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UXBR IDG E ROAD ENTRANCE.

INTRODUCTION.

H E t ime has come to sum up th e Fra n co - Exh i b i t i o n

of 1 9 0 8. I t has had a b r i l l i a n t ca ree r . From the

fi rs t day, whe n wre tched weath er marred the

ope n i n g by the Pr i n ce a n d P r i n cess of Wales on

May 1 4th, the E xh i b i t i o n caugh t th e a t te n t i o n of

the pub l i c a n d he l d i t th rough ra i n a n d sh i n e . I t

has bee n t he grea t featu re, not o n l y of t he seaso n ,bu t of t he year . I t has ove rshadowed all othe r

eve n ts of th e Lo n do n summer so compl e te ly tha t

the re is some d i fficu l ty i n remember i n g what they

were . Ye t they were ma n y, a n d some of them of worl d - wide importa n ce .

I t has e n j oyed grea t popu lar i ty, n o t amo n g a sect i o n of th e peopl e, bu t amo n g

a l l c lasses, from the i r Maj es t i es, who pa i d i t repeated v i s i ts, to the work i n g

ma n , his wi fe a n d ch i l d re n . I t has exc i ted u nflagging i n te res t, not for a day

or a week, bu t for n ear ly six mo n th s . A n d tha t mea n s a grea t deal ; for i n

Lo n do n , wi th i t s mu l t i tu d i n ou s act i v i t i es a n d d i s t ract io n s, one t h i n g treads so

fas t u po n the hee l s of a n o the r that some very except i o n a l qual i t i es a re n eeded

FR ANCO- B R IT ISH EXHIEIT ION

to make a n y th i n g eve n a n i n e days’

wo n der . I t i s of i n te res t to i n qu i re what are

the qual i t i es wh i ch have wo n for t he E xh i b i t i o n the su sta i n ed apprec i a t io n of th e

great pub l i c, ge n t l e a n d s impl e, ser i ou s a n d fr i vol ou s, n o t i n Lo n do n o n ly, bu t

from a l l par ts of t he cou n t ry a n d across the water .

Fi rs t a n d foremost i t possessed the green attrac t i o n of n ove l ty, a n d n ove l ty

of ma n y sorts . The s i ze alone was someth i n g n ew in th i s cou n t ry . The da i ly

advert i seme n t i n th e n ewspapers cal l ed i t “the greates t exh i b i t i o n e ve r h e l di n Lo n do n

,

” a n d that is eve n l ess tha n t he t ru th . I t is th e greates t e ve r held

i n these i s l a n ds . There have been l a rger o n es i n o the r cou n tr i es, bu t we have

n ever had a n y th i n g oni i

i '

this scal e before . The l as t great exh ib i t io n he l d i n

Lo n do n was i n 1 86 2 , and few remember i t . I happe n ” to be o n e of them,

hav i n g v i s i ted i t as a smal l boy, a n d hav i n g prese rved a ve ry d i s t i n c t 1mpressionof th e pl ace a n d what was to be see n the re . I t cou l d have bee n pu t dow n i n

a cor n e r of S hephe rd'

s B u sh, a n d th ere was n o great th ro n g of v i s i tors ; smal l

boys cou l d wa n de r abou t qu i te comfortabl y . Bu t I doub t i f mere s i ze i s a

real or l as t i n g at trac t i o n i t i s a th i n g to tal k abou t a n d boas t of, bu t i n p ract i ce

i t wear i e s . Peop l e wa n der abou t, l ose their way a n d become fat igued, a n d fat igue

cl amps apprec i a t i o n ; you ca n e n j oy n o th i n g w i th t i red se n ses . I t i s poss i b l e for

a show to be too la rge, j u s t as i t is poss ib l e fo r a programme to be too l o n g .

Peopl e go away havi n g “had e n ough of i t, as t he say i n g i s, wh ich mea n s that

they do n o t wa n t a n y more ; bu t the esse n ce of a l ast i n g at tract i o n is that t hey

do wa n t more . For a reaso n to be prese n t l y me n t io n ed, t h e Fra n co - B r i t i sh

Exh ib i t i o n d i d n o t i n fl i c t t he pecu l i ar ly i rr i tat i n g fat igu e i n du ced by l os i n g o n e'

s

way or not k n ow i n g where to go ; a n d that was one of i t s ch i ef mer i ts . I t was

n o t too l a rge for e n j oyme n t, t hough la rge e n ough to exc i te wo n der a n d to co n ta i n

a n i n exhau st i b l e var i e ty of s igh ts a n d d i s t ract i o n s . Bu t i t touched t he eco n om i c

l im i t i n s i ze, a n d m igh t have do n e be t te r commerc i al ly i f i t had bee n somewhat

smal l e r . No n e of the great exh i b i t i o n s i n rece n t years have bee n fi n a n c i a l lysuccessfu l, a n d excess i ve s i ze seems to be the cause, for ma n y l ess amb i t i ou s efforts

have do n e ve ry well a n d proved h igh ly profi tab l e . The cos t of prepar i n g a very

l arge area, d ra i n i n g, l ay i n g - ou t a n d e rect i n g bu i l d i n gs, becomes d i sproport i o n ate

afte r a ce r ta i n po i n t has bee n reached,a n d is n o t bala n ced by i n c reased att ract i ve n ess .

A seco n d po i n t of n ove l ty has proved abso l u te ly a n d br i l l i a n t ly successfu l ,a n d that i s th e bi- n a t io n a l character of the e n te rpr i se . Th i s was, i n deed, its most

d i s t i n c t i ve featu re, a n d th e l ead i n g i dea wh i ch l ed to its i n i t i a t i o n . I t was

i n te n ded to promote the entezzte cora’z'

a/e be twee n Fra n ce a n d B ri ta i n , a n d i t hasdo n e so . That adroi t a n d charm i n g ph rase, the ge n e ra l adop t i o n of wh i ch amo n g

u s i s a de l i ca te compl ime n t to the Fre nch l a n guage, suggests more tha n i texpresses . I t s ta n d s for mu tua l apprec ia t i o n a n d good - wi l l, for commo n a ims

a n d i n te res ts ; i t covers se n t ime n t, u n ders ta n d i n g a n d mater ia l re l a t i o n s ; a n d i n

all these se n ses i t has bee n co n sp i cuou s ly promoted by the exh i b i t i o n . The

co- operat i o n of the Fre n ch appeal ed at o n ce to B r i t i sh se n t ime n t, a n d the i r

INTRODUCT ION

THF FR ENCH R ES I AL RANT AT N IGHT .

sp l e n d i d respo n se to th e i n v i ta t io n added i n ca l cu l ab ly to the ac tua l at tract i o n sprese n ted a t Shepherd

'

s B u sh .

The se n time n ta l e l eme n t i s much st ro n ger on ou r s i de tha n the Fre n ch

real i se ; they have n ever bee n ab l e qu i te to u n ders ta n d i t . We are su pposed to

have no se n t ime n t, a n d to care for n oth i n g bu t mater i a l th i n gs a n d part i cu larly

ou r own adva n tage . That is a great m i s take . We are not exc i tab l e, bu t we are

far more se n t ime n ta l t ha n ma n y exc i tab l e peopl e s ; a n d th e s impl e t ru th i s t hat

we a re rea l ly fo n d of Fra n ce a n d th e Fre n ch . They,who are th e most popu lar

n at i o n i n the worl d, are n owhere more popu la r tha n he re . I t was a tru ly happy

i dea tha t i n sp i red th i s co- operat i ve e n te rpr i se . I t appeal ed by i ts n ovel ty— for the

same th i n g has n eve r bee n a t temp ted before — a n d i t ch imed w i th n a t i o n a l

se n t ime n t t he co- opera t i o n gave a flavou r to th e who l e affa i r, a n d i n the carry i n g

ou t i t added an e l eme n t wh i ch of i tse l f was almos t e n ough to e n su re success . The

French are past mas te rs i n th e art of orga n i s i n g exh i b i t i o n s t hey have a s ta n d i n g

mach i n e ry for the pu rpose, a n d t hey threw themse l ves i n to the bus i n ess w i t h more

tha n cord ia l i ty, wi t h the maste ry tha t comes from exper i e n ce . We owe them n o t

o n ly a ge n era l i n fl u e n ce, a n a tmosphere, bu t some of t he best i n d i v i dua l i tems o n

the l i s t . I f a hu n d red pe rso n s - w men a n d wome n — were asked to n ame th e most

i n te res t i n g, compl e te a n d a t tract i ve exh i b i t i n t he e n t i re p l ace, i t is safe to say

t hat n i n e ty— n i n e wou l d a n swer “th e Fre n ch d ress . Noth i n g to compare w i th i t

has eve r bee n see n before . D re ss fabr ics a n d d ress are t he greates t of Fre n ch

i n du s tr i e s, a n d t hey were d i sp layed i n bew i l d er i n g profu s io n , a n d w i t h t hat

i n im i tab l e se n se of effect of wh i ch th ey alo n e have t he secre t . The Fre n ch

restau ra n t represe n ted a n o the r great n at i o n a l art, wh i ch i s h igh ly apprec ia ted

here ; the j ewe l l e ry a n d decorat i ve c rafts set forth the d i st i n ct i ve n at i o n al fee l i n g

for e l ega n ce,a n d t he Fre n ch co l o n i es added a tou ch of th e u n u sual a n d the b izarre .

FRANCO - B R I T I SH EXHIé IT ION

The importa n ce of t he bi- n a t i o n a l character as t he d i s t i n guish i n g featu re of

t he exh i b i t i o n was s ig n a l i sed i n two very d i ffe re n t ways, one'

from above a n d the

other from be low . The fi rs t was the s tate v i s i t of the K i n g a n d Quee n ,accompa n i ed by M . le President on May 2 6 th th e o the r was the popu lar n ame

adopted by the mu l t i tude .

’

Ma n y more or less s i l l y a ttempts we re made, as t hey

always are, to co i n a s hor t n ame for the Exh i b i t io n , bu t n o ne of t hem took the

fa n cy of the peop l e, who se t t l ed t he matter i n t he i r ownway, as they u sua l ly do,by cal l i n g i t “the Fra n co .

" A n d the Fra n co i t ce rta i n ly was .

A n other featu re wh i ch i n my op i n i o n great ly co n t r i bu ted to the popu lar i ty of

th e Exh i b i t i o n was the pl a n n i n g a n d ge n e ra l lay - ou t of the grou n d . I t i s a great

mer i t . I sa i d above that v i s i to rs were n o t fat igued by l os i n g the i r way ; i t was,i n fact, i mposs i b l e to lose you r way . My firs t v i s i t was pa i d n ear ly two mo n ths

before the ope n i n g, whe n eve ryth i n g was i n a s ta te of chaot i c u n read i n ess a n d

co n fu s i o n bu t the scheme was so broad, s impl e a n d i n te l l ig i b l e that I n eve r had

occas io n to l ook at a pl a n aga i n , bu t a lways k n ew exact ly where to fi n d a n y

par t i cu lar th i n g a n d how to ge t to i t . For that s ig n a l me r i t the cred i t i s du e to

M r . Kiralfy. He has had to do w i th ma n y pub l i c shows o n a l arge scal e, a n d i t

has bee n my fortu n e to n o te h i s creat i o n s a n d those of others from t ime to

t ime ove r a se r ies of years . There has al ways bee n some or ig i n a l i dea, a n

i n d i v i dua l tou ch showi n g a pecu l ia r se n se of eff ect abou t his work, a n d i t was

n eve r more ev i de n t tha n i n the scheme carr i ed ou t at Shephe rd'

s Bu sh .

. Themai n i dea i s a se r i es of cou rts or ope n spaces, ex te n d i n g one afte r a n o the r i n a

s tra igh t l i n e, wi th the bu i ld i n gs d i sposed abou t them . I t is s imp l i c i ty i tse l f, a n d

that is why the pla n was so easy to grasp . The art lay i n vary i n g the shape a n d

d ime n s i o n s of each cou r t a n d i n ma i n ta i n i n g harmo n i o u s proport io n s be twee n ope n

space a n d bu i l d i n gs .

The ser i e s begi n s w i th the Cou rt of Ho n our,wh i ch was the ge rm of the whol e

scheme from wh i ch the res t gradu al ly deve l oped . A n adm i rab ly proport i o n ed

rec ta n gu la r space of moderate s i ze, wi t h broad t i l e d wal ks e n c los i n g a wate r

bas i n ; the expa n se of wate r spa n n ed by a n o r n ame n ta l b r i dge a n d b roke n at

i n te rval s by m i n a re ts ex te n d i n g from the s i des, wi th a cascade formed of glass

steps a t one e n d the bu i l d i n gs e n c los i n g t h i s a rea, h igh e n ough for d ig n i ty bu t

not so h igh as to dwarf the ope n space, I n d i a n i n s ty l e w i th a profus i o n of l igh t

tracerv al l i n wh i te . Such was th e Cour t of Ho n ou r i n to wh i ch the v i s i to r

e n tered at o n ce afte r pass i n g t h rough a n e n t ra n ce ha l l . I t was charm i n g by day,bu t a t n igh t, l igh ted by thou sa n ds of e l ec t r i c l amps, i t was exqu i s i te .

How d i ffe re n t t he Cou rt of Arts, wh i ch comes n ex t . Al so recta n gu lar, bu t

w i t h the l o n g ax i s p laced cross - wi se a n d occu py i n g a far larger area, t h i s Cou rt

l e n d s th e E xh i b i t i o n t he d ig n i ty of spac io us n ess a n d - affords a coup wh ich

comma n ds n early the whol e grou n d . The large ope n space was he re l eft

u n brok e n by bu i l d i n gs a n d la i d ou t i n flower beds a n d wa l k s i n te rsected by the

ca n a l wh i ch wou n d i ts way th rough a large part of the grou n d s a n d gave occas i o n

I NTRODUCT I ON

PR E PAR ING TH E C EM ENT FOR 1 1- 1 12 SO I L .

to th e i n te rpos i t i o n of ma n y l i t t l e b r i dges, the i r ra i sed arches b reak i n g th e l e ve l

su rface agreeably, wi thou t spo i l i n g th e v i s ta . The n umerous hal l s, devoted to

var i ou s art s a n d crafts, bu i l t rou n d the cou rt were a l l we l l set back a n d n o t too

ma n y i n n umber bu t wh i l e some of them were effect i ve a n d approp r i ate, othe rs

were n e i th e r i n te res t i n g, n o r pretty, n o r d ig n ified, bu t mere ly fa n tast i c . There

was some room for improveme n t he re .

The Cou rt of Arts ope n ed on o n e s i de d i rect i n to the n ex t sect i o n ,wh i ch m igh t

have bee n ca l l ed th e Cou rt of D i n i n g . Th i s was smal l e r aga i n a n d of a d iff e re n t

shape i t co n s i s ted of a ce n t ra l garde n e n c l osed on th ree s i des by restau raunt or

bu i l d i n gs de voted to th e same pu rpose . Beh i n d these l ay o n o n e s i de th e great

S tad i um a n d on th e o ther the mach i n e ry ha l l s . Al l ve ry pl easa n t,bu t he re the fi n e

effect of space a n d backgrou n d became somewhat broke n u p by bu i l d i n gs a n d i n

the sect i o n s beyo n d,devoted to amu seme n ts a n d co l o n i a l ha l l s, i t was l ost a l toge the r

The Scheme was st i l l qu i te c l ear, bu t the effect was spo i l t by too ma n y st ru ctu res .

The mer i ts of th e scheme thu s br i efly descr i bed seem to me to be th e

comb i n at i o n of s i mpl i c i ty w i th var i e ty a n d the proport i o n s of ope n space to

bu i l d i n gs . The arch i tect u re i s d i scu ssed by a n expert i n a separate chapte r. No

doub t i t l acked harmo n y a n d some of i t was commo n , some b i za rre bu t harmo n y

i s ap t to i n vo l ve mo n oto n y, a n d i t is th e pr i v i l ege of exh i b i t i o n a rch i tec tu re to be

as fa n tast i c as i t p l eases .

Some othe r po i n ts rema i n to be n o t i ced . Wi th regard to t he exh i b i ts, the

Fre n ch d ress, wh i ch was the most s tr i k i n g of al l, has bee n me n t i o n ed . O n t he

B r i t i sh s i de th e bes t grou ps were th e fi n e ar ts a n d th e sh i ps mode l s, wh i ch were

th e fi n e s t co l l ec t i o n eve r see n . Educat i o n was a l so very.

wel l do n e ; s tee l was

adequate, a n d i n th e tex t i l e hal l Ma n cheste r a n d Bel fast d i d themse l ves j u st i ce i n

cot to n a n d l i n e n re spect i ve l y . Mach i n e ry a n d e n g i n e s were n ot we l l rep rese n ted .

FRANCO- BR IT ISH CEXHFB ITION

Ma ny Bri t i sh ma n u factu re rs del i beratel y 7 keep a l oof from exh i b i t i o n s on

pr i n c i p l e, a n d ' th e dep ress i o n i n t rade di s cou raged oth ers . Suffic i e n t at te n t i o n

was not pa i d to the educat i o n a l sect i o n ,i

wh i ch was ve ry carefu l ly orga n i sed

a n d remarkab ly compl e te ; bu t comparat i ve ly few v i s i to rs to a n exh i b i t i o n go to

spe n d t i me o n such a heavy subj ect . 5

Ma n y fou n d the Ca n ad i a n H al l th e most i n te re st i n g th i n g in t he place, a n d

it was certa i n ly got up i n a n e x t remely eff ect i ve way for d i spl ay i n g th e resou rces

of th e Dom i n i o n . Others were equal ly e n t h u s i ast i c abou t th e Austra l i a n cou rts .

Ou r own Ori e n ta l dom i n i o n s a n d the Fre n ch Afr i ca n co l o n i es formed a most

s tr i k i n g co n trast to these you n g n at i o n s, a n d a l toge ther t he Col o n i a l Ave n ue, as

i t was cal l ed, was i n my op i n i o n one of the most at t ract i ve featu res of the

show . Beh i n d i t l ay the I r i sh V i l lage, wh i ch n eve r l acked adm i re rs,though the

S i xpe n ce cha rged for adm i ss i o n b rough t i t to the l eve l of a s ide - show.

Tur n i n g to th e l igh te r s i d e we fi n d aga i n th e n o te of n ove l ty preva i l i n g . The

pr i n c i pa l featu res we re, of cou rse, the great S tad i um a n d th e O lymp i c Games,both

e n t i re ly n ew to th e B r i t i sh pub l i c . The S tad i um is t ru ly a great s tru c tu re, on th e

hero i c scal e too great, i n d eed, to serve the pu rpose of a s i n gl e seaso n o n ly i t is

su rely a perma n e n t possess i o n . The games exc i ted th e u tmost popu lar i n te res t a n d

d rew vas t crowd s . I t i s u n fortu n ate that they were th e occas io n of i n c i de n ts, wh i ch

l eft a d i sagreeab l e taste i n th e mou th a n d ra i sed doub ts whe ther i n te r n at i o n al u n i ty

i s rea l ly p romoted by su ch co n tes ts . I t i s ce rta i n t hat i f compe t i to rs carry the i r

own ru l e s abou t w i t h them a n d ca n n o t s ta n d be i n g beate n the resu l t is more l i ke ly

to be e n m i ty . Bu t th e E xh i b i t i o n was i n no wi se to b l ame for that . The other

amu seme n ts formed a sta n d i n g at tract io n wh i ch seemed to be apprec i ated to the

u tmost . They were al l se l ec ted on t he pr i n c i p l e of be i n g e n t i re ly n ew to Lo n do n .

O n e of them, the grea t F l i p - Flap, is absol u te ly n ew ; i t was the i n ve n t i o n of

M r . Kiralfy, th e i n sp i rat i o n of a happy mome n t, a n d was co n st ru cted for th e

occas i o n . Afte r some i n i t i a l d i fficu l t i es i t had a tr i umpha n t caree r . Not l ess th e

Sce n i c Ra i l way a n d th e Ca n ad ia n tobogga n . I co n fess to be i n g a l i t t l e hazy abou t

these great dev i ces, n e ve r hav i n g had t ime to take a tu r n o n them myse l f, bu t

whe n e ver one passed n ear them they were always crowded w i th passe n gers,a n d the

n o i se they made was i n cessa n t a n d te rr ific .

I n th i s i n troductory summary I have regarded the Exh i b i t i o n so l e ly from the

publ i c po i n t of v i ew . What we n t on beh i n d the sce n es i s not my affa i r . No

doubt there were d ifficu l t i e s a n d d i sappo i n tme n ts ; t he re always are . Bu t the

pub l i c have bee n d e l igh ted w i th i t . I have pa i d a great ma n y v i s i ts a t d i ffe re n t

t imes a n d i n a l l sorts of weather . What asto n i s hed me was that i t seemed to mak e

n o d i ffere n ce . There was al ways the same th ro n g a n d the same look of i n te res t

a n d e n j oyme n t ; n e ve r a s ig n of d i ssat i sfact i o n or sat i e ty : Wri t i n g six weeks

before the Ope n i n g, I sa i d Lo n do n has a su rpr i se i n s tore . I t i s go i n g to be a

great show . That has proved t ru e . A n d i t has promoted the enfe/zte.

A . SHADWELL .

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FRANCO - BR IT I SH EXH IB I T I ON .

carr i ed ou t . Mr . Bel cher

a l so adv i sed ge n e ral ly o n

the accepta n ce of s tee l

work co n tracts a n d other

matte rs .The arch i tect - in- ch i ef

of the pavi l i o n s i s M .

Toudoire, the arch i tec t

of t he P . L . M . Ra i lway

Compa n y a n d of the n ew

a n d i mpos i n g stat i o n of

th i s compa n y o n the

Bou l evard D i d e ro t,Par i s .

T h e A d m i n i s t r a t i o n

B u i l d i n gs are by M 1" THE woon LAN E

Fu l to n .

The Exh i b i t i o n co n s i s ts of two parts, each of wh i ch i s reached by a

mo n ume n tal e n t ra n ce, bot h of these be i n g the work of a you n g Fre n ch arch i tect,M . Re n é Patou illard- Demor ia n e . The part ex te n d i n g from U xbr idge Road toWood La n e i s s imply a lo n g row of seve n gal l e r i es over coal s tores a n d ra i l way

compa n y'

s depots . These gal l e r i es e n d at Wood La n e, where i s the e n t ra n ce

to the Exh i b i t i o n , prope rl y so—cal l ed — th e E xh i b i t i o n of Pal aces a n d Pav i l i o n s,or th e Wh i te C i ty, as i t has bee n de n om i n ated .

Start i n g at th e Wood La n e e n t ra n ce, th e fi rs t s t r i k i n g exampl e of arch i

te ctu re i s t h e Cou rt of H o n ou r, a very pl easa n t t reatme n t of a H i n doo i d ea,em i n e n t l y well su i ted to the pu rposes of a n exh i b i t i o n . The

,

fi rs t i dea of th i s

Cou rt, as i n deed of t he E xh i b i t i o n i tse l f, was carr i ed ou t from a des ig n of

M . Fou r n i e r de S t . Mau r, t h e col l aborator w i th M . Toudoire. M . Fou r n i e r d i ed

i n 1 9 0 6, a n d h i s d es ig n ,wh i ch i n cl uded a n Im

per i a l Tower, des ig n ed

by M . H . Jou lie,was re

placed by a Terrace, com

pr i s i n g a Pav i l i o n wi t h

a dome, wh i ch was n ot

execu ted .

O n the two s i des of

th e formal p i ece of wate r

i n the Cou rt of Ho n ou r

are blocks of bu i l d i n gs

the Palaces of Fre n c h

THE BR I T I SH APPL I ED ARTS PALACE . 2ind B r i t i sh I n du str ies

ARCH ITECTURE .

of u n i form he igh t broke n

by pavi l i o n s . O n the

fou rth s i d e of t h i s Cou rt

of Ho n ou r is the Co n gress

Hal l . The cascade from

the ce n tre of th i s bu i l d i n g

gi ves the fi n i sh i n g tou ch ,a n d th e whol e effec t of

t h i s Cou rt a n d i t s bu i l d

i n gs i s ex t remely p l eas i n g .

Leav i n g th e Cou r t of

Ho n ou r we e n ter a n othe r

quad ra n gu l ar space, a n d

he re the ch i ef i n te res t of

the Exh i b i t i o n from the

arch i tec tu ra l po i n t of v i ew i s ce n t red . The fou r bu i l d i n gs i n each co r n e r are o n

t he spectato rs l e ft, as he sta n d s w i t h h i s back to t he Cou rt of Ho n ou r, th e Fre n ch

Appl i ed Art Pal ace a n d the B ri t i s h App l i ed Art Pal ace on h i s r igh t, th e Pal ace

of Mus i c a n d the Palace of Wome n'

s Work . The most s t r i k i n g of the fou r i s th e

B r i t i s h Appl i ed Art Pal ace, des ig n ed by M r . J . B . Pou l to n , wh i ch some arch i tec tsco n s i de r to be the fi n es t p i ece of work i n th e e n t i re Exh i b i t i o n . The Palace of

Fre n ch Appl i ed Arts, from a des ig n by M r . L io n e l D etmar, i s a l so very p l eas i n g,

TH E CASCAD E .

espec ia l ly as regards th e towe r, wh i ch i s beau t i fu l l y p roportio n ed .

I n compar i so n w i th th i s l at te r t he Palace of M us i c, by C laude Mar te l l o, has a

ve ry exhibitony appeara n ce, amou n t i n g rathe r to gar i sh n ess, and the globe on

the top of th e towe r g i ves i t a t ru n cated appeara n ce . Of u n d i l u ted exh i b i t i o n

s tyl e, too, i s t he Pal ace of Wome n'

s Work, by Mau r i ce Luce t . O n e i the r s ide

a n d beh i n d the fou r bu i l d i n gs we have n amed i n th i s Cou rt are to be fou n d — on

the l eft, t he Pal ace of Decorat i ve Arts, a n d on the r igh t the F i n e Art Palace .The

'

F i n e Art Palace i s from the arch i tec tu ra l po i n t of v i ew n o t pleasingfi The

Fre n ch Restau ra n t, Pa i l la rd s,has bee n des ig n ed by Al fred

Lev ard, a n d _i s a good spec ime n

of its k i n d ; the archway gi ves

a r i ch eff ect . The Pav i l io n “I fix"

Lou i s XV . i s th e work of

Edouard Coste, th e Gra n d

Res tau ra n t a n d Garde n C lu b of

Gasto n Thorimbert, a n d th e

Roya l Pav i l i o n of Edouard

Crev el . The Restau ra n t a n d

POPUI'

d I‘ Cafe o n e i t h er S lde Of rm: couxr or A RTS AND PA LAC E or women’

s woRK.

FRANCO - B R I T I S H EXH I B I TI ON .

TH E G RAN D R ESTAURAN T ;In the Foregro u nd the Decorat iv e Bal u s trade of the BandStandor the E l i te Gardens .

i n wh i ch the re are var iou s pav i l i o n s .

The mos t importa n t of them, a n d i n fact the o n ly two that are rea l ly tastefu l ,are the Pav i l i o n of the C i ty of Par i s, the arch i tec t of wh i ch i s M . Roger Bouvard

a n d the Col l ect i v i té D élieux, d raw n by M . Mari u s Toudoire.

The Pavi l i o n of t he City"

of Par i s i s a b l e n d of wel l - k n ow n exampl es of

Goth i c a n d F re n ch Re n a i ssa n ce, refi n ed a n d gracefu l i n i ts de ta i l s a n d gi v i n g one

the reposefu l p l easu re a lways a t te n d i n g th e co n temp lat i o n of a pu re work of art .

The e n d e l evat i o n s a re reprodu ct io n s of t he Porte S t . J ea n of the Hote l de V i l l e .

The rather flor i d Col l ect i v i té D élieu x is i n t he “ar t n ou veaux styl e ; th e

decorat i o n s have bee n carr i ed ou t‘ by the tal e n t ed you n g decorators, Messrs .

H . a n d A . Barber i s .

Fac i n g the l eft e n t ra n ce of th e Mach i n e ry Hal l s i s a n o the r bu i ld i n g worthy 0 f

me n t i o n , the Pav i l i o n of the Compto i r d'

Escompte de Par i s (arch i tec t M r . Ambro i se

M . Poy n te r ) .

Beh i n d the Gra n d Res tau ra n t, wh i ch we have al ready me n t i o n ed, are a ser i es

of pr i va te pav i l i o n s, ma n y of wh i ch are p i ct u resque a n d i n te re s t i n g . From here

we come i n to a huge sem i - c i rc l e, wh ich co n ta i n s a l l t he var i ou s Col o n i al Palacesa n d Pav i l io n s .

The Great Ca n a

d i a n Pav i l i o n , wh i ch,

l i ke i ts fe l l ow, the Aus

tralian Pav i l i o n — t he

n ex t l arge bu i l d i n g on

th e l e ft— covers some

s q u a r e fe e t .The Ca n ad ia n bu i l d i n g

i s the more sat i s factory

of the two, a n d has

s o m e p r e t e n s i o n t od i g n i t y . A l m o s t H \LL O F M US IC .

1 2

th e Decorat i ve Arts Palace

are th e work of M r . J oh n

B e l c h e r . N ow p a s s i n g

th rough the Fre n ch Restau ra n t

Pav i l i o n we fi n d a huge ra n ge

of gal l er i es ca l l ed the Mach i n

ery H al l s, des ig n ed by Eugen e

D u q u e s n e . I n t h e s p a c e

formed by the p roj ect i n g arms

of t hese gal l e r i es we fi n d a

g a r d e n , g ra n d i l o q u e n t l y

termed the Garde n of Progress

ARCH ITECTURE .

Oppos i te to t he l a tte r,bu ta much smal l e r bu i l d i n g,is t he N ew Z eal a n d

Pav i l i o n , su rrou n ded by

a pseudo - I o n i c col o n n ade .Pass i n g Commo n

weal th Ave n ue,we reach

the group devoted to th e

Fre n ch Colo n i es - th e

A lger i a n a n d Tu n i s i a n

Pav i l i o n by M . Albert

Bal l u, o n e of the mos t

i n te res t i n g on accou n t of

its character ; th e Fre n ch

I n do - Ch i n ese, by M .GAR D EN cu e

S iff e rt ; Fre n ch Colo n i a l Bu i l d i n g, by Lefevre, a n d th e Fre n ch Eas t Afr i ca n .

These are of smal l e r type tha n th e B ri t i sh Col o n i a l B u i l d i n gs, bu t some of them

are qu i te s t r i k i n g, espec i al l y th e I n do - Ch i n ese a n d th e Eas t Afr i ca n , wh i ch has a

st r i k i n g ce n t ra l doorway su rrou n ded w i th t i l es i n the Moor i sh ma n n e r a n d a

gracefu l cu pol a .

C Tuoxnmrm A rr/”mt.

Havi n g made th e c i rcu i t of th e hem i sphere co n ta i n i n g th e Colo n i al B u i l d i n gs,we come i n th e Eas te r n Ave n u e to the Great S tad i um, o n the oppos i te s i de of th e

E l i te Garde n s to th e Mach i n ery Hal l s .

Of th e two cl ub hou ses i n the Exh i b i t i o n , t he Garde n C l ub, s i tu ated i n th e

E l i te Garde n s, has a l arge d i n i n g hal l composed e n t i re ly of glazed pa n e l s, a n d its

doors a n d w i n dows Ope n d i rectly on th e garde n s, i n the ce n t re of wh i ch i s a su n ke nco n ce rt are n a . The othe r c l u b i s t h e I mper i a l Sports C l u b, c l ose to th e S tad i um .

The Exh i b i t i o n i s a “Wh i te C i ty " i n deed E very bu i l d i n g i s wh i te w i thou t

shade, a n d u n de r th e arde n t su n i t has l ooked l i ke some br i l l i a n t Oriental fa n tasy

a d ream of a v i rg i n c i ty bathed i n l igh t .GUY MAUVE .

T I I E PALAC E OF F INE A RTS .I 3

MOD E L L I NG IN F IB RO I'

S PLASTF R IN A PAV I L ION .

FlBROUS PLASTER.

THE BU I LD I NG MATER IAL OF THE WH ITE C ITY.

I F the great Exh i b i t i o n at Sh ephe rd'

s B ush has do n e n oth i n g el se, i t has

show n Lo n do n ers what ca n be accompl i shed i n t hat s t ra n ge mate r ial, fi brous

p l aste r . I t i s e verywhere . O n skel e to n s of s tee l a n d co n cre te, the whol e c i ty

is c loth ed i n i t . The beau t i fu l a n d state ly domes a n d co l um n s that have the

appeara n ce of s to n e a re bu i l t of wood, ca n vas, tow, a n d p laste r ceme n t, at

abou t one- fifth t he cost of t he more sol i d mate r ia l . The beau t i fu l Cou rt of

Ho n ou r, dazzl i n g i n i t s v i rgi n wh i te, del igh t i n g the eye wi th i ts domes,m i n are ts, mou l d i n gs, l a t t i ce work a n d de l i cate t race r i es, is n oth i n g bu t l ath

a n d p laste r . The great palaces, wi th al l the i r appeara n ce of sto n e - l i ke so l id i ty,may cl a im a ske l e to n of s tee l a n d co n c ret e a n d no more ; a l l t he rest i s

fibrou s p laste r . Bu t th i s c i ty is no weak l i n g, i t is weather- proof a n d

remarkably s tro n g, a n d w i th a n occas i o n a l coat of pa i n t shou l d l i ve for a

quarte r of a ce n tu ry at l eas t .

The method of work employed i n bu i l d i n g is, fi rs t to make a framework

of wood, over wh i ch i s s t re tched a l aye r of ca n vas ; a l ayer of fibrous pl aste r

is the n p l aced ove r the ca n vas, fol l owed by more l ayers of ca n vas a n d more

laye rs of pl as te r . Th i s is co n t i n u ed u n t i l th e dome, co l um n , or whateve r i t

F I B ROUS PLASTER .

may be, i s ready for th e decorat i ve art i s t, who forms h i s de l i cate t race r i es

from a compos i t i o n cal l ed “s taff, wh i ch i s a fi n e r form of fibrou s pl aste r,

composed of p l as ter, ceme n t, glycer i n e, dex t r i n e, e tc . , wi th a bas i c mate r i al of

cot to n wool . I n po i n t of i n te res t the u se of fibrou s p laste r i n bu i l d i n g i s far

exceeded by i ts decorat i ve u se . The n obl e s tatu es a n d groups wh i ch have th e

appare n t so l i d i ty of marb l e, togeth e r w i t h the de l i cate mou l d i n gs a n d e n twi n i n g

wreaths, represe n t the greates t sk i l l of the p las te re r a n d mode l l e r . I n figu re

PR E PAR ING MO U LD INGS .

work, first- c l ass mode l l e rs o n ly ca n be emp loyed. I n t he beg i n n i n g the same

method i s u sed as i n bu i l d i n g, bu t i n p lace of the decorat i ve art i s t w i t h“s taff,

” th e scu lp to r n ow appears, a n d he goes ove r the whol e des ig n w i th

clay . Whe n he has fi n i sh ed his model l i n g, a ge lat i n e mou l d is take n a n d

the p l aste r cas t i s made, at one- fifth of what wou l d have bee n t he cos t had

the figu re bee n execu ted i n s to n e . Whe n the cast i s d r i ed, i t rece i ves severa l

coats of she l l ac to make i t waterproof, a n d i s the n ready to fi l l i t s al l otted

space . I n cases where a k n owl edge of carv i n g is u n i ted w i th that of the

mode l l e r ' s art, the expe n se of cas t i n g a n d t ime al so may be saved by

bu i l d i n g the figu re i n p las te r of par i s o n th e wood a n d ca n vas framework .

Th i s method was adopted w i th th e group that ador n s th e pav i l io n of th e

Ca n ad ia n Pac ific Ra i lway i n th e Garde n of Progress . For the fou r a n i mal s

FRANCO - BR I T I SH EXH IB IT I ON .

i n the Quad r iga that ador n s the Pal ace of Decorat i ve Arts bu t one cast was

u sed . The Quad r iga took ove r th ree mo n ths i n p repar i n g, a n d i s perhaps the

fi n es t i l l u s t rat i o n of th e p laster mode l l e r ’s art, i f we excep t the mo n s te r figure

ador n i n g the Palace of Fre n ch Appl i ed A rts . The figu re here referred to,s ta n d i n g wi th u pl i fted ha n d hol d i n g a toxh, measu res ove r twe n ty fee t i n

he igh t . A very beau t i fu l i l l u s t rat i o n of the plaster mode l l e r'

s work i s the

ce n t ral figu re of th e floral su n d ia l i n the Garde n of Progress, fac i n g the

Pav i l i o n of the Col l ec t i v i té D élieu x, Th i s su n d i al i s o n e of th e most gracefu l

featu res of the Exh i b i t i o n . A n othe r i n s ta n ce of the p l aste r model l e r'

s work

i s the great sh i e l d at th e U xbr i dge Road Ma i n E n tra n ce . Th i s sh i e l d was

te n weeks i n the mak i n g. I t i s so l a rge (i t is abou t s i x tee n fee t broad,a n d ove r s i x tee n fee t i n h e igh t ) that i t had to be made a n d p laced i n

pos i t io n i n sect i o n s, the whol e be i n g afte rward s p i eced toge th er w i th ceme n t .

Here, i n add i t i o n to wood, ca n vas, a n d p las te r, t he re is a ge n e rou s adm ix

tu re of cl ay, wh i ch i s p r i n c i pa l l y u sed i n t he fo rmat io n of the flowers a t

the base of the sh i e l d'

. As a n i l l u s t ra t i o n of th e Garga n tua n efforts

employed i n bu i l d i n g a n d decorat i n g th e Wh i te C i ty, i t may i n te res t the

reader to l ear n t hat the mo n ume n ts a n d figures ador n i n g the ma i n

bu i l d i n gs ra n ge i n he igh t from seve n to th i rty feet, a n d n umbe r ove r two

h u n d red, wh i l e the bus ts, heads, medal l i o n s, ce n t re p i eces, etc . , ru n i n to

fou r figures . F i brou s pl aste r i s l arge ly u sed on the Co n t i n e n t for deco rat i ve

pu rposes, bu t as a su bs t i tu te fo r br i ck a n d s to n e i t was pract i cal ly u n k n ow n i n

E n gla n d before the b i rth of t he C i ty of Wh i te Pal aces .

CONS I‘ R UCTIN G A C LI’OLA.

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FRANCO - B R I T I S H EX H I BIT I ON

makes a b i d for thorough represe n ta t i ve n ess of characte r . Bu t ev erv one who

has tak e n part i n , or i s acqua i n ted w i th, th e work of promot i n g exh i b i t io n s,eve n

those co n ce i ved a n d carr i ed ou t i n a sca l e much more modes t t ha n th i s, wi l l

rea l i se th e d ifficu l t i e s of t he t reme n dous task . How some ow n ers, obdu rate lydeaf to the e n t reat i es of the comm i t tee, apd as obs t i n ate ly i n d iffe re n t to

p e r s u a s i o n sistance or

from h igher gi ve no s ig n

o r c l o s e r i n respo n se

quarters, re to repeated

fu se to l e n d a p p l i c a

works wh i ch t i o n s — these

seem esse n t h i n g s a r e

t i a l to com not k n ow n

p l e t e n e s s ; to th e ma n y,how othe rs eve n to some

prom i se a n d of the cr i t i cs

a t t he very who shou l d

l ast mome n t k n ow bet te r ;refuse, whe n so that the

i t i s too l ate m a r v e l i s

t o at temp t that su ccess

t o r e p l a c e s o n e a r l y

the treasu res c o m p l e t e

w i t h d r a w n ; shou l d have

how ce rta i n bee n achiev

art i s ts from e d a t a l l .

o ne m o t i v e Whe n we are

o r a n o t h e r to l d that t he

d e c l i n e t o fou r roomsJ . (‘

oNsTABLc, R .A. (1 7 76 — Dedham Vale.

r e n d e r a s c o n t a i n i n g

th e I Retrospect i ve sect i o n are th e resu l t of abou t five hu n d red l e t te rs a n d of a n

i n su ra n ce to ta l of some i dea w i l l be formed of t he l abou r a n d e n te rpr i se

i n vo l ved i n s u ch a n u n de rtak i n g — an u n dertak i n g h u rr i ed ly carr i ed ou t u n der

great p ressu re of t ime, a n d u n de r occas i o n al ly t ry i n g co n d i t i o n s such as the

n ecessar i ly d i ve rge n t v i ews i n he re n t i n a l arge comm i t tee . I n the face of

c i rcumsta n ces su ch as these, wh i ch every th i n k i n g ma n ca n i magi n e for h imse l f,cr i t i c i sm shou l d n ot be too exac t i n g . Eve n though Wh i st l e r (who, at the l as t

great Expos i t i o n , prefe rred n o t to exh i b i t w i th the E n gl i sh ) shou l d be abse n t,a n d o n e or two othe rs of l ess importa n ce shou l d al so be u n rep rese n ted,al l owa n ce must be made . We prefe r to recog n i se the prese n ce, ge n e ra l l y

speak i n g, of t he cream of the p roduct i o n of B r i t i s h a n d I r i sh art for ma n y

years past, a n d n ot cav i l a t m i n or defects ; l e t u s n o t be of those who,

1 8

G . ROMNEY (1 7 34 — “Lady Hami l ton as a Bacchan te— With a Goat .

