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 THE DANAID . 
 
 ENGRAVED BY W.ROFFE FROM THE STATUE BY C.RAUCH. 
 
~ .. -— 
 

 he Exhibition of Art and 
 Art-Industry in Dublin 
 originated in the disin¬ 
 terested offer of one of its 
 citizens, William Dargan, 
 . Esq., to supply the necessary 
 funds for its creation and 
 conduct. This estimable 
 gentleman—whose services 
 to Ireland have been great 
 
 , y ,^ ^ - and continuous, and who, 
 
 Jy /JmVg l as a railway contractor, has 
 
 given profitable and productive employ- 
 I* f\ ^ men i } a large number of its people— 
 Y' amounting at one period to nearly sixty 
 
 thousand men—made no other stipula- 
 y \ tion than that the public should not be 
 
 lj called upon for any portion of the cost of the 
 
 undertaking; and that, only in the event of 
 /Jj H a surplus exceeding the expenditure, should 
 v the capital he advanced be returned to him. 
 
 It is therefore impossible to consider this 
 Exhibition without giving expression to those sentiments 
 of gratitude, which are the due of a gentleman influenced 
 by motives so pure and patriotic; and out of which cannot 
 fail to arise advantages immensely beneficial to his country. 
 
 These advantages are self-evident. Ireland, with so many 
 natural helps to Manufacture, has hitherto availed herself of 
 few or none of them; with coal and iron and limestone in 
 abundance, her mines have been but very partially worked ; 
 with water-power running from every great lake in sufficiency 
 to turn all the spindles that derive their impulse from steam 
 in Manchester, it runs idly, and to waste, into bays and 
 harbours that are estuaries of the Atlantic; with a surplus 
 population (a good, or evil, that exists no longer) craving 
 employment, its people have been without occupation; their 
 labour “ at home ” has barely sufficed to procure the means 
 of a miserable existence. Ireland has been emphatically 
 termed “ a land of raw materials,” and he who developes 
 its resources, calls its latent energies into action, and enables 
 Man to derive comforts and luxuries from the wealth of 
 Nature, may be indeed described not only as a Patriot to his 
 Country, but as a Benefactor to the World. 
 
 The universal voice has been loud in praise of Mr. William 
 Dargan ; we but discharge our duty in commencing this Work 
 by adding one more to the many expressions of gratitude he 
 has received. We believe that this Exhibition will contribute 
 very largely to render Ireland that which she is so eminently 
 
 qualified to become—a manufacturing country; that the 
 fertile South and the richly endowed West will ere long 
 emulate the North; and that hitherto undeveloped sources of 
 prosperity and power in Ireland will date a new era from the 
 Exhibition of 1S53. 
 
 This belief is mainly based upon the better understanding 
 the Exhibition will originate between England and Ireland. 
 We have frequently had occasion to observe that for every 
 new Visitor Ireland obtains a new Friend ; nothing can 
 so essentially serve the two countries as increased intercourse; 
 a more intimate acquaintance with the people and the 
 capabilities of Ireland, will, of a surety, be followed by inflow' 
 ol English capital, with forethought and enterprise, which 
 are, so to speak, the leading faculties of England. Happily, 
 a variety of circumstances combine at this moment to direct 
 attention towards “ the sister kingdom.” Agitation has died 
 out for lack of fuel; railways and steam ships bring the two 
 Capitals within a distance of ten hours ; the “ bit of land ” is 
 no longer coveted as the sole source of life; and emigration 
 from Ireland must be followed by emigration into Ireland, 
 with better habits, improved systems, and ample capital, under 
 the influence of which Ireland must ultimately, and inevitably, 
 become the most productive and, consequently, the most 
 prosperous of all the dominions of the Crown. 
 
 With this hope, and in this belief, we consider the Great 
 Exhibition held in Dublin in the year 1853, as even a larger 
 contribution to the wealth of these kingdoms, than the Great 
 Exhibition which took place in London in the year 1851; and 
 we do not doubt that His Eoyal Highness Prince Albert, 
 on visiting the Irish Capital, will earnestly rejoice that his 
 indefatigable exertions and enlightened policy—which made 
 that year Memorable —have again borne rich fruitage, and 
 again advanced the best interests of his country. 
 
 The Exhibition was opened by the Irish Viceroy, the Earl 
 of St. Germans, on the 12th of May, 1853; the architect, 
 John Benson, Esq., on that occasion received the honour of 
 knighthood—a compliment well deserved, for the structure 
 seems on all sides to have given entire satisfaction; and it is 
 no small part of the merit of the builder that notwithstanding 
 many serious difficulties, it was “finished to time.” The 
 following descriptive particulars of the structure will perhaps 
 sufficiently picture it to our readers:— 
 
 Presenting a front to Merrion-square of 300 feet, the main or centre 
 feature of elevation consists of a semicircular projection, which forms the 
 Eastern termination of the Central Hall. This is a noble apartment of 
 425 feet in length, and 100 feet in height, covered by a semicircular roof 
 upon trellis ribs, in one span of 100 feet. On each side of the Centre 
 Hall, and running parallel to it for the same length, are two halls 50 feet 
 wide, with domed roofs, similar to that which covers the main nave or 
 hall of the building. The height from the floor to the roof of each of 
 these halls is 65 feet. They are approached through passages from the 
 Centre Hall. In addition to these three halls are four compartments of 
 25 feet wide, running the whole length of the building ; two are placed 
 between the Centre Hall and the side halls, and two on each side of the 
 latter; divided into sections of 25 feet square, forming convenient 
 divisions for the purposes of classification. Over these compartments are 
 spacious galleries, also running the length of the building, which not only 
 afford increased space for exhibition, but form an agreeable promenade 
 from whence the effect of the three halls may be seen to greater 
 advantage. To the south of the Central Hall, left of the spectator, is a 
 hall devoted to foreign contributors; adjacent to which is the Fine Arts 
 Court, corresponding in position to the Machinery Court. The northern 
 and southern courts have galleries running round them, from which the 
 spectator also looks into the Central Court. The ceiling of the halls being 
 divided into panels formed by the trellis ribs, and the other constructive 
 parts of the building, has allowed ample opportunity for effective decora¬ 
 tion. Light is admitted from above in one unbroken and equally distributed 
 body. The construction of the building is strongly marked on the elevation, 
 and forms in fact the ornamental character of the design. There are also 
 external galleries which are attractive features. The materials of the 
 building are iron, timber, and glass.” 
 
 In this spacious and very beautiful building, then, have been 
 collected a large number of the Art-productions, not alone of 
 Ireland and England, but of the several Nations of the World; 
 they are there to gratify but also to instruct; as mighty 
 teachers of the future, from which the industry of Ireland 
 will learn much ; and we may be sure that all by whom the 
 Exhibition is visited, will cordially respond to the prayer 
 expressed in the report presented by the Committee to 
 the Lord Lieutenant: 
 
INTRODUCTION. 
 
 “ That it may please Almighty God to make this great undertaking 
 the commencement of a new era in the history of Ireland, and that 
 from the 12th of May, 1853, annalists may date a period when industry 
 and public order, with their inseparable companions, happiness and 
 wealth, shed their abundant blessings over this portion of her Majesty's 
 dominions ! ” 
 
 The first step, after the preliminaries had been settled by 
 which the offer of Mr. Dargan was accepted by the Royal 
 Dublin Society—a society very properly selected by him 
 as his immediate ally —was the appointment of a com¬ 
 mittee of twenty-five gentlemen, and the arrangement of a com¬ 
 petent “ staff,”—C. P. Roney, Esq. being the Hon. Secretary, 
 and John C. Deane, Esq. the Secretary. The Committee 
 appear to have worked diligently, and with unanimity; the 
 Secretaries were indefatigable in their exertions, and to them 
 unquestionably we are indebted for much of the ultimate 
 success. Mr. Roney visited Prance, Belgium, Holland, and 
 Germany; he arranged the several acting commissions, and 
 succeeded in obtaining that zealous cooperation abroad which 
 resulted in the cheering and serviceable character of the 
 Foreign Department; while Mr. Deane was equally zealous 
 “ at home’’.among British Manufacturers, and especially with 
 reference to the Fine Arts Court. The whole of the “officials 
 appear, indeed, to have done their duty with active energy, 
 and a strong determination to bring the experiment to a 
 successful issue. 
 
 And it is that issue, which we have now briefly to consider. 
 In the Fine Arts Court, the walls are lined with Pictub.es; 
 on one side by the productions of British Artists, and on the 
 other, of those of the artists of Germany, Belgium, and 
 France. Among British works, the principal are, Winter¬ 
 halter’s full-length portraits of her Most Gracious Majesty and 
 his Royal Highness Prince Albert; these were removed from 
 the state apartments at Windsor Castle, and together with 
 Mulready’s “ Wolf and Lamb ” (from Buckingham Palace) 
 form the royal loans to the collection : of the remainder, 
 Mulready’s “Convalescent,” lent by Lord Northwdck; 
 Danby’s “Deluge,” by E. Jones, Esq.; Landseer’s “Bolton 
 Abbey” and “Hawking,” and Collins’s “Boy at the Gate, by 
 the Duke of Devonshire; Herbert’s “Trial of the Seven 
 Bishops,” by Mr. Agnew ; Goodall’s “ Happy Days of Charles 
 the First,” (a small replica) and Pyne’s “ Lago Maggiore,” 
 by Thomas Fairbairn, Esq.; Callcott’s “ Old Port of Naples, 
 by Samuel Cartwright, Esq. ; Lawrence’s “ Kemble as Corio- 
 lanus,” and a work of wonderful power, an “Italian Land¬ 
 scape,” bearing the date 1803, by J. M. W. Turner, by the 
 Earl of Yarborough ; Leslie’s “ Sir Roger De Coverly, ’ and 
 Stone’s “ Course of True Love,” by the Marquis of Lans- 
 downe; Etty’s “ Joan of Arc,” by M. Gambart; Landseer’s 
 “Horses Watering,” by Lord Monteagle ; Etty s “ Rape of 
 Proserpine,” by Mr. Gillot; the renowned pictures of Hogarth, 
 the “ Gate of Calais,” and “ The Last Stake,” both lent by the 
 Earl of Charlemont; Duncan’s “ Prince Charles in the Cave,” 
 by Mr. A. Hill; Mulready’s “Travelling Druggist,” and 
 Wilkie’s ever famous “Rent Day,” by J. Chapman, Esq.; 
 examples of Rothwell, Jones, Hart, and Grant, by II. A. J. 
 Munro, Esq.; with specimens of Dwins, Chalon, Maclise, 
 Ward, Hook, Huskisson, Muller, Herring, Redgrave, Lance, 
 Topham, Rothwell, Hannah, C. Landseer, Allan, Anthony, 
 &c. &c., lent either by the artists or by collectors. 
 
 From this limited enumeration it will be seen that the 
 British collection is exceedingly rich and varied, numbering 
 upwards of one hundred ; it is rare, indeed, to find so many 
 exquisite examples of modern Art collected in one building, 
 and, talcing this view alone, the Exhibition will supply an 
 ample recompense to the visitor. 
 
 Our notice of the foreign contributions must be yet more 
 condensed. His Majesty the King of the Belgians graciously 
 lent ten pictures, the productions of the leading masters of the 
 modern Belgian school; they are truly great works—efforts of 
 the very highest genius. The King, in thus aiding the Exhi¬ 
 bition, has enlarged the fame of his country, and its artists 
 owe him much for his generous consideration. We are here 
 introduced to Yerboeckoven, Wappers, De Keyser, Leys, 
 Gallait, Tcheggany, and some fifty or sixty other masters of 
 this glorious school. France, Prussia, and Holland have also 
 contributed largely and most beneficially; and, taken alto¬ 
 
 gether, this original feature of the Exhibition is, perhaps, 
 the most attractive portion of it. 
 
