAL EXHIBITION. works: clusters of diamonds, arranged with con¬ summate skill. They are objects of high Art, and have a value far beyond their intrinsic worth. figures of the gods, from, a picture by P. Caravaggio; and a noble vase, the handles of which, if they may be so called, are naked boys seated on the heads of elephants; on the other two sides is respectively a full-length figure, semi- draped, of a young girl. The four figures are linked toge¬ ther by a sort of floriated wreath on which, as in a cradle, repose smaller figures, one between each of the larger. In many examples of Messrs. Minton’s Faience, the figures intro¬ duced are of parian, whose whiteness, in juxtaposition with the brilliant colours of the other parts, renders the whole most effec¬ tive, and increases the richness of the object. To descend, for an instant, from these artistic works to others of an almost strictly utilitarian character, we may remark that Messrs. Minton’s enamelled tiles, or encaustic paving, ex¬ hibited all the variety and elegance of pattern which have gained for this firm the high reputation it has for mosaic work of such kind. And while speaking of it we must notice the beautiful specimens exhibited by Messrs. Maw & Co. (p. 30.) . „ ... _ ... It is almost like passing from a picture-gallery, filled with brilliant examples of the painter’s art, into the quietude and repose of a gallery of sculpture, when we turn from the examina¬ tion of such productions as we have just described to look at the contributions of Messrs. Wedgwood aud Co., who exhibited several services of pure and, comparatively, unadorned china, perfect in work and finish, and admirable in form. But the fame PARIS from the works of Barbezat, in The two Pillars for lamps en- 299 of the long-renowned Staffordshire factory will always he associated with that peculiar ware which originated with Josiah Wedgwood, and is still known under the generic term of “ Wedgwood/’ in whatever form it appeal's. Tho spirit of Flaxm.an seems still to hover about the establishment at Etruria, though it cannot rekindle in his successors the genius which animated their great prototype. Still, there is abundant evidence that his examplo. has left an abiding ini'. uM.W- lgw.-"d'~ ,■■■ ■ / ; '•■v-- / large chimney-piece {vide p. 232) of Derbyshire alabaster, in which are inserted numerous plaques of figure-subjects on a sage-coloured ground. These ornamental bas-reliefs have a beautiful effect in combination with the marble in which they are set. We noticed also in several of the more important objects of English cabinet¬ work, such as those of Messrs. Crace, Lamb, Wright ai&d Mans¬ field, &c., similar introductions of Wedgwood plaques, which, when judiciously used, as they are in these instances, add much elegance to the object, while they relieve the sombre hue of tho wood when this is dark, or render it more effective when it happens to be light, as maple and satin-wood, for example. (>f the various tints or colours employed for the groundwork of “ Wedgwood,” none, to our mind, is so pretty and effective as the delicate sage which the manufacturers produce, though greyish blue seems to be more generally in vogue. Messrs. Wedgwood & Co. exhibited, in addition to those works we have specified, a variety of others— dishes, trays, &c., to decorate which they secured the aid of M. Lessore, a French artist resident at Fontainebleau. There is considerable talent evinced in his paintings, but they are deficient in much of the delicacy and refinement that are seen in the THE ART-JOURNAL CATALOGUE OF We engrave four productions in Porcelain by pre-eminent for beauty of design, exquisite Thus, they are of comparatively small cost; but Gibus, of Paris, whose Works are at Limoges, Haute Vienne. They are of white porcelain, Occasionally they are of delicately tinted clay, manifesting the purest artistic feeling. there were few things in the Exhibition more coveted by connoisseurs and persons of taste. productions of March, of Charlottenburg; they are from the designs of a period far hack in the present century. Herr March has the advantage a famous German sculptor, and are admirable examples of a branch of of a clay of harmonious colour and of remarkable fineness oi texture. pictures of other French painters on porcelain, and also in some of our own. The Royal Porcelain Manufactory of Worcester {vide p. 56), which is under the able management of Mr. R. W. Binns, offered but a limited display as to quantity, but the quality of its productions was of the'first order. We noted, especially, some vases. The forms of two or three are peculiar but striking, so also is tho ornamentation, which is in perfect keeping with the designs. Among the glass exhibited by Mr. G reene, of London, was a small but elegant breakfast service from the Worcester works, made for the Countess of Dudley. It is covered with jewellery of turquoises so brilliant as to vio with the real precious stones themselves. There were other objects in the Worcester “exhibits” in which this jewellery decoration is carried to perfection. With a passing glance at what is usually regarded as an inferior order of the potter’s art—stoneware and terra-cotta we take our leave of the English department. Messrs. Doulton and Watts, of Lambeth {vide p. 94), Messrs. J. and C. Price, of Bristol, Mr. Jones, of Stoke-on-Trent, Mr. Brownfield, of Cobridge {vide pp. 186, 187), were the principal exhibitors, and their works were generally meritorious for excellence ot material and artistic character. The terra-cotta display from South Ken¬ sington, exhibited in the Park, showed to what admirable decora¬ tive purposes the architect may employ this material, which in England rarely, or never, loses its colour, as do stone and marble. The late Mr. Godfrey Sykes set an example of its use, which, we trust, may, in process of time, be extensively followed. The establishment of M. Joseph Maes, the ; first-class Honours in all Exhibitions since “ Cristallerie de Clichy,” has been long re- I 1S43. We select for engraving a few of the nowned throughout Europe, having obtained ! many beautiful works which attracted marked attention and admiration; these have been, chiefly, acquired for the Museum at South Kensington. The manufactory is famous not I in what is called « mousseline for Rose Du- I Venetian glass also j and for certain chemical only for its crystal glass, but for productions | barry, Sevres blue, turquoise and emerald; for | processes which have long defied competition. We give on this page engravings of four Panels in Terra-cotta, the art in which the firm has achieved great excellence and cminenco since THE ART-JOURNAL CATALOGUE OF We engrave a Tablecloth of Damask, one Joseph Meyer., of Gros3-Schonau and Dresden, their class, being, for the most part, of very of the many valuable contributions of Herr | His productions stood high among the best of | beautiful designs and of exquisite fabric. The establishment whence these works issue is one I Meyer producing articles of the costliest order, I by Krumbhqlz, Professor of Ornament and of the most extensive of Germany, M. Joseph and also those of low price. This design is Design in the Polytechnic School at Dresden. Prussia, to which we must now add Saxony, for the fortunes of war have recently united these two formerly independent king¬ doms into one,—and they were associated together in the Exhibi¬ tion,—next demands notice. With the exception of works from the two Royal Manufactories of Berlin and Dresden, the contributions from these countries, so far as relates to high-class porcelain, were few, and, only in two or three instances, valuable from an artistic point of view. Yet from neither country, nor from Austria, do we perceive indications of advance in the ceramic- arts. From the Royal Manufactory of Berlin were numerous examples of painted vases {vide p. 28). Especially worth noting was a series of five, in the form of jars, decorated with scenes from the “ Xibelungen,” painted in bistro upon a light greyish ground. The designs for these pictures were sup¬ plied by Professor Kolbe, brother of the late manager of the Berlin works. On another large vase Professor H. Blomberg has represented the Goddess Freia drawn in a chariot by two wild cats; and another, which is divided into two sections, or bodies, shows a series of eight figures, modelled in high relief, encircling the upper body. These figures represent the eight old provinces of Prussia. In the handles of this vase is introduced the Prussian eagle. Some breakfast-services from the same establishment are very elegant, especially one richly yet chastely jewelled; the larger pieces, such as the tray and coffee-pot, being also beauti¬ fully painted. Certainly, if Berlin porcelain has not advanced at equal strides with some other nations, she has made no retrograde motion, whether we look at her majolica ware, her colossal vases, painted services, and imitations of the antique. But it is not 302 THE PARIS UNIVERSAL EXHIBITION. richly carved, and of much originality in form and character. Niches at cither end are to receive statuettes. Plaques of Limoges enamel relieve at