FRANCO - B R I T I SH EXH I B I T I ON

co n st i tu t i o n al ly affli c ted wi th me n tal cataract, see n ot h i n g bu t th e spots upo nth e su n.

I n th e a ttempt to trace i n the d i sp l ay th e p rogress of B r i t i s h art we fi n d some

t i m i d i ty i n th e i n i t i a l s tep . There i s n atu ral ly n o th i n g of Bettes, Hol be i n’s

T . GAI NSBOROL'

GH, R . A. (I 7 2 7 — I 79 2 ) .Port ra i t of Anne, D u chess of C umberland.

co n temporary a n d l i ke ly e n ough the pup i l of H i l l i a rd, for his p i c tu res a re of

ex t raord i n ary rar i ty ; bu t to W i l l i am Dobso n ,who approached so n ear to Va n dyck,is ascr i bed a beau t i fu l port ra i t of a lady i n b l ack hol d i n g a l emo n . Th i s i s l e ss

l i ke t he work of t he ab l e pa i n te r to whom it i s at t r i bu ted tha n that of one or other

2 0

S IR JOSHUA REYNOLD S, P. R .A. (I 7 2 3 — Lady Crosb ie.

FRANCO - BR I T I SH EXH'I B I T I ON

of the ab l e Du tchme n who pa i n ted i n E n gl a n d t i l l t he great F l em i n g arr i ved,a n d

i n a great measu re tu r n ed the pub l i c taste of t he day from the art of Hol l a n d tot hat of Fla n ders . Nor is the re a n y th i n g of J ameso n e, Robert Wal ke r, J oh n

R i l ey, a n d tha n the i ro t h e r s o f works . Wethe i r ra n k, thu s arr i v e

who w e r e at H ogar th,c l eve r w i t h w h e n fo ro u t b e i n g t h e f i r s t

p r e - e m i t i m e t h e

n e n t, a n d B r i t i s h

s o m i g h t s c h 0 0 1

w e l l b e fou n d i tse l f

spared, for a n d b e

i n the his came tru l y

tory of a rt n a t i o n a l ;th e i r n ames a n d th e n ce

a r e 11 1 O l‘

6 J AM ES HO LLAND, “BOO forward weWooded Scene— A Salmon Trap— G lyn Leddr, North W'

ales .I m p o r t a n t n e e d n o t

t rou b l e abou t om i ss i o n s . I n regard to both qual i ty a n d n umbe rs represe n tat i o n

i s dou bt l ess somet imes u n equal, bu t eve n th e worst i s v e ry good i n deed .

I n H o fe e l i n g o f

garth'

s por t h e t i m e

t r a i t o f c o n d em n ed

h i s s i s t e r, as“French

M i ss Ho ified.

"

SO

g a r t h ," M i s s Ho

w e f i n d g a r t h i s

t h a t b l u ff r ep rese n ted

E n g l i s h as a m idd l e

t e m p e r , class E n g

t h a t con l i s h ge n t l e

t e m p t fo r w o m a n ,grace a n d w i t h o u t

c u l t i v a t e d much effort

c h a r m o n her part

w h i c h the t o m a k e

p 0 1 I t I C a l w. HOGARTH (1 69 7 — A Card Pat ty. herse l f 10 0 k

attrac t i ve, a n d w i th n o n e at a l l o n he r b ro ther'

s to softe n t he asper i t i es

of what the modes t l i tt l e J apa n ese l ady, we are to l d, i n a sp i r i t of se l f- ab n egat i o n ,l oves to cal l “my u n importa n t face . Bu t th ere i s a s tu rdy recog n i t i o n

of u n var n i s hed t ru th a n d of s t ro n g perso n al i ty a n d abso l u te s i n ce r i ty . I t i s

TH E BR IT I SH ART SECT I ON

these qual i t i e s t hat made the fou n dat i o n of t he B r i t i sh school, fo r da i n t i n ess

a n d a i rs a n d graces were not i n d ige n ou s to the peopl e ; th ey were importat i o n s

from Fra n ce, t he la n d of the i r b i rth, a n d u n t i l a ma n arose to star t afresh to pa i n t

w i th ho n es t ve rac i ty devo i d of a l l flat te ry, t he a rt of th e cou n t ry cou l d n ot be sa i d

to be whol ly s i n ce re a n d characte r i s t i c of the n at i o n whose se n t i me n t a n d emot i o n

a n d way of see i n g i t was su pposed to reflec t . That ma n was th e sta lwart

H o g a r t h , d e v e l o p

a n d to h im m e n t 0 f

w e o w e p r i n c i p l e s

e t e r n a 1 t hat ca l l ed

g r a t i t u d e i n to be i n g

f o r h i s the “Arts

robu s t, l i fe andCrafts,

l o n g p r o a l l p rotes ts

tes t . Pro a g a i n s t

tes ts of t he g r O w i n g

k i n d regu co n ve n t i o n

larly recu r, al ism a n d

a S t h e d u l l e d

i rres i s t i b l e a r t i s t i c

impu lsepre se n se . Bu t

cipitates a Hogarth'

s

c r i s i s : we r e fu s a l to

had i t aga i n da n d i fy h i s

i n t he Pre s i t te rs d i d

R a phae l i te n o t p r e

B r o t h e r v e n t h i m,hood, a n d e s p e c i a l l y

a g a i n i n i n h i s ear l i e r

th e I mpres years, from

S io n i s t ic p a i n t i n g

movem e n t,

soc i ety as

D . G . ROSSETT I (1 82 8 — The Bower Meadow.

he saw I t,a n d as he shows i t to u s i n “A Card Party —One of t hose co n ve rsat i o n p i e ces

i n wh i ch w i th u n err i n g taste h e refl ect s th e l i fe a n d costume he was soo n to hol d

u p to r i d i cu l e i n merc i l ess ca r i catu re . I t i s the same ho n est bru sh that pa i n ted the

l i t t l e “Ra n e l agh,

” l e n t by M r . Bu rdet t - Cou tts— the famous ga rde n s see n i n t he

soft l igh t of mor n i n g whe n al l the reve l l e rs hadflitted. There i s l ove of n at u re

here, a n d the sce n e i s se t dow n w i thou t t r ifl i n g a n d w i thou t arra n geme n t ."

The

as I n th e

charm is i n the co l ou r a n d the actual pa i n t i n g, th e qual i t i e s for wh i ch

H ogarth i s to be val u ed above h i s gi ft of sat i re or h i s ta l e n t for preach i n g a n d

d i dact i c i sm .

G . F . WATTS, O.M . , R .A. , (1 81 7 — Orlando Pu rsu ing the Fata Morgana.

Reprodu ced by permi ss‘ ion of the Leicestei Art Ga l lery Commi t tee and M rs . Wat ts .

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FRANCO - BR IT I S H EX H IB IT I ON

From h im to Rey n o l d s is a n easy s tep, al though i n the great S i r J oshu a we

have a retu r n to grace a n d fa n cy, n ow, howeve r, e n t i re l y n at i o n al i sed a n d

ass im i l ated . Save that the re i s n o mal e portra i t by the fi rs t P res i de n t of the

Royal Academy, h i s ar t i s we l l rep rese n ted . For s impl i c i ty a n d t ru th, al be i t

h igh ly decorat i ve i n t he r i ch n e ss a n d co l ou r of the d ress, we cou l d hard ly have

chose n a be t te r examp l e tha n th e wel l - k nowrf hal f- l e n gth “M rs . Morr i s (whose

hu sba n d, by the way, i n 1 80 6 became S i r J oh n Morr i s ), for i t i s one of the

m i n o r i ty l e n g t ho f t h e of “V i s

p a i n te r’

s c o u n tes s

p i c t u r e s

w h i c h s h o w n

r e t a i n h a s t e n

t he i r fu l l i n g t o

g l o w of w e l c o m e

c o l o u r y o u i n

w i t h o u t h e r par k

changeor w i t h a

fa d i n g . s p o n

F o u r taneity of

y e a r s grace a n d

l ate r h e m 0 v e

c o m p l e t me n t a n d

e d h i s a charm

b r i l l i a n t ofgestu re

f u 1 1 T. GA INSBOROUG H , R . A. (I 7 2 7 - I 79 2 ) . — Landscape and Cat t le .

WhiCh th e

maste r rare ly, i f eve r, su rpassed, t he whol e d i sp l ayed wi th a v i vac i ty of execu t i o n

a n d a gold e n gl ow of col ou r that make i t a worthy v z

'

s - v z'

s to “The B l u e Boy

that ha n gs oppos i te to i t . Twe n ty years before, Rey n ol d s had pai n ted the “K i t tyF i she r,

" wh i ch has bee n l e n t by Lord C rewe, a n d i t i s i n te res t i n g to compare

the v igour of the Lady Crosb i e w i t h th e d reamy, q u iety beau ty of t he fra i l

charmer as she s i t s w i th he r at te n da n t doves— a faded p i c tu re, wh i ch has faded

i n to the swee tes t l ove l i n ess. The n we have “The Guard i a n A n ge l s of 1 785 ,

represe n t i n g two a n gel s p ro tect i n g a babe— a p i c tu re, appare n t ly, pa i n ted i n

co n n ec t i o n w i th the “A n gel s ' H eads of 1 786 i n th e N at i o n al Gal l e ry— the

portra i t of the l ove ly l i t t l e Fra n ces Gordo n at the age of seve n , who l i ved a

sp i n s te r a n d d i ed i n t hat l o n e ly s tate i n 1 836 . A n d t here is “The Mob Cap,”

u n me n t i o n ed by b i ographers a n d cata logue rs, bu t u n doubted ly from S i r J oshua’s

ha n d, a n d the s tudy for the ce n t ra l figu re i n h i s“I n fa n t Academy, pa i n ted i n

o r before 1 783— a de l igh tfu l ly h umorou s i n ve n t i o n . Here, the n , we have the

pl ayfu l, as i n the othe r p i c tu res we have the se n t i me n ta l, the real i s t i c, a n d the

d ream i ly demu re .

TH E BR I T I S H ART SECT I ON

Gai n sbo rough i s here n o t l e ss var ious, as Rey n o ld s, i n a mome n t of

exp l os i ve adm i rat i o n , dec lared h im to be . The n ob l e po rt ra i t of Maste r J o n atha n

B u ttall, k n ow n to al l the worl d as“The B l ue Boy, is a n ex trao rd i n ary

comb i n at i o n of adol e sce n t d ig n i ty a n d grace . He sta n d s i n his “Va n dyck hab i t,as the cata logue descr i bed i t a t the t ime of i ts exh i b i t i o n , se l f- possessed a n d eve n

maste rfu l, adm i rab l e a l i ke i n pose, characte r, a n d col ou r . The warmth of th i s

S I R E . LAN DS EE R, R .A. (1 80 2 — The Monarch of the G len.

bl ue a n d the almos t ce r ta i n date of the p i c t u re gi ve the l i e to the t rad i t i o n a l s tory

tha t i t was pa i n ted as a reply to the chal l e nge of R eynolds'

s E igh th D i scou rse,for the s imp l e reaso n that d i scou rse was de l i ve red years afte r t he p i c tu re was

exh i b i ted, a n d, moreove r, deal t spec ifi cal l y w i th cold b l ue . Few have ma n aged

b l u e more exqu i s i te ly a n d more dar i n gl y tha n Ga i n sbo rough . H is “LadyBate - Dud l ey "

(the w i fe of t he ha n dsome fight i n g parso n , the Rev . S i r H e n ry

Bate - Dud l ey, whom the art i s t pa i n ted at B radwel l seve n years before R eynolds'

s

d i scou rse aforesa i d ) is a m i racl e of execu t i o n a n d ha n d l i n g of the co lou r . The

l ady, att i red i n a fl u t te r of azu re s i l k, s ta n d i n g at fu l l l e n gth i n a l a n d scape,prese n ts so de l igh tfu l a n appeara n ce that we wou l d n o t have he r one wh i t l ess

FRANCO - B R IT I SH EXH IB I T I ON

pla i n t ha n she i s ; a n d the execu t i o n reveal s t he h igh - water mark of Ga i n s

borough ’s ach i eveme n t . I t is a maste rp i ece . A n d ye t not a few prefe r his“A n n e, Duchess of Cumberla n d, execu ted i n his pe n c i l l ed ma n n e r, bu t fu l l of

del i cacy a n d d ig n i ty . Bes i des these we have the fi n e cat t l e - p i ece— l e n t by Lord

J ersey— a n ob l e work i tse l f, a n d a rem i n de r that Ga i n sborough preferred to thin ka n d speak tr i bu tes to

ofhimselfas th e charm

a l a n dscape of B r it is h

p a i n t e r w o m a n

ra ther tha n hood . The

asa“mak er L a d y

of faces . H am i l t o n

A f a r as a Bac

s m a l l e r c h a n t e ,m a n a s a o t h e r w i s e

pa i n te r, ye t“w i t h a

almos t h i s Goat, re

peer i n ap m i n ds one

p r e c i a t i o n s t ro n gly of

o f fe m a l e the p i c tu re,beau ty a n d u n de r t h e

i n power of same t i t l e,t ra n sp l a n t b y S i r

ing'

i t to J o s h u a

c a n v a s, is R eynolds in

G e

'

o r g e th e posses

R O m n e y, s i o n of t he

whose two E a r l o f

c e l e b r a t e d Du r h am

p o r t r a i t s th e concepof the lov e t io n a n d

l y L a d y a r r a n g e

H a m i l t o n m e n t a r e

a r e t h e S I R J . E. M I LLA IS, BART . , P. R .A. (182 9— A u t umn Leaves.

m u c h t h e

p a in t e I"S R eproduced'

by permissuon of the Corporation of Manches ter.same b u t

Rom n ey has caugh t the saucy w i tchery a n d p re t ty p i qua n cy of the l ady far more

su ccessfu l ly tha n the greate r ma n .

“Lady H am i l to n a t the Sp i n n i n g Whee l ”

(l e n t by Lord‘

I v eagh ), desp i te t he b i tum i n ou s l ump i n ess of the shadowed

backgrou n d, 1 5 eve n more at t rac t i ve i n proport i o n as i t ge ts away from the co l d

suggest i o n of cl ass i c mythol ogy so ofte n affected by fa n cy - portra i t pa i n te rs of the

day — bu t by Ga i n sborough n ever . These two works represe n t Rom n ey’

s

art, bu t they represe n t it i n its mos t e n gagi n g a n d effect i ve aspec t ; for al though

30

TH E BR I T I SH ART SECT I ON

Rom n ey was al so a pai n te r of

me n , his somewhat effem i n ate

ar t was happ i e s t w i th wome n i n

ge n e ra l a n d w i t h Lady H am i l to n

i n part i cu l ar .

A more v igorous perso n

a l i ty, al though possessed of

l e ss origi n al i ty, J oh n Hoppner

co n quered a pos i t i o n wh i ch,from the beau ty a n d bread th of

his work, shou l d by r igh ts s ta n d

above that of Rom n ey ’s . “TheS i s te rs, wh i ch be lo n gs to S i r

Edward Te n n a n t, is o n e of t h e

most beau t i fu l th i n gs of its

per iod i n B r i t i s h art . Whe n

i t was exh i bited in th e Royal

Academy i n 1 79 5 u n de r the

t i t l e of “Portra i ts of two

you n g Lad i es,” i t n atu ral ly

c reated a fu rore, and peop l e

recog n i sed, or though t they

recog n i sed, t hat t he p l ace l eft

vaca n t by S i r J oshua R eynolds’

s

death th ree years befo re was

now l i ke ly to be ho n ou rab ly

fi l l e d . T h i s g r o u p o f t h e

d a u g h t e r s o f A d m i r a l S i r

Thomas Fra n k l a n d, th e great

g r eat g r a n d s o n o f O l ive r

C r o m we l l, was doubt l ess a

beau t i fu l th i n g the n ; the years

that have passed have softe n ed

th e al ready qu i e t scheme of

co l ou rs and, for al l i ts spark l e,added a mel l ow soft n e ss that

l e n d s a charm to what mus t

always have bee n a tr i umph

for the pa i n te r . His “M issJ ud i t h B eresford a n d “M i ssWil l i ams ” are both exce l l e n t

examples of Hoppner’

s ar t, bu t

S I R E.B U RN E - JON ES, BART. (1 833 — The Go lden S tairs .

S I R HENRY RAEBURN, R .A. , (1 7 5 6

Por t rait of A l i c ia, Lady Steuart of Coltness .

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FRANCO - BR IT I SH EXH IB I T I ON

he tou ches h i s h ighes t wate r - mark i n t he port ra i t of “M rs . Pearso n — the

gra n dmother of i t s p rese n t ow n e r, Capta i n Pearso n . I t is a masterp i ece,super i or i n qual i ty (though of cou rse s impl e r a n d eas i e r as a compos i t i o n ) eve n

to “The S i s te rs, for a l l i ed to d ig n i ty a n d charm of express i o n a n d u n i ty of

co lou r i t has a se n se of atmosphere a n d “loogeness of ha n d l i n g as th e pa i n te rs

cal l i t, wh ich p l ace i t h igher in t he sca l e . I n the e n d,“qual i ty i n pa i n t a lways

te l l s ; fash io n may set for a t ime mere pret t i n e ss or charm o n the h igher

pedes tal, as Rom n ey is se t u p to - day, bu t soo n e r or l a ter qual i ty w i l l asse rt

w. COLL INS, R . A. (1 788 — Cromer Sands .

i t se l f, whe n rev i sed j udgme n t w i l l p l ace the favou r i te s of to - day i n the i r p rope r

n i ches . That w i l l i n ev i tab ly be Rom n ey'

s l o t one day, whe n col l ec tors come

to the i r art i s t i c se n se s the n i t w i l l be recog n i sed that Hoppner at h i s bes t s ta n d s

above Rom n ey, though al l the beau ty of h i s n umerou s Lady Ham i l to n s be

cas t i n to the scal e .

Eve n Op i e was s tro n ge r tha n h i s co n temporary Rom n ey, a n d ofte n more

pa i n te r- l i ke, as we see i n t he e n gagi n g portra i t of“M rs . George Warde,

" wi fe of

the you n ge r ge n e ra l of that n ame . I t was execu ted i n 1 782 , th e year of t h e

art i s t 's fi rs t co n t r i bu t i o n to th e Royal Academy, a n d so was the work of his you th,a n d rema i n s, wi th i ts pret ty arra n geme n t of Leghor n hat, bl ue r i bbo n s, a n d

powdered ha i r, o n e of his most p l easa n t exampl es of portra i tu re .

The year that saw the ex h i bit i o n of Hoppner'

s M isses F ra n k la n d

w i t n essed al so the p roduc t i o n of S i r H e n ry Raebu rn'

s“Lady S teuart of Coltness .

The great Scot t i s h art i s t pa i n ted two or th ree portra i t s exactly on th i s p l a n of

pose, cha i r a n d la n dscape not t hat it was his cu s tom to repea t h imse l f, or tha t he

34

TH E BR IT I SH ART SECT ION

l ack ed in ve n t i o n , bu t that the arra n geme n t great ly p l eased h im at th e t i me .

I t is one of th e bes t spec ime n s of his art, espec i a l l y i n femal e portra i tu re, a n d

i n i t s exce l l e n ce of t reatme n t a n d p rese n tat i o n i t reveal s th e ha n d of a maste r .

At the oppos i te pol e s ta n d s th e soi- a’z

'

sant Z offa n y— “M rs . Morr i so n of

Haddo —w i th i t s smooth, h igh ly - finished fl esh, its b l u e d ress a n d cream lace .

That i t i s n o t by Z offa n y th ere ca n be l i t t l e doub t ; a t fi rs t gl a n ce you m igh t

take i t fo r a n early Rey n o l d s or a n u n u sual ly fi n e Cotes, bu t a c l ose rexam i n at i o n w i l l p roc la im i t a beau t i fu l work by the Scotsma n , Al la n Ramsay

whose por p i c tu res i nt ra i t of his the Exhibi

wi fe i n the t i o n . Whe n

S c o t t i s h we come to

N a t i o 11 a l S i r Thomas

Gal l e ry is a L aw r e n ce,cou n te rpa r t the br i l l i a n t

of this ; a n d d r a u g h t s

it isconfirm m a n a n d

ed by the seco n d - ra te

P o r t r a i t pa i n te r a n d

o f M r s . c o l o u r i s t,Bru ce ” i n w e f i n d

t h e s a m e his “Mrs .Gal l ery . I t P l a n t a ”

is one of a n d h i s

t h e m o s t LOR D LE IG HTON, (183 0 —S ummer Moon.

C h a r a c t e r '

i n t e r es t i n g istic“Ladya n d Ch i l d ” represe n ta t i ve e n ough of his be t te r work, bu t, compared with

what has go n e before, art ific i al i n grace a n d p re t t i n ess . They are s ta n d i n g

p roofs, i n sp i te of t he i r more e n gagi n g merits, t hat i n a p i c tu re good d raugh tma nsh i p is not every th i n g, a n d, in deed, ca n n o t s tand bes i d e fi n e co l ou r a n d artis t i c

sympathy .

These are the ch i e f port ra i t - pa i n te rs d u r i n g th e lat te r hal f of t he e igh tee n th

ce n tu ry a n d th e fi rs t quarte r of th e n i n e tee n th, a n d some few years were s t i l l

to e l apse before a fresh set of idea l s awoke ou r pa i n te rs from the l e thargy

wh i ch overcame the successors of th e group we have bee n co n s i de r i n g . Eve n

Northcote a n d Beechey, Ho n e a n d Cosway, Shee a n d J ackso n , a n d Watso n

Gordo n were of t he smal l e r fry, the i r tit l es a n d pos i t i o n n o tw i th s ta n din g ; a n d

perhaps i t is as wel l that n o room has bee n fou n d for th em i n th e res tr i cted

space a t the Exh i b i t i o n .

Whe n we tu r n to l a n dscape we fi n d a group of p i c tu res scarce ly, if at all, l e ss

worthy of adm i rat i o n t ha n the portra i ts . Wi l so n’

s mag n ifi ce n t “View on t he

Ar n o, l e n t by M r . Har la n d - Peck, may owe someth i n g to C laude, bu t i t has

3 5

FRANCO - BR I T I S H EXHIB I T I ON

s tr i k i n g i n d i v i d ual i ty of i t s own,a n d glows fromth e wal l w i t h t he fu l l go l de n l igh tof a n I ta l i a n su n se t . Time has g i ve n Wi l so n h i s reve n ge, a n d th e n egl ected

art i s t of Gai n sborough'

s day i s t he ho n ou red maste r i n t h i s day of grace . H e

was th e i n sp i re r of J u l i u s Caesar I bbe tso n , whose“Wel sh La n d scape ” i s a fi n e

a n d impress i ve work, cu r i ou sly s i mpl e i n i t s Iu i'

v ete'

of compos i t i o n ,ye t tou ch i n g ly

s i n ce re . I n its re n der i n g of atmosphe re the re i s i n i t t hat ra the r ob tru s i v e

grey n ess, l i ke a mu sl i n ve i l, that we ofte n fi n d a l so i n t he p i c tu res of h i s boo n

compa n i o n George Morl a n d .

“Mor n i n g ; or, t he Be n evo l e n t Sportsma n ,” by

P. l‘

. POOLE, R . A. (1 81 0 — The Seventh D ay of the Decameron.

t he last - n amed, has the same pecu l i ar i ty, as wel l as h i s seve n tee n t h - ce n t u ry Du tch

co n ve n t i ona l ma n n e r i n the re n de r i n g of t he t rees n eve rthe l e ss, t he fi n e se n t ime n t

for l a n dscape a n d the charm of the compos i t i o n ra i se i t to th e fro n t ra n k of his

ach i eveme n t s . I t i s othe rw i se w i th “The Wrecke rs, l e n t by M r . Bar n e t Lew i s .

Th i s p i c tu re, represe n tat i ve of a l arge c l ass of s ubj ec ts of ve ry s im i la r des ig n , not

o n ly by Morl a n d, bu t by De Lou therbu rg, a n d others, i n c l ud i n g Tu r n e r h imse l f i n

his you n ge r days, scarce ly bears t he s tamp of t ru th a n d s i n ce r i ty, a n d t he s t orm i s

as u n s tud i ed as th e wreckers a re theat r i ca l .

I n h i s day few pa i n te rs e n j oyed t he popu la r app rec i at i o n wh i c h was lav i shed

on Thomas Barke r of Bath, whether for l a n dscape or figu re- pa i n t i n g, ce rta i n

examp les of wh i ch are of vas t s i z e . The Rocky La n d scape — a Sce n e i n N orth

Wal es, be l o n g i n g to Capta i n H u th, i s th e most powerfu l of h i s works th e prese n t

wr i te r has e ver see n a n d th e most importa n t, art i s t i ca l ly j udged ; i t is, i n fact,almos t u n i qu e, a n d may perhaps have bee n see n by J ames Ward a n d gu id ed h im

i n th e format i o n of h i s v igorou s s ty l e . I n deed, i t cha l l e n ges, on the grou n d of

p i ctor i al s tre n gth, t he most forcefu l work of Old C rome h imse l f.

38

TH E BR IT I S H ART SECT I ON

That th i s i s say i n g a good dea l w i l l be co n fessed by al l who compare w i th i t

C rome’

s n ob l e “Moo n l ight, l e n t by M r . Dare l l B row n . Th i s is a n u n u sua l

p i c tu re fo r t he maste r, u n fi n i shed, too, i n t he trees ; bu t i t p rocla im s a l ove ofn atu re eve n beyo n d what we fi n d i n Ga i n sborough

'

s “La n dscape a n d Catt l e "

al ready me n t i o n ed, or i n Barker'

s hammer - bl ow at Wel sh sce n e ry . I t i s su ch

a p ic tu re that C rome ’s w o r k

m i g h t b e t t e r 5 h 0 u l d b e

have bee n th e grouped that of

i n s p i r a t i o n of t he othe rs of

t he school s of his school : of

B a r b i z o n a n d GeorgeVincent,Fo n t a i n e b l e a u whoseadmirab le

thanConstable'

s“D r i v i n g the

“Haywai n of Flock t . Mary,1 82 3,a n d m igh t B everly

"

— com

be take n for t he m o n ly c a l l e d

direct foreru nner “The J ump i n go f R o u s s e a u

,S h e e p — i s

j us t as i n its i n sp i red d i rect ly

tu r n it appears by n atu re ; of

to have bee n Pa t r i ck (or more

s u gge s t e d b y correc tl y Pete r)the fi n er moo n Nasmyth,whose

l igh t p i eces of d e l i g h t fu l art,Aart Va n de r here rep rese n ted

Nee r . B u t that b y “M e e t i n gi t i s w h o l l y of the Avo n

or ig i n a l a n d t rue a n d Sever n ,"

i s

to t he sce n e i t i n sp i red d i rect ly

dep i c ts is n o t b y H o b b e m a

ope n to qu es S I R j . E. M I LLA IS, P. R .A. (182 9 — The B lack Brunswick er.

a n d Ruysdae l

t i o n W i t h of J ames Stark,whose “Road th rough the Wood i s i n sp i red mai n ly by Nasmyth a n d of J oh n

Se l l Cotma n , whose state ly oil- p i c tu re “St . Malo i s whol ly i n sp i red by his

own wate rco l ou rs .

Whe n we come to Tu r n e r we fi n d th ree mov i n g ca n vases rep rese n tat i ve,rough ly, of the maste r

'

s th ree pe r i od s, t he early, t he m idd l e, a n d the l as t . I n

th e fi rs t,“F i sh i n g Boats on a Lee S hore, bel o n g i n g to Lord I v eagh, we have

the pass i o n fo r fac t, a n d i n c i de n ta l l y his l ove of the sea of wh i ch he had such

u n r i val l ed k n ow l edge . Here we are s tru ck by the fi rm n ess of the d rawi n g a n d

the emphas i s of th e s tateme n t . I n the seco n d work, the ce l ebrated Mercu ry a n d

H erse, l e n t by Lord Swayth l i n g, we have the pass i o n for compos i t i o n a n d the

FRANCO - B R IT I SH EXH I B IT I ON

pseu do - c l ass i c fee l i n g i n l a n d scape wh i ch for so l o n g a pe r i od possessed h im . I n

the th i rd, we have the pass i o n for co l ou r a n d l igh t . Th i s is “Qu illeboeu f, th e

prope rty of M r . T . H . M i l l e r, fam i l i a r amo n g stude n t s of Tu r n e r as “TheG reat Wave h the vas t mov i n g mass of water whose we igh t a n d - mome n tum

we are made to fee l as i t speed s toward th e shore to b reak i n a c l oud of Spray .

Here we have voted as they

that gl or i ou s were to n atu re

c o l o u r, e x a n d t r u t h ,

q u is ite, y e t m o r e d i a

res t ra i n ed a n d m e t r i c a l l y

fu l l of l igh t, o p p o s e d i n

that mark s the the i r ou t l ook

begi n n i n g of a n d a r t i s t i c

t h e a r t i s t ’ s v i s i o n itwou ld

l ates t phase . b e d i ff i c u l t

I f th ree p i c t o'

n a m e .

tu re s are to C o n s t a b l e'

s

i l l u s t r a t e D e d h a m

T u r n e r s Val e,"

l e n t by

c a r e e r, i t C o l o n e l

wou l d be hard S i r A u d l e y

to bet te r th e Neel d, is a n

s e l e c t i o n,

e x am p l e o f

whethe r for hisfinestwork

t e c h 11 1 ca l a n d h i s fi n es t

s tudy or for p e r i o d . I t

shee r del igh t . wa s p a i n t e d

A year after i n 1 82 8, a n d

T u r n e r was p l e a s e d it s

b o r n C o n painter v astly,

s t a b l e fi r s t as his “Li fe

saw the l igh t . a n d Letters

T W O In 6 n , l L EWIS, R . A. , (1 80 5 - 1876 )— In the Bey '

s Garden.

Shows a n d

eq u al ] y de _Reproduced b

_\ penmssn<m of the Pres ton Corporat ion. y e t fo r t h e

maj o r part of his caree r h e sad ly l acked app rec i at i o n . H i s art, as he h imsel f

sa id, i s “wi thou t e i the r fa l - de - l a l or fiddle- de - dee ; how ca n I the refore hope

to be popu lar ?"

I f he cou l d n ow re tu r n a n d see th e crowd that da i ly

excl a ims i n rap tu re before “Dedham Val e,” j u st as i t s ta n d s e n th ral l ed before

his p i c tu re s i n the Nat i o n a l Gal l e ry, the b i t te r n ess that t i n ged a n d ta i n ted h i s

l i fe wou l d be d i ss i pated i n the warmth of the acc l amat io n .

Bo n i n gto n , bor n a quarte r of a ce n tu ry l ate r, had greate r affi n i ty w i th

Tu r n e r tha n Co n stab l e, a n d his “F i sh Marke t at Bou l og n e (S i r Edward

40

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FRANCO - BR IT I SH EXH IB I T I ON

a puzz l e to n early eve ry ma n

who though t he k n ew h i s

work . Nex t we come to th e

br i l l i a n t “Chess P l ayers OfWi l l i am Mul l e r,whose or i e n t

alism showed a s i n ce r i ty, a

l ocal t ru th to fact, a n d a

broad i n depe n de n t v igou r of

v i s i o n a n d v i r i l i ty of col ou r

a n d bru shwork wh i ch have

et h im i n the fro n t ra n k of

pa i n ters of h i s t ime, whe n co n ve n t i o n a l i ty a n d imperso n a l i ty we re th e ba n e of ou r

school . The n we have, exh i b i ted toge ther, a group of pa i n te rs more rece n t ly

deceased . La n d see r'

s “Mo n arch of the Gl e n anc“The Twi n s show the art i s t

i n two of h i s more importa n t ca n vases, the forme r the b et ter as to compos i t i o n ,th e l at te r t he be t te r as to pa i n t i n g ; both of them rathe r th i n i n tech n i que a n d

u n i n te res t i n g from the po i n t of v i ew of a rt, bu t both very fi n e a n d ab l e as s tud i es

of a n i ma l l i fe . I n n e i the r i s the re a n atom of tru e_p0 etry

— of that exqu i s i te fee l i n g

wh i ch fi l l s the n ob l e ca n vas of Lord Le igh to n'

s exqu i s i te ly de l i ca te “Summer

M oo n , or Cec i l Lawso n'

s l i t t l e D reary Road,a n d Geo rge Maso n

'

s “Cross i n g

the Moor, or Fred Walker'

s roma n t i c su n se t p i ece, “The P lough —wi th i ts

s t ra n ge, cl eve rly - ma n aged d i scord of reds, a n d i t s p l ough - boy s tr i d i n g al o n g

wi t h th e sw i n g of a Greek god. A n d wehave M illais'

s real i s t i c “Over the H i l l s

a n d Far Away — a mag n ifi ce n t a n d h igh ly fi n i s hed sketch of vas t d ime n s i o n s

a n d h i s port ra i t of “Lord Beaconsfield, wi th F ra n k Holl'

s“Rt . Ho n . J oseph

Chamberl a i n for pe n da n t, a n d be twee n t hem Charl e s Fu rse'

s smal l equest r i a n

portra i t of “Lord Robe rts - a maste r ly l i t t l e ca n vas . These, wi t h Holl'

s fi n e

characte r- s tudy, s tro n g al i ke i n

(I . c. HA I TE, R . I . , R . B .A.— A Scene in Morocco.

col ou r a n d express i o n ,k n ow n as“The Che l sea Pe n s i o n e r,

" a n d

Rober t B rough'

s Lord J us t i ce

Vaugha n W i l l i ams, a ca n vas

wh i ch reveal s pathe t i c proof

of what the art i s t wou l d have

at tai n ed to bu t for th e ra i l way

col l i s i o n that c rue l ly cu t short

h i s b r i ef a n d b r i l l i a n t ca ree r,compr i se the greate r n umbe r of

the works w i th wh i ch the ma i n

Ret rospect i ve sec t i o n i l l u s t rates

the h i s tory of pai n t i n g i n Great

B r i ta i n . G EORG E MORLAN I ) , 1 763- 1 80 4.

—Morning, or the Benevo lent Sport sman.

THE BR I T I SH ART SECT ION

M idway i n the cou rse of that deve l opme n t i n the n i n e tee n th ce n tu ry came th eepoch - mark i n g moveme n t to wh i ch al l u s i o n has al ready bee n made— the Pre

I 1 . G R EGORY, R .A . ,— Bo u l ter'

s Lock .

Raphae l i te B rothe rhood, wh i ch the p l a n of th i s E ssay has rese rved for pre se n t a n dn ecessar i ly de tached co n s i dera t io n . AS has bee n sa i d, i t was a p rotes t pu re a n d

s imp l e— a protes t wh i ch, sho rt - l i ved as i t was as a n o rga n i sed moveme n t, l ed to a

43

FRANCO - B R IT I SH EXH I B IT I ON

revu l s i o n of fee l i n g aga i n s t the u n i n sp i red art of the day far beyo n d the borders of

the c i rc l e a n d of the cou n try w i th wh i ch i t i s i de n t ified . Cer ta i n te n e ts Ru sk i n

p reached, a n d the B rotherhood p ract i sed, te n e ts wh i ch are st i l l t he i n sp i rat i o n

of some of the phases of the I mpress i o n i s t school, a n d wh i ch,whe n Mo n et,Ma n e t,a n d th e i r fo l l owe rs adopted them, were ha i l ed as i n ve n t i o n s, or at l eas t as

i n n ovat i o n s, of the revol ted school s of Fra n ce.

Bu t as Rusk i n h imse l f decl ared,co n trad i c t i n g the v i ew pe rs i s ted i n by ma n y, he was by n o mea n s th e or ig i n ator,bu t o n ly the supporter, of the a ims of the P re - Raphae l i tes . The t rue fathers, or

w. F.— Marke t D ay .Reprod u ced by permis s ion of the Corporat ion of Worcester.

s tep - fathers rathe r, of the moveme n t were Wi l l i am Dyce a n d Ford Madox B row n .

I t i s a l ate exampl e of Dyce we have here, bu t a ve ry pe rfect one~ — “George

H erbert a t Bemer to n — wh i ch is pai n ted on th e pl a n ad vocated by the B rother

hood : go i n g i n al l h um i l i ty to n atu re, a n d pa i n t i n g exact ly what the art i s t saw,accu rate ly a n d l abor i ou s ly, much as i f, i n the Sp i r i t of t he th i n g, th e work werethe revere n t i a l exerc i se of a re l ig i ou s devotee . The i n te n se s i n cer i ty of the p i c tu re

is a prac t ical repud ia t i o n of tame co n ve n t i o n al i ty o n the one ha n d a n d i rrespo n s i b l es l ap - dash a n d eas i ly a n d cheap ly -

got eff ects o n th e othe r . Madox B row n , i n h i s

magnum opus e n t i t l ed“Work,

"

wh i l e n o t l ess s i n ce re, i s a t hou sa n d t imes more

b i zarre (perhaps becau se he h imse l f bega n as a co n ve n t i o n al pa i n ter of the

Ecol e des Beau x Arts o rde r of that pe r i od ), is fu l l of a n ecdo te, compr i s i n g a doze n

su bj ects, a n d fu l l of s tra n ge d raw i n g a n d of a r io t of hot co l ou r ; a n d ye t i n

s p i te of al l im presses u s wi th the powerfu l i n d i v i d ual i ty of the art i s t a n d w i t h the

ge n e ra l expos i to ry pu rport of his symbol i ca l d es ig n ve i l ed i n real i sm .

Bu t these me n , as has bee n sa i d, were not t hemse l ves of t he moveme n t . I t

was H olma n - H u n t, M i l l a i s, a n d Rosse tt i who formed the i r spec i a l coter i e, a n d

46

TH E BR IT I SH ART SECT I ON

othe rs, such as J oh n B re t t, J . F . Lewi s, a n d a n umbe r more,who became co n verts

i n t he i r own pract i ce, bu t we re n ever e l ec ted i n to the body . Mr . Holma n - Hu n t,th e one su rv i vor of the ba n d — (M r. Wi l l i am Rosse tt i, t hough a B rothe r, was

not a pa i n te r ) — i s see n i n n o th i n g of h i s early years bu t i n h i s “I sabel l a a n d thePot of Bas i l a n d “Mor n i n g Praye r demo n st rate s his l oya l ge n e ra l ad here n ce topr i n c i p l es wh i ch, i n the i r n arrower app l i cat i o n , h i s assoc i a tes th rew u p afte r a fewyears .