 The Sculptuee, which has been judiciously scattered in 
 various parts of the building, is highly honourable to the 
 state of the Art in these kingdoms; and itis not among the least 
 gratifying of the facts connected with the Exhibition, that the 
 leading and most meritorious of the sculptors are Irishmen; 
 their country may well be proud of such men as MacDowel, 
 Foley, Hogan, Lawlor, Moore, Jones, the Kirks, the Farrells, 
 and others, some of whom rank with the most renowned 
 artists of Europe, and the two first-named of whom are univer¬ 
 sally acknowledged as of the heads of their profession. Among 
 the other contributors to this important and interesting de¬ 
 partment are Baily, Bell, Earle, Mrs. Thorneycroft, Francis, 
 Munro, Monti, Marshall, Noble, and the Baron Marochetti, 
 with Rauch, Geefs, Fraiken, David D’Angers, &c. &c. 
 
 The contributions of Art-Manufacture have been supplied 
 chiefly by England and France; Belgium has sent much that 
 is good; Germany many productions of great excellence; and 
 some few have been forwarded by other continental countries. 
 To England and France, however, the largest debt is due ; 
 many of the best manufacturers of both kingdoms have 
 zealously co-operated with the committee, and the result 
 is a very satisfactory assemblage of Art-wealth, ns sources of 
 enjoyment and instruction. Thus, among the latter we find 
 several grand productions of the National Manufactories of 
 Sevres and Beauvais; the exquisite toilet gems of Rudolphi; 
 the Aubusson carpets of Sallandrouze; ornamental articles in 
 zinc of the Vielle Montague; the church furniture of Yillem- 
 sens ; the wood-carvings of Lienard ; the bronzes of Paillard; 
 and a very large number of the other fine Art-works for which 
 France is famous. 
 
 Among the leading contributors of England are Alderman 
 Copeland, the Coalbrookdale Company, Messrs. Chance, 
 Messrs. Elkington, Messrs. Ilouldsworth, Messrs. Robertson, 
 Carr, & Steel, Messrs. Clabburn, Messrs. Richardson,—in 
 brief, we believe that in the volume to which this is the Intro¬ 
 duction, we have given engraved examples of the productions 
 of nearly all the contributors whose works are prominent in 
 the collection. 
 
 The Exhibition of Irish Art-produce is, as will be supposed, 
 limited in extent and in value; it is, however, larger and of 
 greater worth than was expected, and will assuredly elevate, 
 rather than depress, hope in the future of Ireland. Until 
 very recently, “ Irish manufacture” meant only the produce of 
 the" loom, and that by hand labour. Its linens and tabinets 
 have been long famous : they have kept, and still retain, their 
 supremacy. Notwithstanding the efforts at competition, in 
 Dunfermline on the one hand, and at Norwich on the other, 
 the damasks of Belfast and the tabinets of Dublin yet 
 command the markets of the world. Within the last few 
 years, however, while the material has in no degree retrograded, 
 Art has given its valuable aid to the enterprise of the manu¬ 
 facturer, and the skill of the artisan ; and if we compare the 
 modern with the old produce of Messrs. Frv, Messrs. 
 Atkinson, and others, we shall admit our obligations to the 
 Government Schools of Design, which, in Dublin and Belfast 
 especially, have been at once the stimulants and the teachers 
 of these eminent manufacturers. The same may be said of 
 the linen-producers of Belfast: the most distinguished of them 
 all, Mr. M. Andrews of Ardoyne, may now exhibit, and does 
 now exhibit, his productions as examples of elegance and 
 purity in Art; witness for him the two of his works engraved 
 in this publication: and all visitors to the Exhibition will 
 examine with pleasure and profit the graceful and well- 
 arranged stall of Roddy of Belfast, in which are shown the 
 fabric°from its primitive state to its highest finish, with all 
 the intermediate stages of preparation. We regard this 
 small collection as among the most striking and satisfactory 
 “ shows ” in the whole building. 
 
 The trade of the jeweller and goldsmith must be regarded 
 as almost “ new ” in Ireland; that it is rapidly rising into 
 eminence will be apparent to all who examine the stalls of 
 Mr. West, Mr. Waterhouse, Mr. Atcheson, Mr. Gardener and 
 others; their more ambitious “ pieces of plate,” their com¬ 
 memoration vases and testimonial cups, are entitled to high 
 
praise; while their jewellery (that of Mr. West especially) 
 will not suffer by comparison with the better works of 
 England. The productions in Irish bog-wood, decorated with 
 Irish gems, may be regarded only as graceful toys, but they 
 exhibit tasto and skill of no mean order, and assuredly those 
 who have created this new branch of Art-manufacture are 
 entitled to public thanks. A more important branch of 
 manufacture is that of “ladies’ work,” the hand-embroidery 
 which gives employment (if we are rightly informed) to nearly 
 a quarter of a million of the women and girls of Ireland. This, 
 too, is a branch of trade of recent origin—the creation of the 
 last ten years—for until some time after the year 1840, it was 
 exclusively confined to a few districts of the north; it is now 
 spread to the south and into the “ far west,” rendering 
 industry productive and renumerating, and employing those 
 who must without it have been altogether idle. 
 
 If our summary of Irish Art-productions must be thus 
 limited—for excepting in some objects of minor importance, 
 Irish manufactures cannot as yet enter into competition with 
 those of other countries in the great marts of the world 
 —those who have observed progress in Ireland during the 
 last twenty years, will be amazed that so much, and not that so 
 little, has been done, and will be encouraged rather than 
 depressed, while comparing the Irish contributions to the 
 Exhibition, with those of the sister-country. Those who 
 desire the welfare of Ireland, and believe that its increased 
 prosperity necessarily augments the prosperity of England, 
 will therefore, “take heart,” while passing through this 
 structure, and have faith as well as hope in the future of 
 a country, whose energies are about to be aroused,—whose 
 capabilities are on the eve of development; in short, whose 
 dark days are over. 
 
 There is but one other topic essential to notice. The col¬ 
 lection of Irish Antiquities forms beyond doubt the most 
 original and the most interesting division of the Exhibition; 
 they have been collected with amazing industry ; casts have 
 been procured of a very large number of the most famous 
 remains; these have been arranged with admirable skill, and 
 we are bound to express gratitude to the Lord Talbot de 
 Malahide, to Major Fairfield, and to John Lentaigne, Esq.,— 
 the sub-committee, to whom this important task was confided. 
 We hope eventually this singular, curious, and very valuable 
 series will form one of the “courts” of the Crystal Palace at 
 Penge Park, for it is a monument of the glories of ancient 
 Ireland, scarcely second in interest and importance to those 
 which have made us live again at Nineveh. 
 
 The Work which these observations preface, contains a 
 selection of the best contributions of the several leading 
 manufacturers. It will be obvious to all who pass through 
 the Exhibition, that many excellent Art-objects are unnoticed; 
 but to have enlarged it beyond the extent of these pages, 
 would have been, necessarily, to have demanded for it a higher 
 price than we believed it could bear. It may be right to 
 observe, that all the engravings contained in this Illustrated 
 Catalogue were engraved expressly for it, and that none of 
 them had previously appeared here, or, as far as we are cog¬ 
 nisant, elsewhere ; the drawings were either supplied to us 
 by the manufacturers, or made from the objects by artists 
 employed by us, on the express condition that the works so 
 engraved should be contributed to the Exhibition. The 
 engravings have been executed either by, or under the superin¬ 
 tendence of the Messrs. Nichols, to whose talents, energy, 
 and promptness we have been much indebted for the ability 
 to produce the work within so short a period of time after 
 the opening of the Exhibition, and who have enabled us to 
 render this publication in all respects as meritorious as that 
 it was our privilege to issue in the year 1851. We have 
 introduced into this volume, with a view to add to its interest 
 and value, twelve steel engi’avings of works in sculpture. 
 We are therefore justified iu the hope we expressed, when 
 announcing the undertaking, that the volume will be re¬ 
 garded as an additional text-book for the Manufacturer and 
 the Artisan, and an “ authority” for those who desire to pro¬ 
 cure the most graceful and useful productions of modern Art- 
 manufacture. 
 
 We shall not, we hope, be accused of presumption if we say 
 
 we have been stimulated to produce this collection by higher 
 motives than those of profit; which, indeed, in all such cases, 
 is nearly out of the question; for the great cost of such a series - 
 excludes the idea of commercial gain. It is a primary business 
 of the Art-Journal to advocate, with a view to increase, the 
 number of such Exhibitions. During the last ten years, we have 
 steadily pursued this course, commencing it so far back as 
 1846, when the first attempt in England to emulate the prin¬ 
 ciple that had been adopted for half a century in France, was 
 made in Manchester; or more correctly, so long ago as the 
 Exhibition of Art Industry in Paris, in 1844, which we fully 
 reported and illustrated. We have believed that publicity for 
 improvements best secures their advancement and consequent 
 reward; and, although at the commencement of our career, 
 we had no inconsiderable difficulty to induce conviction of 
 this simple truth, we have lived, and our Journal has lived, to 
 find its admission universal; and w r e have our recompense in 
 the knowledge, that the present general move in Art has 
 received impulse from our labours. 
 
 In presenting, therefore, to our subscribers another Illus¬ 
 trated Catalogue of another Great Exhibition of Art Industry, 
 we believe we best consult their interests, the welfare of Art, 
 and the Art education of the community; and we trust that, 
 if the plan be distasteful to any, they will bear in mind—first 
 that we make a sacrifice to duty, and next, that it would have 
 been in some degree a betrayal of our trust to have suffered 
 so honorable and so hazardous an attempt as that which—in 
 1853—distinguishes the Irish capital, to pass without being 
 worthily represented iu the pages of the Art-Journal. 
 
 With this remark, and with acknowledgments of the 
 courtesies we received from the committee in Dublin, and the 
 whole of the officials acting under them, and our best 
 thanks to the several manufacturers who gave us (as they 
 have always done) ready and cordial co-operation,—we confide 
 our volume to the public, repeating the prayer of the Lord 
 Lieutenant that “ Almighty God will bless and prosper the 
 undertaking,” and that, especially, it may be made the means 
 of cementing more closely the bond of union between the two 
 countries ; making England and Ireland more thoroughly and 
 essentially one ; for of a surety that which benefits the one 
 must prosper the other, their interests being mutual 
 
 AND INSEPARABLE. 
 
SCULPTURE. 
 
 THE DAN AID 
 INO AND BACCHUS . 
 SABRINA 
 PSYCHE . 
 INNOCENCE . 
 
 NIGHT 
 
 C. Rauch. 
 
 J. H. Folet, A.R.A. 
 W. C. Marshall, R.A. 
 W. Theed. 
 
 J. II. Folet, A.R.A. 
 Thorwaldsen. 
 
 MORNING . . 
 
 DANCING GIRL REPOSING 
 EYE AT THE FOUNTAIN 
 CUPID CAPTIVE 
 EARLY SORROW . 
 
 GRIEF .... 
 
 Thorwaldsen. 
 
 W. C. Marshall, R.A. 
 E. H. Bailt, R.A. 
 
 C. A. Fraikin. 
 
 P. Mac Dowell, R.A. 
 J. H. Folet. A.R.A. 
 
 ART-MANUFACTURE. 
 
 Acheson, Dublin. Jewellery, casket . 
 
 Andre, Paris. Fountain . . • • 
 
 Andrews, Belfast. Damasks .... 
 
 Aspret, London. Cups, jewel-cases, Sic. . 
 
 Atkinson St Co., Dublin. Tabinets 
 
 Barnes, London. Floor-cloths 
 
 Barnes, Tam worth. Tazza. .... 
 