intervals the colour of the wood. The This engraving is from another of the many admirable productions contributed by the long- renowned lirm of “ Gillow,” of London. It is of an Ebony Cabinet, in the Italian style, work is of great merit in design and execution, productions of British cabinet-makers. merely in this high class of •works that she holds her own: thero are scores of objects, blending utility with ornament, for the use of others than the wealthy classes, which testify to the skill and cultivated taste of their producers. The Eoyal Manufactory of “Dresden” porcelain, at Meissen, under the able direction of Herr Kuhn, notwithstanding the untoward events of 186(>, maintained its contest in the arts of peace, with the rival establishment in Berlin. Dresden exhi¬ bited, far more numerously than might have been expected under her recent political situation, works which seem to bo peculiarly her own ( vide. pp. 8, 120)—looking-glasses, large candelabra, vases, jars, bottles, not to omit her Watteau-like figures of shep¬ herds, shepherdesses, with tho noblesse of past centuries, the powdered and lapolled gcntilhommes and high-heeled dames of the court of Louis Quatorzo, recalling all its gay traditions. Both in its manufacturing and artistic resources Meissen has ample means at command, and employs them to good purpose, though the talent developed is not unfrequently engaged upon frivolities. Thero was, nevertheless, much of the painted porcelain that showed Art-work surpassed by nothing in the Exhibition, promi¬ nent among which were some pieces decorated with subjects trom the cartoons of Schnorr and Bendemann. A gigantic candelabrum designed by Herr Wiedemann, is almost unique as a work oi ceramic art. Another remarkable object was a table, painted by Herr Muller, the centre from one of Schnorr’s great classic com¬ positions ; round which, but separated from it by a wide circle ot arabesque ornament, is a series of pictures also of classic character. This table-top is a beautiful example of genuine Art. A sure We engrave three of a collection of Brooches exhibited by Signor Montelatici, of Florence, leading attractions in the Italian Court. They I those of the natural stones charmingly arranged are “ Florentine Mosaics,” the colours being : and composed on tablets or black marble. evidence of the taste and intelligence -which direct the manufactory ■ at Meissen was seen in the simple yet elegant forms of so many of its productions—forms derived from the best examples of the old Greeks. Equally entitled to praise is the style of ornamentation adopted on these objects, whether they are painted, or raised figures in the style of Wedgwood ware. \ illeroy and Bocrr, of Mettlach, Ehenish Prussia, made a good show, of a certain class of works, among the private exhibitors. Their factories are extensive, employing, we understood, two or three thousand workmen: a very large number of these are engaged in making encaustic tiles for the floors of churches, halls, . But their more artistic productions are statuettes of Parian, and in terra-cotta, of which they exhibited numerous specimens of a good order, though certainly not equal in purity of material and delicate execution to the statuettes of Copeland and of Minton. It must, however, be remarked that Villeroy and Boch make no pretence to rival our countrymen in the quality of their materials: their purpose is to produce good works at a reasonable price, and for this they use a coarser kind of clay than Parian, or, as it is sometimes called, jasper; that they employ is technically known as Carrara biscuit; and of this, besides the smaller statuettes just re¬ ferred to, were some larger figures, and vases excellent in form and in ornamentation of a simple but pure kind. Among other notable exhibitors in the Prussian department were P. and E. March, of Charlottenburg, who contributed vases and other objects in terra-cotta most creditable to their taste {vide pp. 220, 301). Tielsch and Co., of Altwasser, were large exhibitors of varied productions; services for the dinner and tea tables, vases. over which he has triumphed, the rare intelli- | gence by which his pencil has been guided, ac- [ count for the “ success” that has attended all THE ART-JOURNAL CATALOGUE OF M. Lepec, to whom the Exhibition gave highest rank among the artists of France, supplies us with materials for another page. All his productions in Enamel are of the best order of Art; they may be placed, without disad¬ vantage, beside the greatest works of their class, of any age or country. The difficulties 304 THE PARIS UNIVERSAL EXHIBITION. bited by the well-known “White House”—the Maison Blaxc— of the Boulevard des Capucines; they are selected warded and described as works of Art. They are designed by artists of ability, ider the direction of the superintendent of the establishment, M. Leopold Meuniek. tazze, (vide p. 126), which, if not of the very best order, are certainly far superior to the ordinary run of manufactures that do not aspire to be high class goods. Italy, in the extent, variety, and beauty of her ceramic pro¬ ductions, took a high place in the Exhibition. Her manufacturers sent works fit to adorn the palace of royalty, and objects of utility adapted to the requirements of the peasant. Ear ahead of all his countrymen is the Marquis Ginori, of Florence, whose establishment has been handed down from father to son through considerably more than a century. It was founded by Count Ginori shortly after that of Sevres, and though in the Exhibition of 1851 its contributions were so inconsiderable as almost to escape notice, yet in that of 1862 they attracted marked attention, and were deemed worthy of medals. We have given two pages ot selections from these works (vide pp. 79, 229). J. Richard, of Milan, sent an excellent assortment of porcelain, plain and decorated, both for use and ornament (vide p. 216). His contributions, in variety and excellence, are surpassed only by those of the head of the noble house of Ginori. Fabri and Carocci, of Perugia; J. Grazzini, of Mantelupo; Antonibon and Son, of Nove; and J. Rampin, of Padua, were the other principal Italian exhibitors. The last mentioned showed some good imitations of Japanese, Chinese, and Etruscan vases, lhe works of J. Devers, of Milan, we have noticed previously, among the French productions, where they were exhibited. 305 4 THE ART-JOURNAL CATALOGUE OF ___—----- I We select examples of works in j Pellatt are actual producers as well as exhibitors ; | the glass is made by them, and is decorated by artists j Crystal Glass— Decanters, Gob¬ lets, and Water Jugs —the manu¬ facture of Messrs. Pellatt, of Lon- in their employ. Unquestionably, they surpassed all I the best of them in forms and ornamentation derived foreign competitors in brilliancy of metal, and equalled | from Art. Their collection was limited to table- evidence that decorative ware is at length stimulating the taste and skill of the manufacturers of that northern country. The Roerstrand Manufactory, Stockholm, contributed various spe¬ cimens of the kind just enumerated, and some china, all ol a comparatively good order. The yellow glazed earthenware for ordinary domestic use is excellent of its kind. Denmark was represented chiefly by the Royal Porcelain Manufactory of Copenhagen, whose productions in porcelain and biscuit-ware call for no special remark, though they are by no means of inferior quality, either in material or decoration. Christesen & Co., also of Copenhagen, were exhibitors of some very ingenious and delicate parian, in the form of flower-stands, &c. don, who have been previously repre¬ sented in these pages. Messrs. Russia was represented entirely, with two or three exceptions, by the Imperial Manufactory of St. Petersburg : the collection was not large, but it was varied, and among it were some tea- services of delicate material and most refined workmanship. There were also vases, lamps, and other objects of luxury, that would not discredit those European nations which have long and success¬ fully laboured in this field of industrial Art. Sweden had a small display very creditable to the taste of her manufactui’ers, from whom the Art, in its highest branches, has never received much attention. S. Godenius, of Stockholm, exhibited several good examples of parian, faience, and porcelain, (vide p. 184), the last coloured with great delicacy, and giving THE PARIS UNIVERSAL EXHIBITION. Mr. Joseph Whincup, of London, was one of the few contributors of embroidered and printed Table-Coveus who upheld the character of England in that branch of textile art. He | exhibited examples in great variety,—those that were printed by hand-blocks and those that I were entirely the work of the embroideress. I I They were, for the most part, of excellent de- | signs, and harmonious in the arrangement of colours. We engrave one of them, selecting that which is a specimen of printing; it is in all respects good, and of “fast” colours. Great Britain failed to maintain supremacy in textile i terial we competed with the best producers of i thus sustaining our admitted superiority. It fabrics—in such productions, that