_ These remarkab l e works— the one a l arge ca n vas, t he o the r bu t a m i n i atu re— equal ly d i sp l ay the te n ac i ty of th e art i s t ; bu t the sp i r i t a n i mat i n g h im is very

d iff e re n t i n the two cases, for i n th e former M r . Holma n - Hu n t t ru s ts for h i s effec t

to the poe t ry th e sk i l l of

of the s to ry execu t i o n

a n d scarce ly for we care

l ess to the l i t tl e for the

s u m p t u ou s rathe r com

n ess of t he mon - p l a c e

c o l o u r a n d you n g pe r

a c c e s s or i es, 5 o n f o r

wh i l e i n the herse l f a n d

l atte r, i t is s t i l l l es s fo r

s o l e l y the hercommon

i n te n se re p l a c e s u r

ligiou s devo rou n d i n gs .

t i o n of th e Whe n we

g i r l t h a t c o m e t o

Ill tel' eStS US, w. j . M L’

LLER (I S I Z - l S45 ). — The Chess Pla) ers . M i l l a i s w e

apart fr o m f i n d o u r

se l ves in [e berm mz

'

l z’

en of th e P.- R . B . moveme n t . He had got ove r h i s

fi rs t p ri m i t i ve a n d archa i s t i c fi t, of wh i ch “Lore n zo a n d I sabe l l a was

th e type,a n d had passed the t ra n s i t i o n a l “Ch r i s t i n th e Hou se of His

7Pare n ts,

’

on accou n t of wh i ch, as h e expressed i t to th e p rese n t wr i te r, he

had bee n so d read fu l ly bu l l i ed ; a n d, i n 1 85 2 , he sough t to co n c i l i a te t he

p u b l i c,wh i l e re- asse rt i n g h i s p r i n c i pl es, wi th

“The H ugue n o t, h i s ea rl i es t

p i c tu re here exh i b i ted . Bu t th e pu bl i c dec l i n ed to be co n c i l i a ted or won ove r,a n d c l osed the i r eyes to the charm i n g se n t ime n t of ‘ t he subj ect, to the swee t

so l i c i t ude of the l ove ly face, to the d ign i ty of t he ma n — (the“o n e - l egged love r,

t hey cal l ed h im ) —who refu ses to wea r the Roma n Cathol i c badge wh i c h wou l d

save h im i n th e proj ec ted ma s sacre ; a n d i f they were b l i n d to these s t r i k i n g

mer i t s of subj ect, u sually u nfailing i n t he i r appea l to th e se n t ime n ta l i ty of a

crowd,what hope was the re that t hey wou l d apprec ia te the r i c h n e ss a n d st re n gth

of t he col ou r— (th e v i s i b l e p ro test aga i n s t t he mere“t i n t i n g that th e B rothe r

hood de n ou n ced as one of the weak n esses of the B r i t i s h school )— s t i l l l e ss tha t

they shou l d recog n i se, much l ess app rec i ate, the wor l d of care, a n d ho n es ty, a n d

HUBERT VON HERKOMER , R .A.— The Last M u s ter.

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FRANCO - B R IT I SH EXH I BI T I ON

pat i e n t l abou r devoted to t he re n de r i n g of the wal l, of the n a tu re a n d the

accessor i es of the scehe ? Bu t t ime has had its reve n ge, a n d M r . M i l l e r'

s t reasu red

possess i o n had not l o n g to wa i t fo r pub l i c acc l amat i o n of the maste ry a n d b read th

of se n t ime n t a n d t reatme n t wh i ch made th i s remarkab l e l i t t l e ca n vas e l oqu e n t i n

the cau se of t h e B rotherhood . At th i s t ime M i l l a i s s t i l l scor n ed th e mereadve n t i t i ou s a i d of th e beau ty of h i s S i t te rs a n d th e ex tra n eou s al l u reme n ts of

fi n e t i ssues,or n ame n ts, a n d the l i ke ; a n d i n th i s sp i r i t he p rodu ced, i n 1 85 9 ,

S I R E . LANDSEER (I80 2 — M ids ummer N igh t 's Dream— T i tania and Bot tom.

what i s, tak i n g i t for al l i n a l l, t he most remarkab l e of al l his p i c tu res . Thi s

was “Autum n Leaves, n ow the p roperty of the C i ty of Ma n ches te r, showi n g

two l i tt l e g i rl s of “t he hou se, ass i s ted by the garde n e r'

s ch i ld re n , mak i n g a

bo n fi re of the woods sad harvest a t th e hou r whe n t he se t t i n g su n i s st i l l

i l l um i n at i n g a Scott i s h tw i l igh t . For pe n e t ra t i n g poe try a n d for beau ty of e ffec t

t h i s p i c tu re may wel l be hel d to v i n d i cate Rusk i n'

s p rophecy tha t i n t ime i t wou l d

come to be regarded as one of t he worl d'

s mas te rp i eces ; a n d t here ca n be n o

doubt that its fame w i l l e n d u re a n d rece i ve ye t w i de r recog n i t i o n as i t becomes

more fam i l i a r to th e worl d at l arge . As we pass from th i s to “The B lack

B ru nswick er — from the appeal to ou r l ove of n atu re to the appea l to ou r l ove

of domest i c d rama— we fee l a n d al most rese n t the desce n t i n to the are n a of

a n ecdote . A n d ye t the s e n t ime n t is very t ru e a n d i s ve ry ge n u i n e ly real i sed .

Th i s so ld i e r of th e sku l l - a n d - crossbo n e s regime n t tak ing l eave of his be l oved,who i s loth to l e t h im go, afford s a very mov i n g a n d pathe t i c subj ect, a n d we

ca n n o t b u t adm i re t he thorough n ess of i t eve n t hough the deep st re n gth of the

5 0

TH E B R I T I S H ART SECT I ON

pu re col ou r, n ob l e as i t hI S i n c haracte r, somewhat shocks the more se n s i t i ve

v i s i o n . Wi th th i s p i c tu re M i l l a i s made his peace w i th the pub l i c ; he had

deve loped, ou tgrow n the te n e ts of the B rotherhood by wh i c h h i s a rt has so

great ly be n efi ted, a n d he n ceforward he was l i ab l e to the cr i t i ca l a ttack of his

fr i e n d Rusk i n a n d to t he ge n t l e reproaches of his fr i e n d H olma n - Hu n t .

FRAN K B RANGWYN, A . R . A. —~The C ider Press .

I t i s a l l ve ry we l l,bu t art, i n te l l ec tual ly speak i n g, i s n o t democrat i c, bu t

ar i s tocrat i c, a n d th e appea l to th e ma n y i s th e appeal to the i n fe r i o r . Th i s

was n ever the i n te n t i o n , n eve r i n the p rogramme, of the B rotherhood a n d i t s

supporters . As they s trove to ra i se th e characte r o f the school i n ho n es ty of

pe rfect i o n , so t hey a imed at i mprov i n g the i r ow n s tatu s a n d p la i n B row n ,Hu n t, J o n es, Douglas, became Madox - B row n , Holma n - Hu n t, Bu r n e - J o n es

a n d Fet tes - Douglas, a n d i t may be tha t the respec t of the crowd for them

proport i o n ate ly i n creased, a n d wi th i t t he Ope n n es s w i th wh i ch ad here n tsj o i n ed the o n ce - desp i sed ba n d . We had J oh n B re t t, whose

"Val d'

Aosta

is a m i racl e of rea l i sm i n the re n d e r i n g of val l ey a n d mou n ta i n sce n e ry,

DI

FRANCO - BR I T I S H EXH IBI T I ON

marvel l ou s i n t ru t h a n d execu t i o n , a n d n o t l ess marvel l ou s tha n i n t he

compl e te n e ss w i th wh i ch i t fa i l s to become a p i ctu re, ow i n g to the fact that

the art i s t fol l owed, accord i n g to h i s l igh ts, t he theor i es of Rusk i n rat h e r

tha n t he p rac t i ca l teach i n g of th e B rotherhood . We had “The Recusa n t'

s

Co n cealme n t D i scove red"

of S i r Wi l l i am. Fe tte s - Douglas, a fo l l owe r of

M i l l a i s— a work, popu l ar i n S cot la n d, wh i ch i s s t ro n ge r i n i t s d ramat i c tha n

ADR IAN STOK ES. French Landscape.

i n i t s p i c tu ra l e l eme n ts ; a n d we had th e pre tty bu t too se n t ime n ta l“Ch i l d re n

i n t h e Wood, by Rober t Gav i n , whose s i n ce r i ty i n n atu re - s tudy a n d of

d raugh tma n sh i p a n d de l i cacy of prese n ta t i o n j u s t save i t from the charge of

mawk i sh n ess .

The oth er phase of the moveme n t, u n touched by the p i c t u res we have

bee n co n s i de r i n g, i s the pass io n for roma n t i c poe t ry, of med iaeva l i sm, I tal ia n

a n d E n gl i sh, wh i ch a n imated Rosset t i a n d h i s ow n part i cu lar fr i e n ds, Bur n e

J o n es a n d Wi l l i am Morr i s . Rosse t t i was t h e o ld es t of t he ba n d, a n d for a

t i me dom i n ated h i s assoc i ates w i t h h i s l ove of I tal i a n poe t ry a n d roma n ce,a n d cau sed M i l l a i s to pa i n t “Lore n zo a n d I sabe l l a,

“ a n d H olma n - H u n t

H i s I ta l i a n b l ood carr i ed a s tream of se n sual poe try i n h i s ve i n s,wh i ch was real ly fore ig n to t h e Saxo n stu rd i n e ss of Hu n t a n d the B r i t i sh

v igou r of th e sportsma n M i l l a i s . To Rosse t t i, t h e mys t i c was i r res i s t i b l e,whe the r I tal ia n or B r i t i s h, a n d he co l ou red th em w i th a l l the ardou r of his

own pass i o n a te n a tu re dow n to th e very e n d of ‘ his caree r . \Ve see proofs

of i t i n “Mari a n a ”

(1 87 0 ) — th e Mar ia n a of “Measu re for Measure i n

TH E BR IT I SH ART SECT ION

The Bower Meadow, wh i ch was pa i n ted as to its Seve n oak s l a n dscape i n

1 85 0 a n d as to its figu res of mus i c i a n s a n d da n c i n g figu res i n 1 87 2 , ye t

pe rfect ly harmo n i sed as to its two sty l es a n d pe r i od s ; a n d part i cu l arl y i n t h e

decade n t “B l essed Damoze l —the 1 879 copy of t he 1 87 7 p i ctu re pa i n ted for

M r . Leyl a n d . I t is i n te re s t i n g to recog n i se i n t h i s l as t - n amed work the

sump tuou s ar w i t h the“Morte

ra n geme n t a n d d’

Arthu r" tha n

s p l e n d o u r o f w i t h the “V i tad e s i g n , w h i l e N uova — a n d

re c o g n is i n g, th e l ove i n i t

too,as we must, i s w i s tfu l rathe r

t h e f a i l i n g t h a n v o l u p

powers of th i s tuou s . I t was

amaz i n g poe t t h e w o r k , o n

art i s t . a n d off, of n i n e

We come years (1 868

into a less cl oy a n d i t s

i n g atmosphe re refi n ed st re n gth

w h e n w e ap i s su ch that i t

proach Bu r n e doe s n o t suffe r

J o n e s . H i s from the j ux ta

d e l i c a t e l y p o s i t i o n o f

p o w e r f u l A u t u m n

Cha n t d'

Am L e a v e s a n d

ou r i s E n gl i s h T h e B ow e r

r a t h e r t h a n M e a d o w .

I tal i a n — it has Pu re r s t i l l i nJ. J. SHAN NON , A . R . A. — Portrai t of '

M iss K i t ty Shannon.

s e n t i m e n t, I fthat be poss i b l e, is t he

“Golde n S ta i rs 0 87 2 exqu i s i te as a com

pos i t i o n of fa i r g i rl i sh forms desce n d i n g the wo n d rou s s ta i rcase, a n d l ovely i n

its de l i cate harmo n y of i vory, gol d, a n d p i n k — der i v i n g its u n quest i o n ed fo rce not

from the stre n gth of the pa i n t i n g bu t from the beau t i fu l pe rso n al i ty of t he pa i n te r .

Wi th h im must be grouped Wi l l i am Morr i s, h i s co l l ege chum a n d l i fe - l o n g fr i e n d,whose s i n gl e fi n i sh ed p i ctu re k n ow n to th e pub l i c i s h ere exh i b i ted . Th i s i s“Quee n Gu i n e ve re,

” th e l ady who was the hero i n e of his fi rs t pu bl i sh ed poem

The Defe n ce of Gu i n e ve re ."

I t i s a p i c tu re of ex traord i n ary i n te re st, i n

se n t ime n t redol e n t of th e age,bu t i t is rathe r d i rty i n col ou r, a n d n atu ral ly a l i t t l e

amateu r i sh i n ha n d l i n g— for the tech n i que of o i l—pai n t i n g i r r i tated th e impetuou s

poet, a n d he gave up th e pract i ce of i t i n d i sgu st .

Bes i de th i s th e works of G . F . Watts sta n d ou t w i th st r i k i n g v i v i d n e ss a n d

maz‘

tr z'

se. The opu l e n t gra n d eu r of “Orla n do pu rsu i n g the Fata Morga n a

more a ffi n i t y

al i ke i n compos i t i o n , l i n e,“patternL

co l ou r, a n d se n t ime n t— is ext remely

FRANCO - B R I T I S H EXH IBI T I ON

impress i ve ; we feel we have h ere the moder n T i t i a n whose v i r i l i ty of Characte r a n dvol uptuous n ess compares n obly w i th the langorOu s year n i n g of Rosse tt i,a n d whose

se n se of decorat i o n i s su rpassed by n o exh i b i to r i n th e gal l e ries . H i s bu st - p i ece s

of “B ia n ca a n d “Te n n yso n are n o t l ess remarkabl e i n th e i r d iffe re n t ways

the former for i t s fi n eflesh- pai n t i n g a n d stately.“

grace, th e l at te r for i t s n ob i l i ty a n dd ig n i ty of characte r, a n d both for the i r pa i n te r - l i k e qual i ty . The “Port ra i t of

Lord Le igh to n , s ta n d s o n a l owe r p l a n e of execu t i o n a n d qual i ty, bu t i t

a ve ry v igorou s state port ra i t, i n te n d ed to comb i n e w i th th e l i ke n e ss of h i s fr i e n d

FR AN K D t D D, R . I . — Beer and Sk i t t les .

a n embod ime n t of h i s great pos i t i o n as Pres i de n t of th e Academy a n d offic i a l

Ch i efta i n of B r i t i sh A rt .Othe rwi se i n sympathy w i th the i deal s of a school as ma n y s i ded as a

ch i l i aed ro n are a group of p i ctu res i n othe r respects represe n tat i ve of d i ve rge n t

a i ms . Here we have J oh n F . Lewi s'

s ce l ebrated “I n th e Bey'

s Garde n , wi th its

remorse l e ss accu racy of figu re a n dflower pa i n t i n g, a n d w i th i ts hard n ess of co l ou ra n d se n t i me n t, a maste rp i ece i n i ts way, n eve rthe l ess a n d The Com i n g S torm

by Joh n L i n n e l l, wi th i ts exaggerated, ropy cl oud s th reate n i n g appal l i n g d i saste r— one of seve ra l ve rs i o n s of th i s al arm i n g harvest sce n e . We have La n d see r

'

s

M id summer N igh t'

s D ream, a u n iqu e excu rsu s i n to fa i ry—poe t ry, a n d

remarkab l e al i ke for i n ve n t i o n and execu t i o n of tex tu res, a n d S i r Noe l Pato n’s

“Fai ry Raid,"

both p i ctu res da i n ty a n d fa n c i fu l i l l u s t rat i o n s of fa i ry l ore, bu t not

to be regarded, s t r i ct l y speak i n g, as se r i ou s p i c tor i a l efforts . Eve n more cu r i ou s— ~ a n d carr i ed to the fu rthermost po i n t of m i n u te n ess a n d execu t i ve sk i l l— i s

54

TH E BR I T I S H ART SECT I ON

Fred e r i ck Sa n dys' “Port ra i t of M rs . Stephe n Lew i s, as accu rate i n its

i m i ta t i o n as a Va n E) ck, bu t u t te rly l ack i n g i n th e se n se of bread th a n d i n th e

subord i n at i o n of the st i l l l i fe to the figu re that characte r i sed th e F l em i sh maste r .

I n de ed, t h e most remarkab l e p i ece of st i l l l i fe i s the figu re of M rs . Lewi s he rse l f.

Wi th th i s, a n d S i r J oh n G i l be rt'

s “F i e l d of th e C lo th of Gol d — a r i ch real i sat i o n

of t h e h i s to r i c sce n e of ru i n ou s d i sp lay pa i n ted by t he sk i l fu l i l l u s t rator whose

i n ve n t i o n a n d amaz i n g memory pe rm i t ted h im to d i spe n se w i th mode l s a n d wi th

Al fred H u n t'

s “Hau n ted S tream, a tru ly poe t i c ca n vas, bu t pa i n ted as though

w i th wate rco l ou r — t he su rvey of th i s col l ect i o n is brough t to a c l ose .

t ; . D . L ES L I E, R .A.— In Time ofWar.

Reproduced by permISS Ion of Mes srs F ros t Reed. of B r istol and London. the Owners ot the Copyrigh tand P u bl ishers of the Engrzn mgon the S u bject.

C lose ly al l i ed, howeve r, i s t he smal l l i v i n g schoo l i n sp i red by t he t rad i t i o n of

Pre - Raphae l i t i sm, wh i ch st i l l e n d u res as a smal l though v igorou s te n d r i l c l i n gi n g

te n ac i ou sly to the portal s of th e Pa lace of A rt M r . G . A . Storey,who i s s t i l l w i thu s, pa i n ted his “Bad News from the War u n der the i n fl ue n ce of “Autum nLeaves, a n d i t may be sa i d that he has n ever S i n ce reached so h igh a l eve le i the r i n fee l i n g or im pa i n t . M r . Byam Shaw be l o n gs to the you n ge r school,bu t h e i s fa i th fu l to the old régime, as may be see n i n “Rosemary — his fi rs t

Academy success— a p i ctu re co n ce i ved o n pu re l y deco rat i ve l i n es . As fol l owe rsof h i s mu s t be regarded M i ss For tescue - B rick dale a n d M i ss I sobe l Gloag ; wh i l e

as d i sc i p l es of the ear ly M i l la i s we fi n d M rs . You n g H u n te r (“J oy a n d theLabou rer a n d M r . L i n d say Sm i th (

“The Twa Corb i es — an i l l u st rat i o n of

Scot t'

s “Borde r M i n s t re l sy M r . Cayl ey Rob i n so n has far greate r o r ig i n a l i ty,a n d pa i n ts l i ke n o one e l se i n h i s ex traord i n a ry ascet i c i sm of col ou r, type, a n d

method . Ye t h i s M othe r a n d Ch i l d " chal l e n ges e very beho l de r ; the s igh t of

i t seems, so to say, to pop a spoo n fu l of a l um i n to the mou th of the specta tor,wh i l e i t imp resses h im w i th the in d i v i dua l i ty of t he art i s t as a th i n ke r a n d a

U1

5

FRANCO - B R I TI S H EXH IBI T I ON

worke r . M r . J . M . S trudw i ck, on t he o the r ha n d, has adopted the poe try a n d

t he ou t l ook of Bu r n e - J o n es, execu t i n g his subj ects o n a very smal l s cal e, co l ou ri n g

a n d somet imes gi l d i n g th em w i th l ov i n g care, t i l l h e compl e tes his prec iou s l i t t l e

bz’

belols so tha t th ey almos t l ook l i ke pa i n ted i vor i es — l i ke th e w i n gs for some smal l

t r i p tych i n r u l es the

a r i c h l y W o r l d ,”

d e c o r a ted t h e r e i s

c h a p e l . n o t h i n g

B u t they tr ifl i n g o n

a r e n o t th e art i s t'

s

deco rat i o n p a r t, h e

m e r e l y . fe e l s t h e

The art i s t ho ly tru th

s e e k s to he i s d e

make th e p i e t i n g

exec u t i o n l i k e a

w o r t h y m e d iaeva l

o f t h e mo n k,a n d

t h o u g h t . l i k e t h e

I n t h e mo n k has

l i t t l e p i c l a v i s h e d

tu re here t i me a n d

S h 0 W n W I LL IAM Ro rHLNS'

I EIN,— Carry ing Back the La“ l abou r a n d

L o v e l o v e o n

work i n g ou t a n d d ig n i fy i n g the though t w i th a l l th e sk i l l a n d tas te a t his

comma n d . The reSu lt may be, as i t has bee n Cal l ed,“a n exqu i s i te P re

Raphae l i te toy, bu t to the art i s t i t i s a se r i ou s a n d a prec i o us affa i r ; a n d

i f we do not recog n i se i n i t a p i c tu re i n t he ord i n ary se n se of the word, we

mus t regard i t w i t h th e respec t we owe to lofty mot i ve a n d ear n es t a n d beau t i fu l

c raftsma n sh i p

B u t that i s not to say tha t pass io n a te s tr i v i n g afte r t ru th i s n o t the touch s to n e

of th e la t te r - day art i s t . O n the co n t ra ry— se tt i n g as i d e th e commerc ia l pa i n te r

who lays h imsel f ou t to catch th e favou r of t he pub l i c whateve r may be th e d i ctate s

of h i s art i s t i c co n sc i e n ce a n d of h i s own prefere n ces a n d co n v i c t io n s (i f a n y ), the

me n of to day are not'

l ess ear n es t i n t he i r devot i o n to n a tu re tha n the

Pre - Raphae l i te group,only i t i s a n othe r sort of tru th, a b roader, i f n o t a h ighe rt ruth a t wh i ch they a im . The amb i t i o n of some is sat i sfied w i th th e exerc i se of

the i r c raft ‘ i n i ts fu l l es t pe rfect i o n a n d wi des t capab i l i t i e s poss i b l e to them— a n d

tha t is e n ough for , the greates t tech n i c ia n . I remember Le igh to n say i n g to me

My fi rs t d u ty to my ar t i s to l ear n my trade . The lat te r deve l opme n t of ce rta i n

of th e school s i s n o t the perfect i o n of tech n i qu e, b u t the i n qu i ry i n to the prob l ems

of n a tu re— of co lou r, of l igh t, of a tmosphere a n d i ts eff ect s, a n d the l i ke— a n d the

5 6

https://www.forgottenbooks.com/join

FRANCO - BR IT I SH EXH IBI T I ON

DAV ID M U R RAY, R .A. ,— The Tees— Snowbal l Reach.

J . FARQU HARSON, A. R .A.— The ShorteningWinter Day, Drawing to a Close .

TH E BR IT I SH ART SECT I ON

WI LL IAM OR PE N, N E.A.c.-Tlie Val u ers .

E RSK IN E N ICOL, A. R . A. (1 82 5 — Prat ies and Bootermilk .

FRANCO - BR IT I SH EXH I B I T I ON

S IR JOH N G I LBE RT, R .A. , (I 8I 7 — The F ie ld of the C loth of Gold.

G . A . STOR EY, A . R . A. w. HOLM AN - H UNT, O . M .

Bad News from the War. Isa'

bclla and the Pot of Bas i l .

T. GA INSBOROUGH, R .A. (1 7 2 7 - The B lue Boy.

6 1

FRANCO - B R IT I SH EXH I B I T I ON

the col l ec t i o n mu s t th erefore

be j udged i n its more obv i ou s

sect i o n s of port ra i tu re, h i s tory,l a n dscape, a n d so o n .

Amo n g the grea t I tal ian

mas te rs i t was a commo n - place

that the ma i n u se of portra i tu re

i s the s tepp i n g- s to n e i t afforded

to the pa i n t i n g of h i s tory . I t s

u ses as a record of i n d i v i dual i t i es,THE HON . DU F F TOLLEMACHE.

—The L i zard. Of cou rse, were fu l ly recog n i sed,bu t from th e po i n t of v i ew of art i t was a s i de ques t i o n , as i t were, a n d

few of th e grea tes t, save Fra n z H al s, ever co n fi n ed themse l ves to its

pract i ce or d e ig n ed to seek a repu ta t io n as a portra i t - pa i n te r a n d n oth i n g

more . I n th i s cou n t ry the port ra i t has a lways bee n h e l d suffic i e n t by mos t

of ou r grea tes t mas te rs to be a n e n d i n i tse l f, al though a t th e prese n t day

me n l i ke M i l la i s, Herk omer, Alma - Tadema, Seymou r Lu cas, Luke F i l des,a n d Fra n k H ol l, bega n by be i n g h i s tory - pa i n te rs (as i t u sed to be cal l ed )before th ey th rew themse l ves profess i o n a l ly i n to portra i t - pa i n t i n g . Some, n o

doub t, l i ke S i r George Re i d,have sca rce ly bee n k n ow n as

figu re- pa i n te rs a t a l l . A n d

ye t, for the pub l i c, port ra i tu re

is the most we l come of a l l the

sect i o n s of pa i n t i n g . I t i s easy

to u n ders ta n d ; i t re prese n ts

perso n s whose huma n i ty a n d

charac te r they ca n j udge as

we l l as th e art i s t ; i t i s a

val uab l e record, i n d epe n d e n t

of a l l co n s i d e rat i o n s of art ; i t

is, bes i des,a veh i c l e of beau ty

that-

offe rs n o prob l ems for

so l u t i o n a n d makes n o spec ia l

c l a i m,l i ke l a n dscape,for k n ow

l edge of the secre ts of n a tu re

a n d i n some measu re, too, i t

sat i sfies th e va n i ty of th e S i t te ra n d of h i s or her fr i e n ds— a n d

tha t is a n e l eme n t n o t w i se ly

to be ig n ored . A n d to the

art i s t II p I‘

OVIdeS the COHStant CHAR LES S I M S, A . R . A . — The S torm.

6 2

TH E BR IT I S H ART

i n te res t of research a n d the opportu n i ty of fresh

compos i t i o n a n d arra n geme n t, wh i l e offer i n g a

path to success a n d fame bese t by few of the

d ifficu l t i es tha t at te n d th e figu re- pa i n te r . How

ever that may be, the pre - em i n e n ce of the B ri t i s h

portra i t i s t i n t he pas t a n d his em i n e n ce i n t he

prese n t‘

are n o t to be ga i n sa i d .

Al l the same, the i n c l u s i o n of a vast a rray

of portra i t s i n a n ex h ib i t i o n i s ap t to i mpart a n

appeara n ce of mo n oto n y, a n d for t hat reaso n , i t

may be expla i n ed, the i r n umbers have bee n

severe ly res tr i c ted o n th e prese n t occas io n . A

few of the bes t k n ow n have al ready bee n

me n t i o n ed, bu t the re are o thers tha t cl a im

at te n t i o n a n d respec t . Le t u s take th e femal e

portra i t s fi rs t . The d i v i s i o n is n o t u n reaso n ab l e,

SECT I ON

J. HOPPNER . R A . (1 7 5 8Port ra i t of M i ss J udi th Beresford.

for mal e a n d femal e port ra i t s dema n d for t he i r su ccessfu l t reatme n t a qu i te

d iff ere n t set of qual i t i es i n the pa i n te r— de l i cacy, refi n eme n t, a n d grace on

the one ha n d ; i n s igh t, v igou r, a n d characte r on the o ther ; a n d sympathy a n d

u n ders ta n d i n g for both .

Whe n S i r H ubert v on Herk omer pa i n ted M i ss Cathe r i n e Gra n t— popu l arly

k n ow n as “The Lady i n Wh i te — h i s p i c tu re was gree ted w i th u n i ve rsa l applause,

D . G . ROSS ETT I (1 82 8 — Mar iana.

for n o t o n ly had he re n de red w i th

su ccess a ve ry charm i n g a n d marked ly

i n te l l ige n t young lady, gi fted w i th

characte r a n d i n d i v i dual i ty, b u t h e

had i n t rod uced a n ew motif by

plac i n g the wh i te - c lad figu re aga i n s t

a wh i te backgrou n d . The resu l t was

charm i n g, n ove l, a n d s t r i k i n g, a n d

a t the same t i me refi n ed, a n d

Herk omer'

s rep u tat i o n as a pa i n te r

of lad i es was made . Someth i n g of

t he same success'

was ach i eved la te r

on by M r . Al fred S . Cope i n h i s

portra i t of Lady H ickma n , whose

wh i te ha i r he l ped the scheme, wh i l e

a touch of b l ue was added to gi ve

co lou r a n d compl ete n ess to the whol e .

The n M r . J . S . Sarge n t b rough t his

ex traord i n a ry ge n i u s to these sho res

by way of Par i s, a n d e l ec tr ified the

FRANCO - B R IT I S H EXH IBI T I ON

64

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FRANCO - BR IT I S H EXH I B’

I T I ON

compos i t i o n ; a n d for the sake of the colou r a n d

the ga i e ty of th e whol e we are w i l l i n g to forgi ve

th e excess i ve h e igh t gi ve n to the lad i e s ’ figures .

At the same t ime, cr i t i c i se as we may, we are

co n sc i ou s as we'g

az e u po n these p i c tu res tha t we

are sta n d i n g before masterp i eces wh i ch i n fu tu re

t imes w i l l be d i scu ssed as we d i scu ss Rey n o l d s a n d

Ga i n sborough to - day . I n th e i r al lu re we fi n d l i t t l e

i n fl ue n ce of Ve lasquez, save i n certa i n passages of

bru sh - work . Bu t i t may be n oted that Someth i n gof t he Spa n i sh maste r ’s i n sp i ra t i o n may be tracedin “La C ravate No i re (M i ss H el e n H arr i n gto n

’s

portra i t ) by M r . Geral d Ke l l y, t h e you n g I r i s hpa i n te r of marked ab i l i ty, whose caree r w i l l be

LIONEL P SMH HE’ A. R A” mm .

watched w i th great i n te res t .Wi th in So u nd of the Sea~ M r . J . J . Sha n n o n g i ves u s a more gracefu l

apprec ia t i o n of femal e beau ty i n his port ra i t of h i s daugh te r,“M i ss K i t ty

Sha n n o n , one of his charm i n g exerc i ses i n se t t i n g a gracefu l profi l e i n to its

la n d scape backgrou n d . M r . Lave ry,on the o ther ha n d, repud ia t i n g M r . Sha n n o n'

s

subdued harmo n y of co lou r, makes his effec t i n Polymina by set t i n g h i s ta l l

l ady, c lad i n b lack a n d wear i n g a‘ l a rge b lack hat, bes i de a b lack p ia n o over wh i ch

she l ea n s, a red rose prov i d i n g a ; n ote of col ou r tha t i s of i mme n se serv i ce to th e

compos i t i o n . I n a rra n geme n t i t i s‘

t he a n t i t hes i s of Herk omer’

s Lady i n Wh i te

i n resu l t i t a lmos t r i va l s i t i n eff ec t i ve n ess a n d charm . Bes i des these we have

the cu r i ou sly i n c i s i ve group of the “Daugh te rs of D . C . Gu th r i e, Esq . , by

M rs . Swy n n e r to n , wh i ch n o n e wou l d suspec t to come from a woma n’

s ha n d S i r

J ames Gu th r i e ’s “M rs .

Watso n , good, bu t

hard ly of h i s bes t a n d

M r .Wi l so n S tee r'

s femal e

h ead, e n t i t l ed Pa n s i es,"

wh ic h i s remarkabl e for

sobr i e ty a n d d i s t i n c t i o n .

The mal e portra i ts

are perhaps more n umer

ou s a n d o n thewhole more

s tr i k i n g . S i r Wi l l i am

Orchardson'

s l i fe - s i z e

por t r a it d’

apparat o f“S i r Dav id S tewart, th eProvos t of Aberdee n , i s

a wo n derfu l exampl e how r ename W I LL IAMS, R . I . —Po ts and Pans .

66

TH E BR IT I SH ART SECT I ON

a very th i n a n d de l i ca te tech n i qu e may se rve to produ ce a vast port ra i t fu l l of l i fe

a n d of de l i ca te co lou r by sheer ma n ageme n t a n d su b t l e ha n d l i n g . I t is a lmos t as

forcefu l as Herk omer'

s“Du ke of Devo n sh i re, a n d ye t the re i s n

’t a t i th e of its

s tre n gth i n th e whol e of the l a rge r ca n vas . I n respec t of d ramat i c qual i ty the

SOLOMON .J. SOLOMON, R . A.— The A l legory.

Reprodu ced by permiss ion of the Corporat ion of Pres ton.

h eads of both these ca n vases mus t y i e l d to S i r George Re i d'

s Scot t i s h sammts“Professor B lack i e ” a n d “Professor M i tche l l, D . D .

- a reve la t i o n , both of

them, of Scotch professor i al characte r, a n d each of them a masterp i ece . Wi th

them shou ld be s tud i ed M r . Sha n n o n’s “Mr . Ph i l May,

"

cruel ly verac iou s (ye t

n eve r rese n ted by the h umor i s t h imsel f) a n d maste rl y i n its v i r i l e re n de r i n g of

6 7

FRANCO - BR IT I SH EXH I B’I T I ON

characte r a n d humou r i n th e saddes t a n d most pa the t i c gu i se . Bu t i t is u sel ess to

dea l w i th. other n o tab l e ca n vases i n de ta i l, for excep t th e c l ever ye t i n compl e te

bu s t- p i ece of “Professor Mack ay,"

by M r . A . E . J oh n , the ab l e portra i ts by

W I LL IAM ROTH ENSTE I N, —The Dol l 's Ho u se .

su ch as M r . Ou less, M r . B ram l ey, M r . Hugh R i v i e re, a n d others, th ey co n ta i n

n o n ew or s tr i k i n g pro n ou n ceme n t and exerc i se n o spec ia l a t t rac t i o n .

Pass i n g, accord i n g to the evol u t i o n ma i n ta i n ed by the masters of I ta ly, from

Portra i tu re to H i s tory, we fi n d i t eas i e r to we l come the work tha n to expat i a te on

its te n de n cy or its art i s t i c s ig n ifi ca n ce . Our me n have l ess apt n ess to ru n i n

school s tha n o ther n a t i o n s whe the r i t is i n d epe n de n ce of character or b l u n t n ess of

i n te l l ec t, the art i s t who is recog n i sed as successfu l i s ge n e ral ly h e who has chose n

68

TH E BR IT I SH ART SECT I ON

to ga n g h i s a i n ga i t, a n d, u n l i ke ma n y fore ig n maste rs, rese n ts, i n s tead of

e n cou ragi n g, fo l l owers i n h i s ow n path . I n th i s cou n try we have n o im i ta tor who“cou n ts " of t he work of S i r L . Alma - Tadema . Tha t the grea t Frieslander isu n approachab l e a n d i n im i tab l e i n h i s own l i n e is n o th i n g to the po i n t, for noart i s t

5 . M E LTON F ISH E R .— Dreams. E. Do l ce Dormi re .

Reproduced by permission of the Oldham Art Gal lery Commi ttee.

i s so grea t bu t tha t th e smal l w i l l copy h im . Bu t who cou l d r i va l, on the i r own

pla n e,“The Ded i cat io n to Bacch us, l e n t by Baro n - Sch roder,

“A Hearty

Wel come (of“A K i s s ”

or“U n de r the Roof of B l ue I o n ia n

Weather We see he re o n e s i d e of t he bes t of the art i s t'

s tal e n t, we

recog n i se the wo n derfu l capac i ty, a n d are the more sorrowfu l t ha t such a n eyea n d such a ha n d, gu i ded by imme n se k n owledge a n d co n t rol l ed by extraord i n ary

taste, shou l d n eve r have pa i n ted the sce n e s arou n d h im . As i t is, wh i l e we

bow wi l l i n gly before his i mme n se capacity, a n d sta n d i n amazeme n t before the

sk i l l i n his p i c tu res, we care ma i n ly for h i s b r i l l ia n t a n d i n s t ru ct i ve archaeo logi ca l

reco n s truct io n s a n d for th e tech n i ca l t r i umphs tha t a tte n d o n eve ry th i n g he does .

69

FRANCO - B R IT I SH EXH I B I T I ON

H e i s a n archaeo l ogi s t a n d n a tu ra l i s t i n pa i n t, a n art i s t of h igh i n te l l ec tual power

a n d h i stor i cal l ea r n i n g . Sympathy we do n o t expect i n a great decorat i o n such as

S i r Edward Poynter’

s vas t mo n ume n t of e rud i t i o n ,“A talanta'

s Race,” bu t i t has

t hat appropr i a te n ess wh i ch,in the c i rcumsta n ces, co n te n ts a n d sat i sfies the observer,a n d l eaves h im wi thou t regre ts . I n deed, these class i cal i t i es n eed n ot a lways be

0

E. A . HORN E L.— F lowers for the Temp le .

wi thou t sympathy or warm th . For exampl e, M r . Waterhou se'

s “Hylas a n d theNymphs

,

” wh i ch has bee n l e n t by Ma n chester, i s so huma n a n d so fu l l of charm

tha t the subj ec t i n te res ts u s a lmos t as i f t he adve n tu re had befa l l e n ou r own re la t i o n

or ou rse l ves . These swee t,very huma n n ymphs have such w i s tfu l faces a n d de l i ca te

forms that we fi n d ou rse l ves wo n der i n g i f i n the c i rcumsta n ces we are real ly very

sorry for the fate of Hercu l es’ u n fortu n a te messe n ge r . The forms are so good,

t he compos i t i o n so p l eas i n g, the scheme of co lou r, th e ar t i s t'

s ow n , so happ i ly

used a n d so comp l e te ly i n harmo n y w i th the subj ec t, t ha t the s tude n t of

M r.Waterhou se ’s work qu i ck ly fee l s that h e i s in prese n ce of the pa i n te r

’

s

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TH E BR IT I SH ART SECT I ON

maste rp i ece . Aga i n ,“The

C loud, by M r . Hacker,is sympathe t i c, for th i s

vo l u ptuou s s torm n ymph

is of fl esh a n d b l ood,wh i l e

of grace she'

s all com

bined,” a n d M r . M il l i e

Dow’

s “Eve is as much

a te n de r- hearted woma n as

the scu l p tu red figure of

Mr . B rock . Eve n M r .D ick see

’

s m o n u m e n t a l

work,“The I deal,

" tou ches

B . w. LEADE R, R .A.— Green Pas t u res and S t i l l Waters.

a respo n s i vechord,although

i t be l o n gs to a s ty l e of art

wh i ch is no lo n ger i n the fash i o n . Th i s, with a few of the o thers, are exampl es of

th e n ude, to the u n popu lar i ty of wh i ch prud i sh E n gla n d owes su ch i n fe r i or i ty as

the B r i t i sh schoo l is wi l l i n g to adm i t . Th i s be i n g so, i t is pl easa n t to mee t a work

so i mporta n t as M r . S . J . Solomo n'

s “Al l egory” as th e l oa n of the pub l i c gal l e ry

of Pres to n . As th e su bjec t is though t to be somewhat obscu re —(though i t c l ea rly

represe n t s th e t r i umph of0

Hebraism i n its two sec t io n s, J uda i sm a n d its ch i l d

Ch r i s t i a n i ty above t r i umph i n g over Hel l e n i sm be low ) — th e s ig n ifica n ce of i t is

m issed by n i n e ty - n i n e ou t of every hu n d red of those who behol d i t ; bu t a l l ca n

apprec ia te i ts weal th of co lou r, its harmo n y of l i n e, a n d exce l l e n ce of

draugh tsma n sh i p a n dflesh pa i n t i n g, a n d co n gra tu la te themse l ves tha t we haveh ere a ma n who ca n n ot o n l y pa i n t bu t th i n k wh i l e ha n d l i n g a m igh ty ca n vas .

The ch i ef popu lar obj ect i o n to h i s tory - pa i n t i n g i s t ha t i t presu pposes a n d

dema n ds some measu re of h i s tor i ca l k n owl edge i n the specta to r . A n othe r is tha t

wh i l e g i v i n g fu l l a n d free scope to th e art i s t'

s i n ge n u i ty a n d imagi n a t i o n , i t prese n ts

the resu l t,however wel l i t may be do n e, t ha t is n o t co n vin c i n g because i t rep rese n t s

not how t he eve n t actual ly happe n ed,bu t wha t the pa i n te r co n ce i ves may probab lyhave happe n ed . Th i s is a co n cess i o n requ i red by th e fi n es t pa i n te r who ever l i ved

who devo tes h imse l f to the reco n s tru ct i o n of sce n es a n d eve n ts h e n eve r saw, a n d

not gi ve u s co n tempora n eou s h i s tory,wh i ch he has wi t n essed w i th h i s own eyes .