 Battam & Son, London. Imitative Etruscan vases 
 
 Beauvais, National Manufactory. Tapestries 
 
 Bell & Co., Glasgow. Pottery, earthenware . 
 
 Benham St Sons, London. Stoves, fenders 
 
 Berlin, Royal Foundry. Yase 
 
 Berlin, Royal Manufactory. Porcelain 
 
 Bielefeld, London. Papier mtlche ornaments 
 
 Blashfield, Poplar. Terra cottas 
 
 Bradford, Clonmel. Ivory carvings 
 
 Chubb, London. Lock and key . 
 
 Clabburn, Norwich. Poplin 
 Clarke, Dublin. Wood-carving 
 Colebrooke Dale Company. Iron works 
 Colt, London and New York. Pistol 
 Copeland, Stoke-on-Trent. Porcelain, earthenware 
 Cormann, Brussels. Birdcage, bracket . 
 
 Craven & Harrop, Bradford. Table-covers, kc. . 
 Cumbeiiworth, Paris. Yase .... 
 Cutts St Co., Sheffield. Chandeliers, lamps . 
 Daniell & Co., London. Porcelain 
 Delicourt, Paris. Paper-hangings 
 Doulton, Lambeth and Liverpool. Pottery 
 Elkington & Co., Birmingham. Electro-platc 
 Ellis, Sheffield, Ship Figure-head . 
 
 Ferguson, Miller, Si Co., Glasgow. Terra cottas 
 
 Forrest, Dublin. Embroidery 
 
 Frt, Dublin. Tabinets .... 
 
 Gardner, Dublin. Fountain 
 
 Garnside Pottery Works. Terra-cottas 
 
 Garrard & Co., London. Plate 
 
 Goggin, Dublin. Brooches 
 
 Hardman, Birmingham. Ecclesiastical furniture 
 Harris k Son, Birmingham. Glass . 
 
 Higgins, London. Silver knives, forks . 
 
 Holden Sc Co., Belfast. Embroidery . 
 Houldsworth, Manchester. Embroidery 
 Hutton, Dublin. State carriage 
 Irish Antiquities . . . • 
 
 Jackson k Graham, London. Sideboard, carpets 
 
 47 
 12 
 , 33 
 10 
 
 42 
 17 
 52 
 15 
 28 
 
 57 
 ', 50 
 
 62 
 
 43 
 14 
 56 
 
 58 
 
 63 
 56 
 3, 42 
 24 
 
 8, 62 
 36 
 
 24 
 
 25 
 7, 40 
 
 4 
 
 5 
 
 44 
 62 
 
 58 
 
 49 
 
 51 
 
 63 
 
 64 
 53 
 46 
 35 
 
 9 
 
 45 
 62, 63 
 
 Jennens & Bettriboe, Birmingham. Papier mtlche cabinet w 
 Jones & Son, Dublin. Loo table 
 Kean, London. Dagger . 
 
 Kinnard, Falkirk. Iron castings 
 Kerr, Worcester. Porcelain .... 
 
 Ladies’ Guild, London. Glass ornaments 
 Leake & Co., London. Embossed leather . 
 
 Leclero, Brussels. Chimney-piece .... 
 
 Levein, London. Cabinet-work .... 
 
 Lienard, Paris. Wood-carvings • 
 
 Marsh, Berlin. Terra-cottas • 
 
 Martin, Paris. Iron castings .... 
 
 Matifat, London and Paris. Bronzes 
 Mater, Longport. Porcelain .... 
 
 Miller, Edinburgh. Yase .... 
 
 Moses, Dublin. Pianofortes ..... 
 
 Paillard, Paris. Clocks, caskets, candelabrum, Sic. 
 
 Penny, London. Metallic chasings 
 Perfect Si Co., Halifax. Table-covers, curtains . 
 
 Perry, Taunton. Wood-carving 
 Phillips, London. Jewellery, Sic. 
 
 Pierce, London. Stoves, fenders .... 
 
 Pim, Dublin. Tabinets . . • • 
 
 Potts, Birmingham. Decorative metallic works, monuments 
 Rettie & Sons, Aberdeen. Granite ornaments . 
 
 Richardson, Stourbridge. Glass. 
 
 Roberts Si Slayer, Sheffield. Flower vase . 
 
 Robertson, Carr, Si Steel, Sheffield. Stoves, fenders 
 Robinson, Belfast. Vase ..... 
 
 Rogers, London. Wood-carving • 
 
 Rose, Coleport. Porcelain . 
 
 Rudolphi, Paris. Jewellery, cups .... 
 Sangster, London. Umbrellas, parasols . 
 
 Sevres, National Manufactory. Porcelain . 
 
 Sykes, Sheffield. Tobacco-box .... 
 
 Tylor Si Son, London. Lamps, chandeliers, Sic. 
 
 Villemsens, Paris. Bronze works 
 Walker, Belfast. Linen band .... 
 
 Walton Si Co., Wolverhampton. Ironware 
 Waterhouse, Dublin. Jewellery . . . • 
 
 Wertheimir, London. Jewel caskets, Sic. . 
 
 West, Dublin. Jewellery, mace . 
 
 Williamson, Belfast. Clock .... 
 
 Winfield, Birmingham. Metallic furniture . 
 
 Zimmerman, Frankfort. Candlestick . 
 
 TAGE 
 
 ork 13, 34 
 62 
 20 
 
 60 
 
 51 
 16 
 58 
 22 
 24 
 11 
 
 7 
 
 S, 53 
 61 
 45 
 50, 58 
 14 
 12, 43 
 61 
 10 
 
 26, 27, 28 
 . 15, 26 
 
 40 
 18, 19 
 
 32, 33, 34 
 30 
 
 52 
 20 
 45 
 
 1 
 
 48 
 2 
 
 50 
 31, 53 
 
 53 
 6 
 
 38,54 
 
 38 
 
 39 
 
 29, 48 
 20 
 
 41 
 
 54 
 
NO. AN.b B AQC H 
 

a flat Hanging Shelf, or Bracket, made to 
 support a group in basso-relievo, or some such 
 
 Bracket, iu box-wood, relieved by the insertion 
 of a mask in tbe centre, and dolphins at the 
 sides. With the exception of the ornament at 
 the foot, tbe whole is formed of a solid mass 
 of hai'd box-wood, aud is as interesting for the 
 
 l^ltOM among the more delicate works contri- 
 buted to the Exhibition by Mr. W. G. 
 Rogers, of London, we select four. The first 
 is a Cop, about five inches high, carved in 
 
 school than the graceful negligence of old French 
 decorative Art. Beneath the frame we engrave 
 
 box-wood, with raised foliage, in the Italian 
 style of the sixteenth century. The next subject 
 is a heart-shaped Miniature Frame, in boxwood, 
 presenting less the features of the severe Italian 
 
 object of moderate projection. The last subject 
 on this page is a very elaborate Elizabethan 
 
 mechanical skill and patience which it presents, 
 as for the taste of its design and finish. It is 
 gratifying to find Mr. Rogers upholding the high 
 reputation he has long since acquired by a rare 
 combination of persevering industiy with genius. 
 
 1 
 
THE DUBLIN EXHIBITION 
 
 general admiration. His works have' been largely 
 appreciated, and his success has been great in 
 
 The name of Rudolphi, of Paris, is not only 
 familiar in the French capital : the reputation 
 
 proportion. They consist principally of brooches, 
 bracelets, and other “dress decorations;” of 
 toilet bottles, vases, seals, and rings;—in short, 
 
 An examination of this page will show how 
 admirably they are designed, while their execu¬ 
 tion is as elaborately careful as if the hand of 
 an accomplished sculptor only had been em- 
 
 he has achieved in Paris has been extended to 
 England; his collection, shown at the Great 
 Exhibition of 1851, was the theme of very 
 
 perhaps the most beautiful of Rudolphi’s pro¬ 
 ductions are those which depend entirely for 
 their effect upon their merits as works of Art. 
 
 of the various elegant bijouterie which are indis¬ 
 pensable accessories to the toilet, and graceful 
 additions to the table of the drawing-room. 
 
 They are manufactured chiefly of silver, and fre¬ 
 quently enclose valuable stones and gems, usually 
 containing also some pox-tions in enamel; but 
 
 uphold true Art. We have selected from the 
 collection eight of the objects he exhibits; of 
 these two are miniature Vases; two are Toilet 
 Bottles ; and the remaining four are Brooches. 
 
 capable of working out their thoughts on a grand 
 scale, and the manufacturer who circulates such 
 productions may be ranked with those who 
 
 ployed in their construction. And such, indeed, 
 is the fact; the artists who conceive aud model 
 these charming objects in miniature, are fully 
 
OF INDUSTRIAL ART, 
 
 The important collection from the extensive manufactory of Mr. 
 Alderman Copeland, of London and Stoke-on-Trent, includes specimens 
 of nearly every branch of ceramic production, copiously and eminently 
 
 illustrating the perfection to which modern pottery has attained. We 
 can only refer specifically to the objects we have selected for engraving. 
 The Flower-Stand and the Jewel-Casket, of statuary porcelain, in the 
 Renaissance style, are enriched with gold and colours in a very elegant 
 
 and novel style. The porcelain Vase of Raffaellesque design, is an object 
 of exceeding beauty; the foliated ornament and borders arc rendered 
 with much taste in subdued tones of colour; the figures in the centre 
 compartment are painted on a gold ground. 
 
 The large Group, at the bottom of the page, 
 
 combines a variety of the different articles for which this establishment 
 is so justly celebrated; we would especially direct 
 attention to the oblong and square Jardinieres. 
 
 3 
 
mWWBiSBdaBWMMI 
 
 
 THE DUBLIN EXHIBITION 
 
 M. Delicodrt, of Paris, contributes some of 
 his beautiful Paper-Hangings ; engravings from 
 a portion of them appear on this column, and 
 across the bottom of the page. The former ex¬ 
 
 hibits a Panel, and reminds us of certain deco- | 
 rations on the walls of Versailles; the latter, of j 
 very elegant design, is intended for a Cornice. | ornament, but combines solidity with grace and | richness; the caryatides are elegant figures. 
 
 The Clock is from another of the contribu- example of the Louis Quatorze style adopted in 
 tions of M. Paillard, of Paris; it is a fine | decorative works. It is not overcharged with 
 
OF INDUSTRIAL ART. 
 
 engraving, they are in either case entitled to high 
 commendation. The amount of artistic work on 
 such objects of manufacture as these, where the 
 
 graver is so much in requisition, is more than 
 would be presumed by those who have not 
 visited the ateliers of those engaged upon them. 
 
 sphere of action, and in such a variable climate 
 as ours anything that will add to the attractions 
 of the conservatory must be appreciated. 
 
 Mr. S. Wertheimer, of London, contributes 
 a number of very elegant objects, exhibiting his 
 taste as a designer, and the skill of the artists 
 
 whom he employs to woi-k out his designs, in 
 metal-work. We have selected from his works 
 in the Exhibition two Miniature Frames, in- 
 
 Mr. John Doulton, Sen., of the Potteries at 
 Liverpool, exhibits, in connection with Messrs. 
 Henry Doulton & Co., of Lambeth, a variety of 
 
 objects in terra-cotta. The Pendant Flower¬ 
 pots engraved on this column are among their 
 contributions. It is only within the last year 
 
 tended to rest on a table, and two Caskets, of | the style known as the cinque-cento. Whether 
 
 we consider the purity and beauty of the | designs, or the elaborate execution of the 
 
 or two, we believe, that the attention of Messrs. 
 Doulton has been directed to this branch of 
 
 manufacture; but the success they have hitherto 
 met with has induced them to enlarge their 
 
 5 
 
THE DUBLIN EXHIBITION 
 
 This page is devoted to the illustration of some Tylor & Son, of London, proprietors of one of 
 of the works contributed by Messrs. Joseph I the most extensive brass foundries in the 
 
 and inspecting the works they have in hand, 
 and those that are finished, we have little doubt 
 of their soon becoming as extensively known by 
 the elegance of their productions, as they have 
 hitherto been by their magnitude and utility. 
 
 bined with their ordinary productions objects of | candelabra, and fountains. From the opportu- 
 Art-manufacture, such 'as lamps, chandeliers, nities afforded us of visiting their establishment, 
 
 and in so short a time, comparatively, as to sur¬ 
 prise us by the perfect manner in which they 
 came from the mould. The Lamps —in groups 
 and placed singly—are good and original in form, 
 and exhibit much taste and skilful execution. 
 