is to say, as the world,—leaving, indeed, the manufacturers j is not to the credit of our bcnools ot i rt derived attraction from the influence of Art. j of France, and even of Germany, far in the j that but very little advance was shown m No doubt, in excellence and durability of ma- rear; but we seem to have been satisfied with 1867, as compared with 1861, or even lboi. In the common pottery of Denmark we observed the true spirit, and the actual fulfilment, of good design. Belgium, whose iron-work and carvings in wood and marble take so high rank in the Art-industries of Europe, made no pre¬ tence of competing with other nations in the class of works we are now considering. This comparative indifference is the more surprising, when it is remembered that the country is renowned for artists of the greatest reputation; consequently, that in Bel¬ gium might he found men whose talents, employed on the deco¬ ration of porcelain, would give her an elevated place in this, as in other branches of manufacture in which she undoubtedly stands conspicuous. The only Bclgic exhibitors whose productions made any ap¬ proach to Art-works were Demol and Son, of Brussels, who sent good specimens of painted ware; Boon, Brothers, of Tournay; and Englebienne and Decharveng, of Mons; the contributions of the last-named manufacturers were simply examples of white china. Holland was even worse represented than Belgium ; only one firm exhibited, that of Jacob and Son, whose imitation porcelain, Chinese and Japanese, was very creditable. Bavaria is another state that had but a limited show; two names, however, must be recorded as contributing examples of porcelain painted in a manner which might be expected in a country where the Fine Arts are so highly cultivated. The vases, &c., of Wimmer, of Munich, and Schmidt, of Bambert, were but little inferior in decoration to the best in the Exhibition. Spain, in the stall of Mr. Pickman, an Englishman, we believe, who settled at Seville, exhibited a good display of earthenware, especially some vases of Arabic form and ornament, with the peculiar glaze used by the Moors when resident in Spain. Mr. Pickman is said to have discovered this secret, which for centuries was supposed to be lost, from a gipsy in his employ, in whose family it had been handed down. The factory at Seville occupies three thousand pair of hands, and it supplies a very large portion of Spain with earthenware, chiefly for domestic use. Eastern Countries. Under this general heading must be included Turkey, Algiers, Morocco, Tunis, Egypt, and China. From all of these countries were there contributions of ceramic ware, of which we have no space to give any detailed notice. Little is needed in the way of summary. In the foregoing remarks the desire has been to point out the most important exhibitors of the various countries in this notable branch of Industrial Art; to speak of their works generally, and particularly, when it seemed requisite; and to describe their peculiar excel¬ lences. That some nations have made considerable advances since the last great International Exhibition is self-evident; and there are few, if any, impartial judges who will not admit that, in this progress, England undoubtedly takes the lead. 308 THE ART-JOURNAL CATALOGUE OF The renowned firm o£ Baccarat | Nations," occupying immense space by a rare and j admirably designed and exquisitely engraved and and Co., manufacturers of Glass, —of every kind, for household use and adornment; distanced all competitors of “ All many of them were of the highest order of Art, corresponding success. We engrave a limited selection. very beautiful collection of objects of various classes I decorated. The firm made immense exertions, with THE PARIS UNIVERSAL EXHIBITION. The “ Compagnie des Indes ” produces capital. Under the judicious direction of M. Viot, its productions are invariably of a high Art engraved some of its more prominent and imposing works; on this page we give examples of those not only works in the onyx marble— its speciality; its issues in bronze are j order; the most eminent sculptors and designers of I that are made more for general use, but which are Paris being employed by the extensive and pros- | not less meritorious as works of Art— Clocks and perous establishment. It ranks second to no house in among the best of the French France, and is largely appreciated in England. We have Candelabra ; these are generally in bronze-dor^> intermixed with the marble of Algeria. FINE APT AND DECOEATIYE BEONZES. BY GEORGE 'WALLIS, SOUTH KENSINGTON MUSEUM. The reputation which France, and especially its capital, the City of Paris, has achieved during the last twenty-five years in the production of bronzes, from the highest and noblest efforts of the sculptor to the smallest and comparatively the most insignificant ornamental detail, was fully sustained by the very remarkable and extensive display made in the Universal Exhibition of 1867—a display before which the most successful efforts in the exhibits of other countries sank into comparative insignificance; although in some special efforts France was not permitted to carry off the palm uncontesfced, where the Art-strength of its competitor had been really put forth. In point of extent and variety, however, the French Bronze Courts surpassed anything of the kind ever seen in any Exhibition. Nor is it a matter of wonder that it should be so. France has created for herself a special industry, which counts its gains by the million sterling; and with which, from the fostering care of the state, the municipality of Paris, and the enlightening course of action pursued by the bronzists themselves, whether employers or employed, all foreign competition is practically useless. This success is based on the special preparation and education of the workers, by a well-organised and widely-recognised system prac¬ tically unknown in other countries, except, probably, in some of THE ART-JOURNAL CATALOGUE OF the Empress, another for the Queen of England, and another for the tunities of directing the attention of Empress of Russia. They arc enriched by diamonds and other manufacturers of all classes to pro- plies the objects engraved on this page. They are chiefly “ Chate¬ lainesone of them was made fox- rank of the goldsmith to that of the artist, and may not be classed under the head of Art-manufacture. We have had repeated oppor- and importance to various other orders of producers. They cannot have failed to prove valuable as Art-suggestions. the German States. Thus competitors with France must, to ensure any degree of success, commence, not with the foundry and the workshop, hut with the School of Art, and gradually train the student in designing and modelling for metal-work, or educate the young worker in the class room. In no other way can the skill which exists in the extensive ateliers of the bronze manufacturers of Paris be emulated, still less rivalled; and it is doubtful at this time if any nation would think it wise to enter into a competition, the battle-ground of which is so thoroughly occupied by such an army of skilled artists and artisans. The lesson here taught, however, does not end with the bronze industries. In all parallel phases of Art-manufacture the prin¬ ciple so clearly seen and so wisely acted upon by those who established the bronze trade of Paris, is acknowledged as sound and good. It is simply a special education for a special purpose. Here has been no frittering away of the time of the student or young workman in the vague pursuit of artistic generalities. His studies have been pursued of a set and well-defined purpose; and those who have undertaken to direct them have turned neither to the right hand nor to the left in the effort to do the work they had undertaken. But whilst our elementary system is far superior, as we now find distinctly acknowledged by the best men in France, from the fact that in the reorganisation of their Schools of Art they are now adopting its best features, there is in England an incessant hankering after the mere pictorial by the students ; and this unhappily has to be yielded to in a measure, as a popular method of securing attendance in the classes. This is very much worse M. Charles Oudix, the leading “ Horologor” of Paris, who “fur- ductions exhibited by the jewellers of France, as suggestions of much value nishes” the Emperor, and many of the other sovereigns of Europe, sup- precious stones, but their value is mainly derived from the influence of Art. They are works of great beauty, such as elevate the THE PARIS UNIVERSAL EXHIBITION. Herr A. Bkmbe, of Mayence, held a very fore¬ most rank among the many admirable manu¬ facturers of furniture, contributors to the Exhi¬ bition from the several kingdoms and states of Germany. Their works were generally of carved wood; carved by intelligent artisans from designs supplied by accomplished artists. We have given several examples, and in adding another, we add one of the best. The Cabinet exhibited by Herr Bembe is of light oak. than the loose system of drawing formerly permitted, and even encouraged, in the French schools ; for although the methods