For th i s reaso n th e re wi l l a l ways be a va l u e i n M r . Baco n’s ex traord i n ar i ly c l eve r,

t hough n ecessar i ly u n p i c to r i a l,“C i ty of Lo n do n I mper ia l Vol u n tee rs’

Retu r n to

Lo n do n from Sou th Afr i ca, 1 9 0 0 , t ha n ked by Lord Mayor N ewto n i n t he

Gu i l d hal l, which ca n n o t be c l a i med by su ch a maste rp i ece of ar t as S i r Wi l l i am

Orchardson’

s The Borgia .

”

No doub t the glower i n g n ob l e mu rdere r may have

sat much l i ke th i s a t h i s tab l e across wh i ch l i e s th e body of his guest whom he has

character i s t i ca l ly do n e to death, bu t tha t, as Mr . J ust i ce Stareleigh sa id,“is not

ev i de n ce . ” Whethe r tru e or not, we are sat i sfied w i th the m igh t - have - bee n ,

FRANCO - BR IT I SH EXH IBI T I ON

espec ia l ly whe n we are faced not o n ly

w i th the fi n e d ramat i c i magi n a t i o n of

th e art i s t, bu t the poe t i c beau ty of th e

co lou r a n d exqu i s i te ma n ageme n t of t he

l igh t a n d atmosphere . I t has h igher

art i s t i c qual i t i es tha n we fi n d i n Pe t t i e'

s

adm i rab l e l i t t l e p i c tu re,“J ames I I . a n d

th e Du ke of Mo n mou th, w here i n we“are

show n a n i l l u s t ra t io n of how the u n happy

rebe l, i n a pass i o n of u n ma n ly fear, fl u n g

h imse l f a t t he fee t of his scor n fu l ly

tr i umpha n t k i n g: The br i l l i a n cy of the

execu t i o n a n d of th e ha n d l i n g i s fi n e ly

represe n ta t i ve of Pett i e a t h i s bes t, a n d

w i l l do much to restore to pub l i c a n d

to Col l ec tors’ favou r a n art i s t who has

bee n u n dese rved ly n egl ected, ye t whose

work takes h igh ra n k amo n g the fi n es t

th i n gs produ ced by the Scot t i s h schoo l JOH N FULLEYLOVF, R . I . — My Garden, Hamps tead.

Of a quarte r of a ce n tu ry ago .

E n dowed wi th a somewhat s im i lar a rt i s t i c ou tlook, ye t whol ly E n gl i s h i n his

ge n i u s, is Mr . Seymou r Lucas . His p i ctu re cal l ed “The Sett i n g Su n ," Showi n g

Card i n a l Wol sey a t H ampto n Cou rt, s n iff ed a t by his cou rt i e rs,his sycopha n ts i n

happ i e r days,has much d ramat i c force,for i t is r igh tly co n ce i ved a n d archaeol ogi ca l lycorrect, a n d i n execut i o n i t i s thorough ly pa i n ter - l i ke bu t i t is rea l ly th rough i t s

las t- n amed v i rtu e tha t its c la im to remembra n ce is l i ke ly to be ach i eved a t th e

ha n d s of th e art - h i s tor i a n s a n d art - l overs . Mr . Abbey’

s Haml e t i s on a n other

pla n e,for i t a i ms a t repro

ducing for u s a d ramat i c

sce n e of p i ctor ia l fict i o n ,a n d we do n o t ask “wast h i s real ly so ? ” We are

sat i sfied that i t is a power

fu l rea l i sat i o n , a h igh ly

i n te l l ige n t a n d thorough ly

art i s t i c performa n ce, a n d

we shou l d j udge a n d

applaud i t much as we

shou l d j udge a n d app laud

a n ob l e represe n ta t i o n o n

the stage . Eve n l ess

E DWAR D STOTT, A . R . A . — The Reaper and the Maid. d o w e as k fo r “t h e

7 2

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FRANCO - B R IT I SH EXHI B IT I ON

meagre d i splay of m i l i tary p i c tu res ; bu t th e fact is, we are not s tro n g i n ou r

pa i n t i n gs of battl es a n d so l d i e r i n g, a n d eve n ou r rece n t wars are ce l ebra ted here inn oth i n g more importa n t t ha n M r . joh n C harl to n

’s c l eve r a n d v igorou s p i c tu re,

obv i ou sly based o n ac tua l fac t : “Plac i n g the gu n s— ~ Hal t ! At the same t ime,we

must not forge t that cou rte sy requ i red tha t‘all p i ctu res hav i n g for the i r subj ects

G . F . WATTS, O. M . , R . A. (1 81 7 — Portrai t of Lord Tennyson .

th e campa ig n s of Napol eo n or Wel l i n gto n or that of t he Fra n co - Pru ss i a n war

shou l d be he l d to be u n ava i l ab l e for exh i b i t i o n .

Real h i stor i ca l p i c tu res are not l ack i n g— p i c tu res wh ich record the sce n es of

ou r l i fe of to - day,whe ther they be of h i s tor i ca l importa n ce or mere ly represe n t ou r

hab i ts a n d cu stoms for th e t ru thfu l i n format io n of ge n erat i o n s to come . Su ch i s

Herk omer’

s n ob l e p i c tu re of th e Che l sea H osp i ta l ve tera n s i n chape l— “TheLas t M uster (S i r Cu thbert Qu i l ted— wh ich i s as affect i n g a n d co n v i n c i n g to- day

as i t was i n 1 87 5 , whe n its s tro n g h uma n se n t ime n t, its te n de r sympathy, d ig n ity,a n d pathos tou ched a chord i n t he n a t i o n a l heart a n d immed iate ly ra i sed th e

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TH E BR IT I SH ART SECT I ON

pa i n ter amo n g the famous in t he la n d— a s uccess that ve ry soo n fo l l owed i n Fra n ce

a n d Amer i ca . Such, too, i s M r . Wi l l R othenstein’

s sce n e,i n a n a l i e n s ' East E n d

sy n agogue— “Carry i n g Back the Law — a work exce l l e n t as to co n cept i o n a n d

execu t i o n , fu l l of the grav i ty a n d humb l e d ig n i ty that be lo n gs to such a ceremo n y .

S im i lar ly, Mr . E . Gregory'

s br i l l i a n t Thames sce n e of Bou l te r ’s Lock on a

crowded day, wh i l e a ver i tab l e tou r defame, wo n de rfu l i n i ts ma n ageme n t of the

crowd, c a p i t a l a n d characte r,i n its groups, q u i e t i n its

its d raw i n g,a n d co l ou r, a n d so

c o l o u r (s a v e , m a s t e r l y in

p e r h a p s, that t reatme n t, tha t

t here i s toomuch i t m us t b e

of th e preva i l i n g recko n ed amo n g

red ), is a b i t of the most ab l e

h i s tory wh i ch, th i n gs i n the

we may be su re, p l a c e ; a n d ,pos te r i ty wou ld above a l l, it is

notwish to m i ss, so tru e to l i fe

a n d which w i l l — or a certa i n

i n t e r e s t th em phase of l i fe

a lmos t as much tha t its val u e is

as the adro i t a n d fu l ly estab l i shed .

br i l l i a n t re n der A l l the same, it

ing wi l l awake n i s hard ly fa i r of

theiradmiration. i t to s u gge s t“The Val u ers,

” t ha t all deal e rs

by M r . Orpe n a n d val u ers are— a g r o u p of d raw n from the

p i c tu re deal ers ra n k of soc i e ty

s i d l i n g u p to a wh i ch has pu t

p i c tu re on th e f o r t h t h e s e

wal l— is a work 0 . E. FaR u q I . — A S ummer Shower. c u n n ing a n dReproduced by permiss ion of the Hu l l Corporat ion Gal lery .fu l l of humour vu lgar fe l l ows .

G ive a tu r n to t h e ka l e i doscope, a n d you have The Forge,”

by M r .

Sta n hope Forbes— an actual sce n e as we are made to fee l, a l though the art i s t has

cl ever ly be n t i t to his n eeds . Bu t i n th i s case, i t is not so much the wel l - se l ec ted

figures a n d th e i r work tha t i n teres t u s as the l igh t i n g of the p lace, wi th i ts glow

of th e forge co n te n d i n g w i th th e dayl igh t s truggl i n g i n th rough the pa n es, a n d the

at te n da n t “myste ry .

” I n d eed,this prob l em of co n t ras ted l igh t a n d shadow, as

we l l as the a n a lys i s of l igh t i tse l f, is o n e of the ch i ef de l igh ts of the ar t i s t of to- day .

We see i t in Mr . George C lau se n ’s fi n e p i c t u re, smal l b u t vas tly importa n t, ca l l ed“The Dark Bar n . We have i t in de l i ca te grey a n d te n de r gol d i n M r . joh n

FRANCO - B R IT I SH EX IYIB ITION

S I R L . A LMA—TADEMA, O. M . , R .A. , A Hearty We l come.

Reproduced b) permiss ion or the Berl in Photograph ic Cc., 1 3 1, New Bond Street,W’

.

Lor imer’

s “I n te r i o r : Moo n l igh t Eve n i n g, show i n g a mother da n c i n g as she

hol d s her babe in he r arms ; a n d we have i t i n pe rhaps the most t ru ly tragi c a n d

impressive p i c tu re here,“The Dol l ’s H ou se,

” by M r . Wi l l Rothe n s tein . That i t

MARCUS STON E, R . A . — In Love.

Reproduced by permiss ion of the Berl in Pho tograph ic Co. . 1 3 3 . New Bond Street, W.

is emphat i ca l ly I bse n i sh is one of i ts mer i ts, that th e figures of the ma n a n d woma n

i n t h i s appal l i n g i n te r i o r are wo n derfu l ly characte r i sed is a n oth er ; bu t th e ch i ef

76

TH E BR IT I S H ART SECT I ON

tr i umph l i e s i n t he fi n e l igh t i n g a n d i n the glor i ou s b lack a n d sub t l e s hadow .

Here is a p i c tu re, i t may read i l y be be l i eved a n d hoped, tha t w i l l one day fi n d i t s

way i n to ou r Nat io n a l Gal l e ry of Br i t i s h Art .

O n e of t he marks of ou r la t te r - day schoo l i s the decorat i ve n o te,the ch i e fc red i t of wh i ch bel o n gs to th e teach i n g of Wi l l i am Morr i s a n d, i n a m i n o r degree,of Wh i st l e r a n d A lbert M oore . I n some the formal i ty of t he trea tme n t is more

i n s i s ted o n tha n i n o the rs . M r . Fra n k B rangwyn, one of t he l eade rs of

th i s school, i s see n i n“The C ider P ress . ” I t is a n early work, bu t i t

c o n ta i n s the root of the mat te r wh i ch has bo r n e such fi n e fru i t i n rece n t years .Mr . E . A . Hor n e l i s n o t l ess decora t i ve, not l e ss d i vo rced from ac tua l i ty, as we

may see i n h i s da i n ty Cey lo n p i c tu re,“Flowers for the Temple .

” I n o thers, th e

se n se ofdecoration is subord i n ated to th e huma n i n te res t,as i n M r . Charl es Sha n n o n’s

sober ly sumptuous p i c t u re e n t i t l ed D e l ia,” a work of rea l power

‘

a n d beau ty ;a n d i n M r . Stra n g

'

s Su ppert i me, co n ce i ved i n t he sp i r i t of Wat ts . We see

i t, too, i n a n other phase i n M r . Mouat Loudan’

s“M irror on the Wal l,

” a n d

M r . Mel to n F i sh er'

s D reams— e do l ce dorm i re, bot h p i c tu res of rare

d i s t i n c t i o n a n d swee t n e ss . Th i s qua l i ty of decora t i o n is a sav i n g grace of t he

B ri t i s h school— it is prec i se ly what i t l acked, tha t a n d a

-

d ue apprec ia t i o n of

n a tu re ; a n d i t is what w i l l b r i n g back t ha t n ob l es t of al l qual i t i e s i n t he ar t of

pa i n t i n g— Styl e .

I t i s i n l a n d scape - pa i n t i n g tha t we fi n d the w ides t d i ve rge n ces of art i s t i c v i ew,for here th e pa i n te r is free to see n a tu re as he p leases . O n e a ims a t re n de r i n g

every fact a n d de ta i l m i croscop i ca l ly see n ; a n oth er is co n te n t w i t h reprodu c i n gbeau t i fu l ly th e v i ew before h im recog n i sab ly a n d w i th taste a th i rd gi ves mere ly

JOHN HASQALL, [L L — Hark ! Hark ! The Dogs do Bark, The Beggars are coming to Town.

7 7

0

FRANCO - BR IT I SH EXH I B IT I ON

the impress i o n of the sce n e u po n h im i n bol d b road masses ; ye t a n other shows

that h e cares l i t t l e for th e l a n dscape for i tse l f, bu t regard s i t as a n i n s trume n t by

mea n s of wh i ch to catch a n d record the lovely, or th e stra n ge, play of l igh t tha t

f l i t t e (1

across i t

w h e n i t

t o o k h i s

f a n c y

A n o t h e r

pa i n ts i t

f o r t h e

s a k e o f

e f f e c t s

of atmos

p h e r e

anotherfor

i ts col ou r

s c h e m e ,w i t h o u t

t r o u b l i n g

h i m s e l f

a b o u t

effects of

l igh t or a t

mo sphere,

i n se n s i b l e

t o t h e

emot i o n a l

appea l of

mm . H E LEN ALL ING HAM, —D l‘

y ing C lothes .

other,from the “old - fash io n ed to the “n ew - fa n gl ed .

s i n ce r i ty a n d revere n ce for the beau ty of a s impl e sce n e, M r . Leader’

s “Gree n

Pastu res a n d S t i l l Waters

F . B UCKM AN, —S t ree t Cr ies .

78

n a t u r e

t h at t 0

o t h e r s is

th e ma i n ,the o n ly,charm of

l a n d s c a p e

w o r t h

pa i n t i n g .

We have

t h e m al l

i n the Ex

hib it ion,

fr o m t h e

p a t i e n t

t ra n scr i be r

to themost

i mpu l s i v e

i m p r e s

s ion is t

accor d i n g

t o e a c h

e x t r e m e

g r o u p ’

s

d efi n i t i o n

0 f t h e

I f o n ly for its obv i ou s

must be accepted w i th respect, i n sp i te of i t s

TH E BR IT I SH ART SECT I ON

popu lar i ty, a n d i n sp i te,equal ly, of th e l im i ted i n te res t

i n the moods of n a tu re tha t

t h i s charm i n g a n d p l a c i d

Academ i c i a n i n var iab ly dis

plays . At the othe r pol e is

the w i l d a n d wh i rr i n g impres

s ionistic'

p i c tu re o f “T h eS torm,

’ by M r . Wi l l iam

McTaggart . Here a t l eas t

we have th e moveme n t, t he

very wh i z a n d s t i n g a n d rush

of wi n d a n d ra i n , a n d th e

b l i n d i n g flash of su n sh i n e,a very wo n derfu l effec t j u s t 1 . o. m m . R s w.

— St . N icho las,Ams terdam.

as i f you had bee n awake n ed

to t he su n l i t tempes t by you r face be i n g lashed by the col d spray,a n d had ope n ed

you r eyes to the sce n e for te n seco n ds a n d qu i ck ly c losed t hem aga i n i n the

exc i teme n t of th e v i s i o n a n d by th e breath of sharp a i r you had d raw n i n to you rasto n i shed l u n gs . H ere i s th e true ope n a i r ! here is l i fe— t he rea l t h i n g ! Bu t i t

i s o n ly a n “impress i o n — (to re ta i n i ts effec t i t cou l d be n o th i n g e l se )— a n d th re e

ou t of fou r peopl e who pass before i t ca n n o t te l l what i t mea n s, and l augh . I t

mea n s much, not o n ly to you a n d me, bu t to the whol e school of Sco tl a n d .

Mr . McTaggart’

s other p i c tu re,“Wet Sa n ds, co n ce i ved i n th e same sp i r i t, i s

not so we l l d raw n . Bes i de h im, Professo r B rown'

and M r . Wi l so n S tee r, t hose

figh te rs for the n ew, becomea lmost d u l l a n d ce rta i n ly rathe r c l umsy . Betwee n

M r . Leade r, wi th h i s

i n fi n i te ly carefu l a n dI

delicate re n der i n g of

typ i ca l ly cha r m i n g

E n gl i sh sce n ery, a n d

th e sw i ft sw i sh of

M r . McTaggar t’

s

bru sh, a l l l i fe - l i ke

sugges t i o n , t he re i s

a whol e group of

moderate me n ,each a

d i s t i n c t i n d i v i dua l i ty

There is M r . Al fred

Eas t, a l eade r i n

deco ra t i ve l a n dscape,

J . M . w. TURN E R, R .A. (1 7 7 5 - I SS I ) . — Coblenz . w h o s e p i c t u r e o f

79

FRANCO - B R IT I SH EXH I B I T I ON

T

!“The Shepherd

’

s Wal k,Wi n dermere, i s imbued

w i th poet ry, n o t o n ly

th rough i ts se n t i me n t,bu t

th rough its scheme — i ts“pa t t e r n ” l i k e t h e

charm added to verse of

fasc i n a t i n g rhythm by

pl eas i n g rhyme . There

i s M r . Dav i d M u rray’

s“The Tees Snowhall

R e a c h,” a n d M r .

H ughes - Sta n to n ’s “Les

Andeleys, Chateau Ga i l

M . w. T U RN E R, R .A. (I 77S— Snowdon : Afterglow. lard,

”

Sir J ames Gu th r i e’

s“Orchard, a n d s im i lar

work,a l l n o teworthy a n d importa n t . I f we n ame them together we fi n d they co n s t i tu te

a schoo l inr thenl selv es . There are th e rece n t ly deceased Dav i d Farquharso n ,Bux to n K n igh t, a n d James Char l es, a n d the i r a r t i s t i c sympath i sers, Mr . MarkF i sher, M r . J ames H enry, a n d M r . Friedenson . There are S i r E r n es t W’

aterlow,

M r . Campbe l l M i tchel l, Mr . Bertram Priestman, a n d M r . Ar n ol d Priestman .

There are M r Les l i e Thomso n , Mr . A . K . Brow n , M r . Rober t Nob l e,Mr . Auste n B row n . These al l more or l e ss fa l l i n to school s or sect i o n s w i th

ce rta i n v i ews i n commo n . The n we have th e me n of spec i al se n t im e n t— such

as M r . Edward S tot t, whose p i c tu res of the tw i l igh t, wi th the i r l ove ly brok e n

col ou r, a r e l i k e

poems t r i l l ed i n

th e darke n i n g a i r

M r . Fred Hal l ,wi th his “Fad i n gDay, a n d M r .

Albert G o o d w i n

w i th h i s pal e b l u e

moonlight in“Sa n

G iorgi o, Ve n i ce,”

i n wh i ch the col ou r

is made to s i n g ;a n d M r . Ol i ve r

H a l l ’ s m a s t e r l y

A lb i, a p i c tu re

of s i n gu la r beau ty,

co n vey i n g a l ive ly ALI- RED PARSONS, R .w. s .— Megé v e, Savoy .

80

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FRANCO - BR I T I SH EXH I B IT I ON

its forms, a n d, above al l, the rush a n d

moveme n t of i t, whether i n ro l l i n g,ma n y - face tted breakers, or in sw i ft a n d

gu rgl i n g edd i es . He has the eye of

t he sea- n atu ra l i s t,a n d a ha n d u n err i n g,a n d he has gi ve n u s a whol e se r i es of

marve l l ou s sce n es— l i ke some stra n ge

n ew c i n ematograph — of wh i ch “Hau lAft ! i s one of the more s tr i k i n g

exampl es . I m igh t have me n t i o n ed

Gra n to n H arbou r, of th e la te Edwi n

Hayes, bu t a l though he k n ew the sea

wi th th e thorough n ess of a sa i l o r, h e was wo n t to ge n eral i se i t i n a n o ld

fash i o n ed way, a n d so l os t hal f th e va l ue of h i s s tud i es .

We are ap t to cla im, here i n E n gla n d, that th e ar t of Water - col ou r i s

esse n t i a l ly a n E n gl i sh art, a n d that i t is n e i the r so w idely prac t i sed n or so

sympathe t i ca l ly u n d e rstood beyo n d ou r bord ers . I t i s t ru e tha t few fore ig n

n a t i o n s l ove wate r- col ou r as we do . Perhaps i t i s the domes t i c i ty i n ou r n atu re tha t

l eads u s to t reasu re these z’

zzz‘

z

’

me l i t t l e p i c tu res,a n d so cau ses u s to fos te r th e art a n d

e n cou rage it— up to the po i n t of pay i n g thou sa n d s of pou n ds to get possess i o n of

a n ob l e a n d ce l eb ra te spec ime n . A n d u n der th i s ge n ia l warmth Of popu lar favou r

th e ar t has doubt l ess ly deve loped great ly, t he n umbers of ou r aquare l l i s ts have

vas tly swol l e n , a n d i n defe re n ce to the n a t i o n a l l ove of e labora te ca re the art has

co n s i derab ly cha n ged th e mere topograph i ca l character i t o n ce had, a n d passed

from the b road ske tch i n ess a n d th e flat t i n ts that were o n ce though t to be

i t s ge n re .

I t i s a n

DAV ID ROBrRTs, R .A. (1 796 - l864) . — The R u ins of L u xor.

ev o l u t i o n

t h a t has

p r o d u c e d

w a t e r

0 o l o u r

p a i n t i n g

w h e r e

w a t e r

c o l o u r

d r a w i n g

u s e d t o

ex i s t . We

may th i n k

tha t th i s

d e v e 1 Op F . 0 . C0 1 MAN, R . I .— Moon l igh t Scene .

82

TH E BR IT I SH ART SECT I ON

me n t i s towards perfect i o n ; o thers, compr i s i n g mos t

of ou r fore ig n cr i t i cs, may wr i te i t dow n deca

de n ce a n d dege n e ra t i o n . The fac t rema i n s that

ou r peopl e are vast ly pl eased w i th the resu l t, a n d

protest tha t i t 1 5 a n E n gl i s h art . The Fre n ch

declare tha t they produce much the same abroad ;so they do, bu t, l ack i n g th e measu red popu l ar

apprec i a t io n wh i ch i t h ere e n j oys, th e aquare l l e

i n Fra n ce takes a re la t i ve ly subord i n a te place i nth e es t imat io n of the pub l i c .

How— t h rough wha t stages — t ha t d eve l op

me n t took place ca n b e see n i n t he room devo ted

to Re trospect i ve Water - co lou r pa i n t i n g, from G i rt i n

a n d Coze n s o n wards . I n ' the fi n e ser i es of fou r

d raw i n gs by Tu r n e r you ca n see his moveme n t

from sombre co lou r, somet imes almos t monochroCAR LTON smm r. “fi n e C rys tal .

mat i c, to t he glory of red a n d gol d that character i se

his “Cob l e n z . J oh n Varl ey a n d Pete r de Wi n t, Prou t a n d Dav i d Cox, Davi d

Roberts, Mul l e r, a n d th e res t a l l ho n ou red masters fi

you may see t he i r h i s tory

suggested i n i ts ma i n ou t l i n e i n th i s o n e room . The Pre - Raphae l i te moveme n t

is more r i ch ly show n , for th e group of Rosset t i, M i l la i s, Bu r n e - J o n es, S imeo n

Solomo n , Wi l l i am H u n t, Fred Wal k e r, Hough to n — were al l work i n g w i th a

commo n i deal , a commo n de n om i n a to r, however d iffere n t the i r i n d i v i dua l

ou tlook m igh t be .

I n th e th ree fol l ow i n g rooms we have spread ou t before u s a very fa i r d i sp lay

of th e E n gl i s h wate r - co l ou r a rt as i t ex i sts to - day . The n umber of sec t i o n s i n to

wh i ch the schoo l

i s b roke n u p is

a t l e a s t a s

n u m e r o u s a n d

bewi l der i n g as

t hose see n i n th e

oil sect i o n . I n

d eed, t he var i e ty

i s greate r,for on

th e o n e ha n d we

s e e h e r e a n d

the re a more

compl e te acade

micism, 12-it t leremoved from

ANDREW C . cow, R .A.—The Req u is i t ion is ts.

the l a b o r io u s

83

FRANCO - BR IT I SH EXH I B I T I ON

st i ppl e of the more debased form of m i n i atu re pa i n t i n g ; on the o ther, the broades t

t rea tme n t of sub t l e sketch i n ess a n d aga i n , t he borde r pushed fu rth e r s t i l l,we have

th e pe n d raw i n g del i ca te ly t i n ted, u n t i l we wo n der whe ther the work has.

not over

flowed from the sect io n of bl ack - a n d - wh i te . I t wou l d be u se l ess to fol l owou t th i s

CHARLES G R EGORY, R .w. s .— L u ther‘

s Abstrac t ion.

i mporta n t demo n stra t i o n i n d e ta i l e n ough to say that i t i s t ru ly represe n tat i ve of

th e art, a n d reveal s i t s ma n y beau t i e s to the v i s i to r who wi l l s tudy i t w i th care

beau t i es hal f of wh i ch are w i th he l d from h im who vouch safes i t b u t a casua l gla n ce

of sem i - i n te res t .

I t is i mposs i b l e i n a b r i ef rev i ew such as th i s to gi ve a n y adequate i d ea of th e

ex te n t a n d fu l l s ig nifica n ce of th i s grea t d i splay . As Rusk i n sa i d, th e h i s tory of

a n at i o n ’s art is th e h i s tory of the n at i o n ’s l i fe . I n these exampl es, chose n for

th e i r mer i t s not o n ly of execu t i o n bu t of se n t ime n t, we have the n a t i o n a l charac ter

reveal ed, that characte r wh ich has cha n ged sl owly w i th the march of t ime a n d the

a tte n da n t eve n ts tha t have mou l ded a n d co n t ro l l ed th e n a t i o n a l se n t ime n t . Th i s

paper, the refore, is bu t a n i n d i ca t i o n — a sugges t i o n . For proper u n ders ta n d i n g o f

th e st r i k i n g phe n ome n o n — for such i t mu st be co n s i de red— it has bee n for the

v i s i to r to go to the works themse l ves .

84

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Al though two hu n

d red a n d fi fty years ago

e tch i n g had bee n emVA LENT IN E G R E EN — The Ladies Waldegrav e. pl oyed on th e Co n t i n e n t

as a mea n s of o r igi n a l express i o n , as opposed to its u se i n reproduc i n g the

pa i n ted a n d d raw n work of other me n , i t was not u n t i l comparat i ve ly rece n tt imes tha t i ts capab i l i t i e s i n one sect i o n or th e o ther were fu l ly apprec i a ted i n th i s

cou n t ry . For a lo n g per iod the art of the l i n e - e n grave r was paramou n t, a n d here

i t rose to as h igh a l eve l as e l sewhere— some, i n deed, c l a im a h igher s ta n dard forthe B r i t i sh grave r, bu t tha t is a po i n t a rguabl e a n d u n d ec i ded . I t has bee n

i n d ige n ous to the so i l for th ree hu n d red a n d s i x ty years, so that we m igh t have

expected to see here Wi l l i am R ogers’

s wo n derfu l s ta n d i n g portra i t of Qu ee n

E l i zabe th, or J oh n Pay n e’s George Wi ther,

”

or exampl es of George Glover a n dRober t Wh i te, more part i cu larly Of Wi l l iam Faithorne,who, by the way, had set

e tch i n g by the s i de of e n grav i n g as a n equa l ar t . SO, too, we m igh t have had

George Ve rtu e a n d Hogarth bu t the co l l ec t i o n begi n s, i n te l l ig i b ly e n ough, at the

o n e - t ime J acob i te, S i r Rober t S tra n ge, that fu r i ou s oppo n e n t Of th e RoyalAcademy,a n d Wi l l i am Woollett— at t h e mome n t whe n B r i t i s h l i n e - e n grav i n g was

a t the he igh t of its perfect i o n a n d its repu tat i o n . For S tra n ge, compl e te maste r as

he was of t he graver a n d i ts capab i l i t i es,was ack n owledged as seco n d to n o n e i nE u rope h i s p la te after T i t ia n ’s “Ve n u s d i ssuad i n g Ado n i s from the Chase ” gi ves

u s a tas te of his qual i ty, wh i l e Woollett’

s two e n grav i n gs afte r Wi l so n a n d C l aude

show his power i n l a n dscape, at the same t ime l eav i n g u n touched his spl e n d i d

capac i ty i n figure su bject s .

These l i n e - e n grave rs co n fi n ed themse l ves to t ra n s l at i n g the p i c tu res of

others, bu t the i r own perso n a l i ty a lways del igh ts the eye of t he co n n o i sseu r .

The importa n t se r i es of th e plates d i sp layed— l e n t from the famous co l l ec t i o n

of Mr . W . G . Rawl i n so n — i l l u s tra tes t he i r maste r ly stre n gth a n d de l i cacy .

86

wou ld cal l forth the

obv iou s re tort that, i n

orde r to mak e room for

t h e o m i s s i o n s , o t h e r

th i n gs, n o t l ess des i rab l e

from the po i n t of v i ew

of compl e te n ess, wou l d

have had to be l eft ou t .

Le t u s, th e refore, gla n ce

a t th e d i sp lay as i t is, as

a whol e, c lass i fy i n g as

best we may, a n d tak i n g

th e re trospect i ve sec t i o nfi rs t

TH E BR I T I SH ART SECT I ON

The i r ar t may be ou t of fash i o n now ; bu t exam i n e th e p la tes of M i l l e r,Sm i th, a n d Wi l lmore, afte r Tu r n e r, a n d Wi l l i am Sharp afte r Rey n o l d s, a n d

you wi l l recog n i se a t o n ce why these me n c la imed fu l l equal i ty w i th pa i n te rs,scu l p tors, a n d arch i tec ts, a n d fumed w i th wrath a n d in d ig n at i o n a t th e RoyalAcademy ’s dec i s i o n to re l ega te them to th e i n fer i o r c lass of “Assoc ia te

E n gravers .

M ea n wh i l e, th e ar t of mezzot i n t had bee n adva n c i ng to the fro n t pl ace,des tin ed to co n qu er i n t he race, a n d soo n to cap tu re th e worl d th rough the

spl e n dou r of its ach i eveme n ts . The formal, al mos t sc i e n t ific, b r i l l i a n cy of l i n e

e n gravin g had appeal ed to th e i n te l l ec t of th e pub l i c ; t he warm, se n suou s

r i ch n ess of th e mezzot i n t, its r i ch shadows a n d te n der l igh ts, appeal ed to the i r

se n suou s emot io n . I t was a mat te r of head versu s heart, a n d of cou rse th e hear t

ga i n ed th e day. The e n ormou s p r i ces obta i n ed a t the sal e room for th e

maste rp i eces of mezzot i n t a re more tha n te n t imes what are fe tched by the

triumphs of the bu r i n — part ly, no doub t, because mezzot i n t took i t s real r i se j u st

a t the mome n t whe n th e grea t portra i t i s ts we re produ c i n g the i r p rese n tme n ts of

beau t i fu l wome n a n d e l ega n t, ha n dsome me n . The proof of th e stateme n t is

easy : Dav i d Lucas’

s su perb se r i es of pl ates afte r Co n stab l e (l e n t by

M r . Theobal d, K.C . ) are scarce ly l ess esteemed for t he i r i n t r i n s i c exce l l e n ce tha nt he p late s afte r Rey n o l ds a n d Gai n sborough , ye t th e pr i ces th ey fe tch are bu t a

fract i o n of th e o th e rs .

Of all of t hese we have b r i l l i a n t

examp l es : of Val e n t i n e Gree n , J oh n

R a p h a e l S m i t h, J . McA rdel l,

R . Hou sto n , J . Watso n a n d the res t,afte r p i c tu res by Rey n o l ds ; Earlom,

J . Watts, Charl es Tu r n e r, Lup to n ,after Tu r n e r . I n t h e i r work we see of

what la manz'

ere noz'

re, or [a manz'

ere

anglaz'

se, is capab l e, for th e pr i n t s are

se l ec ted w i th the u tmost ca re . Bu t we

ca n n o t forge t that the me thod i s not

whol ly su i tab l e for l arge groups a n d

s im i l ar sce n es, fo r in sp i te of i t s

r i ch n ess a n d ve l vety b l ack n ess, themezzot i n t may s til l b e l ack i n g i n force,i t may be w i thou t those “acce n t s ” of

vigou r which are n ecessary i n ma n yk i n d s of su bjec ts, a n d wh i ch

Samue l Cou sin s sough t to su pply by

the i n t roduct i o n of th e “m ixed method,i n wh i ch e n graved or e tched l i n es, JOHN D,XON .

_

—rhe M isses Crewe.

FRANCO - B R IT I SH EXH I B ITI ON

j u d i c i o u s l y a n d u n ob tru s i ve ly

app l i ed, re i n force the to n es of th e“rocked p la te of the mezzot i n t .Bu t the sub terfuge, for su ch i n

real i ty i t is, i s not whol ly satisfac

tory to the se n s i t i ve eye a n d

exact i n g taste— for wh ich reaso n ,n o doubt, t h i s popu lar e n grave r

has not bee n adm i tted to the

co l l ec t i o n . The masters who

measu red to a n i ce ty the adapt

ab i l i ty of the i r ar t n eve r requ i red

the adve n t i t i ou s a i d of th e graver

or the e tch i n g - n e ed l e, so tha t

G ree n’

s “Lad i es VValdegrav e,

McArdell'

s Duchess ofAncaster,

Watso n ’s “M rs . Ab i n gto n (his

s i s te r Caro l i n e was a n e n graver

we l l—n igh as tal e n ted ),a n d F i sher's

“Garr i ck be twee n Comedy a n d

Tragedy are maste rp i eces,flawl e ss a n d beau t i fu l . Agai n ,Earlom

’

s

McAR DELL.—D u chess o f Ancas ter.

e x q u i s i t e r e n d e r i n g O f V a nHuysum

’

s flower—p i ece a n d h i s v igorous tra n s l a t io n of Wrigh t of De rby '

s “The

B lacksm i th ’s Shop ” d i sp lay pre t ty accu rate ly the ra n ge of the sk i l fu l mezzot i n te r .

Pass i n g to th e more mode r n phase of the e n graver'

s a rt we fi n d that, j us t as

mezzot i n t d i spl aced l i n e - e n grav i n g, so was mezzot i n t ou sted i n tu r n by e tch i n g .

(Li thography, popu lar for a t i me, n e ve r rea l ly th reate n ed a n y of t he fi n er or more

ar i s tocrat i c me thods ) Now- a- days i t has bee n i n creas i n gly recog n i sed that th e

ex treme “fac i l e n e ss, so to say, th e perfec t p l iab i l i ty a n d adaptab i l i ty of t he

e tch i n g- n eed l e a re qua l i t i e s that fi t i t bes t of a l l for “or ig i n a l " work ; ye t

rep roduct i o n of a h igh order has bee n eff ected th rough i t . We have exampl es

i n M r . Robert Macbe th’

s famous pla te afte r “The Summer Moo n ” by George

Maso n , a n d i n M r . Wi l l i am Hol e’

s perfect ly m i racu l ou s facs i m i l es of pa i n t a n d

ca n vas i n “The Sawyers, afte r J . F . M i l l e t, a n d“H e is Com i n g, afte r

Matthew Mar i s . I n t hese, howeve r, the p lay of th e n eed l e i s res tra i n ed by th e

n ecess i ty of copy i n g th e p i c tu re before th e e tcher . Bu t i t is whe n th e art i s t n eeds

to th i n k o n ly of h i s ow n creat i o n a n d rej o i ces i n his perfect l i be rty that we

are show n the fu l l capac i ty of the me thod . See the poe t i c s ig n ifica n ce of

Samue l Palme r ’s “Ear ly P loughma n , th e br i l l i a n t l igh t a n d shade a n d fat

cl ea n l i n e of Charl es K ee n e i n the “Ma n i n Doub l e t w i th Bagpi pes,” a n d thefi n e Lady Read i n g a Book,

” a n d you see the b r i l l i a n t effect t ha t is begot te n by

88

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FRANCO - BR I T I SH EXH I BI T I ON

There i s bu t a s i n gl e l i thograph by M r . Charl es Sha n n o n ,who k n ows so wel l how to de l igh t u s wi t h his te n de r

greys a n d, as th e s ig n ifica n t express i o n has i t, how“to

make the s to n e s i n g . A n d M r . Haro l d Perc i va l i s

scarce l y l ess se n s i t i ve .

L i n e - e n gra vi n g i? w i th u s pract i ca l ly a dead art .

Wh i l e i n F ra n ce i t is s t i l l flou r i sh i n g, t ha n ks ma i n l y to

t he e n cou rageme n t of th e Gov ernment fi

yet is n o l o n ger

th e l i n e - e n grav i n g of a hu n d red years ago, be i n g far more

de l i ca te ly co n ce i ved tha n heretofore — in Grea t B r i ta i n

th e re ca n n ot n ow be fou n d a n at i ve a rt i s t who ca n

e n grave a p i c tu re i n su ch a ma n n er as wou l d pass mu ste r

w i t h eve n t he l ess d i sce r n i n g . Bu t i n o n e m i n or sect i o n

of i t we s t i l l have a rea l a n d u n doubted maste r . Th i s

i s M r . C . W . Sherbor n , whose book - p lates are the

adm i rat i o n a n d del igh t of every behol de r, reveal i n g as

they do t he art i s t i n eve ry l i n e, i n d es ig n , a n d i n

decorat i o n . I n h i s bes t work he affects, mai n ly, the

armori al ma n n e r, a n d h i s ma n t l i n gs, i n sp i red appare n t ly

by D u rer'

s,are th i n gs to rej o i ce i n . M r . George W . Eve

u ses the e tch i n g process to obta i n a s i m i l ar resu l t, a n dAUB R EY

h i s book - p l ates do n e for the K i n g are very beau t i fu l lycomposed a n d adm i rably e tched .

Al l t h e methods of wh i ch I have bee n speak i n g are,of cou rse, th e redup l i cat i n g

p roce sses what the Fre n ch wou l d cal l t he pz'

occ‘dc‘s a’c The

or igi n a l, or, more prope r l y speak i n g, t he d i rec t work— by wh i ch i s n ow mea n t

work t hat d i spe n ses w i th t he i n te rmed i ary of p l ate, s to n e, o r p r i n t i n g- press for

ob ta i n i n g the des ig n u po n pape r - makes n o pre te n ce of prese n t i n g a su rvey of the

school ; i n d eed, a good d raw i n g by Prou t i s t he o n l y exampl e of e igh tee n th ce n tu ry

execu t i o n he re . The a im has ma n i fes t ly bee n to show the work of t h e me n of

to- day a n d of the very rece n t pas t . There is some ve ry beau t i fu l pe n c i l - work of

B u r n e - J o n es, S i r Edward Poy n te r, a n d S i r J oh n Te n n i e l (i n t he l as t case, some

adm i rab l e cartoo n s for Pu nt/z ) ; t here is chal k - work by Lord Le ighto n a n d S i r

Edward Poy n te r ; t he re are wash - d raw i n gs by M r . Al fred Parso n s, Mr . Wal te r

Hatherell, a n d M r . Fra n k Cra ig ; al l exce l l e n t of t he i r k i n d a n d ha n d somely

represe n tat i ve of the res t i n t he sect i o n .