 The Wheel here engraved is from one of those 
 that supported “Wellington’s funeral car;” it is 
 a fine work of Art: the whole of the wheels be¬ 
 longing to the car were cast by Messrs. Tylor, 
 
 country, principally for scientific and engineer- | ing purposes; latterly, however, they have com- 
 
 
 
 6 
 
OF INDUSTRIAL ART. 
 
 association with the Roman Catholic faith. Some 
 of these are of the precious metals, others of a 
 more ordinary character, but the principal articles 
 
 by Cupids; the lid is surmounted by a child I ornamentation is in harmony and pure taste, 
 with doves; and the whole of the subordinate | It is of bronze, but silvered and gilt. 
 
 Mr. Chubb, of London, has sent several beau- I and ingenuity have made celebrated; we have 
 tiful specimens of the Locks which his skill | engraved from them one Lock of large size, 
 
 This column contains two of the Crosses con¬ 
 tributed by M. Ovide Martin, of Paris, a celebrated 
 manufacturer of objects for church purposes in 
 
 Commencing this column is an engraving of a facture of Paillard, of Paris. The story told 
 very beautiful Casket for the toilet, the manu- | in bas-relief, on the side, is that of Venus arrayed 
 
 of his produce are of cast-iron; they all are of ele¬ 
 gant design, the most part being based upon ancient 
 and established “ authorities ” in “ the Church.” 
 
 and two Key-Handles, as examples of the upon common objects of utility; they remind 
 manner in which Art may be brought to bear us of the best works of the medieval ages. 
 
TTIE DUBLIN EXHIBITION 
 
 From the contributions of M. Matifat, of 
 Paris, we select three—a Fountain, an Ink- 
 stand, and a Vase of very chaste and elegant 
 construction. They are of bronze, the manu¬ 
 
 facturer holding a high position in this 
 branch of Industrial Art. The fountain is 
 especially graceful; the water is made to 
 play, in a very fanciful manner, from the 
 
 one of many works of this order produced by M. Matifat, 
 whose taste places him foremost among the bronze manu¬ 
 facturers of Paris. M. Matifat also conducts, although 
 partially, his establishment in London, and he has re¬ 
 cently executed many works for the connoisseurs of this 
 country; especially he has produced several bronze can¬ 
 delabra for Lord Londesborough ; and his project is, we 
 
 bulrushes that are prominent among the 
 groups of aquatic plants, while an abundant 
 stream pours over three escalop shells into 
 the basin underneath. The inkstand is one 
 
 of the best productions of its class; the 
 design is not only pure, but the workman¬ 
 ship is clear and sharp, and the form is con¬ 
 venient as well as atti'active. The vase is 
 
 believe, ultimately to settle permanently here. The 
 present state of France is such as must inevitably lead 
 many of its best producers and most skilful artisans to 
 England; the results cannot be otherwise than beneficial 
 to us; we may now derive as much value from their 
 services in metal as we did long ago with regard to silk. 
 
 

 
 
 
 niM.TSHRtr Pri* 'NiK HROKI.iV 
 
OF INDUSTRIAL ART 
 
 have had, on more than one occasion, of carefully examining 
 what it sends forth, satisfy us of the really artistic and 
 mechanical skill bestowed upon design and execution. The 
 
 figures introduced into it, is very elegant; 
 the ornaments on the massive handle of 
 the Fish Slice are most delicately wrought; 
 
 The productions in silver of Mr. F. 
 Higgins are far above the ordinary cast 
 of similar works; his establishment is 
 
 engravings on this page afford our readers the means of 
 judging how far we are correct in our commendation of the 
 
 limited, as we believe, almost, if not quite, 
 exclusively to the manufacture of knives, 
 forks, and spoons; the opportunities we 
 
 art of design ; the workmanship of these beautiful objects is 
 in no degree inferior. The lar^e Spoon, which the manu¬ 
 facturer calls the “ charity spoon,” from the emblematical 
 
 and the Knife-Handles and Spoons ex¬ 
 hibit originality combined with pure taste 
 —qualities absolutely essential to merit. 
 
THE DUBLIN EXHIBITION 
 
 or-molu, in which mountain gems and rare stones are set. We introduce on 
 
 especially a vase of flowers,—at the Exhibition of 1851, at once made the 
 artist famous. The upper bracket is emblematical of Great Britain ; the 
 
 and an Inkstand. They are of good and graceful designs, and the execution is j lower one symbolises our colonial possessions in Asia, Africa, America, 
 highly creditable. Parts of them are in relief, and parts skilfully engraved, and Australia ; an example of the produce of each is introduced. 
 
 Mr. Asprf.y, of London, contributes a selection of articles for which his J The Pair of Brackets, richly carved in lime wood, and engraved on 
 establishment is justly celebrated. These consist principally of objects in this page, are the work of Mr. Perry, of Taunton, whose productions.— 
 
 
 this page three of his productions—a very beautiful agate Cop, a .Jewel Case, j 
 
 10 
 
From the renowned establishment of Marsh, 
 of Charlottensburg, near Berlin, have been con- 
 
 ! throughout Germany ; the objects produced there are for 
 | the most part designed by accomplished artists; the 
 
 The productions of this establishment are, 
 iu nearly all instances, exceedingly beauti- 
 
 examples; they are of hanging and standing ! factory. The prices of this class of Art in Germany are 
 Flower-pots, Vases, Flower-stands, a richly- \ seldom low; tbe articles manufactured are generally 
 
 ornamented Pilaster, and a piece of Frieze I costly in character, the oi’iginal design being liberally ful specimens of terra-cotta, and invariably 
 for balustrades. This manufactory is celebrated | paid for; and the purchasers are comparatively few. the colour is pure,—of a rich red pink. 
 
 manipulation is peculiarly sharp and good, and altogether 
 the produce of the works is in the highest degree satis- 
 
 tributed a large collection of works in terra 
 cotta, from which we select the following l 
 
 11 
 
Mr. Pennt, of Loudon, an in¬ 
 
 genious and highly meritorious 
 manufacturer of metal work for 
 
 saddlery and other purposes, con- I 
 tributes a small case of Skewers, ' 
 
 TIIE DUBLIN EXHIBITION 
 
 Knife-rests, &o., in electro-plated 
 metal, very excellent in design 
 
 | This very beautiful Fountain is contributed by 
 | M. Andre, of Paris, an establishment renowned for its 
 productions in iron-casting. This work is in 
 cast iron, and must be regarded as a fine 
 
 and pure effort of Art. The design is by the justly 
 famous Lienard. It is not only pure in conception and 
 arrangement, but the casting is remarkably 
 good, sharp and clear, and most effective. 
 
 and character, and at cheap cost. 
 

 
 
 
 
 
 '.OSDOTJ. VRSUSHBD FOR THU PROPRIETOR3 . 
 
EARLY SORROW, 
 
 ENGRAVED BY W.ROFFE. FROM THE STATUE BY P.MAC DOWELL. R.A. 
 
 1H THE EXHIBITION 01' THE INDUSTRY OF ALL NATIONS. 
 
 
 ■)WOOT!. TYBLWHKD FOR TH3 PROPR1ETOK 
 
OF INDUSTRIAL ART. 
 
 question. The Screen Mirror, which may also 
 be transformed into a table, the Casket at the 
 top of this column, the Tea-Chest, ornamented 
 
 will be found associated with the names of those 
 parties for whom they have been made. We 
 
 Mr. Mansfield, also of Dublin. Some of the 
 
 are not retail dealers, except in Loudon, the 
 works exhibited in the Dublin “Crystal Palace' 
 
 with geometrical forms, and one of the Work- 
 Tables, are exhibited by Mr. Austen, of Dublin. 
 
 tea-trays in their collections are very beautiful. 
 
 have selected a number of objects for engraving, 
 which occupy this page; they are all charac- 
 
 The Papier-Mache productions of Messrs. 
 Jennkns & BettRIDGE, of London and Birming- 
 
 terised by the taste and beauty of ornament The remainder of the objects are exhibited by 
 which distinguish the works of the firm in 
 
 ham, will not fail to attract notice, from their j 
 excellence and variety. As these manufacturers j 
 
 13 
 
THE DUBLIN EXHIBITION 
 
 The Candelabrum occupying the space below is from the establishment of 
 M. Paillard, of Paris. Engravings from other works contributed by him appear 
 on other pages of the Catalogue. This object of manufacturing Art is large in 
 size, but the proportions are good, and the general form of unquestionable excel¬ 
 lence, while it possesses a degree of lightness in appearance not often found in a 
 work of such dimensions. The upper portion of the design is especially elegant, 
 
 The three Ornaments in papier-milch^, which are engraved on 
 this column are from the contributions of Mr. Bielefeld, of 
 
 and harmonises well with the base and column. The work is altogether of a high 
 class, evincing taste of no ordinary kind in the producer. The metal-workers of 
 France still uphold the high reputation they have so long enjoyed, and which they 
 have unquestionably merited; but they are not now undisputed masters of the field. 
 Without entering upon any specific comparison, we believe, and are gratified to 
 feel, that our own manufacturers are beginning to dispute the palm with them. 
 
 three months since we gave a notice of some very beautiful 
 specimens Mr. Bielefeld had executed for the Pacha of Egypt. 
 
 London, whose name in connection with this description of Art- 
 manufacture must be familiar to our readers. The use of papier- 
 
 mdch4 for internal decorative architectiu-e is every year becoming 
 more extended, both at home and abroad. It is only two or 
 
 14 
 
THE DUBLIN EXHIBITION 
 
 purposes, the application of Embossed Leather, 
 from its pliability, but more especially from its 
 
 . , ..mental Moulding, a Book-Case, containing 
 
 Writing-Desks, Work Boxes, &c., &c.,the whole 
 durability, is entitled to consideration. For of which are of this embossed leather, designed 
 cabinet-work, decor.iti ms in the interior of' and worked out with taste of no ordinary kind. 
 