were loose, the subjects drawn by the students were always, and of set purpose, adapted to the special wants of the students industrially. Thus the student’s eye was educated, if his hand was not always drilled into that accuracy which, in spite of all pernicious theories about “freedom of handling,” “dashing effects,” &c. &c., is the best possible foundation for the future practice of the true artist and designer. If, however, our Schools of Art quit, as it is to be feared they are quitting, the study of pure forms, expressed by pure lines, for the vague generalities of the “ any how” system of the French schools of the past, so surely shall we find ourselves in the position, in a few years hence, of having to begin our work again. Indeed, there is not a little which already requires doing over again at the present time, in the matter of sound elementary instruction. So far, then, whilst indicating the source of strength m our French neighbours, it has been thought useful to note one source of their weakness, which, since 1862, those best able to judge of the subject amongst them have candidly acknowledged, and with some degree of alarm have sought to remedy, by a revision of their elementary system of instruction. In doing this perhaps the inexperienced amongst ourselves may be benefited, although it would be hopeless to expect to make any impression on those wholesale admirers of the slap-dash and stump school of ele¬ mentary training, who confound the study of Art with its practice, and do'not see that the freedom which comes of the well-disci¬ plined eye and hand of the accomplished artist is simply a vicious 311 beautiful examples of design and of manipula- I tive skill. M. Philippe received a gold medal. license of a very doubtful, if not positively mischievous character in the mere student. At the period of the Exposition of 1841, at Paris, the hronzists of that city were fairly commencing the prosperous career which has since distinguished them above nearly all other producers of the objets d'Art for which the capital of France is so famous: and they had at this period a special school for bronzists, “ Ecole Communale,” Rue Menilmontant. Subsequently this was abandoned, and the Societe des Fabricants de Bronze took up the question of special prizes to be awarded to those who, with the Art-knowledge obtained in the schools, devoted their atten¬ tion to the special technicalities of the bronze trade. The success which attended this course of action over a long period was fairly illustrated in the exhibit of that association in Class XCIY., No. 153, of the Exhibition, where the prize works were displayed. These consisted mainly of examples of modelling, turning in bronze, brass, and copper, spun work, chasing, repousse , and casting, together with designs executed since the period of the last Exhibition in Paris, in 1855. There was a peculiarity about this exhibition of the results of the efforts alike of employers and employed, to improve, as well as to keep up the standard of excellence, which is worthy of careful consideration. For it must be quite clear to any one who takes the trouble to reflect on the value of this display, I THE PARIS UNIVERSAL EXHIBITION. admirable productions cf MM. J. Allard, fils, and M. Chopin. It is of sculptured pear-tree wood, the work of an accomplished artist. MM that it was a guarantee at once of employment to the successful student, and of an efficient Art-workman to the bronzist. Here, we saw the technique of the manufactory fairly separated from, and yet ultimately brought into connection with, the School of Art, and that vexed question, “Why is not practical design taught in Schools of Art ?” fairly answered by the illustration that the manufactory alone can give the practical turn to the studies which it is the business of the School of Art to initiate and promote. FRANCE. As a matter of course, the French bronzes claim precedence in this essay; and as bearing more distinctly upon the special pur- tion, occupying a prominent position among the most eminent Ebe- nistesof Paris, and rightly obtaining the highest honour—a medaille d'or. pose of the Exhibition as an industrial display, the decorative and ornamental bronzes will receive attention before those which must be considered as essentially works of Fine Art. No visitor to the Bronze Courts of the French section of the building in the Champ de Mars could fail to be struck by the extent and variety of the works exhibited, and the style and taste displayed not only in the forms, but in the singularly happy com¬ bination of colour as a whole; at once giving that contrast, whilst preserving the harmony essential in true works of Art. The great marvel, however, was how few instances occurred in legiti¬ mate bronze works in which these important points were neglected; for it was only where the factitious use of enamel, or Tnis very beautiful Hand-Mirror is of carved wood, one of the many Allard and Chopin held a very foremost place in the Universal Exhibi- I THE ART-JOURNAL CATALOGUE OF the renowned firm of Boucheuox, Jeweller, of the Palais Royal, we select tion. We engrave two of the four sides complete; of the other two for engraving a Card-Box, of gol'd, with enamel plaques; the enamels we give the enamelled parts. The four aces, it will be observed, are From the many beautiful and costly works produced and exhibited by being examples of the skill of Lepec, by whom they are designed and imitations of that method of polycliromy, were attempted that any real failure in this respect can bo said to have occurred. Amongst the really representative exhibits no case of this kind can be quoted. Take, for instance, the admirable collection of works exhibited by M. Barbed ienne. Here were brought together specimens of decorative bronze casting and enamelling upon metal which stood unrivalled. Essentially decorative, the highest artistic skill had been brought to bear upon the individual works; and it was only in the integrity of the decorative result that any difference could be discovered between these works and those which must be classed as essentially Fine Art works. As an instance, the companion bust to the Gorgoni, designed and modelled by the .Duchess Castiglione-Colonna, now in the South represented by four figures. The idea is a happy one, and suggestive. Kensington Museum, and exhibited at the Itoj'al Academy in 1866, may be quoted. The use of various tints of bronze, and the addition of gilding and silvering when required, was at once decorative and artistic; yet there was no sacrifice of form or expression, for in these qualities the Art was grand and severe. The ornamental adjuncts to the costume permitted these con¬ trasts being carried out without conveying any sense of incon¬ gruity, since the work was the gainer by being so thoroughly decorative. The bronze statues and statuettes exhibited by M. Barbedienne were all of the highest character, and displayed the best qualities of decorative Art-works in bronze. As speci¬ mens of casting and chasing they were perfect. Bronzes of a dark tint, of a highly artistic and decorative cha¬ racter, were exhibited by M. G. Dexiere, jun.; and the con- executed. The production was one of the Art-treasures of the Exhibi- 31-1 tion of M. Boucheron, who received, and was en¬ titled to, the highest honour the Exhibition could accord to the eminent goldsmith and jeweller. specimen of its class, the chiselling of surpass- [ ing delicacy, with enamelling of great brilliancy. trast of those with the remarkable specimens of bronze ormolu works exhibited with them, was very striking and effective. This effect was further heightened by the tapestry background which the exhibitor has so judiciously and tastefully placed to make up the ensemble; a lesson in decorative arrangement which might have been taken with advantage by many English furnishing houses. Two seated supporters of an oval mirror, over a chimney-piece in white and red marble, each holding a candelabrum, with other decorative adjuncts in bronze ormolu, formed a very striking feature of Deniere’s display. In the speciality of armor ini, in which the French bronzists are usually very successful, M. Victor Paillard’s examples cer¬ tainly stood out as veiy exceptional. They were decorative works of a very high class : the treatment singularly picturesque, with¬ out losing the character of the sculpturesque, whilst they dis¬ played a singularly successful appreciation of the happy and innocent moods of childhood, rarely found in even the very best works of modern sculpture. They had great breadth of form, and as specimens of casting and chasing were equal to any other works in the Exhibition. A very admirable series of decorative bronzes, consisting of a jardiniere in the Etruscan style, and a tripod table supporting a flower-vase, was exhibited by M. Lerolle. In these ex¬ amples the result of that severe education in the generic styles of ornament which concludes the course of instruction in the French Schools of Art was forcibly illustrated, since THE PAHIS UNIVERSAL EXHIBITION. We engrave also a Chatelaine of gold—a rare specimen of Art-manufacture, also