Bu t i t i s to pe n a n d i n k that we must tu r n i f we wou l d gathe r the real t re n d of

the ge n era l ar t fee l i n g of to - day . I f we co n s i de r the e n ormou s vo l ume of su ch

work that i s tu r n ed ou t by th i s me thod eve ry day of the week, a n d immed iate ly

floods th e la n d, i n d eed th e whol e world, i n book a n d n ewspaper th rough the

med i um of the pr i n t i n g- press, we mus t real i se t ha t for th e vas t major i ty i t i s pe n

a n d i n k, a n d not brush a n d pa i n t, tha t b r i n g art home to the pub l i c n owadays . I t

9 0

TH E BR I T I SH ART SECT I ON

is the pe n a n d i n k d rawi n g that

is fi l l ed wi th th e l i fe of the

mome n t a n d that speaks to the

peop l e i n a l a n guage that al l

ca n u n de rsta nd,speak i n g c l early,rap i d ly, s imply . The work may

be we i rd a n d mys t i c, su ch as

Aubrey Beard s l ey'

s ; poe t i c,su ch

as M r . Lau re n ce Hou sman’

s ;

decorat i ve,as Mr .Wal te r C ra n e’s

a n d M r . Byam Shaw'

s ; del i ca te ly

charm i n g a n d gracefu l, as

M r . Abbey'

s a n d M r . Parso n s'

qua i n t l y a n d de l igh tfu l ly fa n c i fu l ,as Mr . Arthu r Rackham

’

s i t i s

a l l wel come,al l acc l a imed, al l ex to l l ed . The pub l i c may not co n sc i ou s ly apprec i ate

the comb i n at i o n of th e d el i ca te l i n e a n d the v igorou s “spot ” i n B eard sl ey ’

s

d rawi n gs, or th e gossamer pe n - po i n t of M r . Abbey, or t he fi rm reed - pe n l i n e of

M r . Cra n e, a n d so o n ; bu t t hey respo n d to the summo n s of the art i s t al l th e

same, a n d that is a test, as i t i s the reward, of a fi n e art i s t . I n t h i s edu cat i o n

of th e ma n i n th e st ree t t he grea t grou p of PIN ZC/l art i s ts have take n a l ead i n gShare . Here we have th e fi n e se n se of s ty l e i n th e cartoo n s of M r . L i n l ey

A RTH U R RACK HAM,An Afternoon“hen the Kens ington Gardens u ere \Vhl te wi th Snow.

Sambou rne ; t he e l ega n t soc ia l p i c tu res of George du Mau r i e r, wi th h i s te n de r

i ro n y a n d charm i n g w i t ; th e wo n derfu l fi rm n ess of line a n d impeccab l e d raw i n g

of Ph i l May, wi th h i s r i ch humou r, his capt i vat i n g i n s igh t, a n d mo n ume n ta l

s impl i c i ty of tech n i qu e the breezy freedom a n d Kee n e - l i ke charac ter - d raw i n g of

M r . Rave n - H i l l ; t he i n te n se v i v i d n ess of M r . Ber n ard Partr i dge'

s portra i tu re

a n d figures, a n d th e exce l l e n ce of his more formal pol i t i ca l compos i t i o n s ; t he

qual i ty of M r . Shepperson'

s l igh t a n d Shade,a n d the b r i l l i a n cy of Mr . Tow n se n d’

s

pe n - s trokes . These me n may be take n as typ i ca l l eaders of ou r schoo l . We

have n o one here to match w i th Fora i n , wi th Lea n d re, wi th Wi l l e tte, eve n w i t h

Sem— ou r art i s ts th i n k d iffe re n t ly, a n d accord i n gly seek d iff e re n t modes of

express i o n . Bu t the i r ha n d s are fi rm a n d the i r vo i ces c l ear— a n d they are very

c l ose to the heart of th e peop l e . I t i s a l o n g st r i d e from the compl i ca ted

e n grav i n g of old- t ime Woollett to t he com i c ske tch of M r . C . E . B rock, bu t

t he te rm “B lack - a n d -Wh i te " ropes them together i n to one fol d ; a n d i f we

depl ore th e pass i n g of th e n ob i l i ty of workma n sh i p of th e days go n e by — t ha t

n ob i l i ty of wh ich S i r Rober t S tra n ge had so h igh a se n se, a n d wh i ch he spe n t his

l i fe a n d his e n e rgi e s i n p rov i n g to be “sub l i me — we must rea l i se tha t whereas

he and his compee rs spoke to hu n d reds, the me n of to - day add ress m i l l i o n s

t he i r l i t t l e message tak i n g bu t a few hou rs to del i ve r, wh i l e S tra n ge'

s wou l d

occu py ma n y mo n th s . I t i s the S ig n of t he t imes, th i s pass i o n for speed a n d

FRANCO - BR I T I SH EXH I B ITION

fac i l i ty . Bu t art is i n depe n de n t a l i ke of t ime a n d space, a n d th e hal f hou r

pe n - sk e tch may. liv e whe n th e two - year e n grav i n g may be forgotte n ; th e whol e

matte r l i e s wrapped u p i n the qu es t io n — is th e th i n g do n e fi n e ly i n sp i red or is i t

mere ly l abor i ou sly e l aborated I t i s safe to say.

that i n ma n y a l i t t l e frame i n th e

B l ack - a n d - Wh i te sect i o n th e re is more rea l geni u s tha n i s to be fou n d i n hal f

the large - ca n vases exh i b i ted i n the cou n t ry du r i n g the year ; at th e same t ime, i n

ma n y a del i be rate e n grav i n g here, the re i s ge n i u s a n d co n sc i e n t i ou s, a n d l o n g

d raw n - ou t l abou r as wel l . We have th e r igh t to be proud of th i s d i spl ay as far

as i t goes, as those v i s i to rs w i l l co n fi rm who have bee n ab l e to with s ta n d the

su per io r a l l u reme n t of the col ou r of th e p i c tu res a n d the forms of t he scu l p tu re,a n d have w i thd raw n from them to pass hal f—an- hou r i n th e pat i e n t exam i n at i o n

of the sect i o n of B lack - a n d - Whi te .

M . H . S .

G EORG E m Mr\UR IER .— Hardly Cons is t ent .

I IAR D LY CO NS I STENT .

B RO\\ N (to Smi th ) : Ugh ! There goes Jones, as u s ual,“Hi l l a c rowd of adoring D t lcll esses hanging on

his l i ps, and grove l l ing at his feet , and fo llou lng him all over the room ! How di sgu st ing I t is to see a man

of gen i u s toady ing the an s tocracy l ike — George (171 1 Al au r zer.

(Reproduced by permiss ion o f Me) er A . Spielnlann, Esq and Messrs . Bradb u ry, Agnew 8: Co P ropr etors of PIHI C/I . )

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FRANCO - BR IT I SH EXH IBIT I ON

of “C lyt i e . I t d i d n o t n eed h i s co lossa l grou ps to Show us the b ig n ess of

his s ty l e, for here we have it— class i c i n fee l i n g, ye t i n te n se ly huma n — d i sp lay i n g

a mastery tha t carr i e s th e spectator a l o n g w i th i t . B u t Watts was n ot what i s

u n d ers tood by a “profess i o n a l ” scu l ptor . The fi rs t of them w i th i n ou r pu rvi ew

is t he la te S i r J . E . Boehm, whose head of Carly l e— ~ a s tu dy for the seated

s ta tue — proves tha t i n sp i te of the ev i d e n ce of th e col d a n d correc t Wel l i n gto n

G r o u p a t w i t h u ncom

H y d e P a r k mo n de l i bera

C o r n e r , h e t i o n rear i n g

cou ld ach i e ve i ts head above

a ve ry n ob l e th e hoard i n g

per fo r m a n c e by.

Buck i n g

ln c h a r a c t e r ham Palace .

m o d e l l i n g . Bu t we have

T he n appear h i S i d e a 1

ed M r . B rock . s t a t u e o f

We have n o n e “E v e a

of h i s d ram p o i g n a n t

a t i c perform p i ece ofpoetryances h e r e, a n d pathos ;a n d o n ly o n e a n d his s tatue

great compo o f G a i n s

sition,andthat b o r o u g h ,”

a m o d e l e l ega n t a n d

t he r i ch, har me l a n cho ly as

moniou s, a n d t h e p a i n t e r

we l l - bal a n ced was, execu ted

Memor ia l to i n su ch a ma n

Q u e e n V i c n e r as to sugtOI

‘

la, Wh’ChG EORG E J . F R AM PTON, R . A.

— Mother and Son.

ges t G a l“Sis s l owly a n d b O r o u g h

'

s

own tech n i qu e— ln Short, a tou r de force wel l w i th i n the l im i ts a l l owabl e toscu l ptu re .

’

A n d the i d eal femal e h eads i n marb l e, suave a n d d ig n ified, prove

how the scu l ptor kept abreast of th e moveme n t wh ich swept across E n gla n d,

a n d how he l ed where he m igh t, had he bee n l ess se n s i t i ve, fl ex i b l e,a n d

su ppl e, have bee n forced to fol low, or e l se be l eft beh i n d .

Mr . Hamo Thornycroft bega n w i th a s t ro n g fee l i n g for the class i c,

i n d epe n de n t e n ough i n h i msel f, bu t troub l ed by the l e n gths to wh i ch his you thfu l

co n temporar i es were d i sposed to go a lo n g the path of revo l t . H i s “Artem i s "

i s h i s l i v i n g protes t . Wi th th e fi n e i n ve n t io n of t h e dog crossed over to th e

fu rthe r S i d e, a n d th e goddess'

s t r i ply - caugh t - u p ch i to n , wi th her gracefu l pose a n d

exqu i s i te model l i n g, the work is a rea l maste rp i ece, for there i s h ere no h i n t

94

TH E BR IT I SH ART SECT ION

of co l d c l ass i c i sm for a l l t hat t he re may be i n i t of Greek i n sp i rat i o n . I f we

l ook from that to th e large “B i shop Cre igh to n — the plaste r mode l fo r the

b ro n ze i n S t . Pau l’

s Cathed ral — a ve ry huma n th i n g, we see how fa r we have

trave l l ed from the scu l ptu re of s ix ty or seve n ty years ago, wi th its n ym phs a n dgoddesses, a n d h i m s e l f incap

gracesandmuses ab l e, a n d by— a l l d u m m y bear i n g the bu r

s i s te rs from the de n of a pro

s am e d u m m y lo n ged act i o n

mou l d . at- l aw, cl ea n sed

Contempor th e st ud i os of a

ary wi th these is te n de n cy wh i ch

th e scu l ptor who t h r e a t e n e d t o

has produced th e grow up amo n g

most e n e rge t i c, t h e i n capab l e i n

v i go r o u s, a n d thiscou ntry. H i s

p o w e r fu l work co l ossa l group,on th e B r i t i sh “The Death of

s i de — SirCharles D i rce,"

is one of

L aw e s - Wi t t e th e most dar i n g

wronge— bet te r a n d compl i cated

k n ow n to h i s t h i n g s e v e r

gratefu lcou ntry a ttempted i n th i s

me n as pl a i n cou n t ry . I t is

Lawes, who fou n ded, of

de n ou n ced th e cou rse, on

pla i n e r Be l t the c lass i c

for d i sho n es ty i n g r o u p o f

the employme n t D i rce, bu t

of “ass i s ta n ts (1 e p a r t s

to do work Ofw. R . COLTON, — The Crou n of Love .

from] i t i n

wh i ch he was a l m o s t

e very de ta i l , a n d reveal s a scu l ptu ra l e rud i t io n a n d fe l i c i tou s co n t ro l of

l i n e a n d compl ex p rese n ta t i o n of form a n d compos i t i o n t ha t make of th i s

a n epoch - mark i n g grou p . The re i s, moreove r, a n o r igi n a l touch i n t he

prese n ta t i o n of i t, i n asmu ch as, i n o rde r to pre ve n t complex i ty becom i n g

co n fu s i o n , th e scu l p tor has art ific i a l l y greyed the body of th e b u l l, a n d th e

grou n d, wi th exce l l e n t effec t .

No greate r co n t ras t w i th h im cou l d be fou n d tha n the equal ly e n e rge t i c bu t

i n fi n i te ly poe t i c a n d se n s i t i ve l y gracefu l A l be r t G i l be rt . Th i s i s n o t th e p lace to

e n l a rge o n th i s mas te r - ge n i u s a n d his work ; bu t wh i l e h i s few exh i b i t s — a few

statuet tes— se rve to j u st i fy h i s pos i t i o n as th e l ead i n g scu l ptor - gold sm i th - artificer

9 5

FRANCO - BR IT I SH EXH IBIT ION

of th e age, th ey se rve al so to rem i n d u s that wi th Dal ou,A l fred G i l ber t d i d more

to i n fl ue n ce the B r i t i sh school a n d to i nflame s tude n ts w i th th e l ove a n d r igh tapprec ia t i o n of art tha n a n y ma n save, i n a n oth er a n d more oflicial way, ProfessorLa n te r i .

r i ch n ess of in

v en t ion a n d

creat i o n , his in

exhau st i bl e gi ft

of d e c or a t i o n

a n d ever - n ew

conceptions,and

so i n t e rested the

whol e worl d of

a rt i n th e pro

g r e s s o f o u r

scu l p tu re . We

h a v e h e r e ,amo n g othe rs,t h e“Icaru sf

’

s m‘ a l l e r

per

f e e t i n i t s

l i n es ; th e“St .

George, wh ich

was i n te n d ed as

the work i n g .

fln'

the

s t a t u e t t e on

t h e t o m b o f

t h e Duke of

C l a r e n c e

fig u r e

mode l

a

u ns u r

passab l e i n i ts

own way fo r

beau ty of l i n e

a n d

o f p a r t s

d e l i c a t e

bolism a n d t he

i n ve n t i o n

and

sym THOMAS B ROOK, R . A. ,— Thomas Gainsboro ugh, R .A.

Bu t i t was G i l ber t who del igh ted the publ i c year by year w i t h his

l e ss i mpress i ve,bu t equal ly we l l

c o n s i d e r e d ,Comedy a n d

Tragedy .

A lesse r ma n

tha n h e, though

a perso n a l i ty of

e q u a l c h a rm,

was his fr i e n d

the la te O n s low

F o rd. T h e r e

was somet imes

I a c k i n g i n

Ford'

s work the

v i r i l i ty we wa n t

to fee l i n scu l p

tu re, a n d there

was too grea t

a l ove of decora

t i o n — or rath er

wha t

cal l ed ornamen

tat ion. T h i s

fau l t i s ha rd ly

v i s i b l e i n t he

work he re show n

R u s k i n

— ~ h i s d a i n t y

Echo,press i ve of t h e

as ex

i d ea as i t is re

fi n ed i n

me n t .

wh i l e Ford was

t reat

I t was

mak i n g his - first t im i d s teps i n th e exh i b i t i o n rooms of t he Royal Academy that

Le igh to n bu rs t i n w i th his earl i es t work ,wh i ch ach i eved a n immed iate,a treme n dou s

su ccess— “An Ath l e te s t ruggl i n g wi th a Pytho n a work wh i ch was i n s ta n t ly

recog n i sed as a maste rp i ece com i n g from o n e who was n o t k n ow n to be eve n

96

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FRANCO - BR IT I SH EXH I B IT I O N

M r . Havard Thomas, mea n wh i l e, a n d M r . St i r l i n g Lee

were work i n g free ly o n l i n es that d i ve rged from Academ i c i sm ;

the former produ c i n g “The Slave G i rl — a s tatu e i n wh i ch

th ere is a n a n t i - cl ass i c d i spos i t i o n to re ta i n some of the ugl i n ess

a n d poverty of th e huma n mode l — a n d “Lyc i das, i n wh i ch

th e same d i spos i t i o n is s t i l l e v id.

e n t . O n e of th em was produced

towards th e begi n n i n g a n d the other towards th e e n d of h i s

caree r . The archa i st i c s ty l e i n th e l at te r is very agreeab l e

al though the awkward n ess of th e whol e sh u t i t ou t from th e

empyrea n i n to wh i ch its adm i re rs wou l d ra i se i t . Mr . Lee

i s fa r more correc t, a n d i n his re l i ef fo r th e S t . George'

s Hal l,L i ve rpool,

“The Ch i l d hood of J u st i ce, h e tou ches a ve ry h ighl e ve l of poet i c b eau ty a n d d i sp l ays st r i k i n g i n d i v i d ual i ty .

Alo n g w i th th i s re l i e f I wou l d n ame two others : the

H omer of th e l ate H arry Bates— “A b l i n d o l d Ma n a n dpoor, sweetes t he s i n gs, — a n d Sc i e n ce,

"

of Mr . Hodge . The

former i s a fi n e d es ig n , fu l l of pathos a n d of l i fe, i n s t i n c t wi t h

fee l i n g der i ved from the Greeks, ye t whol ly accl ima t i sed as

th e work of a B r i t i s h scu l ptor . The la t te r i s e n t i re l y a rch i

tecto n i c in character, i t ig n ores beau t i fu l forms as ord i n a r i ly

u n ders tood, a n d comple te ly subord i n a te s i t se l f to th e

arch i te c tu re wh i ch i t i s to decora te ; for th i s reaso n itsforms appear exaggerated to c l ose i n spect i o n i n o rd er thatthey may te l l properly i n t h e ope n . The whol e

tech n i qu e of t h i s se l f- sacrificing sort of work i s ex tremely

cu r iou s, a n d i s of very h igh i n te res t . The art of th e low

re l i ef has ofte n bee n pract i sed i n E n gla n d the sc i e n ce of i t

(whereby th e work may have th e force of a h igh re l i ef whe n i n its place ) has

rare ly, i f e ve r, bee n so i n c i s i ve l y demo n st ra ted before .

A n imal scu l p tu re, wh i ch i s so br i l l i a n t l y exempl ified i n th e Fre n ch sect i o n , is

l e ss kee n ly fol l owed i n ou r own. Bu t i n M r . J . M Swa n we have a n

ack n owl edged l eader, a n d h i s famou s Puma a n d Macaw of 1 9 0 1 j u st ifies h i s

pos i t i o n . No o n e k n ows be t te r th e forms, co n s tru ct io n , a n d hab i ts of the fel z'

a’w,

no one ca n re n de r be t te r t he crawl of t he m igh ty cats or th e s i n uos i ty of the i r bod i es

a n d th e tex tu re of the i r fu r . M r . Swa n i s c l ea r ly a fol l ower of Barye,wi thou t a l l

h i s v igou r or his l ove of v i ol e n ce, a n d al so w i thou t th e occas i o n a l exaggera t i o n of

th e grea te r ma n . M r . Swa n i s not afougueux, bu t h e i s a very b r i l l i a n t scu l ptor of

a n imal s, dea l i n g i n his work as much w i th Sc i e n ce as wi th art .M r . Frampto n , one of the mos t or igi n a l of ou r art i s ts, i s i l l - represe n ted w i th

h i s bu s t grou p Mothe r a n d Son a n d a bro n ze re l i ef. Ne i the r of these reveal s

adequate ly h i s fa n cy a n d i n ve n t i o n , a n d h i s power of ha n d l i n g l arge masses a n d

importa n t co n cept i o n s, a n d decorat i n g th em wi th th e mu l t i t ude of or igi n a l

THOMAS B ROCK, R . A. ,

9 8

TH E BR I T I S H ART SECT I ON

deta i l s, wh i ch rema i n scu l p tu re, refi n ed a n d de l i ca te, a n d

always co n st ru c t i o n a l l y cor rect . S t i l l, i n h i s “Mothe r a n dSon — rea l ly represe n t i n g M rs . a n d Maste r Frampto n — the re

i s ev i de n t tha t tou ch Of qua i n t n es s a n d i n d i v i d ual i ty wh i chthe scu l p tor l oves to i n t roduce whe n he has o n ly h imse l f to

pl ease . The year 1 884, wh i ch fi rs t i n t roduced M r . Frampto n

to the,

pub l i c, brough t forward a l so M r . A . G . Walker,who i s perhaps more compl e te ly represe n ted tha n a n y oth er

scu l p to r . “A n d they were afra i d ”is a n oteworthy a n d

express i ve grou p ; bu t why Adam, co n t rary to al l l i ke l i hood,a l though i n acco rda n ce w i th scu l ptu ra l t rad i t io n , shou ld

have his beard cropped cl ose i s a matte r in expl i cab l e to

th e ord i n ary specta to r, though i t may pe rcha n ce offe r mate r i a l

for the eth n ograph i ca l or B i b l i ca l c r i t i c . “The Thor n ” i s

fu l l of grace a n d charm, a n d is pe rhaps th e most successfu lof a l l M r .

’

Walke r’

s i dea l works i n i ts e l ega n ce of pose a n d

t e n de r n e ss of mode l l i n g .

Th i s i s pu re scu l ptu re ; we go ove r the border l i n ew he n we come to “A Roya l Game, by M r . Rey n o ld s

S tephe n s . Th i s is a n imme n se ly c l eve r group — a plas t i c

a n d symbo l i ca l re n de r i n g of Qu ee n E l i zabe th a n d Ph i l i p

of Spa i n pl ay i n g th e chess - game of pol i t i cs w i th sh i ps for Arman m um ,— C irce.

chess - me n , e laborated w i th a n umber of pl ayfu l a l l egor i ca l

deta i l s . The grea t A rmada ep i sode is t hu s ha n d l ed w i th grea t fe l i c i ty ; bu t i t i s

too p i c tor i al, too w ho l ly a n ecdota l i n co n cep t i o n a n d t reatme n t, to be accep ted i nthe catego ry of qu i te ser i ou s scu l ptu re .

The n comes a group of h igh ly gi fted scu l p tors : M r . D ru ry, wi th

h i s popu la r l i t t l e “Age of I n n oce n ce a n d his b ig a n d rath er rea l i s t i c “C i rce ;Mr . Pomeroy, wi th

“The Spearma n a n d “Perseu s — th e latte r too

ma n i fest ly fou n ded o n B e n eve n u to Cellini'

s, ye t c l ever ly mode r n i sed ; M r . Albert

Toft,whose“Mothe r a n d C h i l d has a b ig n ess of sty l e a n d compos i t i o n wh i ch

ra i ses i t above th e l eve l of h i s o the r co n t r i bu t i o n ; Professor La n te r i, whose“Pax, a n ud e figu re d i s t i n gu i sh ed by el ega n ce a n d repose, bel o n gs to th e

h igher p l a n e of cl ass i c ; a n d M r . Goscombe J oh n , whose ve rsat i l i ty i s see n

i n the asce t i c “St . J oh n the B apt i s t," i n t he ee r i e b ro n ze n u de cal l ed “TheE l f, a n d i n t he v igorou s, col ossa l

“D rummer - Boy, wh i ch fo rms part of the

Boer War Memor ia l a t L i ve rpool .

Wi th these may be grou ped M r . Mack ennal a n d M r . Col to n . The former,who i s to be regarded as the st ro n ges t of th e you n ger me n , a n d who w i l l assu red ly

r i se i n du e cou rse to th e fro n t ra n k, i f not to the headsh i p,of B r i t i s h scu l p tors,has

n o t se n t i n his b es t work . The colossa l w i n ged “Fame " for th e Russe l l

memor ia l has bee n su rpassed by h im more tha n o n ce, a n d h i s g iga n t i c b ro n ze bu s t

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FRANCO - BR I T I SH EXH I B ITI ON

of “War comes i n to co l l i s i o n w i th a s im i la r work on t he Fre n c h s i de more

b r i l l i a n t s t i l l . C i rce be lo n gs to h i s ea rl i e r t r i umph s he has s i n ce adva n ced to

greate r power a n d fi n e r scu l p tu ra l imagi n a t i o n , so we mus t be co n te n t w i th th e

l i t t l e “Mado n n a a n d Ch i l d Ch r i s t, wh i ch is exce l l e n t a l i ke i n fee l i n g a n d

real i sa t i o n , a n d I t is cu r i ou s

pre tty i n its that M r . C . J .

symbo l i ca l pose . Al l e n has not

M r . C’o l t o n ’ s assumed h igher

i magi n a t i o n i s ra n k tha n he

we l l see n i n th e appears to oc

h i g h r e l i e f, cu py fi

perhaps

The Crow n of becau se he has

Love, a te n de r too c lose ly i de n

bu t compl i ca ted t ified h i m s e l f

work, a n d i n w i t h p ro fes

“T h e I m age sorial work a t

F i n d e r, a work L i ve rpool . H is

of rea l i n te res t, bro n ze grou p,i n wh i ch, how

“Rescued, i s

eve r, the re i s a so exce l l e n t i n

touch of t hat t r e a t m e n t ,ugl i n ess wh i ch mode l l i n g, a n d

M r . C o l t o n se n t ime n t, tha t

somet imes cu l t i i t possesses very

va tes from the h igh mer i t a n d

po i n t of v i ew of d eserves w i de r

q u a i n t n e s s . recog n i t i o n tha n

N e v e r t h e l e s s , i t has ach i eved .

i t mu st b e ac M r . D e r w e n t

cepted as a fi n e w. H AMO THORNv C RorT, R . A.— Artemi s .

W o o d a g a l n

th i n g . e x h i b i t s a n“Abu n da n ce, a happy comb i n at i o n of v igou r a n d great refi n eme n t of type,such as shou l d adva n ce h im great ly i n the school .

Bes ides t hese are fou r you n ger me n of h igh p rom i se, whose work adds

to the su ccess of t he E xh i b i tio n a n d to the ho n ou r of the B r i t i s h d i sp l ay .

M r . R . Sheppard’s hal f- l e n gth i d ea l group,

“The M us i c of D eath, i s a fi n e

co n cep t i o n , wel l ca rr i ed ou t, perhaps w i th a l i t t l e too much real i sm i n t he

femal e Death who s i n gs i n to the ear of t he d row n i n g ma n she hol d s i n he r

embrace ; bu t i t p roves that much that i s adm i rab l e i s s t i l l to come from that

quarte r . M r . Garbe, whom the wor ld has k n ow n for te n years, d i sp lays a

more v igorou s tempe rame n t, wi th a heal thy love of dea l i n g w i th th e gr im,eve n

w i th th e ugly . H i s real i sat i o n of “The Egoi s t ” — in the at t i tu de be l oved of

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HAR RY BATES, A . R . A . — Homer.

BR IT ISH ARCH ITECTURE .

I t has bee n sa i d that th e mos t “or igi n a l arch i tec t is he who most su ccessfu l l y h i des th e sou rces of his borrow i n gs . That is to say, that or igi n al i ty i n

arch i tec tu re con s i s ts i n n ew comb i n at i o n s, n o t i n n ew i n ve n t i o n s, a n d that deta i l s

al ways rema i n essentiallythe same . Whether th i s be t ru e or not, th e fac t rema i n s,as is pate n t to every i n hab i ta n t i n t h i s isle,

'

that t he face of th e tow n scape is be i n g

rapi d ly cha n ged, a n d that verymu ch for th e bet te r . Certa i n bu i l d i n gs s tr i ke u s as

absol u te ly n ew i n effec t, i f n o t i n d e ta i l ; others proc la im themse l ves charm i n g

adaptat i o n s of prev i ou s wel l - k n ow n sty l es —mai n ly of the Du tch Re n a i ssa n ce ;wh i l e o th ers, aga i n , are bu t p u re a n d scholar ly rev i val s, touch ed w i th j u st that

sp i r i t of refi n eme n t a n d actual i ty wh i ch saves them from be i n g mere repe t i t i o n s .

Al though there i s o n ly one room devo ted to arch i tec tu re, th e d rawi n gs a n d

photographs h u n g i n i t a re ex trao rd i n ar i ly s ig n ifica n t, for we have co n ce n t rated

there th e gi s t of th e moveme n t tha t has bee n gather i n g force s i n ce M r . NormanS haw (a i d ed by N esfield) sowed the seed of the great rev i va l a n d saw i t grow to

fru i t i o n We see that n o th i n g i s too great or too l i t t l e for the co n sc i e n t i ou s

art i s t - arch i tec t ; wi t h equal de l igh t a n d wi th almos t equal su ccess (o n paper ) he

w i l l p la n you a c i ty or des ig n you a door ha n d l e, a pal ace or a n e l ec tr i c l igh t

s t ud, a n d i n al l of them he w i l l i n t rodu ce his i n d i v i dua l tas te a n d th e e l ega n cewh i ch i s the mark of th e prese n t day . We have exampl es of al l i n th i s Sect i o n .

A very remarkabl e i n s ta n ce of tow n - pla n n i n g may be see n i n th e des ig n by

M r . T . E . Colcu tt, for the su ppress io n of Char i n g C ross ra i lway s tat i o n a n d

th e co n vers i o n of t h e br i dge i n to a great thoroughfare w i th hou ses o n both s i des,l i ke a glor ified Lo n do n B r i dge of o l d . Th i s i n vo l ves th e add i t i o n of other s tree t

br i dges (whose re n ts wou l d pay the cost ), a n d a vas t, l ogi cal, symmetr i cal reco n

s t ru ct i o n of t he whol e d i s t r i c t n orth a n d sou th of the Thames, wh i ch wou l d

cons t i t u te a rea l, much - n eeded, a n d gra n d iose i mproveme n t . ” For th e res t,th i s t ra n sform i n g of Lo n do n

'

i n to'

an I m'

per i'

al C i ty i n appeara n ce as i t i s i n

1 0 2

TH E BR I T I SH ART SECT I ON

n ame i s a t bes t rese rved for the del igh t (a n d the taxat io n ) of a fu tu re ge n e rat i o n ;a n d th e whol e i s bu t a dream,,affording pl easa n t proof tha t ou r arch i tec ts ca n

d ream n owadays to good pu rpose .

I t i s a S ig n of the age that whe reas the re are the d raw i n gs for a doze n

great Tow n H al l s, there i s he re bu t a s i n gl e Cathed ral . Th i s i s th e prem iated

des ig n by Professo r Beresford P i te for th e L i ve rpoo l Cathed ral — the wi n n i n g

des ig n by M r . Scot t i s n o t on exh i b i t i o n . I mpress i ve, a n d n ob l e i n mass a n d

fi n e i n de ta i l , i t makes u s almos t regre t t ha t ou r cathed ra l - bu i l d i n g days are

over excep t for t he spasmod i c efforts of L i ve rpoo l a n d Tru ro . Bu t w i th the

growth of ou r mu n i c i pal i t i es the dema n d for c i v i c pa laces has ar i se n , a n d i n to

these m i n s ters of l oca l gover n me n t ou r arch i tec ts a re th rowi n g the fu l l force

of the i r tal e n t . Nowadays, t he c lass i c s ty l e su ch as we see i n th e Portsmou th

To'

w n Hal l— a n d i n o the r rem i n i sce n ces of the Wash i n gto n Cap i to l — has rather

happ i ly fa l l e n i n to d i sfavou r . There is a n excep t i o n i n S i r B rumwel l Thomas'

s“Bel fas t C i ty Hal l, wh i ch i n mass, dome, a n d co r n e r towers seems to be

suggested by S t . Pau l’

s Cathed ral, a n d wh i ch s tr i k i n gly reveal s th e weak n ess

u sual ly at te n da n t o n t he add i t i o n of a carr i age - porch . I n th i s case the defec tis more tha n commo n ly obt ru s i ve . O n the o th e r ha n d, one of the few su ccesses

i n respect to th i s featu re i s to be fou n d i n M essrs . La n cheste r a n d R ick ards’

s

“Card i ff C i ty Hal l a n d Law Cou rts — ~ a bu i l d i n g that j u st ifies th e h igh

repu tat i o n for tas te of these c l e ve r arch i tec ts— s to wh i ch, bes i des, t he i r Deptford

Tow n Hal l a l so bears w i t n ess, co n s i s te n t l y too i n i t s or n ame n t . Bes i de these,M r . K n o t t 's “New Cou n ty H al l of Lo n do n

"

l ooks p la i n to th e po i n t of

au s te r i ty, a lmos t of i n e ffect i ve n ess .

Amo n g th e pub l i c bu i l d i n gs few are so i n te res t i n g a n d so e n t i re ly refi n ed

as M r . Bas i l Champneys’

s J oh n Ry l a n d s L i b rary, Ma n cheste r, at o n ce

sp l e n d i d, schol arly, a n d res tra i n ed . The Law Cou rts i n Lo n do n a n d th e Tow nH al l i n Ma n cheste r seem happ i ly to have k i l l ed th e Goth i c s ty l e for pub l i c

u t i l i ta r ia n bu i l d i n gs ; bu t for so n ob l e a pu rpose as a l i brary the Order i s we l l

adap ted, a n d M r . Champneys in’

his remarkab l e s tru ctu re has created a work

of very grea t beau ty,recal l i n g o n e or two of the grea t co l l ege l i b rar i es .As t he re ig n of Goth i c was cu t short by th e r i se of t he Pal l ad ia n a n d the

I ta l ia n a te s ty l e,a n d that aga i n by th e so—cal l ed “Quee n A n n e a n d “Free C lass i c,pub l i c tas te has harked back i n ma n y spec ia l i n s ta n ce s to the Fre n ch Lou i s s ty l es,the more o r n ate s ty l e of wh ich de l igh ts i t w i t h th e e l ega n t decorat i ve characte rof its de ta i l s a n d th e p l eas i n g occas i o n a l cu rvatu re of l i n e . The ex t reme refi n eme n t

to wh i ch th i s type at ta i n s i n the ha n d s of a n art i s t may be see n i n M r . Regi n a l dB lomfield

'

s“U n i ted U n i ve rs i ty C l ub ; a n d, app l i e d to shops, we recog n i se the

fe l i c i tou s u se of i t i n M r . Flock hart'

s“Prem i ses for th e M essrs . Du vee n

"

i n Bo n d

S treet . There are, bes i des, ma n y i n s tan ces here of th e happy u se of moder n i sed

Quee n A n n e a n d Free C lass i c, n o tab ly i n M r . Horace F i e l d'

s d rawi n g of t h e n ew

Lo n do n offices of the North Easte r n Ra i lway . I t i s a fi n e bu i ld i n g ; bu t for

1 0 3

FRANCO - BR I T I SH EXH I BI T I ON

impos i n g des ig n ,’

harmo n i ou s a n d decorat i ve, we may prefe r th e beau t i fu l p i l e of

bu i l d i n gs at York, e rected for the‘

same compa n y .

The c lasses of bu i l d i n g that remai n to be i l l u s trated are the two sect i o n s ofdomest i c arch i tec tu re, tow n a n d rural . Wi th u s th ese two sect i o n s are e n t i re ly

d i s t inct ; i n Fra n ce, espec i a l ly i n th e larger aad more pre te n t i ou s bu i l d i n gs, theat l eas t to E n gl i s h eyes — a n d appare n t ly

,i n deed

,

leSS'

ack nowledged. I t i s t ru e that th e cha n ge that has come over ou r tow n

d i ffe re n ce i s far l e ss n ot i ceab l e

arch i te ctu re has b rough t i n to be i n g ma n y n ove l t i es a n d cu r i os i t i es wh i ch the

pu r i s ts ca n n ot s tomach . A n oteworthy exampl e i s “No . 8, Add i so n Road,K e n s i n gto n ," by M r . Hal sey R i cardo— des ig n ed for M r . Debe n ham . H ere i n M r .R icardo has bee n free to i n du lge h i s l o ve of co lou r fo r wh i ch for y ears h e has bee n

co n te n d i n g— co lou r a n d c l ea n l i n es s ; so tha t here we have a stru ctu re covered,wi th co n s i de rab l e tas te a n d i n ge n u i ty of arra n geme n t, wi th t i l es gree n , wh i te, a n d

b l u e . The resu l t i s pecu l i a r a n d, we are bou n d to adm i t, n ot w i thou t co n s i de rab l e

beau ty ; bu t those who exact t ha t decorat i ve effect mus t grow ou t of the mate r i al

u sed i n th e co n s t ru ct i o n , n a tu ral ly th row up the i r ha n d s a n d ask“I s th i s

A rch i tec tu re ? Whethe r i t is or n o t, i t i s a fresh n o te i n the stree t, a n d has

adva n tages obviou s e n ough to j u s t i fy th e exper ime n t .

Equal ly or ig i n a l a n d st i l l more u n co n ve n t i o n a l i s M r . C . F . A . Voysey.

The characte r of h i s cou n t ry work i n i ts suggest i o n of pr im i t i ve n ess i s.

too wel l

k n ow n to n eed expla n at i o n . A good type of his ' work i s th e cou n try house

cal l ed “Vod i n , Pyrford Commo n , Woki n g, i n wh i ch we have the l ea n - to

or s l a n t i n g bu t tresses a n d the large, deep s lop i n g roof, a n d th e wh i te n ed rough

cas t wal l s we expec t to fi n d i n h i s work . I t i s p i ctu resqu e a n d very “arts - a n dcrafty ; bu t we are bou n d to i n qu i re of ou rse l ves why so smal l a bu i l d i n g, i f

properly co n s tru cted , n eed s a n y bu t t resses a t al l ; a n d i f th ey are n o t n eeded,why are they there ? “Qua i n t n ess is respo n s i b l e for much . Mr . A . N . Pre n t i ce

'

s“Chapelwood Ma n or, Sussex,

" i s fa r more typ i ca l of good E n gl i s h cou n try

work the we l l - bala n ced, i f ra the r rambl i n g bu i l d i n g, ha l f- t imbered, a n d

E l i zabe tha n to th e po i n t of the re be i n g overha n g i n g storeys i n th ree stages

very charm i n g to l ook u po n a n d very happily designed.

There are ma n y o thers, al l worthy of study ; for i t i s i n th i s qu i e t,p i c tu resqu e work, harmo n i s i n g beau t i fu l ly wi th the la n dscape, a n d marked by

e l ega n ce a n d comfor t i n the i n ter n a l pla n n i n g a n d arra n geme n ts, tha t E n gl i s h

work is pre - em i n e n t . A few years ago I ‘met he re a member of th e Germa n

Comm i ss i o n wh i ch had bee n t rave l l i n g i n E u rope a n d Amer i ca to s tudy th e

prese n t pos i t i o n of arch i tec tu re . They had l eft Grea t B r i ta i n to t he l as t, he tol d

me, i n th e be l i ef tha t the re was l i t t l e to be l ea r n ed i n t h i s cou n t ry ; what, t he n ,was the i r su rpr i se whe n they d i scovered (i n h i s ow n words ) t hat E n gla n d i s

m i l es ahead of a n y other n at i o n i n domest i c a rch i tec tu re .

M . H . S .

1 0 4

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who had se t t l ed i n Lo n do n , a n d i n c i de n tal ly u n de r F l em i sh as wel l . O n the oth er

ha n d, a ce n tu ry late r, i t was Co n stabl e a n d t he E n gl i sh l a n dscape pai n te rs who

e n ab l ed the Fre n ch school of 1 830 to e n l arge th e bou n ds of the i r expe r i e n ce a n d

to th row off more qu i ck ly the fe t te rs of false_

classicism ant academ i sm.Later

s t i l l i t was at the fee t of Tur n e r that th e Fre n ch impress i o n i s ts l ear n t th e subt l es t

sec re ts of t he i r art . A n d to - day, fi n al ly, do nOt we i n F ra n ce see th e bes t of ou r

EUG f- NE D E LACRO IX (1 799 — M i rabea u et le Marq u is de Dre ux- Bré z é .

portra i t pa i n ters d raw i n g i n sp i rat i o n from the pro l ifi c a n d mag n ifi ce n t sou rces of

th e E n gl i sh maste rs of portra i tu re, from Gai n sborough, Rey n ol ds, Rom n ey,Hoppner a n d Raebu r n to Lawre n ce ?Through the Fre n ch impress i o n i s ts, per contra, t h e art of ou r cou n t ry

redeems i ts debt toward the art of E n gl a n d, a n d ma n y are th e pa i n ters across th e

wate r who have p rofi ted by what they have l ear n t from a Ma n et, a S i s l ey, a

Mo n e t, a n d a Re n o i r . The laws of i m i ta t i o n are i n exorab l e . E n gla n d, the l a n d

of trad i t i o n s, is al so th e l a n d of progress, a n d impress i o n i sm (wh i ch we are com i n g

to recog n i se n ow that i ts maste rp i eces have begu n to acqu i re the p rest ige of age ) i s

a pu re ly t rad i t ion a l ar t . I t has o n ly assumed, or I shou l d say bee n gi ve n , a

revol u t i o n ary appeara n ce i n co n t rast to the h i debou n d co n ve n t i o n a l i sm of th e

offic i al school s, from th e ve ry pr i n c i p l es of wh i ch i t revol ted a t the start .