 I _ 
 
 The high relief which the process of manufacture 
 imparts to the leather would scarcely be credited 
 by those who had not carefully examined it, as in 
 the caryatides on the lower part of the Bookcase. 
 
 dwellings, picture-frames, and many other simi¬ 
 lar objects, which will be sufficiently obvious, 
 it is peculiarly adapted; and, considering the 
 excellence that modern science has aided to 
 
 effect in this material, we are surprised it is 
 not more extensively used than we find it to be : 
 for if it lacks the extreme sharpness and delicacy 
 which the wood-carver is able to give to his 
 
 work, it is susceptible of an equal degree of 
 boldness and beauty of design, besides possessing 
 a merit which the latter has not—that of less 
 cost. Messrs. F. Leake & Co., of London, have 
 
 long carried on this branch of business with 
 great success ; .on thi3 pajre are introduced en¬ 
 gravings from some of their contributions to 
 the Dublin Exhibition, — Panels, an Orna- 
 
THE DUBLIN EXHIBITION 
 
 The manufactures in bronze of Mr. W. Potts. 
 of Birmingham, have acquired the very highest 
 celebrity; very many of his productions may 
 take their place beside the best modern conti¬ 
 nental works, and we consider them of sufficient 
 importance to devote two pages for the purpose 
 of illustrating a few of his contributions to the 
 Dublin Exhibition, especially as there are among 
 
 the network, 
 
 Mr. P. C. Hardwick, architect, for Mr. Strode, 
 of St. Martin's-le-Grand, and is destined to hang 
 in the coffee-room at the Great Western Hotel, 
 Paddington. We now come to the second, and 
 in many respects the more important page, con¬ 
 taining examples of Mr. Potts’s patented Sepul¬ 
 chral Monuments, and in remarking upon them 
 we consider it best to quote the patentee’s own 
 
 design; it has been executed from a design by 
 
 description of the manufacture, if such a term 
 may be applied to what are strictly Works of 
 Art. He says he was “ led to adopt the inven¬ 
 tion from a knowledge that the deposition of 
 metal-work ensured true types of the model 
 with it3 expression unimpaired, while the under¬ 
 cut surfaces allowed of perfection in outline, 
 and of the bold shadows on which artistic force 
 
 them some of an entirely novel nature,—his 
 “ Sepulchral Monuments.” The first engraving 
 on this page is a Plinth for a candelabrum, five 
 feet in height, and of light and elegant propor¬ 
 tions ;• the next is a design for a Clock, in the 
 Persian style, the circle in the centre being in¬ 
 tended for the numerals; by its side is a Fire¬ 
 screen, with a telescopic tube; by turning over 
 
 so much depends. The mounting of sculptural 
 works in bronze with architectural framings or 
 supports in marble or stone, distinguishes the 
 subjects of the designs, and produces a greatly 
 
 the top it may be converted into a chess-table 
 or a music-stand. The Gas Chandelier, com¬ 
 pleting the page, is seven feet in diameter, and 
 is intended for gas, which is introduced through 
 
OF 
 
 INDUSTRIAL 
 
 relieved effect, at a very moderate cost.” 
 Mr. Potts, by a second patent, has pro¬ 
 tected the moulding of sculptural designs 
 on material bearing a high polish, and so 
 closely resembling statuary marble as to 
 allow of the production of fine works of 
 
 to say that the first of the larger monuments, repre¬ 
 senting “ Filial Love," is erected to the memory of 
 
 Mr. and Mrs. W. Churton, of Whitchurch, Shrop¬ 
 shire ; the idea of the composition indicates Chil- 
 
 Art at so diminished a price, that it will 
 placo them within the reach of the middle 
 classes generally ; he thus hopes to aid in 
 popularising high Art by bringing it to 
 bear on works imbued with religious sen¬ 
 timent for the mass of the public. We 
 have no space to comment upon the de¬ 
 signs here introduced (which are modelled 
 
 dren Honouring Parental Memory.” The military I the subject “ Valour’s Dying Moments sustained by 
 monument is to the memory of a deceased officer ; | Fame." The others represent “ Grief lamenting 
 
 by Mr. Jefferson, of Lambeth) except 
 
 the extinguished Lamp of Life and “ Grief supported I by Resignation.” These works are of exceeding merit 
 
THE DUBLIN EXHIBITION 
 
 The two Stoves engraved underneath are from 
 
 the establishment of Messrs. Robertson, 
 Carr, & Steel, of Sheffield, a firm cele¬ 
 brated for their manufacture of articles of 
 this description. The stove first placed is 
 intended for an office or a hall; it shows 
 much neat and appropriate ornament, espe¬ 
 
 cially at the top, which is surmounted by a 
 figure holding a torch. The other is a di-awing- 
 room stove, in the Italian style, which seems 
 now to predominate with our manufacturers. 
 
 The Dagger of Henry VIII. is exhibited by 
 Mr. Charles Kean, the eminent tragedian, who 
 purchased it at the sale of Horace Walpole’s 
 remarkable collection at Strawberry Hill. The 
 handle and sheath are inlaid with jewels, and 
 ornamented with leaves of gold ; 
 the blade is also inlaid with gold. 
 
 The Watch-stand was designed, and the 
 three figures were modelled and cast, by Mr. J. B. 
 Williamson, head pupil of the Belfast School of 
 Design. It is made of bog oak, 
 ornamented with silver, and was 
 
 presented by the students of the above school, 
 at the last conversazione, to their President, Lord 
 Dufferin and Clandeboye, whosearmorial bearings 
 appear on the front of the tripod, 
 as a testimonial to his lordship. 
 
 20 
 

 OF INDUSTRIAL ART, 
 
 From the important establishment of Messrs, numerous other manufactures of a similar nature, is a very elegant Sideboard, that shows much 
 Jackson & Graham, of London, we find, among | the three objects which till this page. The first I originality of ornament, united with great taste 
 
 in its general design ; the fish and game which I carved, and are emblematical of the uses to I room. Below this is a Hearthrug, ornamented 
 occupy the end panels respectively, are admirably | which the sideboard is applied in the dining- | in the centre with the Victoria Regia lily, very 
 
 beautifully executed ; the pattern of the floriated I in colour. The last engraving represents the I design, the running scroll exhibiting considerable 
 border that surrounds it is rich, and harmonious | Border of a Carpet ; it is light and chaste in | variation in its ornamental pattern 5 of flowers. 
 
 21 
 
OF INDUSTRIAL ART. 
 
 some elaborate ornament; and the Drawing-room Stove that follows is 
 
 We continue on this page illustrations from other objects sent by the 
 Colebrook Dale Company. While inspecting their numerous contri¬ 
 butions it struck us as somewhat singular that in none of the designs 
 has the Gothic style been adopted, one so admirably calculated for iron¬ 
 work of every description; one also which, we should think, would be 
 
 demanded by those who have the building and finishing of residences in 
 this style, now rather fashionable, although the prevailing taste tends, 
 
 graved. The first is a Table for the lawn or summer-house; enriched with 
 leaves and flowers. The Stove by its side, intended for a hall, also shows 
 
 perhaps, rather to the Italian style, as exhibited in the works here en- 
 
 a fine bold example of manufacturing Art in design and workmanship. 
 
 23 
 
THE DUBLIN EXHIBITION 
 
 We commence this page with an engraving 
 of one of the far-famed Revolving Pistols of 
 Colonel Sam Colt, who has now a manufactory 
 
 in London as well as in New York. He contri¬ 
 butes to the Exhibition several rifles and pistols 
 of varied descriptions ; generally, however, 
 
 simple in style. We have engraved that which 
 exhibits not only the character of the work, but 
 the ornamentation to which it has been subjected. 
 
 M. Lienard, of Paris, contributes one of his j consists of a group ot dogs amid foliage. We 
 exquisitely carved works in wood—an art in have preferred, as more suitable for our pages, 
 which he has no superior. This production | and as more suggestive to the manufacturer and 
 
 the artist, one of various Drawings —the designs 
 of this accomplished artist, of which he exhibits 
 several. This is one of four subjects emblematic 
 
 of sports, as will be seen; that we have selected 
 has reference to the craft of the fisherman, 
 symbolised by a number of piscatory objects. 
 
 the works of her late husband; that which we 
 here engrave is a Vase in bronze, of antique 
 form, very gracefully designed and executed. 
 Mr. Cumberworth, an Englishman by descent, 
 was a pupil of Pradier, the French sculptor. 
 
 The widow of the late eminent sculptor, 
 Cumberworth, of Pains, contributes several of 
 
 24 
 
OF INDUSTRIAL ART. 
 
 and is surmounted by a pelican and her young. 
 The upper part of the Cup is of cut glass, orna¬ 
 mented with gold, the base aud stem are of 
 
 silver; it is a very beautiful object. The Brooch, 
 in the cinque-cento style, is also of silver ; the 
 centre is composed of a magnificent ruby. The 
 
 next object is a kind of Salt-cellar, more for 
 ornament than use, however ; it is of gold, very 
 elegantly set with emeralds. The last is a 
 
 Dagger-hilt, in the medieval style, elaborately 
 engraved, and set with precious stones. The 
 whole of these manufactures are pure in design. 
 
 Messrs. Walton & Co., of Wolverhampton, | riority of the manufactures of this firm arises 
 
 are extensive contributors of useful ob¬ 
 jects in what is generally termed “light 
 iron-ware,” from which we have selected a 
 Water-jug, Ewer, and Vase. The supe- 
 
 from a process, patented by them, whereby 
 the surface of the metal is preserved from 
 oxidation ; this is effected by fusing, at a 
 white heat, a coating of white glass or 
 
 enamel, previously ground to an impalpable | powder with water on the surface which requires 
 
 protection, so as to give it the appearance of | earthenware; its cleanliness is thereby greatly 
 
 facilitated. By this process metallic articles for 
 toilet use, culinary utensils, cups, plates, &c., 
 
 which will not break, may be brought into gene¬ 
 ral use, with the recommendation of cheapness. 
 
 27 
 

EIGHT. 
 
 FROM THE ORIGINAL BAS- RELIEF ' BY THORVALDSEN. 
 
 IN THE COLLECTION OF HIS GRACE THE DUKE OF DEVONSHIRE. AT CHATSWORTH 
 
 *2 
 
OF INDUSTRIAL ART. 
 
 Mr. West, of Dublin, contributes the series of 
 Brooches from which we select varied examples, 
 all being very tasteful in execution and remark¬ 
 able in design. Mr. West has obtained his 
 
 which time the only peculiarly native ornamental 
 work, was the construction of bracelets and 
 brooches from bog-wood. The great beauty and 
 
 same dies used for jewellery will enable all 
 classes to wear these beautiful ornaments. At 
 
 elaboration displayed in these antique works 
 render them applicable to the decoration of the 
 person in these days of refined elegance, as they 
 are of a character which time does not change, 
 and of a fashion so tasteful that it may be as 
 
 prototypes from antique originals, preserved in 
 the Royal Irish Academy and elsewhere, and 
 which have given a great impetus to this parti- 
 
 the bottom of the page we engrave Mr. West’s 
 
 welcome to the lady of the present age, as it was 
 to “the Daughter of Erin” centuries ago. We 
 rejoice to see this beautiful native manufacture 
 extensively patronised; and the power now 
 possessed of stamping the bog-oak with the 
 
 most important work; a magnificent Casket pre¬ 
 sented by the people of Dublin to Lady Claren- 
 
 cular branch of manufacturing Art in the Irish 
 capital within the last few years; previous to 
 
THE DUBLIN EXHIBITION 
 
 I It is much to be regretted that so few of the ( 
 emineut glass-manufacturers of England have | 
 thought it a duty to contribute their respective I 
 contingents to the Industrial Exhibition in the | 
 
 sister island. We miss from the interior ot the 
 building many names whose productions could 
 not fail of adding to its interest. They, however, 
 
 Salt-cellar of massive crystal, prismatically 
 cut; the Jug which follows has a beautiful and 
 classic outline, resembling some antique. The 
 
 Decanter is excellent in form, and the body of 
 it is very originally ornamented. The first large 
 Group presents some elegant objects in pure 
 
 crystal, engraved glass, and in glass enriched I other subjects, the Decanter, Wine-glasses, 
 with colours. The Centre-piece and Dish in &c., possess merits in design and ornament 
 the second Group are most elegant, while the | which are too obvious to bo disregarded: the 
 
 who have not held back are well represented ; 
 the few stalls of glass to be seen are in all 
 respects brilliant, among which is that of Messrs. 
 
 Richardson, of Stourbridge, from whoso con- j form of the Decanter is very original as applied 
 tributions we have selected a number to fill I to modern glass, and appears to have been 
 this page. The first engraving represents a borrowed from an Etruscan model in its outline; 
 
 the Goblet and the Wine-Glass have evidently 
 been suggested, as to their shape, by that never- 
 failing source of invention, the vegetable kingdom. 
 
 30 
 

 OF INDUSTRIAL ART. 
 