the produc- This Chalice, the work of M. Geoffroi, is a | production of the very highest merit—a perfect 315 THE ART-JOURNAL CATALOGUE OF Messrs. C. F. Hancock, Son, and Co., supply us with three of their many “testimonial” works, of which wo give engravings on this page. They are admirable as Art-productions, and exhibit the excellences of manipulative skill for which this firm has been long renowned. The first Ya se was purchased at the Exhibition by the Emperor of the French ; the figures and bas-reliefs are by the sculptor Monti, the orna¬ mental parts by Owen Jones. The second is the Duke of Edinburgh’s Cup, “ran for” at Egham in 1867 ; the principal bas-relief represents the signing of ' locality of the race. The third is the Goodwood Cup, I Jones. These works, with others exhibited Magna Charta—the event having occurred in the 18G6; that also is the joint work of Monti and Owen by the firm, obtained one of the gold medals. they showed great originality in the adaptation of the details, d /a Grecque, to modern requirements, which must ho satis¬ factorily met in the two objects above quoted; yet every detail, as well as the general lines, were perfect in style. A large plateau for a table, modelled and cut in intaglio, was another example of perfect artistic treatment. The details were very minute, whilst tho casting was so perfect that no evidences of after-cleansing or finishing by the hand could be discovered, except such as was necessary to clear the surfaces from mould- marks. M. C. S. Matifat, so well known amongst English manu¬ facturers of objects in ornamental metal, exhibited a series of bronzes and other Art-objects, which sustained his reputation for a discriminating taste and originality of conception. The chan¬ deliers will be noticed under another head. The bronzes were chiefly of small Art-objects, admirably modelled and cast. An excellent collection of these small Art-bronzes, which are so characteristic of Parisian skill and industry, was also exhibited by M. J. Delesalle. The skill, taste, and true artistic judgment | shown in some of these works made them of great interest as I lessons in this speciality. | Probably few branches of the bronze trade give better illus¬ tration of the thorough and loving study of nature which is so evident in the designs and models of the French bronzists as that in which the leading subjects are birds of varied structure and ; plumage. The close observation of nature, the patient study of j texture in relation to form, the scientific and artistic consideration I of every point calculated to give effect and truth to the repre- sentation of tho feathered tribe in a metallic substance, is so remarkable, that in this section of bronze manufacture alone enough evidence might be found to show how immeasurably the French modeller and chaser is superior to those of almost every other country, as also to prove the superiority of artistic training, not simply in the school, but in the workshop. The boldest and most original works of this class were those exhibited by M. Auguste Cain. Vigorous and artistic treat¬ ment characterised all the specimens by this artist, whether placed in the industrial section or in that of the Fine Arts, for he contributed to both. A grandly treated vulture was a remark¬ able example of M. Cain’s powers as a modeller and bronzist. The birds modelled by Moigniez and cast by M. Dietsch were admirable examples of their class, in common with other subjects from the animal kingdom. Intelligent marking ol the form, and special attention to texture, combined to render some of these works highly interesting as studies. M. F. J. Cana contributed a small but very eflective series of examples of birds, casting of which in_ bronze presented a triumph of technical art as regards the imitation of textuie. M. Cana evidently delights in the softer effects of the plumage, thus taking the opposite treatment to M. Cain. The delicacy with which some of the examples were treated showed how thoroughly the artist had appreciated his models in nature. THE PARIS UNIVERSAL EXHIBITION. This “ Tabernacle ” for the Holy Sacrament is the production of Francisco Mohatilla, of Madrid, Jeweller and Goldsmith to the Eoyal Family of Spain. It is of large size, and was a lead¬ ing attraction of the Spanish Court; honourable to its producers. tions, for church uses, of the renowned firm of P oussielgue-Rxjsand. It is a work exquisite in design and finish. The design is by M. V iollet-le-Duc. THE ART-JOURNAL CATALOGUE OF MM. Mellerio Brothers were “ second to none ” among the j jewellers of Paris, whose marvellous productions graced j the Court allotted to the manufacturers—who are, for the most part, also artists—of France. We engrave one of the universal attention; its worth was immense, hut Art added to the intrin- :c Fantaisies” of the eminent jewellers ; it is exquisitely wrought in gold, the three cameos being “gems” of the dants of great beauty; they are of rubies and pearls; the Isis sic value of the jewels by the "race of rarest order. We give also two Pen- i head is of sardonyx. The collection of MM. Mellerio attracted the “settings” that enclosed them. A small tripod plateau, exhibited by M. Cana, deserves especial notice from its successful arrangement in design and treatment in the foundry and by the chasing tool. A central arrangement was filled with rabbits and birds. The latter were busy amongst some standing corn, whilst the former gamboled amongst some fallen timber and brushwood. An inner circle formed the actual centre, but this was not quite so successful as the other details. The border surrounding the whole work was in compartments, in winch stag, boar, and fox hunting were represented with great spirit and artistic skill; a series of sub-panels between these compartments contained the emblems of these various phases of the chase. The work, if executed in silver, would have been considered a success as an example of goldsmiths’ work. An interesting series of small bronze castings of flowers, modelled from nature with great skill, and chased with an artist’s appre¬ ciation ot the delicate details of the originals, was exhibited by M. Delfau. The casting was by M. Delfatj, and the chasing by M. Dalibard. The specimens were mounted on slabs of marble and panels of wood, suggesting their use for the decoration of panels of doors, furniture, chimney-pieces, &c. The metallic treatment was perfectly maintained in spite of a remarkably close adherence to nature. They were thus the very reverse of the ordinary ultra-imitations of flowers from nature. Before proceeding to the consideration of the Fine Art bronzes exhibited in the French section, the notice of the more ornamental and decorative examples may be appropriately concluded by instancing the pair of bronze statuettes of nymphs designed and modelled by M. Carrier, and exhibited by M. Lejjaire, in con- 318 THE PARIS UNIVERSAL EXHIBITION. Messrs. Phillips Brothers, of London, who received to imagine the value of the gems, of which a medaillc dor —the only gold medal awarded for British jewellery—supply us with materials for this page. We can but give the outlines, leaving the reader scholars in this art, having studied the best productions of many ages and countries. Renaissance. The firm has obtained renown not only in England, but throughout Europe. nection with his remarkable display of works in ormolu, Ac. These, together with a statuette of a Bacchante crowning a figure’of Pan, were designed and executed in the best manner of M. Carrier. In these works a system of chasing the flesh-surfaces has been adopted which, in less skilful hands, would have resulted in a vulgar imitation of the pores of the skin, but in these bronzes certainly adds to the effect of the contrast of texture, whilst it gives great softness and delicacy to the flesh portions of the works. The “ trick”—for such it undoubtedly is—may be suc¬ cessful in the hands of a master, but would be a perilous experi¬ ment if attempted by a chaser of second-rate power. Of the Fine Art bronzes contributed by French bronze-founders and sculptors, it appears impossible to speak in terms really adequate to the skill shown. The treatment in most cases was essentially sculpturesque in principle, yet tins was so thoroughly and intelligently adapted to the material alike in colour and texture, th? technique of the mode of production being carefully met in every case, that nothing could prove with greatei force the value of the education by which the sculptors and ^ron/ists of Franco have been so sedulously trained during the period ot ^tcfMsculpture in marble seems, to have taken a secondary position in relation to what is done in bronze, alikem originality of treatment and choice of subject. One feature, however, deserves special attention Of late years it is l no un¬ common thing to find that the sculptured work m maible is used as a model for the casting in bronze ; but invariably the method of reproduction has been carefully considered by the sculptor. Ihe THE ART-JOURNAL CATALOGUE OF lubricants of Paris as producers of Furniture Silks and in grace and richness of material their •works are unrivalled. We engrave two tor curtains, chair-covers, &c., and as tapestries for rooms, examples of those they exhibited, to which the highest “honour” was awarded. result is, that although the marble may lose something of the fine and soft finish usually seen and expected in this material, yet it often gains in vigour and shows less conventional treatment of the forms. Some of the best examples of Fine Art bronze casting and chasing were placed in the central garden of tho Exhibition build¬ ing. There were, however, several very important exhibits in connection with the decorative bronze works; that of M. Yictoii Tiiiebattt being the most distinguished in nearly every point which constitutes true works of Art. A silvered bronze reproduction of M. J. B. Carpraux’s life-size statue of the Prince Imperial and a favourite dog, executed in marble, and placed in the Fine Arts Gallery, was an excellent illustration of what the best French sculptors are now doing in the way of multiplying important works in the one material by having recourse to another. The oxidised silver produced a most satisfactory effect in this copy of a natural and un¬ affected portrait statue ; and the forms,'with the masses of light and shadow, were much better brought out than they would have been in the uncoloured bronze. The French works in zinc, and zinc bronzed, were of a most remarkable character. Here is an industry sprang into national importance, artistically and economically, since 1855; for in the Exhibition of that year there were comparatively few examples. On this occasion these imitation works in zinc stand side by side, and, in an artistic sense, successfully rival the best Parisian decorative bronzes. The application of the electro-galvanic pro¬ cess to bronzing the surface, as also to silvering and gilding castings in zinc, has made enormous progress since the period above named. One thing, however, must be observed, that little originality was aimed at in these imitations; and when it was attempted, the modelling seemed to have been executed by inferior artists, as compared with the works in true bronz9. Miroy Brothers and Son made a remarkable display. The works were mostly large and important, and were equal in point of design, execution, and finish to true bronze works of the same class. Many of these works, however, were somewhat marred in true artistic effect by the introduction of colour in enamel and its imitations. The variation of tint in the bronze, and the introduction of gold and silver into the decorative adjuncts of the figures represented in armour, was undoubtedly very effective. As an illustration of the characteristics of Messrs. Miroy’s work, the two figures bearing gas-burners, engraved at page 59, may be quoted. The male figure was especially effective in design and treatment as a decorative work. A most effective and extensive exhibit was made by M. J. Bery ; some of the large candelabra were of remarkable construction, design, and finish. One pair was composed of Chinese figures, life-size, each having a framework for the support of the lamp over the head. The oriental character of the whole was well pre- THE PARIS UNIVERSAL EXHIBITION. The collection of works in Crystal Glass, ex- A medal was awarded to Mr. Dobson—the only tion as well as metal—was admitted even by hibited by Sir. W. S. Dobson, of London, was universally appreciated ; it was extensive and of j the most successful manufacturers of Ger- j many and France. Mr. Dobson has the sole I medal obtained by that class of art, although great excellence, surpassing, indeed, that of any other country, and conferring honour on England. services of many of the most skilful artists— the supremacy of British glass —in omamenta- I artists who design and execute specially for him. 322 in the finish of all the parts. The work is of pear- I argents, the silver tone being in harmony with the firm of Marchand ; it is of Bronze-dore. tree wood, “ ebonised the figures are of bronze- black. The heads on either side are enamelled. served, whilst the purpose of a caryatide was fulfilled in a most original and ingenious manner. The ormolu decorations gave great effect to the bronzed portions of the designs. Messrs. Blot and Droitard made the most effective display of small objects in bronzed zinc. In variety and artistic skill these works were very far above the average. The tazza engraved at page 195 is an excellent example of their productions. The bronze medallions of M. Jules Lefeyre are worthy of all praise; several of them we have engraved. It would be useless here to allude to the vagaries of some of the producers of these imitation bronzes, in the way of colouring the details with imitation enamel; but certainly, as a lesson in “ what to avoid,” some of the exhibits were of great value. When French taste gets outrageous, as it sometimes does, there seems to be no limit to its folly and absurdity. The cost of the best imitation bronzes approaches one-half that of the true works; but others of great excellence average one- third in price. It must, however, be borne in mind that the economy of production is not, after all, so much in metal as in the facilities with which good zinc castings can be produced as compared with bronze. A good plaster mould will, unless the structure is very complicated, turn out three or four excellent casts. This gives an enormous advantage over a process which necessitates an elaborate sand mould for each casting. Nor must the fact be overlooked that in a really well bronzed zinc cast there are the elements of much durability, as chemically the zinc has We engrave one of the Clocks, a charm¬ ing design, the manufacture of the TEE ART-JOURNAL CATALOGUE OF M. Sauvrezy, a principal Ebeniste of Paris, enables It is a production of much grace, designed with us to engrave one of his many beautiful Cabinets. | exceeding skill, and manifesting great refinement THE PARIS UNIVERSAL EXHIBITION. a great affinity for the metal deposited upon its surface; and this secures a more lasting quality than would at first sight appear probable. PRUSSIA. The decorative and commercial bronzes exhibited by Prussia do not demand any special attention here; they were of the average excellence of such works as produced in Germany, the treat¬ ment being very different to the French. The integrity of the metal was generally preserved without variation of tint or gilding, whilst the modelling, though less ornate, was certainly less con¬ ventional. Some groups of animals, by H. Poyl and Co., of Berlin, were severe in treatment, and admirable m the casting and chasing. A fountain and a pair of stags, of the size of life, were exhibited by F. Kayl and Son, of Potsdam, in the Park, near the entrance to the Prussian section. The fountain was not successful in design. Count EiNSIEDEL, of Lauchhammer exhibited with his collec¬ tion of iron castings some excellent specimens of bronze work. The most notable, however, were colossal statues of Philip, the Landgrave of Hesse, and Frederick the Wise of Saxony. The costumes of the figures were treated with artistic effect and We engrave on this page “Testimonials” produced by Mr. J. W. parcel-gilt Silver Vase and Cover, presented to W. Hewitt, Esq. The third is “ The Eton Testimonial” —a Tankard of Silver —presented to the Rev. Edward Balston, D.D. The Piece, presented to Mr. H. Melton hy the Royal tradesmen. Benson, whose specialite appears to lie in that direction. They are of much excellence in design, and admirable as examples fourth is a Sugar and Cream Stand, made for the Baroness Charles de Rothschild. The fifth object is a Silver Centre- of Art-manufacture. The first is a Silver Baton, presented to Band-Sergeant Brooks of the 41st Regiment. The second is a THE ART-JOURNAL CATALOGUE OF This page contains an example of a class of Art | that is carried to great excellence in Paris. It | is Panelling of pure white plaster, cast in more than average skill; and whilst they were large and grand by Deake, of Berlin, placed m the Park, facing the avenue leading in general form, the details were rendered with care and to the Ecole Militaire, was a splendid example ot casting and tmish, accuracy. These figures stood alone in this respect in the Exhi- but very far Prom being an easy and graceful work ot Art. iho bition. "The artist had thoroughly understood the exigencies of parts were well balanced, and the construction admirable, the method by which the works were to be realised in bronze, Probably one of the finest lessons in the bronzist s Art was and this had governed him alike in pose and in treatment. In . another work exhibited by Gladenbech. This was a model in the hands of a true artist technical conditions, properly considered, | bronze of the monument at Berlin to Frederick the Great, executed will frequently lead to originality of treatment; and thus that in 1S66 by Eauch. The technical and mechanical treatment ot which to the uninitiated appears an almost insuperable difficulty this model, the admirable character of the modelling and design, becomes in the hands ot a man of genius and educated skill, a placed it immeasurably beyond most