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TH E FRENCH F I N E ART SECT I ON

Sel f ev i de n t as these pre l i m i n a r i e s may be to th e wel l i n formed, th ey are n o t

l i ke ly to st r i ke th e maj or i ty of v i s i to rs at t he Fra n co - B r i t i sh Exh i b i t i o n . I t i s i n

fac t a d i fficu l t matter, amo n g su ch a mass Of co n temporary p rodu ct i o n s, to separa tethe tares from the wheat, a n d to escape the sedu ct i o n of ce r ta i n art i s ts

’

n ames, a n d

ce rta i n works forced upo n th e at te n t i o n by othe r qual i t i es tha n the i r t ru e val u e,co n ce r n i n g wh i ch poste r i ty wi l l probably express a far l ess favou rab lej u dgme n t .

FR ANCO IS BONV IN (18 1 7 — La Servante apprétant la table.

O n e mus t recog n i se at o n ce tha t the ma n n e r i n wh i ch these E xh i b i t i o n A rt

Sec t i o n s ge n e ral ly are orga n i sed i n eve ry cou n t ry practicallv e n su res t h e om i ss i o n

of ma n y works of th e h ighes t mer i t, o n the grou n d that they rep rese n t te n de n c i es

wh i ch are hos t i l e to academ i c au thor i ty a n d officialdom. Why, for example

to tu r n to t he Fre n ch Sect i o n a t Shepherd'

s B ush — why are pa i n te rs l i ke

M M . Vu i l l ard, Guer i n , Rousse l, Val lo t to n u n represe n ted ? Why do n o t rea l

maste rs l i ke Gaugu i n a n d Tou louse - Lau t rec figu re there ? The B r i t i s h Sect i o n ,by co n trast, seems to me to be more comp le te, both i n respec t of l i v i n g art i s ts a n d

of dead o n es . I n t h e case of t he l at te r, a t l east, i t is i mposs i bl e not to adm i re th e

sp l e n d i d co l l ect i o n got togethe r by th e zeal of S i r I s i dore Sp i e lma n n , a n d pay

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o

FRANCO - BR I T I SH EXH I B I T ION

J U LES DUPRE(1 81 1 —Bords de R iv iere le soir.

M . ROSA BON H EU R (1 82 2 —Mou tons dans les Pyrenees.

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tr i bu te to the ma n n e r i n wh i ch he has accompl i shed his arduou s task . I n th e

th ree gal l e r i es ded i cated to past art h e has su cceeded i n gather i n g noth i n g bu t

masterp i eces, a n d that i s more tha n one ca n say of the correspo n d i n g Fre n ch

Sect i o n . To begi n w i th, I co n s i de r that M M . D ubu fe a n d D awant have committed a n e rror i n n o t fol l ow i n g S i r I s i dore

’

s exampl e, a n d, i n s tead of group i n g

EDOUARD MAN ET (1 83 2 - l 883 ) .— Le L i se u r.

the dead pai n ters toge ther, i n sca tte r i n g them al l over the gal l e r i es m i xed i n w i th

th e works Of l i v i n g art i s ts . I t ha rd ly affords the cu r i ou s v i s i tor a cha n ce of

form i n g a n y co n cre te impress i o n of th e o ld e r Fre n ch school to fi n d De l acro i x’

s

“M i rabeau ”

i n j u x ta - pos i t i o n to M . G u eldry’

s“D ragoo n s Water i n g, or Pu v is

de Chava n n e'

s “J oh n the Bapt i s t " n ex t to some puer i l i ty by a M . B rispot or a

M . E tcheverry . Such co n fu s i o n wou l d be dep lorab l e e n ough i n a n exh i b i t i o n

I I O

TH E FRENCH F I N E ART SECT I ON

orga n i sed w i th i n the borders of Fra n ce, bu t i n a fore ig n cou n t ry, where everyo n eis l e ss i n formed a n d co n seque n t ly l ess ab l e to d i scr i m i n ate be twee n works of

th e fi rs t, seco n d, or i n fe r i or orde rs, espec i al ly amo n g the greate r pu bl i c wh i ch

most ly attaches n o importa n ce excep t to the su bj ec t of a p i c tu re, i t i s i n excu sab l e .O n ly the l owe r cl ass works, wh i ch have n o pl ace by r igh ts ill su ch a n exh i b i t i o n ,ca n be n efi t by such a n arra n geme n t .

THEODOR E cHAssrzR IAU (181 9 — Ven u s Anadyomene.

Fu rther tha n t h i s, the proport i o n of pas t to prese n t work i s i n adequate,82 ca n vases to 39 0 , wh i l s t the correspo n d i n g B ri t i sh Sec t i o n has 1 0 7 to 3 1 7 ,recko n i n g o i l pa i n t i n gs al o n e . I hope to show prese n t ly that i t wou l d have bee n

a n easy matte r to gi ve greate r i mporta n ce to ou r re trospect i ve sect i o n , by the

i n c l u s i o n of grea t art i s ts whom o n e is asto n i shed n ot to fi n d the re, wi thou t i n a n y

way deprec i at i n g the rea l i n te res t of th e moder n sect i o n , where we fi n d art i s ts

p l um i n g themsel ves i n th e fi rs t ra n k who at home wou l d be su ffic i e n t ly ho n ou red

by a l ower grade i n a n exh i b i t i o n of such rest r i cted l i m i ts .

FRANCO - BR I T I SH EXH I B I T I ON

PUVIS CHAVANN ES (182 4 — La Décol lat ion de Saint Jean Bap t i s te .

J . J . H ENN ER (183 1 — B ib1 is.

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I t is t rue that we have th ree Corots, th ree Manets, a n d th ree p i ctu res each

by Fa n t i n - Latou r a n d Caz i n ; bu t u n for tu n ate l y th e re are al so th ree by Gerv ex.

There i s o n ly o n e I n gres, bu t th e re are th ree A l be rt M aignans a n d th ree Gabr i e l

Ferr i e rs, t h ree J u l es Lefebv res a n d th ree R oybets, a n d n o l ess tha n seve n

D u bu fes (recko n i n g C laude - Mar i e, Edouard, a n d.

Gu i l l aume ) . There i s o n ly one

J ULES EL I E DELAUNAv (1 828 —La Pes te .

Pu v is de Chava n n e s,one M i l l e t,one Daub ig n y, o n e Troyo n ,one Gustave Moreau,a n d one Cou rbe t wh i l s t amo n g l i v i n g art i sts of the fi rs t ra n k who dese rve be t ter

t reatme n t, MM . Ama n - J ea n , Luc i e n S imo n , Lobre, Cottet, a n d La Ga n dara have

each o n ly bee n al l owed to exh i b i t a s i n gl e p i ctu re . I s i t n o t a p i ty t hat so va l uab l e’

a n occas i o n for offe r i n g to th e B r i t i sh pub l i c a comp l e te rev i ew of Fre n ch pa i n t i n g

du r i n g the last h u n d red years shou l d be, to a certa i n ex te n t, fru s trated i n th i s way,or a t l eas t that more fi rm n ess was not show n i n l i m i t i n g t he se l ec t i o n of con

temporary works, a n d more freedom i n th e adm i ss i o n of ol der o n es, so t hat the

exh i b i t shou ld represe n t p roper ly the mos t ch aracte r i s t i c, a n d as far as poss i b l e th e

mos t famous of ou r es tab l i shed pa i n ters

I t may be obj ec ted, poss i b ly, that i t was too mu ch’

to expect that a pr i vate

e n terp r i se l i ke t he Fra n co - Br i t i sh Exh i b i t i o n wou l d rece i ve su ch favou rab l e n o t i ce

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TH E FRENCH F I N E ART SECT ION

from th e B ri t i s h pu bl i c, or wou l d prove su ch a br i l l i a n t su ccess as i t has do n e, a n dthat the orga n i se rs co n seque n t l y had diflicu lty i n ob ta i n i n g the requ i s i te amou n t ofco n fide n ce from Fre n ch a n d fore ig n col l ec to rs who ow n th e maste rp i eces of Fre n chn i n e tee n th ce n tu ry art . I n th i s co n n ec t i o n i t may be remarked that th e bu l k of

j uLES Bae EN - L E PAG E (1 848 — Les Fo ins .

t he ex h i b i ts i n the re trospec t i ve sect i o n come from n at i o n a l a n d prov i n c i a l

mu seums, or from deal e rs'

co l l ec t i o n s, sou rces su ffic i e n t l y prol ifi c beyo n d a dou bt,bu t i n su ch a case i n suffic i e n t l y represe n tat i ve .

I n sp i te of th ese rese rvat i o n s, i t is beyo n d quest i o n that th e Fre n ch Sect i o n ofthe Pal ace of F i n e Arts at Shepherd

'

s B u sh does cred i t to the Fre n ch school .

For the wi der pu bl i c i t co n ta i n s a sufl‘iciency of works of a se n sat i o n a l a n d popu l ark i n d, wh i l s t art i s ts a n d co n n o i sseu rs w i l l fi n d for the i r apprec i a t i o n e n ough works

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FRANCO - BR I T I SH EXH I B IT I ON

of th e fi rs t ra n k to d im i n i sh th e i r regre t at th e depl orab l e gaps wh i ch I have j u s t

me n t i o n ed, a n d th e i n adequac i es wh i ch I have po i n ted ou t . That great pai n ter,

Eugen e De lacro i x, a ge n i u s i f eve r the re was o n e, i s we l l represe n ted by two

ca n vases, the ske tch for th e ce i l i n g of'

th e Apol l o gal l e ry,from the V i t ta co l l ect i o n

,

a n d h i s “M i rabeau a n d the Marqu i s d e D reux - Breze,” from th e B rame col l ec t i o n

CHAR LES .c0 TTET .— So ir nu Pays de la Mer.

the l atter of wh i ch i s a pu re masterp i ece . What sobr i e ty a n d power i t exh i b i ts ;what exact n ess Of touch ; what n ob i l i ty, a n d, at th e same t ime, what a n i n t imateco n ceptio n of the h i s tor i c sce n e . How adm i rabl y De l acro i x has co n t r i ved to

express al l th e t ragi c beauty of t h i s mome n t wh i ch mark s the ru ptu re of two s tates

of soc i ety, of two reg imes . There.

is n oth i n g of fool i sh decl amat i o n or emphat i c

gestu re, nobody i n th e p i cture i s posed ; bu t everyth i n g is t ru e to l i fe a n d so

becomes gra n d, a n d e n n obl ed, a n d d ramat i c, qu i te s imply .

I t is a p i ty that oppos i te to De l acro i x, I n gres shou l d figu re i n su ch a n i n fe r i or

pos tu re . H i s port ra i t of th e scu l p tor Bartoloni i s far from gl vmg a n y idea of h i s

geniu sh and o n e ca n n o t su ffic i e n t ly regre t that M . Bo n n a t, the Pres i d e n t of th e

F i n e Art Comm i t tee of th e Fre nch Sect i o n , has not bee n abl e to br i n g h imse l f to

part for a t ime w i th one of th e maste rp i eces by I n gres that h e hol d s, so as to do

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ho n ou r to a n art i s t whom he so ge n u i n e ly a n d deeply adm i res . I t i s t rue that i n

t he gal l e ry of sketches the re are six’

studies by I n gres, prod ig i ou sl y fi n e o n e s too,

of t he “Odal i squ e, bel o n g i n g to M . Bo n n at, a n d‘ a fi n i shed s tudy of m i racu lou s

del i cacy a n d p rec i s i o n of the Apotheos i s of Hcyner, wh i ch be lo n gs to th e V i t ta

LEON BONNAT. — Portrai t de M . Renan.

col l e ct i o n ; bu t o n ly experts v i s i t these gal l e r i es . I f o n e p i c tu re o n ly by I n gres

was to be exh i b i ted, i t shou l d have bee n t he port ra i t of Mme . de Se n o n es, i n

th e museum of Na n tes, or the port ra i t of Mme . Panck ouck e i n th e Panck ouck e

col l ec t i o n , or th e “J up i te r a n d Thet i s of the A i x - eu - Prove n ce museum . I n gres

dese rves be tte r t reatme n t t ha n th i s .

The same may be sa i d of the Barb i zo n school , wh i ch everyo n e k n ows i s

regarded w i th pass i o n ate adm i rat i o n by art i s ts a n d co n n o i sseu rs i n E n gl a n d .

Gra n ted that th e th ree Corots at Shepherd'

s B ush, “The Lake at V i l l e d’

Av ray

(l e n t by M . Tempelaere), th e portra i t of Daum ie r (be l o n gi n g to the C i ty of

Par i s ), a n d“The Goatherd (from the Rev i l l o n col l ec t i o n ) are exce l l e n t Corots,

s t i l l one ca n n o t he lp th i n k i n g of those i n t he R ouart, Gallimard, E r n es t M ay,

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TH E FRENCH F I N E ART SECT ION

R ENO I R.— Pécheu .scs dcMo u les . ERN EST D L'

EZ (1843 — Ulysse B l l tin.

GUS ! AVE_

MOREAU (182 6 — Saint - Georges . J. I BLANCH IE. — Augu stc Rodin.

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Sarl i n , A lbe rt Cahe n , a n d Dol l fu s col l ec t i o n s, o n ly to n ame a few . I t is n otth ree Corots wh i ch ough t to be exh i b i ted, bu t n i n e or te n , i n o rder to reveal

t h i s i n comparabl e maste r i n al l the d iffe re n t aspec ts of his ge n i u s .

EDOUARD MANLT (183 2 — Le Printemp s.

I t i s the same w i th M i l l e t, who is represe n ted i n th e sect i o n of pa i n t i n g byone p i c tu re o n ly ; .

“The ‘Harrow, from the R u eff col l ect i o n , a n d e l sewhe re by

two ske tch es of first - cl ass mer i t,“TheWood - cu tte rs”

. a n d “Phoebu s a n d Boreas,from the R ouart col l ec t i o n , bes i des a wate r- col ou r a n d a paste l be l o n g i n g to

M Cremetti.‘ Why cou l d not , these, in . defiance of cu s tom, be grouped ro u n d

The Harrow ”? The , effect wou ld have bee n far more s tr ik i n g. M i l l e t ' ss tu d i e s are ' ofte n fi n e r th a n his fi n i shed p i c tu res ; a n d bes i des,what is th e u se of

c l ass ificat i o n of th i s sort ? I t seems puer i l e to separate the works of a great

art i s t s imply becau se one is execu ted i n oil, a n oth e r - in wate r - col ou r, a n d othe rs

i n charcoal, crayo n , or s i l ve rpo i n t . As i t i s d i v i ded u p, the represe n tat i o n

of M i l l e t i s poor ; grouped d i ffe re n t ly i t wou l d have bee n more sat i sfactory

a n d had greate r importa n ce .

I have me n t i o n ed that Theodore Rou sseau is om i t ted . Why was th i s I ca n

scarce ly be l i e ve that he was not co n s i de red worthy to figu re i n th e Fra n co - Bri t i sh

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TH E FRENCH F I NE ART SECT ION

LOUIS ERNEST ME I SSON I ER (1 81 5 — Le Déjeuner.

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FRANCO - BR I T I SH EXH I B I T I ON

Exh i b i t i o n . Theodore Rousseau i s a mas te r, a n d I w i l l n o t wro n g h i s co l l ec tors,MM . Vasnier, Peytel, Gallimard, Gillibert, a n d L . Ma n te, by suppos i n g that th ey

wou l d have refu sed to l e n d to th e Comm i ttee some of th e maste rp i e ces by h im

G USTAV E COL‘

RBET.— La S ies te.

wh i ch th ey possess . A n d what I have sa i d of Theodore Rou sseau I repeat i n th ecases of D i az a n d Mo n t i ce l l i, be i n g u n ab l e to guess a t the reaso n s why they have

bee n over l ooked

J u l e s Dupre I s dece n t ly repre se n ted, a n d no more . As for Gus tave Cou rbe t

everyo n e, I fee l su re, wou l d have bee n gl ad to see added to h i s forc ibl e“S iesta,

wh i ch i s ow n ed by the C i ty of.

Par i s, some of those au s te re r efforts su ch as the“Fores t of the J u ra,

” i n the R ouart col l ec t i o n , or the adm i rab le “Wave, i n thecol l ec t i o n of Albe rt Cahe n . Bu t the “S iesta

”. i s a maste rp i ece wh i ch gi ves a

fa i r ly-

good i dea of the ge n i u s of the pa i n te r of “A Bu r ia l a t O r n a n s .“

As for Dau b ig n y,who for reaso n s wh i ch I ca n n ot fathom has fal l e n off i n

repu tat i o n th ese l as t few years, a n d who dese rves to be regarded as one of th e

most or ig i n a l l a n dscape art i s ts of the n i n etee n th ce n tu ry, his Oi se et Po n to i se”

does not represe n t h im worth i ly e n ough . I reca l l to m i n d th e st r i k i n g “Wi n te r,i n t he G illibert co l l ect i o n , th e

“Marshes of Optevoz ” i n that of Sarl i n , a n d the

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se n sat i o n a l exampl es i n t he M esdag gal l e ry at th e Hagu e,and I co n s i der that i t

wou l d be a bare act of j u s t i ce to Daub ig n y to gi ve h im a larger space . H i s

v igorous, poe t i c ou t l ook bears a st ro n g affin i ty, i n a n y case, to that wh i ch certa i n

LEON LHERM I I‘

Th — La Mor t et le Bficheron.

E n gl i s h l a n dscape pa i n te rs of to- day— a n d those by n o mea n s the l east— br i n g to

th e i r i n terp reta t i o n of n atu re .

O n the oth er ha n d, the P i e ta, by Bouguereau, th e “Port ra i t of

Mme . Pato n a n d “Roma n M use," of Cabanel, th e Portra i t of Lord Duffe rin ,

”

by Be n j am i n - Co n sta n t, a work wh i ch has imp roved w i th age, a n d i n wh i ch we

detect t he be n efic i a l i n flu e n ce of th e E n gl i s h n i n e tee n t h ce n tu ry port ra i t - pa i n te rs,M i l l a i s a n d Watts , u po n the su perfic i al a n d art ific i al creator of “Theodora a n d

The Sherifas two p i c tu res by Rosa Bo n heu r,one by J u l es B reto n , Eve n i n g ;one Chapl i n ,

“Soap - bubbl es ; th ree Me i sso n i e rs, a n d the adm i rab l e “Flockfrom the Havre M useum, by Troyo n , su ffice to do j u st i ce to these var i ou s l eaders

of such u n equal mer i t .

There rema i n the “Pasha'

s Departu re, by H e n r i Reg n au l t ; Alpho n se de

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TH E FRENC H F I N E ART SECT I ON

L. EUG EN E — Monse igne u r de Belz unce donnant la Communlon aux pes t iférés dcMarse i l le.

HIZNR I LE S I DANER .— I.a Sérénade.

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FRANCO - BR IT I SH EXH I B IT I ON

Neuv i l l e ' s “Pr i so n e rs ; th ree st i l l - l i te s tud i es by Vollon ; Gu i l l aume R e'

gamey’

s

“The Samar i ta n , by Théodu le R i bot ; two Lep i n es of exce l l e n t

from the D ij o n

Sappers

qual i ty ; th ree H e n n e rs, i n c l ud i n g th e de l igh tfu l B i b l i s,’

Museum ; two Isabeys, of wo n derfu l charm a n d r i ch n ess ; a n d th ree p i c tu res by

Fa n t i n - Latou r, h i s“Port ra i t,

” Flowers,"and “Ve n u s a n d the Loves,

” wh i ch

CONSTANT TROYON . — LcTroupeal l .

e n abl e one to apprec iate h im i n the th ree phases of his ta l e n t, so pe n e t rat i n g

a n d so se l ect, so n obly a n d so i n d i v id ual ly co n ve n t i o n al . There remai n “TheP lague, by E l i e De l au n ay, whose ta n tal i s i n g portra i ts of wome n o n e regre ts n ot

to fi n d rep rese n ted ; th ree Boud i n s, al l charm i ng, a n d we l l chose n from his

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o

FRANCO - BR IT I SH EXH I B I T I ON

see a t Shephe rd'

s B u sh th e “Toi l e t te of Desdemo n a a n d “The Two S i s te rs,from the col l ec t i o n of Arthu r Chasse r i au, as wel l as some of those sumptu ou s

myth i ca l subj ect s by the creato r of i n wh i ch he i s most mag n ifi ce n t ly

represe n ted, su ch as the“H ercu l es i n th e M a n te gal l e ry,or a se r i es of

m i racu l ou s wate r - col ou rs from the col l ec t i o n of Anto n y Roux .

I I ENR I G E RV I’K.-Les Communiantes .

F i n al ly we come to Ma n e t a n d Be rthe Mor i so t : “The Reader," “Spri n g

(M l l e . Marsy ),“La B r i och e, by the first- n amed, al l belonglng to M . Du ra n d

Rue l, examp l es of fi n e charm, s tro n g a n d whol esome, forc i b ly exp ress i ve ;“The

Embro ide ry," “Ma n dol i n e, a n d “Ch rysa n th emums

" by the seco n d,be l o n gi n gto M . a n d Mme . R ouart, p i c tu res i n wh i ch the de l i cacy of i n s igh t a n d te n de r

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TH E FRENCH F I N E ART SECT ION

l um i n os i ty, al l th e qual i t i e s, i n a word, Of th i s charm i n g art i s t, are comb i n ed .

Doubt l e ss i f M . Pe l l e r i n had co n se n ted to l oa n h i s famou s “Bal l a t t heFo l i es Bergeres o r his n o t l ess ce l ebrated “Lu n ch i n th e S tud i o, th e

represe n tat i o n of Ma n e t wou l d have bee n more co n v i n c i n g a n d br i l l i a n t . Ma n e t i s

I l EN R v ( r\R0 Dame a l ’Hortensia.

on the way to become a c lass i c, th e adm i ss i o n of his Olymp ia to th e Louvre, i n

wh i ch i t has fitly take n i t s p l ace, be i n g by ge n era l co n se n t a defi n i te ca n o n i sat i o n .

Two or t h ree more ca n vases by Ma n e t, i n p l ace of some Fr i a n t, Debat - Po n sa n , or

Gustave Cou rto i s, wou ld have bee n beyo n d doubt a n adva n tage to everybody, a n d

no o n e wou l d have m i ssed the others .

Pu v is de Chava n n es, too I k n ow that his ease l p i ctu res are n o t n umerous,bu t the Behead i n g of J oh n th e Bapt i s t i s n o t o n e of h i s best, a n d o n e cou l d

eas i ly have fou n d i n some of the spec i a l co l l ect i o n s, that of M . Lerolle, for i n s ta n ce,

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FRANCO - B R I T I SH EXH I B I T I ON

JOHN LEWI S BROWN . —Le vainq u e u r de Berny.

LUC I EN S lMON .— J0 u r d

‘

ete.

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some ca n vas more rep rese n tat i ve of his ge n i u s, th e“Prod igal So n amo n gs t

oth ers . The Luxembou rg, on wh i ch co n tr i bu t i o n s have bee n so ofte n l ev i ed,wou ld p robably not have refu sed to l e n d on th i s occas i o n its celebrated a n d l i t tle

u n ders tood “Poor F i sherma n . I n defau l t oflth i s, a good"

collection of his

adm i rab l e s tud i es wou l d not have bee n d ifficu l t to procu re i n order to do ho n ou r to

one of th e mos t gl or i ou s c reators of beau ty i n th e n i n e tee n th ce n tu ry .

A n d Carr i‘

e re— of whose work I saw n o th i n g at Shephe rd'

s B ush bu t the

portra i t of a “Woma n a n d C h i l d, ow n ed by theC i ty of Par i s . M . He n r i Lerolle or

A . P. ROLL. — En Eté o

the scu l p tor“ Dev i l l ez,who were Carrl ere'

s i n t i mate fr i e n d s, a n d are fo n d ly at tached

to h i s memory, cou l d so eas i ly have p rodu ced fou r or fi ve p i c tu res worthy both of

h im a n d of t he Exh i b i t i o n . No o n e w il l be abl e to u n dersta n d why a pa i n te r of

su ch i mporta n ce does n o t comma n d a be tter p lace here .A A >X= A

So much for the re trospec t i ve port i o n of th e Fre n ch Sect i o n . I t n ow

rema i n s to deal w i th th e co n temporary sect i o n , that is to say, wi th th e work of

l i v i n g art i s ts . Here, al so, we are ob l iged to po i n t ou t regret tabl e gaps a n d

i n adequac i e s that are perhaps more regret tab l e s t i l l, for i t were bet te r i n ma n y

cases that a n art i s t shou l d be e n t i re ly l eft ou t tha n tha t he shou l d be represe n ted

by a n insuflicient n umbe r of works or by works wh i ch fa i l to do h im j u st i ce .The h igh pos i t i o n of M . Albert B es n ard, a n d his forc i b l e or igi n a l i ty, wou ld

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TH E FRENCH F I N E ART SECT ION

e n t i t l e h im,one m igh t have though t, to be tte r t reatme n t ; a n d whe n th ree ca n vaseseach are al l owed to MM . Ferr i e r, J . Lefebvre, J ea n - Pau l Lau re n s, a n d A l bertM a ig n a n , i t m igh t seem n atu ral that h e shou l d have bee n pl aced on a s im i lar

foot i n g, i f n o more . I t i s t ru e that M . B es n ard is n ot a member of th e I n s t i t u teas th e o th e rs are, wh i ch, offic i al l y at l east, is s uffic i e n t expl a n at i o n ; bu t th e

HEBERT. — Portrai t de Mme. la Comtesse Pastré .

publ i c requ i re bet ter reaso n s, a n d I have heard severa l peopl e expres s regre t t hatthe re were not more exampl es by A l be rt B es n ard to e n abl e them to form a c lose r

acqua i n ta n ce w i t h th e work, so prol ifi c, so var i ed, a n d so r i ch i n eve ry way, of

a n art i s t who j u st l y passes for one of t he maste rs of th e moder n Fre n ch school .

Some su rp r i se w i l l pe rhaps be fe l t a t t he categor i ca l way i n wh i c h I have

treated th e p re te n s i o n s of ce rta i n F re n ch pai n te rs whose repu tat i o n is so sol i d ly

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O

FRANCO - B R I T I SH EXH I B IT ION

H EN R I HARPIGN IES.—\lpes Mar i t imes.

GEORG E JEANN IOT.— Les Vagabonds .

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es tabl i sh ed i n the eyes of t he pub l i c at l arge, bu t, fra n k ly, i t is imposs i b l e to

co n s i de r them as of more tha n seco n dary importa n ce . They s ta n d merely forthe a ims a n d methods of t he F re n ch offic i al schoo l of pai n t i n g, i n the i r most

supe rfi c i a l a n d art ific i al aspec t . They are t he p ropaga n d i s ts of that fa l se s ty l e,a t o n ce fact i t i ou s a n d redu n da n t, to wh i ch we owgso ma n y h i s tor i cal, al l egor i ca l

a n d “a n ecdot i ca l ca n vases, l ack i n g equal ly i n l i fe a n d i n fa n cy, as devo i d of

poe try as of t ru th — mere formu lae of a hybr i d spec i e s of ar t based o n wro n g

trad i t i o n s— formu lae l ear n t w i th i n a few years i n t he gove r n me n ta l s tu d i os a n d

prod uct i ve a lways of doc i l e pup i l s who fo l l ow al l t he i r l i fe i n th e foots teps of

the i r teachers w i thou t eve r ask i n g whethe r the re be a n y th i n g e l se for them i n

t h e worl d . P i ctu res of th i s k i n d ough t n ever to be exh i b i ted ou ts i de F ra n ce,

for they have th e i r cou n te rpart eve rywhe re, i n E n gla n d n o l ess tha n i n Germa n y,i n B elg i um n o l ess tha n i n I taly ; to d i sp lay su ch produ ct i o n s before the eyes

of fore ig n ers is to re n de r a poor se rv i ce to the fa i r fame of Fre n ch art . The

art i s ts a n d the cu l tu red cl asses of a cou n t ry l i ke Great B r i ta i n l ook to u s for

work of a very d i ffere n t characte r . The p i c tu res by MM . J u l es Lefebvre, Gabr i e l

Ferr i e r, A l bert Ma ig n a n a n d the i r l i k e, wh i ch MM . D u bu fe et Dava n t have

t ra n sported across the cha n n e l, are of qu i te med i ocre mer i t . They offe r n o i n d ex

whateve r, happ i ly for u s, to the art i s t i c moveme n t i n the Fra n ce of to- day . A

thousa n d ca n vases of thi s cal i b re a re ex h i b i ted every year i n Par i s, a t the Sal o n

of th e Soc i é té des A rt i s tes Fra nca i s a n d at the Sal o n of the Soc i é té Nat i o n al e

des Beaux A rts ; th e art i s ts respo n s i b l e for them are not ye t as famous, have notye t at ta i n ed to as ma n y comm i ss i o n s or as ma n y decorat i o n s, as MM . Lefebv re,Ferr i e r a n d Maig n a n , a n d they are of l e ss importa n ce th erefore i n th e eye s ofthe pub l i c, bu t they are j u s t as i n s ig n ifi ca n t i n rea l i ty, j u s t as l ack i n g i n a n y

k i n d of d i s t i n c t i o n . I t has become the ru l e, howeve r, to a l l o t al l th e best

p l ace s i n A rt Exh i b i t i o n s to these ge n try— t hey seem to c la i m i t as the i r r igh t .

Thus i t comes abou t tha t a charm i n g work by M . Mau r i ce De n i s, a r i s i n g

art i s t, i n whose fu tu re one is most j u s t ified i n p lac i n g hope a n d who has al ready

gi ve n u s n umerou s proofs of h i s tal e n t s, has bee n re l egated to a room wh i ch

i s l i t t l e v i s i ted a n d I n wh i ch i t i s bou n d to rema i n u n n o t i ced, s imply a n dso l e ly becau se he has not t he ear of the i n fl ue n t i a l peop l e to whom I have

refe rred a n d because i n h i s wr i t ings as i n his pa i n t i n gs h e has ru n a- t i l t a l i ke

at the i r t heo ry a n d th e i r p ract i ce .

M . Carol u s Du ra n , on th e oth er ha n d, i s adm i rab ly .represe n ted by th ree

of t h e best performa n ces h e has s ig n ed : “The Lady w i th a Gl ove, from the

Luxembou rg ; th e port ra i t of Mme . Feydeau, from the L i l l e M useum ; a n d the

equ est r i a n portra i t of M l l e . Croiz ette. Al l t h ree date from a lo n g way back, a n d

e n abl e u s to j udge what M . Carol us Du ra n m igh t.

have ach i eved, a n d the pos i t i o n

he cou l d have occup i ed i n Fre n ch art, i f h e’

had persevered i n t h i s path in s tead

o f tu r n i n g as i de i n qu es t of cheap a n d meretr i c i ou s su ccesses . H e is not th e

o n l y o n e, al as, of whom the same m igh t be sa i d .

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TH E FRENCH F I NE ART SECT I ON

LECOMTE DU NOUY.— La tris tesse dcPharaon.

GASTON LA TOUCH E . —Le Bass in de Bacch u s (Versai l les ) .I S9

FRANCO - BR IT I SH

EM I LE F R IANT . — P0 rtrait de M . G . D u b u fe .

EXH I B IT I ON

I cou l d me n t i o n ma n y othe r

art i s ts who, i f o n ly they had had

the s tre n gth of m i n d to w i thsta n d

th e fasc i n at i o n s of a sudde n a n d

exaggerated su ccess, m igh t now behe l d i n h igh esteem by the r i s i n g

ge n e rat i o n i n s tead of be i n g dis

regarded or forgotte n .

O n e of the su ccesses of t h e

exh i b i t i o n is, as m igh t have bee n

a n t i c i pated, t he e n ormou s ca n vas of

M . Déta i l l e, cal l ed“V i c t ims of

Du ty . The B r i t i s h pu bl i c, l i ke the

Fre n ch pub l i c earl i e r, crowds a n d

I shou l d not be

su rpr i s ed to h ear th e Marse i l l a i se

j os t l es i n fro n t of i t .

play ed some day before th i s mel o

d ramat i c p i ece of real i sm, wh i ch is

to pa i n t i n g what the gramopho n e is

to mus i c . Of cou rse, every one i n

E n gla n d k n ows that K i n g Edward th e Seve n t h v i s i t s M . Dé ta i l l e whe n ever h e

comes to Par i s, wh i ch i s qu i te e n ough to co n s t i t u te h im i n the eyes of th e

B r i t i s h popu l ace th e greates t of F re n ch pa i n te rs .

a n d l e t u s pass on.

“V i ve L ’

Entente Cord ial e,

No, l e t u s pau se for a mome n t a n d e n qu i re i n to the reaso n s al i ke of the

med iocr i ty a n d th e popu

larity o f M . E d o u a r d

Dé ta i l l e . They are the

s am e i n b o t h c a s e s .

M . De' ta i l l e i s a pup i l of

Me i sso n i e r . There i s n o

o n e amo n g th e ge n e ra l

p u b l i c who d o e s n o tregard M e i sso n i e r as o n e

of the greatest pa i n te rs of

t he n i n e tee n th ce n tu ry,a n d there i s a lways a

c rowd i n fro n t of the th ree

p i ctu res of h i s wh i ch are

h u n g i n t h e F r a n c o

B r i t i s h Exh i b i t i o n , ju s t

as the re is i n fro n t of

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J U L ES ADLER . — La So u pe des Pa u vres.

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JOS E PH G RAN IE.— Paysanne .

t h e hero i c, t he warl i ke the re is a certa i n

m i l i tary swagger abou t h i s s ty l e from

wh i ch the publ i c gets th e k i n d of se n sa

t i o n they expe r i e n ce whe n th ey see a

reg ime n t of so ld i e rs go tramp i n g by to

mart i a l mu s i c . He i s mel od ramat i c h i s“V i c t im s of Du ty

that . I n a word he possesses a l l t he

qual i t i es, or rather the defects, that a

pai n te r s hou ld be free from il l order to

be a n art i s t . That i s why, to the worl d

at l arge, M . Déta i l l e seems to s ta n d at

th e head of h i s p rofess i o n — why crow n ed

heads o n the i r way th rough Par i s es teem

i t a n ho n ou r to pay h im a v i s i t . He is

sa i d to be a ma n of charm a n d d i st i n c t i o n ,of cou rteou s a n d gal la n t bear i n g . That

may wel l be, i t does n o t p reve n t h i m

from be i n g a ve ry bad pa i n te r . As much,

i s ampl e ev i de n ce of

i n deed, i s sa i d of M . Georges Ohnet who, i n th e eyes of m i l l i o n s of E n gl i s h,Germa n a n d I ta l ia n readers, passes for

the greates t l i te rary ge n i u s of Fra n ce .M . Déta i l l e is to some ex te n t th e

Georges Ohnet of p i c tor ia l art .The atte n t i o n of expe rts w i l l be

expe n ded on works of deeper a n d more

de l i cate qual i t i es, more s i n ce re ly a n d

ge n u i n e ly fe l t, as is bu t j u s t, for i t i s

expert op i n i o n al o n e wh i ch cou n ts . I t

i s not l i ke ly to bow dow n to officialism,

or to those who t reat art mere ly as a

b r i l l i a n t a n d l ucrat i ve profess i o n,bu t

to those who see for th emse l ves a n d

seek to create th e mea n s of perso n alexpress Ion.

The Fre n ch Schoo l n umbers ma n yof these co n sc i e n t i ou s pa i n ters who

devote though t a n d s tudy to the i r worka n d who atta i n to or ig i n al i ty as t he

resu l t of se r i ou s observat i o n of l i fe a n d

n atu re a n d of profou n d k n owl edge

of t he i r ar t . I n sp i te of marked E UGEN E CA RR IER E . —Matern i t é.

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TH E FRENCH F I N E ART SECT I ON

d i ffe re n ces i n temperame n ts a n d i n te n de n c i es— fo r

the Fre n ch Schoo l of to - day has i ts fou n dat i o n s i n

i n d i v i dual i sm— th e re i s a fam i ly resembla n ce betwee n

th em wh i ch i s u n m i s tak ab l e to th e p ract i ca l eye . I n

them al l may be observed a pass i o n ate love of t ru th, a

scrupu l ou s at te n t i o n to tech n i que, a n d a n acu te se n s i

bility to the poe try of th i n gs . The real i sm, or rathe r

the n atu ral i sm of the Bast i e n - Lepage orde r of pa i n te r,for i n s ta n ce, has fal l e n i n to d i su se a n d has had no

i n flue n ce u po n these ar t i s ts,mos t of whom have passed

th e i r fort i e th year . They attach l ess importa n ce to mere

accu racy, t he i r ch i ef a im i s to d i sp lay the fresh n ess of

the i r v i s i o n a n d of the i r se n sat i o n s . They are al l more

subj ect i ve tha n obj ect i ve . What they seek i n l i fe a n d

i n n a tu re is a motif, a theme, i n harmo n y wi th the i r

tempe rame n t, someth i n g tha t w i l l e n abl e them to express

the i r own i n d i v i d ual i ty . I n th i s way they map ou t

certa i n spec i a l p rov i n ces for themse l ves, each of th em

e n deavou r i n g to i n ve n t a l a n guage of his own, a sty l e

A . D E LA GANDARAPor t rai t de Mme . R ICC Iardi.

pecu l i a r to h imsel f. Some of th em ach i eve th i s more or l es s speed i ly, a n d

at ta i n to more or l es s compl e te su ccess, fo r they become affected i n ev i tab ly by the

E. AslAN — Port ra i t de M iss El la Carmi chael .

i n fl ue n ces of the i r e n v i ro n me n t .

Ma n y of them are qu i te wel l

k n ow n to B r i t i sh love rs of art, t ha n k s

to the Exh i b i t i o n s of t he I n te r n at i o n a l

Soc i e ty, pres i ded ove r formerl y by

Wh i st l e r, now by ou r own Rod i n .

These are th e me n who s ta n d for

what is bes t i n Fre n ch art . I t i s to

t hem that art i s ts al l ove r th e world

l ook for gu ida n ce, i t i s to the i r works

tha t s tu de n ts t u r n t he i r eyes whe n

seek i n g to l ear n how art s ta n d s i n

Fra n ce . I n t he m ids t of the con

fus i o n wh i ch characte r i ses the move

me n t that has i t s ce n t re i n th e Salo n

des I n d épe n da n ts (a pu re ly a n arch i ca l

moveme n t it is ), a n d i n t he m id s t of

the decade n ce of the oflicial i n s t ru ct i o ng i ve n i n the Eco l e des Beau x Arts,wh i ch has e n t i re ly los t its pres t ige

i n th e eyes of al l art i s ts wort hy of t h e

FRANCO - BR IT I SH EXH I B I T I ON

n ame, they form a powerfu l cohort for th e support a n d ma i n te n a n ce of a l l

t he best t rad i t i o n s of that school of Fre n ch art i n the n i n e tee n th ce n tu ry to

wh i ch t hey owe the i r or ig i n .