 Sevres, by the especial desire of the Emperor 
 
 sent from Sbvres, has the superintendence of 
 the artistic department. We have selected for 
 illustrating this page three Vases of admirable 
 design and workmanship. The first is in the 
 style of the Renaissance, one well adapted by 
 
 its elaborated decoration for works of this 
 description : this vase is remarkable for the 
 well-balanced proportions of the neck and the 
 foot, and for the novel manner in which the 
 body is ornamented. That which follows is 
 
 much more massive in its general features, and 
 more minute in the details of its decoration. 
 The large Vase is ltaffaellesque, exhibiting light 
 and graceful scroll-work, festoons of flowers, and 
 other ornaments peculiar to this style. 
 
 Exhibition a beautiful collection of Porcelain 
 Works. This establishment sustained a severe 
 loss last year in the death of M. Ebelman, its 
 director. M. Dierterle, who has courteously 
 supplied us with several drawings of objects 
 
 The fnr-faraed Imperial Manufactory at 
 
 Louis Napoleon, has forwarded to the 
 
it is a Bracelet made of the native granite, the I stone is set in silver, but its value is derived 
 i rn | from its pure simplicity; yet it is surprising 
 
 judiciously selected, tastefully cut and set as in 
 the examples we give here and elsewhere. 
 
 into what elegant ornaments such ordinary 
 natural materials “ make up ” when they are 
 
 TIIE DUBLIN EXHIBITION 
 
 Mr. Andrews, of Ardoyne, Belfast, the emi- I exhibits several of his beautiful fabrics; an I called the “ Fern Eustic Pattern; ” the sprigs 
 nent manufacturer of Damask Table Cloths, | engraving from one of them is here given. It is • occupying the centre are drawn from nature. 
 
-:;r: : -W ''AJ 
 
 H 
 
 OF INDUSTRIAL ART. 
 
 This engraving is from another of the Damask which he Btyles the “Clarendon pattern,” ini border of the linen is a mass of floriated orna- 
 Table Cloths of Mr. Andrews, of Belfast, I compliment to a former viceroy of Ireland ; the | ment, judiciously and effectively arranged. 
 
 The Bracelet is another of those manufac- | tured and exhibited by Messrs. Rettie & Sons, | of Aberdeen; it is of amber, mounted in silver. 
 
THE DUBLIN EXHIBITION 
 
 the rose, shamrock, and thistle, ornamentally 
 arranged, the shamrock predominating. In the 
 centre is a cameo-painting, symbolical of Ireland. 
 
 Bettrtdge, of London and Birmingham, and ex¬ 
 hibited by Mr. Mansfield, of Dublin. It is very 
 elaborately decorated with the “Union” emblems, 
 
 The upper half of this page is occupied by an 
 engraving from a Tea-Tray, manufactured ex¬ 
 pressly for Ireland, by Messrs. Jennens & 
 
 The remaining objects on the page are from 
 a few more of the contributions of Messrs. 
 Rettie & Sons, of Aberdeen, whose names ap- 
 
 class of industrial art, which has ever since 
 manifested great improvement; every descrip- 
 
 ely engraved. The small Broocii 
 •namented with blue enamel; and 
 
 inconsiderable amount of skill on the part of 
 the artisans employed by the manufacturers. 
 
 tion of work in the precious metals shows a more 
 cultivated intelligence in the manufacturer. 
 
 There can be little doubt but that the Great 
 Exhibition of IS51 was of great service to this 
 
 the third Brooch is of plain silver. The execu¬ 
 tion of all the works of Messrs. Rettie shows no 
 

THE DUBLIN EXHIBITION 
 
 Messrs Craven * Harbor, of Bradford, con- | and wool—in extensive use for curtains, table- this article is applied. The fabric ni excel- 
 tributu largely their productions In mixed linen | covers, and the various other purposes to which ! lent, and is manufactured by greatly improved 
 
 peculiarly their' own The designs i. ction, indeed, there is not one decidedly had. • patterns, one of shells and sca-woed .and another 
 are aU of considerable merit; in the whole col-| We have been enabled to engrave but two | of the vine and its fruit, both tastefully arranged. 
 
 The Fender is 
 
 . HI _. . . ..—- —- n 
 
 exhibited by Messrs. Benham & Sons, of London, a firm of extensive connec- ! creditable to the ingenuity of the designer. 
 | tions as furnishing ironmongers. There is little 1 
 novelty in the actual design, but the artistic j 
 manner in which the floral ornamentation is dis- 
 posed is most agreeable to the eye, and highly | 
 
OF INDUSTRIAL ART. 
 
 design, and in delicacy of workmanship, these 
 beautiful objects merit high commendation. 
 
 some device substituted for the heads which fill 
 the circular mouldings; they are scarcely in 
 keeping with the other ornamental parts ; the 
 panels of this stove are of blue iron; its whole 
 
 appearance is attractive as a work of Art-manu¬ 
 facture, and, we should suppose, it would be found 
 more serviceable in heating a room than the 
 other, as the fire-chamber is brought forward. 
 
 The two Vases are selected from the extensive 
 contributions, in statuary porcelain, of Mr. 
 
 The two Stoves for drawing-rooms that occupy the fender on the preceding page. The first of 
 a prominent position on this page, are also j these stoves is remarkable for its simplicity, 
 selected from the contributions of Messrs. | still there is an elegance in the design that 
 Benham & Sons, of London, the exhibitors of amply atones for the absence of elaborate orna¬ 
 
 ment ; the figures which seem to support the 
 wreath are of bronze, the mouldings of or-molu: 
 both metals serve to enrich and heighten the 
 I effect of the polished steel that surrounds them. 
 
 The second stove is of a more decorated ordor, 
 and of a good kind ; the enriched mouldings, of 
 or-molu, are designed with more than ordinary 
 taste; we should, however, have rather seen 
 
 Alderman Copeland, of Stoke-on-Trent, and 
 Loudon. In form, in elegance and purity of 
 
(ijgpp^ 
 
 OE INDUSTRIAL ART. 
 
 Messrs. Waterhouse, of Dublin, exhibit many 
 specimens of the ornamental brooches they so 
 
 manner the high state of the Art of the gold¬ 
 smith and jeweller, as practised in Ireland in 
 
 all their modern works are strict copies of the 
 antique in every particular. Dr. Petrie is of 
 
 important relic of the kind yet discovered in 
 Ireland, and of the utmost value as a proof of 
 the state of Art iu former ages, and curious as 
 developing a taste among a people who, till 
 
 tastefully fabricate in imitation of the antique 
 originals which have been discovered at various 
 times in Ireland. Of these the most important 
 is the large Tara BroocIi, both sides of which 
 wo engrave, and which exhibits in a very marked 
 
 their greatest perfection, namely, the eleventh 
 or perhaps the earlier part of the twelfth cen¬ 
 tury ; to the perfection with which the work 
 has been executed, Mr. Waterhouse testifies 
 when he says that the gold wire of which the 
 inlaid designs in the front are made and mounted 
 on flat plates, has defied the best filagree 
 workers of the present day to account for its 
 manufacture; for, unlike works of Art in gene¬ 
 
 ral, the more highly the brooch is magnified, I the more elaborately ingenious the work ap¬ 
 pears, developing patterns undiscernible to the 
 | naked eye. Indeed, it is the most beautiful and 
 
 within the last century, were considered igno- I rant of almost everything appertaining to Art. 
 
 ancient days; for it must be remembered that 
 
 opinion that the royal Tara brooch was made at 
 the period when the Arts in Ireland had reached 
 
f 
 
 THE DUBLIN EXHIBITION 
 
 This colama contains engravings from the 
 works manufactured at Coalport, and contri¬ 
 buted by Messrs. Daniell, of London, some of 
 
 whose examples appear also elsewhere. Those 
 which follow are of a Vase, graceful in design, 
 
 From the varied and very beautiful examples Dublin, we select two ; the first is of white, with 
 of Tabinet, manufactured by Messrs. Pim, of | flowers—roses—in colours ; the other a delicate 
 
 ground of lilac, with pink stripes and spots, the | flower-pattern relieved in white. 
 
 and painted with much taste; a very beautiful 
 Bracket, and a Group consisting of two Vases, 
 
 establishment maintains the reputation of the i eminent. The stock they exhibit cannot fail to 
 fabric, for which Ireland has long been pre- be attractive, especially to the English tourist. 
 
 after the models of the old Dresden, the Centre¬ 
 piece of a dessert-service, andaCupaud Saucer. 
 
 40 
 
LONDON . PUBLISHED FOR THE PROPRIETORS 
 

 OF INDUSTRIAL ART. 
 
 On this page are illustrations of four 
 objects selected from the contributions 
 of Mr. R. W. Winfield, of the Cambridge- 
 streot Works, Birmingham, who in the 
 
 bowl ” is of semi-porcelain. The bronze Cande- delicate workmanship. The establishment of Mr. 
 LABRUM which follows is graceful in its proportions, | Winfield has long been distinguished for its metallic 
 
 chaste in its pseudo-antique style, and 
 in execution is remarkable for sharp and 
 
 Bedsteads ; we have introduced one of 
 peculiar excellence ; it is of brass, richly 
 
 ornamented ; the sweeping lines from the top, which J here applied, are very graceful ; the pillars are 
 support the basket, a novel and pretty object as ; massive, but present no appearance of heaviness, 
 
 utility, and as articles of decorative Art- 
 manufacture. The first w r e have en¬ 
 graved is a brass Lamp, pure in its form, 
 and simply but tastefully arranged, the 
 
 while the rigidity of the straight lines is broken by 
 the central ornament; the scroll-work at the head 
 and foot is gracefully arranged. The Console Table, 
 
 in the Louis Quatorze style, is of brass, matted and 
 burnished ; it is intended to be fixed to a wall by 
 staples, hence the absence of two of its legs. 
 
 Dublin Exhibition, as in the Crystal 
 Palace of London, is conspicuous for 
 the excellence of his numerous metallic 
 productions, both in reference to their 
 

 
 THE DUBLIN EXHIBITION 
 
 specimens of the Renaissance style of design. The 
 Umbrella Stand is a capital idea well carried out. 
 
 and figured tabourets, &c. &c. The designs we 
 have selected as examples of their ornamented 
 
 fabrics are chosen to exhibit the taste which cha¬ 
 racterises the productions of this firm generally. 
 
 | extensive producers of brocaded and gold- | barred poplins, of gold tissue, striped furniture, 
 
 this branch of business, for which Ireland has | long been famous. Messrs. Atkinson are 
 
 On this column are introduced engravings 
 from three objects among the contributions of 
 the Coalbrookdale Company, which we have 
 
 The three subjects occupying this portion of 
 the page are from the Tabinet manufactory of 
 
 Messrs. R. Atkinson & Co, of Dublin, an 
 establishment of the very highest eminence in 
 
 already referred to. The first is from a Bracket 
 for a gas-burner ; it is light in its character, and 
 

 
 OF INDUSTRIAL ART. 
 
 The five engravings which immediately follow 
 are from the contributions of the Royal Porce¬ 
 lain Works at Berlin, long celebrated through¬ 
 out Europe. The first is a Vase, of most 
 
 small Cup pleases us greatly by its form and 
 
 Mr. Penny, of London, has executed with 
 considerable ability an elaborate Bridle in 
 silver, in the style of the Elizabethan period, 
 
 “ face-piece,” the ornament occupying the front 
 place between the horse’s eyes. From Mr. 
 
 out by pure taste. The Group completing our I spare to criticise the objects, but their beauty 
 selection would occupy more space than we can is too obvious to require specific allusion. 
 