of the bronze works m the source of greater success and triumph. exhibition. As an example of chasing alone, it was a study, and The bronzes of H. Gladenbech, of Berlin, were the more refined proved that the work had not been committed to bands less shilled and artistic examples of their class exhibited in the Prussian than those of the original artist, whose ideas it was the business Section. A colossal equestrian statue of the late king of Prussia of the chaser to realise by the perfect fimsb of tbe details. national peculiarities and characteristics Captellaxt, of Rome, which^ has been added to the museum at South Kensington This entire collection consists of -what may be entitled the “National Jewellery of The examples of personal ornaments that Italy.” The objects themselves, the de¬ signs and the methods of treatment, arc traditional and indeed historical. Everj example has been worn, and almost everj age have been selected from cordingly, the collection has been arranged, as it the remarkable collection, formed by Signor example has been transmitted as a precious inheritance from generation to genera- j tion, in some Italian peasant family. This . jewellery also possesses local as well as | was formed, in groups, each group representing its province or district. These works are rich in | suggestiveness, and can scarcely fail to become | instructors of great authority and importance. Another group from Gladenbech’s foundry, designed and modelled by Albert Wolff, was in its way the most artistic original casting in the Exhibition, from the perfect balance of the parts and the ingenious manner in which the artist had arranged to support the overhanging quantities in the composition, which appeared to be free and unrestrained by any of the technical exigencies of the mode of production. AUSTRIA. artistic, was not conventionally sculpturesque, hut the metallic type was so skilfully considered that its effects were satisfactory. ' The principal works were four life-sized busts of Schwerling, C. Eral, L. Epstein, and Visganik, modelled by C. A. de Eenckner. These portrait-busts of the Ministers of the Emperor of Austria were full of character and life-like expression, evidencing success as likenesses. Four equestrian statuettes, being mostly reductions from larger ! works, also presented highly commendable features m their The Austrian bronzes were practically confined to the section of artistic treatment and skill m casting and chasing. The two the Fine Arts and were the productions of the Imperial Foundry ' principal were Prince Eugene of Savoy and the Archduke Charles of Vienna. As in the best Prussian examples, no artificial of Austria, both originally executed as colossal works for V ienna, colouring was used, nor any attempt to vary the surfaces, which 1 These very remarkable works were picturesque subjects, tieated were treated essentially as a “mat.” The' modelling, severely j with skill and refinement. J THE ART-JOURNAL CATALOGUE OF These three engravings are from parts of the beautiful ! The principal commercial bronzes in the Austrian section were fanciful groupings of animals of the chase, dead game, hunting accoutrements, emblems of science and Art, machines and ma¬ chinery, admirably composed and modelled, and finished with great skill. They were, for the most part, either silvered or gilt, or silvered and oxidised to a deep steel-colour or grey black. The most important works were exhibited by Dzidzinski, Hanusch, Theodore Klein, Clement Lux, Auguste Klein, and Louis Boehm, all of Vienna. A very charming toilet mirror, exhibited by the first-named firm was especially elegant in design, and has been purchased for the South Kensington Museum. lo the works of some of these eminent Art-manufacturers we have accorded justice, having engraved many of them. BELGIUM. The bronze exhibits of Belgium are limited to those contributed by A. Bogaekts, of Antwerp, and were chiefly clock-decorations. The subjects were treated with great artistic power, and in the manner of the early Flemish pictures. The effect was fresh and original, the execution, both as regards casting and chasing, being i excellent. The contrast with the French bronzes of the same I class was very striking, from the quaint severity which charac- j terised both the subjects and the mode of treatment. As cabinet I groups they were undoubtedly clever and covetable works of Art. I U- this particular class of Art, Belgium made no figure compara- j tive with the excellence exhibited in other ways. Iuox-Work— wrought iron—the production of Skidmore, of Coventry, made for the new Foreign Office, from the give two examples of his signs of the eminent architect, Gilbert Ghaham Scott, It. A. admirable works—a Vase and a Clock of much beauty. j lection was prominent for purity and originality of design and refinement in finish. work in design and execution. It eommemo- I and oifers homage to Napoleon III. and Cavonr | of'the very high rates the triumphs of Garibaldi in bas-reliefs, in others. It concerns us only as a work of Art the capabilities of the artist and manutactu . ITALY. The leading feature of the contributions from Italy was the great skill shown in the reproduction and imitation of antique works. In this respect they stand unrivalled. An examination of these examples must convince any one how dangerous it is to purchase objects of this class without special technical knowledge, since the stains and damages, the patina and colour of ages are imparted with such skill as to deceive any but a very decided expert in , antiques. This is more especially the case in the smaller and j more portable specimens, no doubt because the larger repro¬ ductions are less in demand, and would frequently require an elaboration and treatment which would not really pay. Some of these, however, are marvellous specimens of imitative power. A Mercurv and Discobolus, both after originals discovered during excavations at Herculaneum, were exceedingly interesting woiks of their class. A Drunken and also a Sleeping I aun were equally good, although the subjects were in themselves and in their original treatment of a less refined character. Except to the practised eye, there is little or no appearance ox the usual methods of colouring and giving tone and artificial surface to bronzes. Yet all is decidedly artificial, but then it is done with a totally different object, the purpose in these cases bein " to anticipate the effects of time and atmosphere, and not to protect the surface of the metal, or to give it a conventional colour. THE PARIS UNIVERSAL EXHIBITION. Signor Andrea Boni, of Milan, has revived in | terra-cotta. Italy the decoration of buildings by works ' The Gate, of which we give an I engraving, was one of the leading ornaments of 327 THE ART-JOURNAL CATALOGUE OF their intrinsic worth; rivalling, indeed, the most perfect of any country or period. The collection of sense rich. The articles were wrought j thousands by whom it was visited ; it was a studio for some of the magnates of Europe and for all classes and orders of Art-manulacturers. The largest and most important bronze casting in the Italian Section was the “ David ” of Michael Angelo, after the original in marble, placed in front of the Palazzo Vecchio, Florence. As a reproduction of this great work in a material so different to that in which the original is executed, it was a success. Of the modern Italian bronzes, little can be said. The “Cain,” cast at the Marini Foundry, Florence, was the most original, but as a casting it was defective. This would have been more evident had the modelling and general treatment of the surface been less rugged. Italy does not in this art sustain its ancient repute, the modern bronzes being in no way comparable with those that are “ ancient;” but the new Kingdom has not yet had time to deve¬ lop all its resources. RUSSIA. The Fine Art Bronzes exhibited in the Russian Section were the productions of M. Liberich, and the most important were modelled by Aubepuxl. Some of the specimens were exhibited at the International Exhibition of 1862, where they attracted much attention by the skill shown in chasing and modelling, as well as a certain freshness in the treatment of the modelling and choice of subject, the most remarkable work being a group of a Laplander, sledge, and reindeer. The spirit and motion shown in the animals were remarkable. The principal group exhibited on this occasion was that of the Emperor Alexander II. on a hunting excursion, in which he is represented as saving a hunter from the grasp of a bear. There was M. 0. Massin, who takes high rank among the most famous of the jewellers of Paris, and who received a gold medal, supplies us with the engravings that occupy this page. The first is a Diadem of brilliants ; the other three | are Pendants in various styles. These works are examples of the purest and best Art, exqui¬ sitely designed and finished, valuable far beyond THE PARIS UNIVERSAL EXHIBITION. The Shield, of which this page contains an I and Jeweller of London. It is designed and i Paikpoint, an artist of great ability _ and m engraving, was one of the many admirable works