Amo n g these,M . Sidaner,wi th h i s two Mejnories of Ve n i ce, wh i ch have so

e n gagi n g a charm, so i n tox i cat i n g a n atmosphe re ; Charl es Cottet wi th, al as, bu t

o n ly o n e of h i s d ramat i c B reto n l a n dscapes ; Luc i e n S imo n , whose“Summer

Day u n fortu n ate ly e n abl e s u s to app rec i ate h im i n o n ly one of the aspects of h i s

v i b rat i n g tal e n t ; J acque - Em i l e B la n che, we l l represe n ted by his portra i t of Rod i n

a n d one of th e port ra i t s of the Thau low fam i ly ; He n ry Mart i n , always br i l l i a n t

a n d or igi n a l ; Mau r i ce Lobre, a fau l t l ess maste r i n whom the fee l i n g for perfect i o n

i s al l i ed wi th a most acu te a n d l i v i n g se n s i b i l i ty ; Er n est Lau re n t, one of the mos t

del i cate de l i n ea tors of wome n at the prese n t day, as wel l as one of th e most te n de r

a n d compreh e n s i ve ; Gasto n La Touche, wi th that vo l up tuous imagi n at i o n Wh i chador n s every th i n g that he tou ches w i th the pres t ige of a poet i c fa n cy ; Auguste

Lepere, a n i n comparab l e e n grave r both on copper a n d wood, a n d a pai n te r

of taste a n d or igi n al i ty ; Georges D esv allieres, i n whom a pass i o n ate l ove of

moder n i sm i s comb i n ed wi th a n Obsess i o n for the cl ass i c ; Maur i ce De n i s,possessed of a l l the graces a n d al l the na

'

l'

v eté of a pr im i t i ve wi thou t forfe i t i n g

h i s c l a im to be a ma n of to - day (why is h i s d e l igh tfu l a n d express i ve“Adorat i o n of the Magi ” re l egated to a cor n er of the E t ien n e

D inet, who has rev i ved the fee l i n g for the Eas t by his t ru th fu l accu racy

as much as by - his poe t i c i n s igh t ; M l l e . C leme n t i n e Du fau, i n adequate ly

rep rese n ted ; Re'né Prinet, a co n sc i e n t i ou s observe r, possessed of sub tl e i n t imacy

a n d the mos t sk i l fu l tech n i qu e ; He n r i D uhem a n d Mme . Mari e D uhem,

emot i o n a l i n te rp re te rs of th e s i l e n t poe try of a n c i e n t c i t i e s, of secl uded garde n s,a n d peacefu l i n te r i ors ; Raffae l l i, see n to adva n tage i n h i s charm i n g portra i t Of“My Daugh te r, a n d th e “Commemorat i o n of V i c to r H ugo ;

" Ama n - J ea n ,of whose grea t d ecorat i ve ca n vases or those femal e fa n c i es i n wh i ch he exce l s

I regre t to fi n d he re n o exampl e ; Quost, a rad ia n t pa i n te r of flowers ; G ranie'

,

i co n ographe r, precIse a n d perfect ; Wi l l e t te, al l of whose gi fts, so prec i ou s a n d so

free, are expressed i n h i s Parce Dom i n e ; Jeanniot ; La Ga n dara, represe n ted

by h i s fi n e portra i t of Mme . R i cc i ard i a n d A l fred Agache .

Others, too, 0 11 d iffere n t grou n ds, bu t l ess i rres i s t i b ly I i magi n e, wi l l at trac t

the n o t i ce of art i st i c B r i t i sh c i rc l es : MM . A n dré Dauchez , Caro - D elv aille,

Au bu rtin, Ad le r, Lomo n t, Mori sse t, Sa i n t - Germ ie r, H . 2 0 , W . Laparra,

D evambez , D u v ent, Mes le’

, J ea n - P i e rre a n d Pau l - Albert Lau re n s, Hoffbaue r,Hanicotte, G riv eau , Fougerat, E l io t, Ch igot, B i l l o t te, Bel lerey- D esfontaines,

as examp les ; wh i l s t the w ide r pub l i c, more su scep t i b l e to the power of n ames

a n d to show ie r ma n i fes tat i o n s of art, i n wh i ch the subj ect i s al l i mporta n t, wi l l

t h ro n g before the works of MM . J oseph Ba i l, Dag n a n - Bouvere t, J ea n Pau l

Lau re n s, F . H umbert, G erv ex, D awant, R oybet, Maig n a n , Baschet, Be’

raud,e tc . , e tc . , a n d w i l l not fa i l to make a sta n d of co n sc i ou s recog n i t i o n before t he

1 44

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works of two old er mas te rs, Harpignies a n d Hebert, s t i l l figh t i n g brave ly a n dco n sc i e n t i ou s ly i n th e breach, wi th zeal u n impai red by age .

A A at

The impress i o n i s t school, i n c l ud i n g Ma n e t a n d B ertha Mori sot, S i s l ey a n d

Pi ssar ro, amo n g the dead, o n l y accou n t, alas,'for 1 7 p i c tu re s, a n i n s ig n ifica n t

a l l o w a n c e f o r w h a t

w h e n o n e e ffe c t c a n

c o n s i d e r s two Pissar

t h e s u m ros, t h r e e

t o t a l e x M o n e t s ,h i b i t e d, t h r e e S i s

some 47 z in l eys, th ree

al l, as we l l R e n o i r s

as the his make whe n

torical a n d d i s p e r s e d

art i s t i c im t h roughou t

porta n ce of t h e e l e v e n

t h e m o v e gal l e r i e s of

m e n t both the exhibi

in F r a n c e t i o n . The

a n d ou ts i de i n i t i a t e d

it s f r o n w i l l s e e k

t i e r s . A t t h e m o u t

l eas t these a n d k n o w

1 7 m i gh t h o w t o

h a v e b e e n fi n d t h e m,g r o u p e d g r e e d y t o

t oge t h er,FER NAND SAB ATTE.

— Le Pa u vre . s tu dy them

a n d taste t he i r n ove l beau ty ; t he res t w i l l pass them by w i thou t n o t i ce, a n d,u n l es s they k n ew to the co n t rary, wou ld be l i eve a n d say that the impress i o n i s t

schoo l p lays bu t a n i n s ig n ifica n t part i n th e Fre n ch school, j u dgi n g from the

smal l p l ace al l o t ted to i t h e re . Perso n al ly I am far from profess i n g bl i n d

adm i rat i o n for the p roduct i o n s of impress i o n i sm take n as a whol e, bu t I recog n i se

that pa i n te rs l i ke S i s l ey,Pi ssarro, Re n o i r, a n d C l aude Mo n e t are art i s ts of t he

fi rs t ra n k, who have had th e i r weak n esses . B u t the re, what does i t matte r i f

t hey have produ ced adm i rab l e works wh i ch Fre n ch art mu st always respec t

MM . D awant a n d D u bu fe ought to have regarded i t as a du ty 0 11 the i r part,whateve r the i r pe rso n a l p red i l ec t i o n s, to rese rve one gal l e ry for these u n doub ted

maste rs . They shou l d have show n them on a b ig scal e, be they what they may .

I t is i n fi n i te ly to be regre t ted that th i s has n o t bee n do n e .For t he ro l e adopted a n d the i n fl ue n ce exerted by the impress io n i s t s choo l

a re of t he greatest i mporta n ce i n th e h i story of moder n art, a n d n o t o n ly i n Fra n ce

1 46

TH E FRENCH F I NE ART SECT I ON

i tse l f bu t abroad . R igh t ly or wro n gly, wro n gly i n ma n y cases, r igh t ly i n ma n y

othe rs . the th eor i es i n accorda n ce w i th wh i ch th e l eade rs of t h i s moveme n t

execu ted the i r works are he ld to have l e n t n ew force to th e pa i n te r'

s art, wh i ch

had begu n to suff e r from u n du e obed i e n ce to the formu la of th e methods of

i n s t ru ct i o n supp l i ed by the State . Ma n e t, i n his l ate r works, P i ssarro,S i s l ey,a n d,above al l, Re n o i r (who is t he most c lass i ca l of them al l, a n d i n whom th e sou l of

ou r e igh tee n th ce n tu ry l i ves aga i n , refresh i n g the V lS lon of ou r pai n te rs of to - day ),have re n de red the most s ig n a l serv i ces to art . I t wou l d be d iffi cu l t to n ame a s i n gl e

l i v i n g pa i n te r of real worth who has not der i ved some profi t from the i r example .

F. Z I EM .— Grand Canal, Venice.

I t w i l l be obj ected,a n d not w i thou t reaso n , t hat t he pr i n c i p l es of impress i o n i sm

have bee n respo n s i b l e fo r much of the scamped, scrappy, freak i sh work of wh ich

ou r moder n exh i b i t i o n s a re fu l l, a n d that th e k i n d of record s of mome n tary effects

to wh i ch too ma n y art i s ts co n fi n e themse lves ca n n o t be regarded, e ve n whe n th e

resu l t is pl eas i n g a n d eff ect i ve, as rea l p i ctu res, rea l works of ar t from the i r very

n a tu re they excl u de compos i t io n a n d al l ow n o t ime for though t a n d s tudy . Th i s

shortcom i n g, th i s weak n ess, i s d i scer n i b l e i n the grea t works eve n of th e maste rs

of impress i o n i sm themse l ves . I t mu s t be adm i t ted, moreover, t hat w i th the

excep t i o n of Re n o i r, who has do n e some charm i n g p i c tu res of wome n , n ude

s tud i e s that are a t o n ce exqu i s i te a n d fu l l of fee l i n g, de l i ca te, ye t s tro n g, ou r

im press i o n i sts have bee n too apt to n egl ec t the huma n fo rm, a n d that th ey are

pr imar i l y la n dscap i s ts . Bu t that is bes i d e the quest i o n a n d fu r n i shes n o excu se

for al l o tt i n g, i n a n exh i b i t i o n of su ch great importa n ce, so meagre a p lace to a

school of pa i n t i n g whose sta n d i n g is fu l ly recog n i sed, as i t dese rves, th roughou t

the whol e of Eu rope .

FRANCO - BR IT I SH EXH I B IT I ON

I n o rde r that th i s rev i ew of

the Fre n ch sect i o n of the Gal l e ry

of F i n e A rts i n the Fra n co - Br i t i s h

Exh i b i t i o n may be as n ear ly com

plEte as poss i bl e fortu n ate ly the

n umerou s i l l u s t rat i o n s wh i ch ac

compa n y th e tex t w i l l fi l l up a n yi n vol u n tary om i ss i o n s on my part—it rema i n s for me now to deal

w i th the var iou s sub - sect io n s

devoted to d raw i n gs,wate r- col ou rs,F ‘ M’LLET — Le” Mme’m“ paste l s, m i n iatu res, e n grav i n gs,

arch i tec tu ra l des ig n s, obje ts d'

art, a n d fi n al ly scu l p tu re, to fol l ow the

i n cohere n t’

order adopted i n the offic ia l ca ta logue, wh i ch thus re l egates to th e

e n d what i s perhaps the n obl es t a n d compl etes t of al l t he arts, th e art i n a n y

case wh i ch i s l eas t t rammel l ed by comprom i ses a n d co n ve n t i o n s .

I n th e d rawi n g sect i o n , a p l ace apart m us t be gi ve n of cou rse to the seve n

d raw i n gs by I n gres— s i x of th em bel o n g i n g to M . Léo n Bo n n a t a n d the seve n t h to

Baro n V i t ta— wh i ch are i ts ch i ef glory . I t i s imposs i bl e to imagi n e a n yth i n g more

perfec t i n th e i r way, they are at o n ce so fi rm, so prec i se, ye t so fu l l of l i fe .

Perfec t i o n i s ap t to mea n a mere co l d, d ry, l abou red fau l t l ess n ess, a n d these

defects have ofte n bee n p l aced to the charge of I n gres by cr i t i cs who cou l d not see

t hat the re has n eve r bee n a d raugh tsma n so free from mere formu lae a n d

co n ve n t i o n a l rest r i c t i o n s as he, that 0 11 the co n t rary a l l his e n deavou rs have bee n

d i rected toward s the express i o n of tru th,a n d that h e has n ot a l l owed mere qu es t i o n s

of correc t n ess of d raw i n g to hamper h im i n h i s efforts to se i ze the characte r i s t i csof a perso n al i ty, to br i n g ou t th e i n d i v i dual i ty of a face or of a ha n d . I n gres is,i n t ru th, i n comparab l e i n th i s . I t i s imposs i bl e to co n ce i ve a n y st ro n ge r

comb i n at i o n of bol d n ess a n d assu ra n ce of tou ch together w i t h accu rate obse rvat i o n

a n d at te n t i o n to deta i l t ha n may be fou n d i n his work . Noth i n g is m i ssed,

eve ryth i n g is take n i n a n d

expressed w i th amaz i n g sk i l l,ye t afte r a fash i o n that has

n oth i n g t r i v i a l abou t i t, n oth i n g

fussy or fi n i ck i n g .

What a l esso n he prov i des

for th e art i s ts of to- day a n d for

t he art - l ov i n g pu b l i c al so !

They have bu t to s tudy h im to

l ear n what the art of d raw i n g

real ly is, to d i s t i n gu i sh th e t rue

from the fal se, th e ar t ific i al J, F. M JLLET (1 8|4 Bachemng,

1 48

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because he i s regarded as a ma n u fac tu re r, a n d debarred for th i s reaso n from

ra n k i n g as a n art i s t b u t M . Lal i qu e se n d s his j ewe l s every year to th e Sal o n de

l a Soc i é té des Art i s tes Fra ncai s, wh i ch is proud to n umber h im amo n g i ts

J. A . D . ING R ES (1 783 — Mme. Leblanc.

members . Or i s i t that, ow i n g to l ack of space, t hose respo n s i b l e for the sect i o n

cou l d n o t rese rve a case for his so l e u se ? Howeve r i t may be, I am co n v i n ced

tha t ou ts i de Fra n ce M . Lal i qu e i s t he most co n sp i cuou s figu re i n ou r app l i ed a rt s

moveme n t,a n d i t i s the greates t p i ty that h e shou l d fi n d n o pl ace i n th i s

Exh i b i t i o n .

There rema i n s fi n al ly the sect i o n of scu l p tu re, wh i ch appeared to me of grea t

i n teres t.Amo n gst those who are dead, Carpeaux, Rude, Dal ou, Pau l Dubo i s

1 5 0

TH E FRENCH F I N E AR T SECT I ON

Barrias, Auguste Ca i n , Chapu, a n d Carr ies ; amo n gs t th e l i v i n g, Bartholomé,Alexa n d re C harpe n t i e r, Rod i n , Al fred Bouche r, Frémiet, Desbo i s, Nercié

C . Lefevre, Pete r, Le n o i r, a n d Gardet, are we l l rep rese n ted, a n d gi ve, i n th e

J . A. D . I NG R ES (1 780 — M . Leb lanc .

express i o n of the i r d iffe re n t t empe rame n ts, a fa i r ge n e ra l imp ress i o n of Fre n ch

s tatuary . Bu t here, too, t h e se l ect i o n cou l d a n d ough t to have bee n more severe,a n d t here are ma n y n ames, as wel l as ma n y works, wh i ch I w i l l not e n umerate,that i t wou l d have bee n prefe rab l e i n my op i n i o n to i n c l ud e . I n sp i te of th i s,the pres t ige of Fre n ch Scu l ptu re comes ou t of the ordeal u n d im i n i shed . A school

that has produced w i th i n a h u n d red years mode l l e rs su ch as Dav i d d’

Augers,

Rude, Barye, Carpeaux, Dalou a n d Rod i n , ca n c l a i m to be marve l l ou sl y vita l a n d

FRANCO - B R I T I SH EXH I B I T I ON

D EN YS PU ECH . —~ La Se ine (ha u t re l ief) .

v igorou s ; that i s beyo n d d i spu te . The bes t p roof of i t may be fou n d i n the

i n fl ue n ce i t has exe rc i sed a n d is s t i l l e xe rc i s i n g eve rywhere, t ha n ks to one of t he

greates t moder n maste rs of the art, M . Auguste Rod i n . The super io r i ty of

Fre n ch ove r E n gl i sh scu l p tu re i s part i cu larly ma n i fes t . E n gl a n d has produ ced

great pa i n te rs, bu t she has brough t forth no scu l p tor who ca n be p l aced i n the

fro n t ra n k al o n gs i de those whom I have n amed ; t he ge n i u s of scu l p tu re, I wou l d

make hold to asse rt, i s i n d ige n ous to th e shores of the Med i te rra n ea n i t was by

th ese shores that the fee l i n g for p last i c beau ty fi rs t flowered a n d bore fru i t,afte r

’

wards to spread t h roughou t the worl d . I do n o t bel i eve

that a n yo n e ca n po i n t to a s i n gl e great creator of p las t i c beau ty

of n o r the r n b i rth .

I have refe rred to Rod i n ; he i s represe n ted he re by o n ly

two works . True, t hese are of wo n de rfu l beau ty a n d fee l i n g,o n e of them espec i al ly, t he famous bu st from the Luxembou rg,one of h i s i n n umerab l e maste rp i eces ; bu t a n e n t i re room

shou l d have bee n off e red to Rod i n , so t hat at l eas t fi fty of h i s

works m igh t have bee n show n to t he E n gl i sh publ i c . We

have a st ra n ge way i n Fra n ce of do i n g ho n ou r to ou r

great me n . Rod i n , i f I am r igh t ly in formed, asked

t he orga n i se rs of the F re n ch Sec t i o n to rese rve a room

for h im, a n d, I be l i eve, he was prepared to assume

all respo n s i b i l i ty for i ts arra n geme n t, i n c l ud i n g th e

tra n spor t a n d se t t i n g i n p l ace Of his works . Bu t

th e sacro - sa n ct p r i n c i pl e of equa l i ty on wh i ch we are

by way of tak i n g ou r s ta n d made th i s imposs i b l e .

The other scu l p tors, i n deed, wou l d not have tol era ted

it. What r igh t has Rod i n to a n e n t i re room, they

wou l d have exc l a imed, wh i l e we are al l owed to ex h i b i to n ly two works each That is how th i n gs are do n e .AUG UST E ROD IN .— Mme. EIISC IC IT.

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FRANCO - BR IT I S H EXH I B I T I ON

MATH U R I N MOR EAU . — Le Somme i l .

a n other b r i n g i n g gi fts of fa n cy a n d imagi n at i o n i n to p lay, one obse rved by th e

des i re to recaptu re t he l os t charms a n d graces of the pas t, a n o ther u n de r t he swayof fee l i n g for decorat i ve effect . I n o n e fash io n or a n oth er, t hey al l comb i n e to

d i sp lay th e'

dom i n a n t characteristics'

of a n amaz i n gl y flou r i sh i n g school, wi t h a

ce rta i n u n i ty i n a l l i t s d i ve rs i ty . There is d i sce r n i b l e i n them, i n fact, tha t

fam i ly resembla n ce due, accord i n g to Ta i n e, to th ose th ree pr imord ia l e l eme n ts

of a work of art, t he art i s t’

s rac i a l o r igi n , t he t ime he l i ves i n , a n d h i s

su rrou n d i n gs, to say n oth i n g of t he i n flue n ces of tempe rame n ts, hered i ty a n d

i n d i v i d ual g i fts .

Such the n i s t h e Fre n ch Sect i o n of t he Pal ace of F i n e Arts a t t he Fra n co

B r i t i s h E xh i b i t i o n as take n as a whol e, a n d as s tud i ed i n some of its deta i l s .

The cr i t i c i sms that I have passed u po n i t wou l d doubt l ess be app l i cab l e to a n y

exh i b i t i o n of t h i s k i n d orga n i sed i n accorda n ce w i t h the same pr i n c i p l es .

I n real i ty the same facts will ~

l

always repeat themse l ves gi ve n the same

c i rcumsta n ces . To be otherwi se, i t wou l d be n ecessary for th e orga n i se rs of t hese

1 54

H ENR I ALLOUARD .R iche l ie u aLa Rochel le .

r . HExAM E R . — Gaz o u i l l is.

AN I‘ON I N M E RC IE.

Le Départ dl l V I Ilage.

G USTAV I‘. M ICH EL — La Pensée.

O

FRANCO - BR IT I SH EXH I B I T I ON

art ex h i b i t i o n s to be n ot o n ly me n of sou n d taste a n d a c l ear c r i t ical j udgme n t,

bu t heroes, e n dowed w i th th e cou rage of the i r op i n i o n s, a n d capabl e of assum i n g

e n t i re respo n s i b i l i ty for t he se lect i o n of works . So l o n g as th i s is l e ft to com

mittees, th e same i n st i n c t i ve prefe re n ces, the same c l ass i n te res ts, wi l l come i n to

p l ay to th e det r ime n t of th e h ighe r intermts of art . Bu t l e t u s beware of

capt i ou s n ess . The task l a i d u po n M M . Dawant a n d D u bu fe was not a n easy

one by a n y mea n s . They were not whol l y maste rs of the S i tuat i o n . Tak i n g

i t a l l rou n d, whateve r i ts shortcom i n gs may be, the Fre n ch sect i o n i n th e Palaceof F i n e Arts is a perfect ly respectab l e o n e,a n d ca n n o t fa i l to i n crease th e sympathy

of art i s ts a n d of the B r i t i s h pu b l i c for F re n ch art . I s one, afte r a l l, j u st ifi ed i n

expectin g more tha n th i s ?

GABR I E L MOUR EY .

J. B . CARPEAL'

X (1 82 7 - F lore (Bas re l ief) .

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work of moder n te n de n c i es, a n d b u t for the ge n e rou s i n iti a t i ve of M . Andre

D élieux one wou ld be forced to,

adm i t the same fac t co n cer n i n g the F re n ch

arch i tec ts a n d decorat i ve art i s ts who have bee n s t ruggl i n g so hard a n d so

cou rageou s ly for 2 0 years pas t to rev i ve what Ru sk i n j u s tl y cal l ed the Arts of

Li fe . That they not to su cceed,h a v e no t y e t that is m e r e l y

su cceeded i n a seco n dary, bu t todefi n i te se n se, i f p roduce, to have

a n yth i n g ca n - be t h e m e a n s o f

te rmed defi n i te i n showi n g to th e

t h i s o r d e r o f worl d the work

t h i n g s , i s n o of his b ra i n a n d

proof that th ey his ha n d s .

wi l l n o t su cceed That i s why,i n t i me . O n the w i thou t a n y r i sk

co n t ra ry,t he o n ly of be i n g accu sed

fru i t fu l efforts are of flatte ry, one

those wh i ch are m a y p r a i s e

s i n cere a n d con h igh ly— the more

scien t io u s, a n d highly on accou nt

the t rue joy of of the i r ra r i ty

e v e r y a r t i s t th e me n who by

worthy o f t h e th e i r zea l a n d

n ame shou l d be c o u r ag e , t h e i r

the se n se, su re ly, d i s i n te res ted n e s s

tha t he i s work a n d the i r ge n e r

ingfor the fu tu re . osity, l abou r to

O n e is too ap t to has te n th e v i c tory

forge t n owadays o f a n i d e a l .

that the fu n c t i o n PORTRA I T OF M . ANDRE DELI EUX, Bv FEL I X CAMBON . M André D élieux

of a c reato r i s i s of this n umber .

He i s o n e of those who be l i eve w i t h suflicient reaso n that words, howeve r e l oqu e n t,do not carry u s far e n ough i n these days, whe n the exIgenCIes of l i fe a re so

press i n g, whe n i n every fie ld, eco n om i c, soc i a l, art i s t i c, sc i e n t ific, l i te rary, th e

s truggl e becomes co n t i n ua l ly more a n d more severe ; bu t that i t is deeds a lo n e

wh i ch cou n t . By fu r n i s h i n g to th e decorat i ve art i s ts of Fra n ce the opportu n i ty to

prove the i r ex i s te n ce i n c i rcumsta n ces so favou rabl e as t hose of th e fi rs t Fra n co

B r i t i s h Exh i b i t i o n (for i f th i s su cceed s i t i s bou n d to be fol l owed by others ),M .

A n d ré D élieux has do n e a va l uabl e se rv i ce to art, a n d to Fre n ch art i n part i cu lar .

I t was at the comme n ceme n t of 1 9 0 7 that, fee l i n g the importa n ce of a worthy

represe n tat i o n Of Fre n ch decorat i ve a rt a t t he Lo n do n exh i b i t i o n , M . D élieux

co n ce i ved his i dea of group i n g t he ar t i sts a n d craftsme n best qual ified to gi ve

1 5 8

FRANCO - BR IT I SH EXH I B IT I ON

CENT RAL GALL E RY O F TH E PAV I L ION .

effec t to th i s h igh m i ss i o n . Al l, u n fortu n ate l y, d i d not re spo n d to h i s appeal, a n d

ma n y doubt l ess are regre t t i n g the i r abste n t i o n i n face of th e wel come wh i ch the

pub l i c a n d cr i t i cs on th i s s i de of t he Cha n n e l have gi ve n to those who brave ly a n d

whol e - hearted ly ra n ged themsel ves u n d e r his ba n n e r .“We are go i n g, s i rs,

" sa i d M . D élieu x,“to gather toget he r a se r i es of

co n v i n c i n g proofs, I hope, of you r creat i ve power of beau ty . I t w i l l be a n

e n deavou r to affirm that moveme n t for th e re n ovat i o n of t he appl i ed arts, wh i ch

te n d s to harmo n i se the forms of th i n gs w i th the asp i rat i o n s a n d the n eed s of ou r

t ime,br i n g i n g i n to p lay n ew mater i al s p l aced by i n d u st ry a t the d i sposal of t he

art i st . I be l i eve, s i rs, t hat o n e does wro n g to th i n k, as i s t he case i n ce rta i n

co n ve n t i o n a l c i rc l es, that sc i e n ce a n d art have sa i d the i r l as t word, a n d that

the p rope r cou rse for u s is to copy the works of ou r predecesso rs . Everywhere the

ru l e of l i fe i s p rogress, evo l u t i o n a n d ough t you, l i ke impote n t be i n gs, to reduce

you rse l ve s to th e l eve l of copy i s ts ? Cer ta i n ly not, s i rs ; that wou l d be to fal s i fy

h i sto ry, to g i ve the l i e to the ve ry l aws wh i ch gover n th e schemes of huma n i ty .

A proverb wh i ch we al l k n ow says that each age has i t s tastes . I t i s n o

l e ss tru e to affirm that every age ough t to possess the ar t wh i ch exp resses its l i fe .

1 6 0

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FRANCO - B R IT I SH EXH I B IT I ON

Th e r e fo re lectiv e Ex

s t u d y , l a b i b i t ” was

hou r, a n d f o r m e d .

p r ojdu ce . I t o n l y

The i mme r e m a i n e d

d iate fu tu re to p repare

i s t o t h e t h e-

w a y s

b o l d a n d a n d mea n s

hardy inno c a l c u l a t e d

v ators .

” to e n su re a

M . D élieux s u c c e s s fu l

c o n c l u d e d l a u n c h i n g

h i s dis u p o n t h e

c o u r s e b y worl d .

p l e d g i n g The - ad

h i m s e l f m i n i s t r a

that a l l the t i o n of’

the

r e s p o n s i C o l l e c t i v e

b il ity, t h e E x h i b i t

t r o u b l e , fell,bygood

a n d the ex f o r t u n e ,pe n ses i n c i to th e l ot

d e n t u po n of M . Pau l

c a r r y i n g L a f a g e ,ou t h i s p ro whose cl ear

ject wou ld i n te l l ige n ce

b e c h e e r a n d finecu l

fu l l y bor n e tu re d i d not

by h imsel f. fa i l to fi n d

The COlPORCE LA IN VASE, MODEL L ED IN POLYCHROBI E AP PL I QU E, BY TAX I LI‘: DOAT .

pl easu re i n

the de l i cate d ifficu l t i es of h i s m i ss i o n , i n t h e n egot i at i o n s wh i ch i t ca l l ed for,a n d i n the thousa n d a n d one de ta i l s of a n u n de rtak i n g so compl ex as a decora t i ve

art exh i b i t compr i s i n g n o fewe r tha n 5 0 0 exh i b i to rs a n d 7 0 0 works .

The co n s truct i o n of th e Pav i l i o n was e n t ru sted to M . Mari u s Toudoire, ch i ef

arch i tec t to th e Compag n i e des Chem i n s de Fer de Par i s - Lyo n - Med i te rra nee its

decorat i o n to M M . Barber i s Freres, whose v i v i d imagi n at i o n a n d l i ve fa n cy were

to fi n d so happy a n ou t l e t wh i l s t for t he fou r s tatues i n te n ded to ador n th e two

pr i n c i pal facades, mode l s were comm i ss i o n ed from MM . Andre, Arma n d, B loch ,Legastelois, a n d Lau re n t .

A comm i ss i o n a n d a j u ry were co n s t i tu ted from amo n gs t prom i n e n t

perso n a l i t i es of the moveme n t i t sel f : MM . Taxile Doat (ce ram i c art i s t), Fra n tz

J ou rda i n , Charl e s P l umet, P ie rre Selmersheim, Gai l l a rd, B igaux, P i card,

1 6 2

LA COLLECT IV ITE ANDRE DEL IEUX

WALN UT L I BRARY TABLE, BY SAUVAG E AND SA RAZ IN, A RCH I TECTS.The F u rn i t u re by Messrs . Damon Co l in (former ly Krieger) . Wro ught I ron and CopperWork byRegi u s R u ffin.

Co n s ta n t - Ber n ard, G u imard, Sauvage (arch i tec ts ), A n d ré, B loch, G randignaux

Legastelois, Re n é Roze t (scu l p to rs or mode l l e rs ), Cesbron a n d Edme Cou ty

(pa i n te rs ), al l members or de l egates of art i s t i c soc i e t i e s, represe n t i n g th e most

importa n t sect i o n s of Fre n ch deco rat i ve a rt .

So, t hey set to work . To - day we ca n apprec i ate the ou tcome of t h e great

i deas wh i ch pres i ded at the b i rt h of th i s co l l ect i ve group i n g, t h i s corporat i o n

rathe r— t he te rm i s at t ract i ve becau se of t he t rad i t i o n s wh i ch i t recal l s, t rad i t i o n s

of wh i ch, I fee l su re, al l those art i s ts a n d craftsme n who k n ow by exper i e n ce

the i r va l ue, are p roud . We ca n j udge the resu l t of t h i s method of work i n g, th i s

c l ose col l aborat i o n of d i verse tal e n ts a n d d iffe re n t tempe rame n ts, al l equal ly

FRANCO - B R IT I SH EXHTB IT ION

must be ad

mitted t hat i f

some arch i tec tmore sincerelya t t a c h e d t o

the n ew i deas

had bee n ap

p roached (I

n ame n o one,bu t two or

th ree n ames

are on t h e

po i n t of my

pe n ), a n effec t

c o u l d h a v e

bee n obta i n ed

m o r e s p o n

taneou s,more

e x p r e s s i v e

o f t h e l e a d

i n g fe a t u r e s

o f m o d e r n

Fre n ch arch i

tec tu re ; a n d

s e e i n g t h a t

the re was th ei n te n t i o n of decorat i n g a n d fu r n i sh i n g t he i n te r i o r w i th

e n t i re su i te s i n the curre n t tas te, i t migh t we l l be though tthat the i n te re s t of t he D élieux co l l ec t i o n wou l d have bee ne n ha n ced i f the ex te r i o r, l i ke the i n ter i o r, had bor n e theaspect Of a n i n hab i ted dwe l l i n g,n o t of a n exh i b i t i o n bu i l d i n g .

I t wou l d, I fee l, have gi ve n

D ECORAT IV E OVE R - MANTE L PAN E L I N TH E SA LON O F ART, BY ED M E COUTY.

a more compl e te demo n st rat i o n

of t he b ra n ches actual ly cove red

by Fre n ch decorat i ve a rt more

comp le te, a n d more s tr i k i n g,as obj ec t l esso n s are wo n t to

be . Fu rthermore, o n e ca n n ot

he l p regre t t i n g the abse n ce of a

moder n “sa l o n , to Show howBRASS VASE, “SEAW EED,By LUC I EN BONVALET,

th e decorat lon a n d fu rnl sh lng COM B, BY H ENR I M IAUL ’

I‘

.

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FRANCO - B R ITI S H EXH I B IT I ON

of a n apartme n t so esse n

tially Fre n ch are u n ders tood

by the decorat i ve art i s ts of

to - day, a n d by the l im i ted

pub l i c, tOO l i m i ted, alas !

wh ich has cou rage e n ough

to make or igi n a l experi

me n ts i n d eco rat i o n su i ted

to the i r own tas te s a n d

actual requ i reme n ts, i n s tead

of l eav i n g th e mat te r i n the

ha n ds of the profess i o n a l

u phol ste re r who has n o

i dea of worth beyo n d h i s

se rv i l e cop i e s of a n t i que

s ty les .

No mat te r ; l e t u s c ro ss

the t h resho l d of the D é lieux

pav i l i o n . Arou n d a l o n g

ce n t ra l gal l e ry, term i n a t i n g

a t one e n d i n a seco n d

g a l l e r y o c c u p y i n g t h e

bread th of the bu i l d i n g, are

u YOUTH , PLASTE R GROU P BY AARY- M AX . ra n ged seve n zlpartments

— t h ree d i n i n g rooms, o n e

art sa lo n , a “bu reau of art (hatefu l word I), a bed room, a n d a l i t t l e sa lo n

wh i ch real ly i s n o more t ha n a showroom because th ere i s a bed i n i t .

Of the th ree d i n i n g rooms, one i s by M . Math i eu Galleray, a n other by

M . Lou i s B igaux, a n d the t h i rd by M . Cro i x - Mari e . Cer ta i n ly th e fi rs t has

my prefe re n ce . M . Galleray’

s fu r n i t u re is l og i ca l ly a n d sa n e ly co n s t ru cted,wi thou t ma n n e r i sms or superflu ities . Whe n one co n s i de rs that the tota l cos tof h i s buffe t, s i deboard, tab l e, a n d e igh t cha i rs does n o t exceed Fr . 1 40 0 , i t

i s easy to real i se that he has so l ved successfu l l y a very tho r n y prob l em . Sucheffo rts mer i t ou r warmes t e n cou rageme n t .

M . Cro i x - Mar i e i s equal ly a stude n t of s impl i c i ty, bu t h i s efforts l ack e l ega n ce

a n d prac t i ca l form— two grave fau l ts . His ‘

fu rnitu re, I mu s t co n fess, i s heavy i nappeara n ce, a n d ye t o n exam i n at i o n o n e fee l s that the art i s t who has co n ce ived i ti s capab l e, wit h ce rta i n mod ificat i o n s, a n d afte r a se r i ou s s tudy of the u ses to

wh i ch i t i s des t i n ed, of -br i n g i n g t he same to a happ i er effect . M . Cro i x - Mari e, i nfact, is n o t fa r off the p rope r path .

The th i rd d i n i n g room, as wel l as the decorat io n“

a n d fu r n i tu re of the “sal o nd

'

art, is by M . Lou i s B igaux, who has d i sp layed i n both the resou rces of h i s

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FRANCO - BR IT I SH EXH I B I T I ON

versat i l e a n d suppl e ta l e n t .

He exh ib i t s fu l l mastery of

the mate r i al s wh i ch go to

m a k e u p a d e c o r a t i v e

s c h e m e, a n d a p r o l i fi c

i n g e n u i t y in d e v i s i n g

p l easa n t de ta i l s a n d u nex

pected effec ts .

I ca n award my pra i se

n o l ess, wi thou t rese rve,to the bed room des ig n ed by

M . Maur i ce D tl frelie, a n d

q u e s t i o n w h e t h e r a n y

perso n of tas te suffic i e n t

to apprec ia te the charm of

correct p roport i o n a n d har

C LO ISONNE EN AM ELS ON GOLD, BY I‘ . TOI R RETTE.

“1 0 11 37, hOVVeVCI‘ wedded b},cu stom, fash io n , e tc . , to

the t rad i t i o n al s ty l es, cou l d refu se to i n hab i t a n apartme n t fu r n i shed a n d decorated

as th i s one i s . I t has n o th i n g pre te n t i ou s, Or cl ash i n g, or excess i ve abou t i t .

I t i s p rec i se, wi thou t be i n g st i l ted ; s impl e a n d severe w i thou t l ook i n g bare ;a n d above al l i t i s comfortabl e . M . Mau r i ce Dufren e is one of t hose ve ry rare

decorators, at the p rese n t day, who possess a se n se of homel i n e ss . H i s fu r n i t u re

i s not mea n t for Show or for formal parade, bu t i s su ch as o n e ca n l i ve w i t h a n d

u se, the pr imary obj ect s of fu r n i tu re, wi thou t

be i n g a n yth i ngbu t pl eas i n g to th e eye ; a n dwhat more tha n that ca n o n e ask for ?

I shal l not s t i n t my’

praise e i t h e r i n the case

of MM . Sauvage a n d Saraz in'

s s tudy fu r n i tu re .

The wr i t i n g tabl e, or ig i n a l in'

des ig n a n d

seve re ly p ract i ca l ; t he bookcase, a real one, n ot

one of t hose hyb r i d p i eces of fu r n i tu re wh i ch

usu rp the n ame, bu t are - i n te n ded for someth i n g

total l y d i ffe re n t ; th e armcha i r, t h e sofa, th e

e l ect r i c l igh t fi t t i n g, a n d th e tab l e l igh ts of gi l t

b ro n ze , al l are l arge a n d fi n e i n t he i r forms,refi n ed a n d p rec i ou s i n d e ta i l . Here we have

l uxu ry worthy of a ma n of taste . I am n ot i n

a n y way su rp r i sed at the resu l t obta i n ed by

MM . Sau vage a n d Saraz i n , who are recko n ed

amo n gst the arch i tec ts a n d deco rators h el d i n

h ighes t es teem by compete n t j udges .

SM \LL WROUGH T IRON GR I LL, i E. ROBE RT.

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The fu r n i tu re i n th e l i tt l e sal o n exh i b i ted by M . Theodore

Lambert, mahoga n y i n l a i d w i th coppe r, i s ce rta i n l y some of

th e bes t p roduced i n rece n t years . M . Lambert i s a m i n u te

a n d scrupu l ou s art i s t who l eaves n o th i n g to cha n ce . Eve ry

po i n t is s tud i ed a n d combined’ with k n owledge, a n d M . Lambert

is not co n te n ted w i th the very n ear . He has good reaso n , too IHow much harm has bee n do n e to Fre n ch decorat i ve art by those

has ty a n d ig n ora n t p roduce rs who l ack as much of ge n e ra l cu l tu re

as of Sk i l l i n the i r ow n vocat i o n ? I have. k n ow n M . Lamber t’

s

work for a lo n g t ime ; I k n ow tha t a t t imes he has made m i s takes,l i ke so ma n y oth e rs, bu t I k n ow al so tha t i t has n e ve r bee n from

ig n ora n ce or wa n t of dep th i n h i s subj ect . A n d whe n h e su cceeds,as ofte n happe n s, h i s

”

su cce ss i s comp le te . Take for example h i s

brass bed stead,so harmo n i ou s i n p roport i o n , so i n ge n i ou s, a n d so

prec i ou s i n respec t of i ts or n ame n ta l de ta i l s ;I inean to say i n wh i ch th e co n s t ru ct i o n a n d

th e o r n ame n t are so i n t i ma te ly b l e n ded that

i t i s imposs i b l e to say wh i ch co n t ro l s a n d

wh i ch su bserves th e othe r .at A A

From the po i n t of v i ew of a co l l ec t i ve

exh i b i t, t he D élieux co l l ec t i o n i s, as we have

see n , a d i s t i n c t su ccess, a n d shows i n t h e

bes t a n d most pe remp tory fash i o n t h e d i vers i ty

of imagi nat i o n a n d tal e n t possessed by theFre n ch decorat i ve school . Bu t i t wou l d have

bee n regre t tab ly i n comp l e te i f t he re had

bee n m i ss i n g from i t t hose rep rese n ta t i ve“obj e ts d

'

art i n t he produ c t i o n of wh i chP ED ESTAL,B v HEC I‘OR ct nmnu . ou r decorat ive artl sts a n d craftsme n areM AR BLE AN D I VORY

srm urr rr,u n r i val l ed, or I f these had bee n se l ec t ed w1 thBY Z EI B IG .

l e ss care a n d tas te .

O n e may dep l ore, whe n exam i n i n g these p l easa n t ly

fu r n i shed rooms, t hese wal l decorat i o n s a n d glass cases,t h e abse n ce of ce r ta i n a rt i s ts whose n ames a n d work s are

wi de ly recog n i sed . B ut whose fau l t i s t h i s ? Certa i n ly not

t hat of t he orga n i se rs of t he exh i b i t i o n , who wou l d have

bee n o n ly too glad to gat he r t hem i n . I t is the fau l t,I imagi n e, of c i rcumsta n ces in depe n de n t poss i b ly of th e w i l l

of t he art i s ts t hemse l ves — some wou n ded fee l i n gs perhaps, or,who k n ows, some d i s t rus t of a n e n te rp r i se, t he success of

wh ich, now t ha t i t has su rpassed t he most sa n gu i n e

M AHOGAN Y CAB IN ET WIT I I M ARQU ETRYPAN EL . B Y hIA I l R IC E A LET .

LA COLLECT IV ITE ANDRE DELIEUX

D IN ING - ROOM IN OAK, BY LOL IS_B IGAUX ; L EADED GLASS,. BY G EORGES BOURG EO I‘ .

expectat i o n s, wi l l p rove to them the i r e rror . Bu t l e t u s pass on, afte r p rem i s i n g

that the abse n t do n ot a lways su ffe r i n j u ry, becau se we th i n k of t hem .