 Penny’s contributions to the Exhibition we also 
 engrave two silver Knife-rests, of Louis Qua- 
 torze pattern, from the same artist’s designs. 
 
 from designs furnished by Mr. W. Harry Rogers. 
 All the various ornaments introduced are in ex¬ 
 
 elegant proportions; the handles are happily 
 designed, and the body of the vase is decorated 
 with some classically designed groupings. The 
 
 Vase placed below it is characterised through - 
 
 cellent keeping. From this production we select 
 two little morceaux, the first a kind of truss, 
 supporting the Royal crown, and the second a 
 
 43 
 
THE DUBLIN EXHIBITION 
 
 Messrs. Elkington & Co., of London and 
 Birmingham, are contributors to an extent, and 
 
 in a manner which well sustains the reputation 
 
 men in this single establishment. On this page 
 will be found illustrations of several objects we 
 have selected as examples of the contributions 
 
 of this firm. The Vase we have chosen for the 
 uniqueness of its design, and its excellent orna¬ 
 mentation. The next represents a Salt-cellar ; 
 
 they have gained in the manufacture of patent 
 
 electro-plated articles, that now so generally 
 
 supersede the use of silver, and which employ 
 to produce them upwards of five hundred work- 
 
 a young Neptune, a shell, marine figures and I with some modifications, but not out of harmony, 
 plants make up this pleasing composition. Then A Dish for rose-water completes the column; 
 follows a Toilette-Box, in the cinque-cenlo style | its presiding genius is, not inappropriately, 
 
 another young Neptune. The Inkstand on the I brum, in the Louis Quartorze style, is good, and 
 next column is much to our taste ; it shows it exhibits novelty in the scrolls that support the 
 sufficient ornament to render it elegant without sconces. We devote also another page to the 
 destroying its simplicity. The large Candela- admirable works of Messrs. Elkington & Co. 
 
 44 
 

OF INDUSTRIAL ART. 
 
 The Irish Embroidered Work has obtained 
 wide renown; that which wc here engrave is 
 from the establishment of Messrs. John Holden 
 & Co., of Belfast, whose contributions to the 
 
 Exhibition are very numerous and valuable. 
 Generally, this class of work has been materially 
 improved by the skill of competent designers ; 
 a few years ago the models selected were of a 
 
 miserable character. The Government School 
 of Design which now flourishes in the capital, 
 and also in the “commercial capital ” of Ire¬ 
 land, have essentially aided to induce manufac¬ 
 
 turers to resort for help to the artist. This is a 
 matter of vital importance, when we consider 
 the immense amount of labour employed in the 
 production of that class of manufacture which 
 
 is usually termed “ladies work," there being 
 
 perhaps not less than half a million “pairs of 
 hands ” engaged in it, for it is certain that a sum 
 of nearly 150,000Z. is paid monthly in Ireland 
 to the women and girls who are thus occupied. 
 
 The Tazza of Maltese stone, is exhibited by Mr. Millar, of Edinburgh. 
 
 The Vase is carved in grey stone by Mr. John Robinson, of Belfast. 
 
Altar-Vessels and a "Water Pot, Candelabra, I factui’ers also furnish stained glass windows, 
 Candlesticks and Reading-Desk. These rnanu- stone altars, and monumental brasses and effigies, 
 
 THE DUBLIN EXHIBITION 
 
 whether dedicated to the established church of 
 
 these realms, or to any other which may prevail. 
 
 works in this department of Industrial Art, I peculiar merits here. The objects we have 
 renders it unnecessary for us to discuss their | selected from their very beautiful “ court ’ arc 
 
 Messrs. Hardman of Birmingham contribute which fills our present page. The well spread 
 the series of articles for Church Furniture | knowledge of the fitness and beauty of their 
 
 comprising nearly every ai’ticle which may fitly 
 
 come within the walls of a sacred edifice, 
 
 46 
 
OF INDUSTRIAL ART. 
 
 The ornamental Jewellery and Casket which 
 occupy this page are the manufacture of Mr. 
 Acheson, of Dublin, who has given a very dis¬ 
 
 tinct national character to' the works he has are of silver; and have, as central ornaments 
 contributed to the Exhibition. The Bracelets in one instance, the harp of Brian Boroimhe; 
 
 | and in the other a piece of ancient ring-money. 
 
 The Runic Brooches beneath are of peculiar | pattern, being known as the “Hunsterstan | broodies,” andare copied from Scottish examples > 
 
 they have inscriptions in Runic or Icelandic cha¬ 
 racters upon them, and differ in style of design 
 from those whicli are found in Ireland. The 
 Casket is especially an Irish work, and is made 
 
 mountings and national emblems, the jewels 
 being Irish diamonds and amethysts, which are 
 of a large size, and have a peculiarly brilliant 
 effect when mounted on the dark bog-wood. 
 
 entirely of native materials. The wood is the 
 black bog-oak, and is enriched with silver-gilt 
 
 
THE DUBLIN EXHIBITION 
 
 From the extensive, varied, and very beautiful i by Messrs. Rose, of Coleport, we selected the | We have elsewhere given a full page to the ad- 
 collection of works in Porcelain manufactured I several objects which form the two following I mirable contributions of Messrs. West, of Dublin: 
 
 Groups; they consist of vases, flower-pots, tea- I ceptionable forms and admirably painted; the 
 services, &c. &c. In general they are of unex- | colours used in this establishment are of high 
 
 we add to these an engraving of a fine Mace, 
 executed for the College of Surgeons of Ireland. 
 
 excellence. The fame of Messrs. Rose has been i contributions; their stall is well arranged by 
 long established, it is more than upheld by these their agents, Messrs. Gregg & Son, of Dublin. 
 
 4S 
 
OF INDUSTRIAL ART. 
 
 We have selected from the abundant and very j Messrs. Fry, of Dublin, and exhibited by that They are exceedingly good in design, the designs 
 beautiful examples of Tabinet manufactured by | eminent firm, the three engraved on this page, being by Miss Elizabeth S. White, a pupil of 
 
 the Government school, and they are highly I The establishment of Messrs. Fry will be visited I include every class and order of the fabric for 
 creditable to the skill and judgment of that lady. | by many tourists in Ireland ; their productions | which Ireland has been so long famous, and in 
 
 the manufacture of which its artisans continue I this house range from the cheapest to the most I pattern we engrave, as having been worn by 
 unrivalled. The “ show” of goods exhibited by | costly. They are especially proud of the larger | Mrs. Dargan on the day of “ the opening.” 
 
 o 
 
 49 
 
fl.tl 
 
 THE DUBLIN EXHIBITION 
 
 Mr. Marcus Moses, of Dublin, exhibits several j That which we have here engraved is aD elegant The progress of an elegant taste in objects of 
 
 Pianofortes, manufactured expressly for him instrument, sufficiently enriched by ornament i this nature has lately become very evident, 
 
 by Messrs. Collard & Collard, of London. | and carvings in a good and appropriate style. 1 
 
 The five objects placed across the page are I Parasols, exhibited by Mr. Sangster, of Lon-1 are highly meritorious works of Art-manufacture, 
 drawn from the Handles of Umbrellas and | don; they are all elaborately carved in ivory, and | He deserves much credit for his improvements. 
 
 The page is completed by another of the 
 Fenders contributed by Messrs. Benham & 
 
 elevation, but its unusual “ sweep ” is, we should 
 apprehend, a sufficient guard against the acci¬ 
 
 dent of fire. The general design is-good, and 
 
 the end ornaments, of vase-like form, are novel. 
 
 50 
 

 OF INDUSTRIAL ART. 
 
 The Ladies’ Gdild —an association in London, 
 whose object it is to afford to ladies such em¬ 
 ployment as shall be consistent with their posi¬ 
 tion as gentlewomen—contributes a number of 
 
 specimens of glass ornamentation. Among the 
 several patents under the control of this society 
 is one for marbling on glass, which promises 
 
 extensive adoption; united with a still more im¬ 
 portant one for rendering glass by consolidation 
 so substantial that it may safely be employed for 
 
 The Fountain is the work of Mr. Gardner, the fountain and pendants being of variegated 
 of Dublin, and is chiefly constructed in silver, | glass. There is novelty in the general design of 
 
THE DUBLIN EXHIBITION 
 
 From the Iron Castings of Messrs. Kinnard, of Fal¬ 
 kirk. we select three, all remarkable for the delicacy and 
 
 The annexed Flower Vase is manufactured and exhibited by Messrs. Roberts & 
 Slater, of Sheffield ; it is of silver and blue glass, designed by Mr. Ellis, also of Sheffield. 
 
 other two are open Panels, U3ed chiefly for balustrades, Tazza, or for a card-disli, designed in what its author terms the “ labyriuthian style." 
 but applicable to many other purposes of house decoration. It shows much ingenuity and patient labour, is curious, and not unartistic in design. 
 
 sharpness of their execution, which gives them a high place 
 
 Mr. W. H. Barnes, of Tamworth, contributes to the Exhibition several models in 
 fine clay for a variety of useful objects ; we have selected one intended for the top of a 
 
 52 
 

 The bronze Tobacco-box is designed, and 
 also modelled by Godfrey Sykes, of Sheffield. 
 
 The Vase with figures in relief, is one of the 
 works from the Royal Factory at Sevres, 
 
 conspicuous for grace and beauty; as are, in¬ 
 deed, all the contributions of this establishment. 
 
 The three Brooches are manufactured by 
 Mr. Cornelius Goggin, of Dublin, entirely of 
 Irish materials, consisting principally of the bog- 
 
 oak, from which the shamrocks and harp are 
 neatly carved; the diamonds in the quatrefoil 
 
 brooch, as well as the beautiful pearls with 
 which it is ornamented, are also found in Ireland. 
 
 The Table of bronze is by M. Matifat. The 
 
 slab which forms the top is of Sevres porcelain ; | on it are represented the battles of Napoleon. 
 
irii;} 
 
 The principal object on this page is engraved 
 from the many valuable contributions of M. 
 Villemsens, of Paris, a bronze manufacturer of 
 very high eminence. The Chandelier is a 
 mixture of metal and glass ; the composition is 
 
 objects in France. The French have been large 
 contributors of bronzes to the Dublin Exhibi¬ 
 tion ; it is in this branch of Art, indeed, they 
 especially excel; hitherto they have succeeded 
 in obtaining and retaining a monopoly of the 
 trade of the world, an advantage which arises 
 chiefly from the better education of the artisan 
 in France, although, as a matter of course, much 
 of it is the result of the wise employment of 
 accomplished artists to produce admirable ori¬ 
 ginal designs. The manufacturer and the artist 
 work together; such an union of interests for 
 the good of the customer is, as yet, rare in 
 England; although, as every day gives us some 
 proofs of its policy, the time cannot be far dis¬ 
 tant when so judicious an example will be uni¬ 
 versal in this country. Visitors to the Exhibi¬ 
 tion will be largely gratified by an examination 
 of the beautiful and suggestive French bronzes. 
 