executed in silver repousse by Mr Thomas J. high repute. The subject mms ra e , exhibited by Mr. Harry Emanuel, Goldsmith | i Five Senses,” treated allegorically, the border more of the picturesque than sculpturesque in the treatment, but as a specimen of metal casting it was unique. Another small specimen, most admirably modelled, was a dead stag placed upon a rush mat. The treatment of this little work was a fine study for those engaged in producing similar works, and as an example of unaffected modelling and chasing. Some of the commercial and decorative works were also very excellent. These were exhibited in the industrial department, with other examples of manufacture. But Russia was so rich in so many classes of Art-manufacture that she could well afford to withhold her power in this. The other countries of the Continent of Europe did not exhibit much that was worthy of special notice. Bavaria had very little, and nothing of an original character. UNITED STATES OF AMERICA. It was not difficult to foresee that from the skill shown by the founders in iron and even bronze in the New England States of America some fourteen years ago, when the writer of this notice went over the various industries of that growing country, as one of the British Commissioners, that at no distant period the ability I and intelligence with which the moulding and castiug of metals 1 was being carried out would be devoted to the production of works of Art which would rival the best productions of Europe. In this Exhibition the evidence was unmistakable that this is now being done, for none could look on the Fine Art bronzes exhi¬ bited in the United States Department without being struck with their power and a certain well defined originality of treatment. and ornament being Renaissance. Explanation is unnecessary; the artist has treated the theme with consummate skill; the five compartments are so many striking stories. The drawing of the numerous figures is admirably true, and the modelling of rare excellence. Altogether there were few productions exhibited in 1867 that surpassed this as a work of high Art. THE ART-JOURNAL CATALOGUE OF Among the best exhibitors of Carpets was | Mr. Turbeuyille Smith, of London, who ob- | tained merited distinction m ISol and 1862, and in 1867. The Carpet we engrave is designed I Wyatt. It is a do;..,,.. -.- 0 ^ by the ablest of British designers, Mr. Digby elegance. Mr. Turberville Smith has obtained receiving the aid ot many < of much "race and I high eminence in his trade by so-king ar Ip. Smith has obtained receiving- the aid of many accomplished artist GREAT BRITAIN. It is certainly not to our credit tlia-t the production of Art- bronzes in England was not illustrated. A tew statuettes pro¬ duced for the Art-Union of London comprised all that can be said to represent this speciality as practised in England. Messrs. Elkington, who in 1862 made a very effective and honourable display, did not exhibit anything beyond a lew specimens inc dentally placed with Iheir works in gold and silver. This is said to have arisen from the want of suitable space. If so. then, as in many other instances, British Art and Industry suffered for want of a proper provision being made for its illustration, either by the paucity of space originally allotted to England by the Imperial Commission, or an injudicious appro¬ priation of that space after the general allotment. That the character of the space assigned was such as to give much trouble and produce great disappointment is certain, but such an industry as that of bronze casting ought to have had special attention as. bearing on the future progress of Great Britain in the Arts. THE PAT!IS UNIVERSAL EXHIBITION. luted by its manufacturers, MM. J. Allard I ebony, the panels and other ornamental parts I beautiful example of Art of the purest and tils, and M. Chopin. The foundation is of | being of carved pear-tree wood; an exquisitely | highest order, both in design and execution. This Box—one of the best works exhibited during the memorable year 1867—was contri- ^Ubrrtiscmrnt. THE ART-JOURNAL, Edited by S. C. HALL, F.S.A., &c. TllHE Ab.t-Joubi.-al continues to lie the only Work issued in Europe that adequately represents the 1 Fine Arts and the Arts of Industry and Manufacture; it is published to contain intelligence concerning every topic connected with Art that can inform the Artist, the Amateur, the Student, the Manufacturer, and the Artisan, and to convey to the general public such information as may escito interest in Art, in all its ramifications ; the aim of its Conductors being to produce not only a beautiful Work for the Drawing-room, hut one that shall he a suggestive aid in the Studio and the Workshop. The Art-Journal is the earliest of the Periodical Works by which Art was brought to the aid of Literature. It has contained above 600 Engravings on Steel, and upwards of 30,000 Engravings on Wood. A large number of the most competent critics and Art-authorities have communicated knowledge through its pages; every branch of Art and Art-manufactuie haring been, as far as possible, represented. Of the Wood-Engravings, the greater number—exhibiting the productions of Manufacturers, not alono of Groat Britain, hut of all the countries of the world—have taught the valuable lesson that is derived from comparison. The Line Engravings have been from pictures by the principal Artists of Europe ; every British Painter and Sculptor of eminence having thus been made a Teacher. The Conductors of tho Art-Journal are, therefore, justified in believing that Work to have not only promoted but originated much of the improvement to which, of late years, the Industrial Arts have been subjected, and the prosperity whereby the labours of British Artists have been rewarded. When tho Work was commenced, sales of paintings by British painters were rare events, purchases of pictures beinu almost exclusively limited to, so-called, “ old masters;" while the Art-Manufacturer had no means whatever of obtaining publicity, and seldom any inducement to aim at excellence in design. During the earlier years of the Art-Journal, there was no public for Art-literature; interest in topics “connected with Art was confined to tho few; it is now tho enjoyment of miUions-for nearly every periodical work that aims at largo circulation courts the aid of Art as an indispensable auxiliary. Tim Art-Journal has therefore done its part in training and directing that public taste which now influences, more or less, every class of the community. Tho Editor (who has occupied that position from the commencement of the Art-Journal in tho year 1839) endeavours to obtain tho best possible aid ill every department of the Work ; he is sustained in his efforts by the Publishers, who hesitate at no expenditure of capital, by which its object can be pro¬ moted, its utility increased, and its prosperity advanced. Among the more prominent writers in the Art-Journal are, or have been, the following: ; Dr. Ernst Forsler: Dr. \V. Cooke Taylor; J. D. Harding; John Burnet, F.E.S.; R.N. : J. B. Pyne ; Mrs. Merrifield; F. W. Fairliolt, F.S.A.; John Buskin, M.A.; Dr. Waagcn; I‘„”sTMr.. S. c. Hall; Mrs. Bury Miser; Rev. E. L. Cads, ^^.Wuie,:^ Forbes'l'V.R.s!'! Thomas Wright. F.S.A ; Mrs. Austen: Professor Hewleloff; J. Beavington Atkinson; G. F. Te.usvvood ; r Thombury; Rev. J. M. Bellow; Dr. Grace Calvert; Peter Cunningham, F.S.A.. P. G. ; J. Glaisher, F.B.S., F.A.S.; Professor Franz Kugler; C. J. Richardson, F.S.A., &c.&c. ;ro afterwards issued as Volumes. Llewellynn Jewilt, F.S.A.; Walter Hamerton; Rev. J. G. Wood, F.L.S.; Many of the Articles that were first published in the Art-Journal ^ Among the British Artists whose works have been engraved in the Art-Journal are the following Sir c. L. Enalluke, P.R.A.; J. M. W. Tamer, R.A.; Hr B. Lumber. E.A.; SirW.All.n. R .A.; D. Bobert., R.A. BA C R. Leslie, R.A : IV. Collins, R.A.; W.Eitv.B.A.; W. Mulreaily, R.A.; D. Muuhse, R.A.; T.TJwins, K.A E. M. Ward, R.A,; Mm. E. M. Waul; W. F. Witherington, R.A.: F. Dimly. A.K.A.; K. Redgrave, R A : T. Wetoter R.A., T. Creawick, R.A.; C. W. Cape, R.A.; W. Dyee. Ill r. K. PickeragiU. B.A.; T. Prat AKA - P F Poole R.A.; A. L. Egg. K.A.; J. C. Hook. B.A ; Sir J. Noel Puton, R.S.A., AV. C. T. Dohaon, A.K.A., OMtI'.’; a Aiiadell. A.K.A.’; J. Sant. AJt.A.; H. D, Jeane. A.K.A ; P. Guide.R.A.; F. Goodull.R.A i J. K. Herbert, K.A.; SirD. Wilkie, R.A.; sir A. AV. Callcolt, R.A ; J. I.innell: J. Constable, R.A.; W . Hilton B.A.; F. R. Lee JJ-i*" Osborne - .1 C. Horsley. K.A ; S. A. Hart, K.A.: J. Pliillir- lt-A.. Sou. &u. ScuLPTOBS-S.r B. A\ estmacolt, K.A. ; B. W«. mocott. R.A. ; J. Ftomun, R.A.; J. H. Foley. K.A.: E. 11. Bally, B.A. ; J. Gibson. K.A.; P. MeDnwell, R.A.; W . C. Marshall, R.A.; Baron Murochetii, R.A.; J. Durham, A.R.A., &c. &c. The Engravings from Pictures are all Line Engravings—nearly the only Line Engravings that have been of late years produced in any country of Europe. The Art-Journal has consequently obtained a high place in public favour, which cannot he risked by any laxity of effort on the part of those who are intrusted with its production. M J - I $m*m. B\ M\ i