 The accompanying engraving is from one of 
 the many cast-iron Candlesticks contributed 
 by Zimmerman, of Frankfort, and manufactured 
 by him. His “show” is extensive and highly 
 meritorious, and the objects he produces are 
 singularly cheap. He has obtained high repute 
 by his selection of good models, resorting chiefly 
 to natural forms, and especially to flowers and 
 
 foliage, which it may be he carries too far. His 
 works, although of cast-iron, are made to imitate 
 bronze; they are often remarkably sharp in the 
 cutting, more so than those the material of 
 which is zinc, and which are placed in competi¬ 
 tion with them, both as to character and price. 
 
 harmonious; the several parts are skilfully com¬ 
 bined ; and the execution is remarkably good. 
 The Church Candlestick is in accordance with 
 the authorised form. The manufacturer is among 
 the most extensive producers of ecclesiastical 
 

 OF INDUSTRIAL ART. 
 
 facture,—flower-pots chiefly; but they also fabri¬ 
 cate the various matters in clay which are now 
 so extensively used in building. The English 
 
 The works in Terra-Cotta of Ferguson, 
 Miller, & Co., of Glasgow, have deserved pro¬ 
 minence in the Exhibition. This column con¬ 
 tains four of the minor articles of their manu- 
 
 ful; the manipulation is excellent; and, taken I Art in the collection. The works of Messrs, 
 altogether, it is one of the best efforts of British | Ferguson, Miller, & Co., are called the Heath- 
 
 productions in “baked clay” have made a very 
 largo advance within the last few years; manu¬ 
 facturers have not only studied the material, 
 but the forms; and they are already entering 
 
 into active competition with foreigners in this 
 branch of Art. The object, however, which 
 confers honour upon this firm is the Fountain 
 
 here engraved. It stands 24 feet high, and 
 occupies a prominent position in the Centre 
 Hall of the Exhibition ; it is remarkably good 
 in character; its proportions are just and grace- 
 
 field Works, and are situate near Glasgow. The 
 fountain is from the design of Messrs. Baird & 
 Thomson, architects ; the figures by Messrs. 
 
 Mossman; and the ornament by Mr. J. Steel. 
 It can be constructed separately, each part form¬ 
 ing a distinct and practically useful fountain. 
 
THE DUBLIN EXHIBITION 
 
 and encouraged, for while much that is mere- j ready purchasers, it is not very ofteu that 
 tricious or positively bad in wood-carving finds | patronage falls upon those who really deserve it. 
 
 hibit a large variety of objects, yet but a very 
 small portion of those which the manufactory 
 issues — comprising vases of several kinds, 
 
 which have given of late years so much improve¬ 
 ment to our houses and public buildings— 
 friezes, chimney-shafts, terminal ornaments, &c. 
 
 Poplar. They are all of rare excellence, both in 
 design and in execution, while the clay is 
 remarkably fine in quality and in colour. We 
 
 are compelled to limit our remarks, at present, 
 to a few lines, but we shall hereafter visit and 
 describe Mr. Blashfield’s establishment, which we 
 understand is the most extensive in England. 
 Our selections speak for themselves; they ex¬ 
 
 flower-pots of all sorts and sizes, columns, 
 pedestals, figures and busts of remarkably 
 refined character, together with those articles, 
 
 From several excellent examples of Carving 
 on Wood, executed by Mi - . Clarke of Dublin, 
 and contributed by him, we select the three 
 which commence this page. They are of very con¬ 
 siderable merit—less perhaps in the actual work 
 than in design, which is based upon the best 
 models. The Frame is especially graceful. It 
 is pleasant to find so good and pure a style of 
 Art adopted by a workman in the Irish metro¬ 
 polis; we hope his talent will be appreciated 
 
 Among the many examples of Avorks in Terra- 
 Cotta none will receive more marked attention 
 than those of Mr. Blashfield, of Mill Wall, 
 
 56 
 
... .... ... .. VM --X.'J!,-. 1 . 
 
 OF INDUSTRIAL ART. 
 
 Messrs. Bell & Co., of Glasgow, contribute a Jugs on the present page have the classic outline, 
 series of works from their potteries which are , with a new adaptation of ornament from the 
 
 the old Majolica ware, the leaves which encircle 
 it being highly-coloured in imitation of the real 
 
 they .are Very successful, and some they exhibit 
 are peculiarly good in form. The Vase and the 
 
 more fully seen in the circular centre of the 
 Breakfast Plate at the top of the page; beside 
 
 which we place a graceful Salt-Cellar made 
 in white porcelain, designed from marine objects. 
 
 the ability displayed in their execution. 
 
 In 
 
 the construction of objects after the antique 
 
 medallions characteristic groups emblematic I selection is of quaint and peculiar character, but 
 of the seasons. The d6je&ncr which closes our | is not without its merits. The pattern may be 
 
 all very creditable for their designs, as well as for , 
 
 antique, or from tropical plants. The Flower- 
 Pot at the base of our column is an imitation of 
 
 acanthus. The large Vase possesses much 
 originality of design, and has in the central 
 
THE DUBLIN EXHIBITION 
 
 The top of an elegant marble Chimney-piece, | the work of a Belgian artist, M. A. Leclerc, of \ Brussels, an accomplished artist in stone. 
 
 The design for a Lady's Collar is engraved i from one of the many beautiful examples of | space will not permit us to do the subject justice. 
 
 The Piano is engraved from one of the works | of Messrs. Collard, exhibited by Mr. M. Moses. The Dagger Handle of ivory, and the Bread 
 
 Knife Handle are carved by Sir. S. Bradford, 
 
 of ClonmeL It is gratifying to see this art 
 making successful way in Ireland. The latter 
 object is made of the tooth of the walrus. 
 
 58 
 
OF INDUSTRIAL ART. 
 
 from the earliest period to the close of the 
 fifteenth century. We commence with an en¬ 
 graving of the singular and beautiful circular 
 
 Cross of Con, as well as the Reliquary of St. I Swords found in Irish Tumuli The Hall of 
 Monaghan, and a series of Urns and antique Irish Antiquities is altogether most interesting. 
 
 fragments of architecture, but a very large and 
 unique collection of clerical antiquities, domestic 
 and warlike implements, and personal ornaments, 
 
 We fill our present page with engravings 
 from Irish Antiquities. The collection com¬ 
 prises not only casts of the most remarkable 
 
 Window at Rathin. Beneath we place the fine group comprises specimens of the Ring-Money, 
 Crosses from Kells and Tuam. The upper | Chains, Torques, Rings, Pins, and other per¬ 
 
 sonal ornaments of gold, found in Ireland. The I antiquities, including the stone Cross of Ivil- 
 lower group exhibits the principal ecclesiastical | klispeen, and the magnificent gold enamelled 
 
THE DUBLIN EXHIBITION 
 
 the highest praise, not alone for excellence of j pelled to omit the chef cCcemre, of which they are 
 design, but for the good qualities of the mate- ! justly proud—the Shakspeare dessert-service,an elabo¬ 
 rate and highly-laboured “set,” executed at great 
 
 purpose, although it may hereafter find a place in the 
 pages of the Art-Journal. We selected, therefore. 
 
 (where they have a branch establishment), 
 
 exhibit a very large variety of fineproduc- 
 
 indeed, they successfully compete with the best 
 
 objects of their more ordinary produce,—C ups and 
 Saucers, in which they excel; three very charming 
 Vases; and examples from the tete-a-tete Tea Services, 
 
 these are entitled to 
 
 factories of Staffordshire. We have been com- 
 
 of which they exhibit many, and all admirable. This 
 page, therefore, may suffice to represent the contents 
 of their “ stall,” although it does not render it justice. 
 
 tions in Porcelain ; 
 
 rial. 
 
 In nearly all the articles of their produce, \ cost and with very considerable talent and labour. It 
 
 was kept back from the Exhibition (in consequence 
 of its being unfinished) until too late for our present 
 
 60 
 
OF INDUSTRIAL ART. 
 
 while sure of a more general appreciation. 
 Messrs. Mayer, as will be seen from the examples 
 
 selected, are taking as their models the pure 
 bequests of the autique; we have no doubt of 
 their finding their account in this. Their “show” 
 is not only large but very meritorious, and it 
 cannot fail to attract considerable attention. 
 
 The collection of works in Porcelain and 
 Earthenware exhibited by Messrs. Mater of 
 Longport, Staffordshire, comprises objects of all 
 kinds, for ornament and utility, and among them 
 will be found many of very excellent character. 
 This firm has, indeed, been recently making 
 large advances in the right way; they are 
 studying rather simplicity of form than elaborate, 
 and often unmeaning, display; and so proving 
 that beauty may be cheaper than deformity, 
 
 twelve years, the manufacturers of Yorkshire 
 generally have largely availed themselves of the 
 aid of the artist, and there can be no doubt that 
 the establishment of Government Schools of 
 Design is now making manifest the salutary in¬ 
 
 firm are all of a meritorious character, and all 
 exhibit that improvement in ornamentation 
 which has become so distinguishing a feature of 
 the present time. The material is a mixture of 
 woollen and cotton. Within the last ten or 
 
 We engi'avo from the collection of damasks, 
 contributed by Messrs. Henry G. Perfect & Co. 
 of Halifax, a Table-Cover of good design, and at 
 its side an example of those Certain Hangings, 
 
 visit the several factories of the northern dis¬ 
 tricts, and to report more fully in our pages 
 concerning their most satisfactory progress. 
 
 fluence they are calculated to exercise, more 
 especially in the production of textile fabrics. 
 It will be our duty at no very distant pei-iod to 
 
 which have of late years been received into very 
 general use; the examples exhibited by this 
 
THE DUBLIN EXHIBITION 
 
 . V ‘' SE ° f cast iron which we here give. I contributed by the King or Pmrssii. It i 
 is irom the Royal Foundry of Berlin, and is | remarkably graceful in its form and character. 
 
 The bracket is of bronze, manufactured by 
 | Messrs. Cormann of Brussels; although not of 
 a novel, it is of good and suggestive design. 
 
 The subjoined print is from one of the I so many exquisitely designed examples are cor 
 Embroidered Borders (by machinery) of which | tributed by Messrs. Hodldsworth of Manchei 
 
 ter. Their productions are of a high order, com¬ 
 peting successfully with the work of the hand. 
 
 We commence this column with an engraving 
 of the Figure-Head of the yacht “Sappho” 
 belonging to G. W. Naylor, Esq. Designed 
 and modelled by Mr. W. Ellis of Sheffield. 
 
 Will 
 
graceful and tasteful kind, and Cliimney-Pots 
 | excellently in character for those villa-residences 
 
 now so frequently constructed in the Tudor 
 style of architecture. In the latter objects 
 
 OF INDUSTRIAL ART. 
 
 j The Garnside Terra-Cotta Manufactory con¬ 
 tributes a series of the works for which they are 
 | justly famed, consisting of Vases of a very 
 
 The appended engraving is from one of the 
 many beautifully designed Poplins of Norwich 
 manufacture by Messrs. Clabburn, and contri¬ 
 buted by that eminent and long-established firm, 
 
 whose reputation for the production of textile 
 fabrics of this description, shawls, brocades, &c., 
 is well known in the commercial world. The 
 pattern we have engraved is singlarly graceful; 
 
 especially there is ample room for the display 
 ot much that is varied and artistic in design. 
 
 I “SUSS — 
 
 V e fill up this page with an engraving of a 
 Border, one of the many beautiful contributions 
 of Messrs. Houldsworth, of Manchester, being 
 
 an example of their embroidery by the patented 
 loom. We much regret our inability to render 
 sufficient justice to the works of this famous firm. 
 
 63 
 

 We terminate this Illustrated Report of the 
 1 Dublin Exhibition of Art-Industry with an en¬ 
 graving of a singularly graceful and effective 
 Centre-piece for the table, executed in silver 
 by Messrs. Garrard, of London, for her Majesty 
 the Queen of England. The work is exquisitely 
 i beautiful in design; the modelling is of the 
 
 TIIE DUBLIN EXHIBITION. 
 
 highest order; and of the execution it is suffi¬ 
 
 cient to say that it is the result of the skill, 
 judgment, and experience of the very famous 
 establishment from which it issues, to become 
 one of the ornaments of a Palace where nothing 
 that is not pure in taste and perfect in manu¬ 
 facture can find admission. In its general 
 features, the design, as will be seen, is “ Alham¬ 
 
 bresque.” Moors attending upon Arab horses are I 
 ranged beside the pillar, which stands on a base | 
 
 of antique fragments, in keeping with the com¬ 
 position, and foliage characteristic of the scene. 
 
 I The work has, as it ought to have, the place of 
 | honour in the Dublin Exhibition of 1853. 
 
 HRADBUBY AND EVANS,] 
 
 64 
 
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