Amo n gs t those who are rep rese n ted, M . Bo n val l e t a n d M . Taxile Doat

dese rve ou r most e n t h u s i as t i c recog n i t i o n . The meta l work of M . Luc i e n

Bonv alet, from the po i n t of v i ew of compos i t i o n as we l l as execu t i o n , co n s i st s of

p i eces of the very fi rs t ra n k, su ch as, I be l i eve, cou l d n ot be equal l ed i n Ge rma n y,E n gla n d or Hol l a n d . They are pe rfec t . These vases a n d bottles, of hammered

a n d chased brass, appear to me s imp ly exqu i s i te, of rare refi n eme n t, a n d great

power . The i r forms are ex t remely s imp l e a n d harmo n i ou s, a n d th e or n ame n t i s

so l og i ca l a n d so re served that i t seems to spr i n g n atu ra l ly ou t of them . The

1 7 1

N ECK - BUCK LE, “CLOU DS, Bv TH. LAM BERT .

FRANCO - BR I T I SH EXH I B I T I ON

bott l e cal l ed

1 D i scord ia,a n oth er cal l ed

l T r e fo i l s ,the

i

v ases wi th

s he ] I - wo r k ,seaweed, a n d

e u c a l y p t u s ,p o s s e s S a

sobe r r i ch n ess PENDANT or GOLD, ENAM E L . AN D P EARLSa n d y

'

et

BY T I I .

plicity wh i ch ough t to appea l to al l peopl e of tas te . Nor wi l l t h e l at te r de r i ve

l ess p l easu re from the de l i ca te l i t t l e marve l s i n pot te ry of M . Taxile Doat, who

k n ows so we l l how to u n i te i n h i s c reat i o n s the fi n es t comprehe n s i o n of a n c i e n t

a rt w i th a l i ve l y se n se of t he moder n . At the ce n t re of a t ray or bas i n , on the

body of a vase, 0 1 1 the handl e s of a porce l a i n u r n , or On some prec i ou s se rpen t i n e

gl ass d i sh, he appl i e s a cameo . The fi n e head of a goddess, a frow n i n g or

sm i l i n g mask, t he proud p rofi l e of a he ro, se t i n that fie l d of s imp l e e n amel,

v a r i e g a t ed p e r h a p s see“Love sport i n g

w i th t he co l ou r - pl ay w i t h t h e m a s k o f

of th e mate r i al, re Thal i a t hose vases,sembl es a rare flower

i n i t s effect .,Why have

tal l a n d egg - shaped,

square o r flat, wh i ch

I not space to descr i be

some of these p i eces

the ta l l porce l a i n vase

d e c o r a t e d w i t h a n

appliq ueof polych rome

g l a s s, a v e r i t a b l e

poem of n atu re ; t he“M e a d o w s , t h e

G rotto," “Echo,

”

t h e “S o w e r, t h e

“Woo d s, a n d that

bowl of marb l ed poree

l a i n w i th sky bl ue

a n d b row n crystal l i n e

e ffec ts, o n.

wh i ch we

of M . B igot, c l ose by,has a capt i vat i n g ru st i c savou r .

l i ke r i pe fru i ts, or rough l ike bark .

P EAR - VVOOD CLOCK , CARV ED \V I TH GRAP ES,BY NO\VAK .

Show such grace of forma n d cha rm of col ou r .They are al l so pre t t i ly,so fi n e ly Fre n ch they

sp r i n g,we fee l a t o n ce,from the so i l of ou r

best t rad i t i o n s . These

p rec i ou s work s, so pu re

i n tas te,y i e l d as i twe re

the impe r i shab l e frag

ra n ce of the Greek a n d

Roma n flowers wh i ch

sce n t t he garde n of ou r

F re n ch Re n a i ssa n ce .

The s to n eware (gr t‘

)I fee l tha t i t is soft to touch

The mate r ia l he u ses i s s t ro n g a n d beau t i fu l .

Nex t, too, is a charm i n g case co n ta i n i n g wood - carv i n gs by M . E . Becker ;two exqu i s i te cl ocks, one carved w i th Ch rysa n th emums, t he o ther w i th roses ;

1 7 2

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FRANCO - BR IT I SH EXH I B IT I ON

ENAM ELQ, BY L l '

C IEN H I RTZ.

boxes i n l a i d w i th mothe r- o'

- pearl or i vory, of perfect workma n sh i p, a n d a case ofe igh tee n medal s, each of wh i ch i s a p rec i ou s j ewe l .

M . G . Basta rd exh i b i ts obj ect s of p i e rced mother - o'

- pearl, combs a n d fa n s,one of wh i ch, composed of peacock fea thers i n wh i ch th e eyes are rep laced by

t i n y femal e figu res, is t ru l y o n e of th e most exqu i s i te th i n gs I k n ow . The

approp r i ate n e ss of th e o r n ame n t to t h e mate r i a l is perfect . Th i s rare qual i ty,th e fu n dame n ta l p r i n c i p l e on wh i ch al l decorat i ve art shou l d be based, I fi n d al so

w i th p l easu re i n th e l eath er work of M l l e . Germai n . I dou bt whethe r p i eces of

su ch de l i cate col ou r a n d workma n sh i p wou l d appea l to those who l ove s tro n g a n d

o r n ate effects, bu t a l l th e same I am su re that they are tru e works of art for eve ry

day u se . O n e ca n n o t descr i be them, they must be see n . There are p l a i n l eathe r

pu rses, card cases, gi rd l es, a n d a t r i n ke t box wh i ch ca n n o t fa i l to e n cha n t a

de l i ca te taste by th e ma n n e r i n wh i ch th e l eather is ha n d l ed .

To tu r n to work of a n oth e r o rde r we must adm i re th e fe n de r of wrough t i ro n

by M . E . Robert, one of th e Fre n ch i ro n - workers who comb i n e s most cl ose ly

th e fee l i n g of moder n i sm wi th a se n se of t h e glo r i e s a n d t rad i t i o n s of his art ;n o r ca n we fa i l to take p l easu re i n th e works of MM . Regi u s a n d R u ffin— th e

e l ec tr i c heate r, a l um i n ou s scree n , i n copper a n d th e la rge i ro n a n d coppe r gr i l l,p i eces of t he fi n es t execu t i o n .

I ca n n o t, I regre t, s tudy i n de ta i l each of the th ou sa n d de l i cate or powe rfu l

obj ect s wh i ch fi l l th e Pav i l i o n of the D élieux col l ec t i o n . I wou l d l i ke to speak

at l e n gth of t he rea l l y remarkabl e embro i de r i es of Mme . Pau l i n e R i v iere ; t he

decorat i ve fabr i cs of fi n e des ig n a n d r i ch execu t i o n of M l l e . Gab r i e l l e Rau l t ; t he

t rays, d i shes, a n d baskets i n me ta l work of M . Sche i decker ; the i n comparab l e

e n amel s of M . Feu illatre, who u n de rsta n d s so wel l how to comb i n e sou n d

k n owl edge of his voca t i o n w i th the fi n es t g i fts of fa n cy . Nor mu st I forge t th e

I 74

LA COLLECT IV I TE ANDRE DELIEUX

M IN IATU R E C LOC K, ROSES,BY E . B L‘

CK l - R .

e n ame l s of M . H i rtz, o n e of the mos t w i de l y apprec i a ted

e n amel l e rs of the day, or those of M . Tou rre t te, M l l e .

Ponsard, M l l e . Pu iz oye, a n d M . He n ry Cazal i s . I cou l d

w i sh to say a l l the good that was poss i b l e abou t

the decorat i ve compos i t i o n s i n embro i de ry of Mme . Ory

Rob i n , wh i ch ca n n eve r be suffic i e n t ly e steemed ; th e

exqu i s i te p i eces of wh i te ch i n a w i th “rese rves of

t ra n s l u ce n t e n amel, so n ove l a n d so spo n ta n eou s i n

eff ec t, exh i b i ted by M . C . Naudot ; t he smal l fu r n i tu re

of M . Nowack the mode l s fo r trays, crumb - scoops, e tc . ,

of M . Moreau - Sauve ; t he smal l i n l a i d fu r n i t u re of

MM . Mau r i ce a n d Edmo n d A le t ; th e exqu i s i te l ace

of M . Pau l Mez z ara. There is a l so a cot to n tapestry

by Mme . Fer n a n de Mailland, wh i ch is one of th e

p ret t i e s t a n d mos t p l eas i n g th i n gs I k n ow ; th e

su bj ec t i s s t ro n gly t reated, t he co l ou rs decorat i ve,i n a l l, a j ewe l of workma n sh i p . M l l e . Marc Ma n gi n

exh i b i t s seve n embro i de red s i l k a n d ve l ve t caps for

ch i l d re n , a ch i l d'

s cos tume compr i s i n g a n em

bro i de red ve l ve t frock, a hat of repou ssé l ea the r, braces a n d shoes of t he same,befo re wh i ch n o t o n ly mothers bu t art i s ts w i l l l ose the i r hearts . H ere al so

are exh i b i ts of jewelwork by M . Theodore Lamber t, of whom I have al ready

spoke n , r i n gs, n eck l e ts, pe n

da n ts, wa i s t - b u c k l e s a n d

b rooches, of s i n ce re or ig i n

a l i ty ; gl'é- ware by M . Lachenal

i n co l l abora t i o n w i th Mme . de

Frumer i e, wh i ch i t wou l d be

ou t of p lace to p ra i se,so wide ly

is i t apprec ia ted ; i n te res t i n g

s i l ve rsm i t h'

s work by M . Giot ;s o m e c h a r m i n g m e d a l s,l i q ueu r gl asses i n s i l ver a n d

crys tal, a sump tuou s cup,e n t i t l ed “Gal l i a,

”

of gold,chased s i l ve r a n d s to n es, by

M . He n r i Rap i n ; po i n t l ace

d e s i g n e d a n d execu ted by

Mme. A n d ree d'Heu reu x,

exce l l e n t of i ts k i n d ; charm i n g

art i c l es i n s i l ve r a n d e n ame l

by M . A . J acqu i n , i n woodC US PED D ISH O F PLAT FI) COP PER, I’I ERC I'ZD AND HAMM ER ED,BY FRAN K SCH E I DECK E R

FRANCO - B R IT I SH EX H I B I T I ON

a n d l ea th e r by Mel l e . de Fel i ce ; fu r n i sh i n g

s tuffs a n d cu rta i n s by M . Coudyser ; b i n d i n gs

of or ig i n a l compos i t i o n a n d fi n e execu t i o n

by that mos t or ig i n a l art i s t, M . Pau l Follot ;bro n ze i n ksta n ds, coffe rs, ca n e ha n d l e s, a n d

gla ss ware, by M . Hector G u imard, wh i ch

p rove that M . G u imard has l i t t l e l eft to

l ear n , a n d th e remarkab l e s tuffs ex h i b i ted

by Mme . Lou i se G renau t .

Of s ta i n ed a n d pa i n ted glass the re i s

bu t l i t tl e, a n d that of t h e fi n e s t qua l i ty .

M . Labou re t has a fragme n t of a sky l igh t

show i n g a fl igh t of wi ld ducks, a n d a pa n e l

cal l ed “The Torre n t, of wh i ch one is i n

doub t whe th e r to adm i re mos t the compos i

tio n or the i n ge n u i ty . M . Bou rgeot has a l arge

pa n e l, sober a n d res tra i n ed, fi l l i n g the w i n dow

of the “Sal o n d'

Art, th rough wh i ch a

p l easa n t b roke n l igh t fi l te rs i n to the d i n i n g

room of M . B igau x.

M . Mette ex h i b i ts l a n d “M I MOSA CU P AN D SAL'CFR , OFscapes 1 11 A ln emcan PIERCLD PORCE LA IN W i r u TR \NS LLL 1 :NT [INAM ELS ,

glass, of a n or ig i n a lBY CA .“I LLB NAUDOT .

e ffec t ; M . Laumonerie, o n e of th e mos t accompl i shed

maste rs of the ar t, a decora t i ve pa n e l“Le Champag n e,

a n d th ree l a n dscapes of adm i rab l e ha n d l i n g .

M . Abe l La n d ry i s represe n ted i n al l th e aspec ts of

h i s ve rsat i l e ta l e n t ; h i s fire- i ro n s, L imoges ch i n a tea

se rv i ce, t ray i n prite- a’e- v er re, wa i s t - buck l e s, e tc . , show his

maste ry ove r a w i de ra n ge of mate r i a l s a n d or ig i n a l

ha n d l i n g of d i ffere n t su bj ects .>X<

The D élieux Col l ec t i o n wou l d have bee n i n compl ete

i f i t had not ope n ed i ts doors to a few spec ime n s of pa i n t i n g

a n d scul p tu re . A you n g art i s t, Mme . Aary Max, i s

rep rese n ted by a group e n t i t l ed “You th, a s tatue of

“Gr i ef," a n d a bus t of M . D élieu x charac ter i sed by

L EADED C LASS F I R E SCR E EN,BY G EORGES BOURG EOT .

val uab l e g i fts of express i o n a n d t ru th fu l n ess . The bro n ze

s tat ue t tes of M . H . Bouchard i l l u st ra t i ve of Roma n peasa n ts

a re charm i n g i n themse l ves, a n d offe r a p l eas i n g co n tras t

to the de l i ca te l i t t l e i vory figures of M . A . Caro n , wh i ch

carry m i n u te n e ss of execu t i o n to i ts fu rthes t l eg i t i mate

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FRANCO - BR IT I SH EXH I B I T I ON

however b rave a n d

tal e n ted, has n ot

proved su ffic i e n t

to b r i n g abou t th e

t r i u m p h of th i s

p a r t i c u l a r i d e a l

wh i ch we are d i s

cu ss i n g, th e one

whose v i tal i ty i s

s h o w n b y t h e

prese n t ex h i b i t i o n .

A pai n te r or

SCtl lptOI’

Can Wo l‘ k COTTON TA PESTRY, “THE GOOD HO UN D, BY F ERNANDE MATLLAND .

a l l h i s l i fe i n

sol i tude, hero i cal l y, wi thou t t roub l i n g abou t the approbat i o n of the publ i c so

l o n g as h i s mea n s of subs i s te n ce are assu red apart from h i s p rodu ct i o n s ; bu t

a n arch i tect, a deco rato r, a maker of fu r n i tu re or art i c l es of commo n u se, what

i s he to do i f th e pu bl i c refu se to come to h im ? He ca n n ot eve n work by

h imsel f, bu t must h ave co l l abo rators . The art i s t i c p rob l em i s compl i cated by

the eco n om i c . The scheme of a bed, of a n e l e ct r i c l igh t fi t t i n g, of tabl e ware,of a carpe t, doe s n ot p roper ly ex i s t u n t i l i t is real i sed i n the form of defi n i te

mate r i al s . The n , for a s tyl e to become formed a n d estab l i shed, to p rospe r a n d

to e n force i tse l f, i t is n ecessary that i t shou l d spread th rough the masse s, or at

a n y rate th rough a suffic i e n t l y l arge sect i o n of th e u ppe r cl asses . Fam i l i a r i ty

wi t h the l i n e s a n d fo rms a n d sty l es of or n ame n t wh i ch be l o n g to i t is thu s

c r e a t e d l i t t l e b y

l i t t l e . I say l i t t l e

b y l i t t l e b e c a u s e

pub l i c taste ca n n o t

be ru sh ed n owadays

i n t h e s e m a t t e r s ,whe n everyo n e more

or l e s s p rete n ds to

k n o w s om e t h i n g

abou t them .

A n o t h e r po i n t

i s that th e rev i va l of

i n d u s t r i a l art to

w h i c h s o m a n y

exce l l e n t arch i tects

a n d d e c o r a t i v e

artl StS have dev oted (‘

l'

SHlON OF LACE AND rMBRO ID ERED BAT I STE, Rv PAU L M Ez z ARA.

1 78

LA COLLECTiv rrE ANDRE DEL IEUX

themsel ve s co i n c i d es exact ly w i th a sort

of craze for the sty l e s of the e igh tee n th

ce n tu ry o n th e part of the very class

wh i ch i s mos t n ecessary to i ts ex i s te n ce .

The l ead i n g ma n u factu re rs of or n ame n ta l

bro n zes, pl ate, potte ry, a n d fu r n i s h i n g

stu ffs have has te n ed to flatte r a n d pa n de r

to th i s craze, so t hat des ig n e rs i n qu es t

of n ew forms a n d co l ou rs, i n s tead of

fi n d i n g the we l come they had a r igh t

to expect, are regarded by these ve ry

ma n ufac tu re rs as e n em i es .

I n sp i te of al l th i s we ca n ba n i sh

fears for the fu tu re . Fash i o n s ever

cha n ge, a n d th i s one w i l l go ou t l i ke

the res t . Poss i b ly the t i me is not so

far Off as one m igh t imagi n e whe n peop l e

w i l l t i re of l i v i n g amo n gs t these n o doub t

s e d u c t i v e b u t a n a c h r o n i s t i c s ty l es .

Those who w i l l bu t have cou rage to

res i s t the e n cha n tme n t ; arch i tec ts, art i s ts, a n d crafts

me n who w i l l have the force a n d pat i e n ce to pu rsu e

the i r work of rege n e rat io n , wi l l e n d by get t i n g the

bette r of those who o n ly copy the s ty l es a n d

or n ame n t of bygo n e days, or, what i s worse s t i l l,lw m nmmw R u h r who debase them i n o rde r to br i n g them w i th i n reach

of'

s lende'

r pu r'ses .

What the fa i th fu l few n eed, i n orde r to es tab l i s h themse l ves defi n i te ly a n d to

t r i umph, above al l i n F ra n ce, is to co n ce n t rate themse l ves, to u n i te, to form a

sol i d body . The i r ed ucat i o n i s comple te ; they possess, most of them at l east,a perso n al i ty a n d a mea n s of exp ress i o n they k n ow what they mea n . Le t them

orga n i se a n d ass i s t each other, as has bee n do n e here ; i n s tead of be i n g r i val s l e t

them become col l aborators . S i n gly, I repea t, t hey ca n effec t n ex t to n o th i n g

agai n s t t he power of th e great in du str i a l pu rveyors of decorat i ve art u n i ted, they

ca n do every th i n g . For th e fash io n for a n t i que s ty l es l e t t hem subst i tu te a

fash io n for moder n o n es, the n the pub l i c wh i ch i s aga i n s t t hem w i l l soo n be

for t hem .

Th i s i s t he moral wh i ch rad iates, i n my v i ew, from the A n d ré D élieu x

col l ec t i o n . I t wou l d be regre ttab l e i f the art i s ts who are not rep rese n ted there d i d

not profi t from i t equal ly w i th ‘ t hose who are . Bu t a n examp l e has bee n set,

a n d both the fo rmer a n d the l at te r have o n l y to fo l l ow i t . I t i s t i me that a great

FRANCO - BR IT I SH EXH I B I T I ON

col l ect i ve effort was set on foot amo n gs t u s, wi th dar i n g, a n d, above al l, wi th

method, so that the pub l i c shou l d be made aware of the resu l ts of a moveme n t

wh i ch, desp i te the obstacl e s a n d shor tcom i n gs that have gi ve n ma n y peop l e a n

i mp ress i o n that so much good effor t had come tg n aught, wi l l not fa i l i n th e e n d

to su cceed .

The j u ry has u n a n imou s ly awarded a G ra n d Pr i ze to M . A n d ré D é lieu x for

the br i l l i a n t co n cep t i o n of t h i s art i s t i c u n i o n .

GABR I E L MOUR EY .

R ET ICU LE O F STAM P ED LEATH E R,BY M LLE . L . D . G ERMA IN .

1 80

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FRANCO - BR IT I SH EXH I B I T I ON

Of execu t i o n , so t hat apart from m i n or d iffe re n ce s the re seems l i t t l e to

choose be twee n them . A n d there i s a camarade r i e, a n i n tercha n ge of se rv i ces,be twee n t he hol de rs of these s ta l l s wh i ch sugges ts commu n i ty of effort, as i f a l l

we re members of a frate r n i ty gove r n ed by mu tual i n teres t . I t is n ot so, probab ly,i n real i ty, bu t the i l l u s i o n is a p l easa n t o n e 9h these days of fie rce commerc i a l

compet i t i o n , a n d I shal l humou r i t so far as to treat th e exh i b i t as a u n i ted whol e

i n ge n eral i s i n g on i ts m i ss i o n .

I f the B r i t i sh sec t i o n co n veys a n impress i o n that B r i t i sh fu r n i t u re - mak i n g i s

d ead, what i s the effec t o n ou r m i n d s of the Fre n ch one H ere we have cab i n e t

work a n d uphol s te ry of such lav i sh mag n ifice n ce (you ca n spe n d from to

on a s i n gl e p i ece i n some of these sta n ds ) t hat i t m us t be very much

al i ve i n deed . The Fre n ch craftsme n of to- day are the equal s i n tech n i ca l sk i l l

of th e ve ry fi n e s t art i s ts who worked u n de r Lou i s XV . a n d h i s great predecessor .

Not a secre t, n o t a touch, has bee n l os t . Bu t —a n d th i s i s the sad part of itn o t a touch has bee n added or al tered e i th e r . I f we i n E n gla n d are i n te n t on

buy i n g up old t h i n gs i n st ead of comm i ss i o n i n g n ew o n es, th e bes t worke rs i n

F ra n ce a re mak i n g cop ies of old th i n gs i n s tead of des ig n i n g n ew o n es . Poss i b ly

art cou l d go n o fu rthe r i n one d i rect i o n tha n i t d i d i n those sumptuou s days of

Ve rsa i l l es, wh i ch e n r i ch ed the worl d w i t h pr i ce l ess spec im e n s of marquet ry

ove r l a i d w i t h sp l e n d i d me ta l work . Bu t Versa i l l e s i s a museum n ow, l i ke the

Louvre . I ts glor i es a re t i cke ted or d i spe rsed, part ly i n to the Wal lace col l ec t i o n .

Al l ove r th e c i v i l i sed world we have s impl ified ou r l i ves toge the r w i th ou r d ress ;a n d i t i s affec tat i o n to p re te n d tha t mode r n ta i l or i n g a n d m i l l i n e ry equ i p u s a n y

l o n ger for compar i so n w i th such sp l e n d i d backgrou n d s . Why the n do the

Fre n ch go o n mak i n g th ese cost ly repl i cas a n d var i a n ts ? What becomes of

them ? Do the n ewly e n r i ch ed swe l l ou t t he i r s tarched sh i r t fro n ts a n d i n d u lge

the i r vu lgar cack l e amo n gs t th em ? I t i s hard to b e l i eve tha t they ca n have a n y

part i n the ge n u i n e l i fe of the peop l e, a n d i f they have— we l l, what is the re the n

to choose be twee n E n gl i s h a n d Fre n ch tas te at th e prese n t day ? I n both i t is to

some ex te n t a s ham, u n re l ated to th e commo n n eed s of l i fe .

I am aware that th i s ex h i b i t represe n ts b u t a part of the decorat i ve ac t i v i tyof Fra n ce ; that e l sewhere, i n the D élieu x Col l ec t i v i té for i n s ta n ce, the re are

spec ime n s of moder n des ig n a n d workma n sh i p . Bu t th ere i s someth i n g abou t the“n ew ar t ” ~ whi ch does not su i t ou r n a t i o n a l a tmosphere .

~ I t is probab ly qu i te

r igh t tha t mode r n te n de n c i e s o n t he two s i des Of the Cha n n e l shou l d take d iffe re n t

d i rect io n s su i ted to d iffe re n t tempe rame n ts ; bu t i n commo n ho n es ty I am bou n d

to co n fess that,of the two, I am more i n c l i n ed to adm i re the spl e n d i d workma n sh i p

exh i b i ted by th ese cop i es of t he a n t i que tha n th e s tr i v i n g afte r or ig i n a l effects

exh i b i ted by the n ew school .

O n the r igh t ha n d as you e n te r t he hal l, i n t he fi rs t s ta n d, is a l i tt l e col l ect i v i té

of fu r n i tu re by d iffe re n t ha n d s . M . Georges Rey exh ib i t s ca rved a n d gi l t fu r n i t u re

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FRANCO - BR IT I SH EXH I B I T I ON

of sem i - cl ass i ca l des ig n , toge th er w i t h a h igh ly or n ate wr i t i n g - tab l e i n carved

wal n u t, the decorat i o n of wh i ch r i se s u p at one e n d a n d al o n g th e back i n a

n atu ral i s t i c.

profu s io n of mou n ta i n ou s forms w i th waves a n d i c i c l es, wh i l s t

b eau t i fu l ly carved n ude figu res fly off a t a ta n ge n t from the l egs . The fi rm of

Sou brier exh i b i ts g i l t u phol s te red fu r n i t u re ;.A . Darras some cha i rs of pl a i n ,

al mos t E n gl i sh des ig n , uphol s te red i n embossed a n d figured l eathe r, toge ther w i th

a h igh carved ep i scopal th ro n e ; MM . M ioland a n d Lelogeais a n archa i c l eathe r

cha i r w i t h heavy s tudd i n g .

Next i s th e ha n dsome sta n d of P . H . Remo n , o n e of the l ead i n g Par i s i a n

decorators, who exh i b i ts part of a boudo i r of t he Lou i s XV . per i od, i l l u st rated on

t h e n ex t page . The decorat i o n of th i s room co n s i s ts of wood pa n e l l i n g pai n ted i n a

del i cate gree n col ou r, wi th appl i ed o r n ame n tat i o n i n grey tou ched w i th gol d . The

fu r n i tu re, n atu ral ly a rra n ged, i n c l udes some exce l l e n t spec ime n s of t he per i od,mos tl y rep roduct i o n s Of

'

a n t i que p i ece s se l ec ted by M . Remo n from h i s own a n d

othe r co l l ec t i o n s . The or ig i n a l of the ' chimney- p i ece i s i n t he Lou vre . The

carved a n d gi l d ed fu r n i tu re i s u phol s te red w i th ha n d embro i de ry of fine workma n

sh i p . Two ol d p i c tu res on t he wal l are s ig n ed a n d dated, Rosl i n , 1 764.

M . R émon showed th e wr i te r photograph s of some el aborate work carried'

ou t i n

Fra n ce, Amer i ca a n d i n Ge rma n y . I n t he Mach i n e ry Sect i o n are some v i ews

a n d reproduct i o n s of th e pa n e l l i n g do n e by his fi rm for th e R i tz - Carl to n

Restau ra n t a n d W i n te r - Garde n on board th e l i n e rs “Amer i ka a n d “Ka i se r i nAugusta V i c to r i a .

"i

M . Remo n has bee n e l ec ted Cha i rma n of-

t he J u ry for th e

F re n ch Decorat i ve Art Sect i o n .

The fi rm of R . L . Hamdt, n ex t door, are ma n ufactu rers of Aubusso n

tapest ry of the type that is fash i o n ab l e i n co n n ect i o n w i th th e classics ty l es . Th i s

tapest ry weav i n g i s do n e on the l ow - warp,'

or copy i s ts' l ooms, a n d i s a

mecha n i ca l matte r n eare r ak i n to carpet - mak i n g tha n to the work of the‘

Gobelin

or h igh - warp l ooms . I t seems to be i n great d ema n d j udgi ngfrom the ma n yfactor i es tha t a re a t work tu r n i n g ou t flowered pat te r n s and_ figu re subj ects for

cha i r a n d sofa seats, pofti‘

eres, wa‘

l l d ecorat i o n s, a n d the l i k e . The be tte r to

show Off Messrs . Hamot'

s p rodu ct i o n s, a su i te of gi l t fu r n i t u re is exh i b i ted,wh i ch, toge th er w i th a ha n d some ormol u - mou n ted tab l e, i s the work of Messrs .

L'Hoste 81. Bernel .A remarkab ly ha n dsome exh i b i t wh i ch fol l ows is tha t of E . Poteau, co n ta i n i n g

a reproduct i o n of the grea t s tate - bed of Mar i e A n to i n e tte i n th e V i c to r i a a n d

A l bert M useum (now on l oa n a t Bethnali

Green) . A bl ue s i l k ca n opy is gathered

u p above it, covered w i th embro ide ry of co n temporary des ig n from the docume n ts

of Ph i l i ppe de Lassal l e, su ch as the Qu ee n herse l f had worked i n t he factory she

establ i shed at Tr i a n o n . The more importa n t p i eces of fu r n i tu re i n the room are

cop i es of maste rp i eces i n th e Wal lace Col l ec t io n , as for in sta n ce the gorgeou s

commode,des ig n ed by Dubo i s to hol d“

th e Qu ee n'

s laces the l i t t l e secréta i re made

by Carl i n a to i l e t tab l e a n d wr i t i n g tab l e comb i n ed, afte r t he or ig i n a l by Oeben

1 84.

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FRANCO—B R IT I SH EXH I B I T I ON

a n d R iesener ; a n d a marque try commode, al so afte r R iesener. A l arge a n d

comfortab l e armcha i r is a n attempt to comb i n e e ightee n th - ce n t u ry s ty l e w i t h

prese n t day n ot i o n s of l u xu ry the othe r cha i rs are cou n te rparts of o r igi n al s to be

fou n d i n t he Louvre . Carefu l ly to n ed wal l.

decorat i o n s a n d ca n d l e - bracke ts

COMMOD E A FT E R R I IISENER ; WH I T E AN D GOLD P EDESTAL BY E . POTEAU .

su pported by r i bbo n s, togethe r w i t h paste l cop i e s of Mme . Vige'

e Lebru n ’s

portra i t s of the u n fort u n ate Quee n a n d he r two ch i l d re n , go to make up a n

e n semb l e wh i ch C l o se ly recal l s what a bed room must have l ooked l i ke i n t he mostl u xu r i ou s cou rt of Eu rope at that per i od .

The sta n d of M . Nel so n i s a l so decorated i n th e s ty l e of Lou i s XV I . , wi th

pa i n ted pa n e l s a n d de l i cate carved mou l d i n gs a n d or n ame n ts . I n i t is a so rt of

what - not"

of e laborate design,~which recal l s a s i m i l ar p i ece at H ertford H ouse,a n armchai r covered w i th a r i ch brocade,a n d a wr i t i n g tabl e of Lou i s XV I . per i od,of th e k i n d wh i ch was fi t ted wi th a l i t t l e bookcase or n e s t of d rawers s ta n d i n g u p

at one e n d .

Messrs . A . Tard i f C i e exh i b i t a smal l deco rated cor n e r room, wi th ‘ a

sec t i o n i n p l a i n wood fi n e ly a n d r i ch ly carved . The s ty l e of the ma n te l p i ece a n d

a marb l e - top tab l e w i th exqu i s i te quarte red ve n ee r i n g i s Lou i s XV . i n s ty l e, or

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FRENCH DECORAT IVE ART EXH I B I TS

more p robably suggests the Rége n ce wh i ch preceded i t . The same m igh t be sa i d

of th e gi l t fu r n i tu re u phol s te red i n cu t ve l ve t wh i ch compl e tes the room .

Com i n g dow n on the l e ft - ha n d s i d e of t he hal l , th e fi rs t exh i b i t i s tha t of

M . V i c tor Boudet, wh i ch i n c l udes a n exqu i s i te bu reau of marque t ry a n d ormol u,not u n l i ke th e one used by Mar i e A n to i n e t te, bu t sa id to be or igi n al . Here al so

i s a n e l aborate copy of Caffieri'

s wel l - k n ow n ma n te l p i ece at Fo n ta i n eb l eau, a n d

the great s ta n dard o rmol u c lock a t Ve rsa i l l es by the same art i s t . Th i s a n d a

l arge pedes ta l c l ock of i n l a i d pu rp l e wood, covered w i th very mass i ve chased

or n ame n t of t he Lou i s XV I . per i od, of wh ich the or ig ina l I S a t the Louvre, are

exh i b i t i o n p i eces of n o mea n order . The same may be sa id of a vas t gl ass - fro n ted

cab i n e t w i th g i l t o r n ame n t wh i ch s ta n d s a t the back of th e room . Qu i e te r

a n d more l ovab l e i s the l i t t l e wr i t i n g tab l e, cop i ed from tha t of Mar i e A n to i n e t te,wi th its s u rface i n l a i d with figures represe n t i n g as t ron omy, a n d the wo n de rfu l

mecha n i cal dev i ce s of d rawers and h i n ged flaps in wh i ch th e art i s ts of her

cou r t exce l l ed .

Messrs . je’

mont, n ex t, exh i b i t a room decorated i n th e s ty l e of th e same

per iod, wi th a r i ch carved a n d gi l t cor n i ce, a pa i n ted l u n e t te ove r a doorway, a n d

de l ica te arch i t rave mou l d i n g of wreathed bay l eaves . A square - l egged mahoga n y

tab l e, a n d large cab i n e t a n d wal l -pi ece al so i n mahoga n y,w i t h ormol u mou n t i n gsto match the room, are the pr i n c i pa l featu res of the fu r n i tu re .

The i r n e ighbou rs, Messrs . B racq u enie' C i e, are make rs of Aubusso n

tapestry, pl e n t i fu lly d i sp layed i n a rose p i n k su i te of s t r ik i n g charac te r . O n th e

wal l s a re l arge tapes try pa n e l s afte r Wagrez a n d Bouche r, i n b r igh t a n d rathe r

flor i d colou i ing. A tapestry copy of the portra i t Of Rube n s i s a n i n ge n i ou sexampl e of the l e n gth to wh i c h tapes try ca n be car ried i n the im i ta t i o n of p i c tu res .

O n e needs’

to touch th e su rface to be su re that i t i s not pa i n t i n g . A copy of a

lady by Frago n ard i s scarcely'

less decept i ve . The carpe t i s a ha n d some exampl e

of the firm'

s work i n the same rath er gaudy c lass i ca l s ty l e .

Of the cab i n e t work exh i b i ted there is n o n e to excel, a n d l i t t l e to equa l, tha t

d i sp layed by the fi rm of L i n ke,wh ich seems to have pu t i n to i ts two or th ree

exh i b i t i o n p i eces a l l th e fi n e craftsma n sh i p a n d i n ge n u i ty of wh i ch Fre n ch

ha n d s are capab l e . U s i n g as a bas i s th e two woods wh i ch seem mos t i n vogue

th roughou t the F re n ch exh i b i ts, sat i n é, wh i ch resemb l es a pa l e spec i es of

mahoga n y, a n d the s t ro n g gra i n ed k i n gwood as a fo i l to i t, th i s fi rm has devoted

u n tol d expe n se to the reproduc t i o n o n a n exact sca l e a n d i n a l l i t s d eta i l s of thewo n derfu l bu reau of Lou i s XV . n ow at t he Louv re, des ig n ed by R iesener, wi th i t s

marqu etried ro l l top (th e pro to type of all mode r n office fu r n i tu re ), i t s dou bl e - h i n ged

desk flap, secre t d rawers a n d mecha n i ca l d ev i ces of the su b t l es t k i n d— a desk

whe rewi t h a l igh t ly - m i n ded mo n arch m igh t amuse h imse l f for hou rs . Fi n e ly

Chased b ro n ze n ymphs rec l i n i n g at the two s ides ho l d ca n d l es for his Maj esty ; a n dove r, rou n d, a n d u n der all ru n s a profus i o n of gi l t b ro n ze wreath work a n d co n

v entional or n ame n t Of th e mos t sumptuou s k i n d . I t i s sa i d tha t th i s bu reau

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FRANCO - BR IT I SH EXH I B I T I ON

represe n ts t he qu i n tesse n ce of al l that s ta n ds for the s ty l e of Lou i s XV .- a n d i t

may be acqu i red fo r a pa l t ry I ts n e ighbou r, a tal l cab i n e t represe n t i n g

the cou rse of a mou n ta i n torre n t from i ts sou rce to the ocea n , carr i ed ou t i n ormol u

o n a fi n e l y marq uetried frame, i s cost l i e r s t i l l . I t has a wo n derfu l i n te r i or of secre t

d rawers a n d cupboard s, a n d was the des ig n of M . Message r, o n e of th e firm'

s

SAVONN ER I E CA RP ET A FTE R A FAMOL S E XAM PL E I N TH E LO UVR E . D ES IGN ED BY E . POTEAL,

EX EC UTE ! ) BY 1 . SCH ENCK .

art i s ts . O n e hard ly has space to do more tha n me n t i o n the tal l c l ock, wi th

a figure of T ime in bro n ze su rmou n t i n g the great b l ue e n ame l gl obe wh i ch i s the

d ial, so complex a n d so e laborate i s its co n st ru ct i o n . A n app l e tree, golde n

t h roughou t, a n d not mere ly bear i n g gol de n app l es l i ke that of the H espe’

r i des,c l imbs from the base upwards, bear i n g on i ts b ra n che s a Gal l i c cock, the hera l d

of the daw n . Such i s the sor t of fa n c i fu l co n ce i t o n wh i ch F re n ch art i s l av i shed,regard l ess of expe n se . Th i s c l ock, some may remember,was exh i b i ted a t the

Par i s Exh i b i t i o n of 1 9 0 0 . A tal l mou n ted a n d i n l a i d mus i c s ta n d of ovo i d form,a bow- fro n ted cu pboard deco rated w i th “coqu i l l age ” or n ame n t, a n d a glass

cab i n e t for ch i n a i n the same cost ly sty l e as the res t,w i th some smal l e r p i eces

a n d gi l t uphol s tered fu r n i t u re, comple te th i s ex h i b i t .

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FRANCO - BR IT I SH EXH IBI T I ON

M . B igo t,gre’

s ware ; MM . Vallombreu x a n d Lachenal o the r forms of pot te ry .

A glass case co n ta i n s b ro n zes, n eed l ework, a n d c l e ve r mode l l ed figu res - of bal l e t

da n ce rs . Two cases i n th e ce n t re of th e room suppl eme n t th i s exh i b i t w i th

spec ime n s of M . Beck e r'

s a n d M . J a l l ot ’s wood - carv i n g, M . Lachenal’

s potte ry,1M . Bonv allet

’

s fi n e hammered a n d mode l l ed brass vases, a n d pa i n ted re l i ef gl ass

work by M . D ammou se. Here al so are spec ime n s of e n amel by members of ‘ th e

Sal o n des Art i s te s FrancaIS, l i t t l e me ta l a n d i vory s ta tue ttes by M . Levasseu r,some p i eces of pate de ver re by M . D ecorchemont, a beau t i fu l n eckle t of beate n

gol d l eaves by M . Chu R igaud, e n ame l l ed j ewe l ry by M . Ch . Bou te t de Mo n ve l,a n d a gold pe n da n t w i th emeral ds a n d pearl s by M . J acqu i n . M . Bou rgeot a n d

M . Em i l e D ecoeu r show spec ime n s of g-résflammé, a k ind of s to n eware w i th

touches of co l ou r or s ta i n .

I n a room pa n e l l ed w i t h carved woodwork, MM . Tu rck show a din i n g tabl e

a n d cha i rs of l igh t oak , carved w i th coqui l l age or n ame n t, co l la te ra l desce n da n ts,probab ly, of ou r Quee n An n e s ty l e, a n d a large s i d e cupboard w i th Lou i s XV .

carv i n g fi l te red th rough some Belg ia’ n i n fl ue n ce .

MM . Ma n sard a n d H ou ry show lacque red,

fu r n i tu re of th e pe r i od of Lou i s XV . ,

toge th er w i th some cl eve r reproduc t i o n s of Worcester a n d s im i l ar ware . Nex t to

them i s a smal l Lou i s XV . sa l o n by the om n i p rese n t M . Bigaux, fu r n i shed w i th a

su i te of cha i rs cove red i n Aubusso n tapes t ry wi th very p i n k femal e figures afte r

Boucher a n d a n imal s afte r Aubry . A spec i al featu re of the room i s a beau t i fu l

p i ece of wrough t i ro n work, w i th ormol u appliq ue, i n t he form of a co n so l e tabl e

su rmou n ted by a n o teworthy is acopym i rror . Th i s is by of o n e of t he great

M . G . V i n a n t . ceilings in the Louvre

O n a scree n n ea r r e p r o d u c e d fo r a

by are some remark Devo n sh i re h o u s e,a b l e reprodu c t i o n s a n d a pa n e l from the

of a n t i que work “S i n ge sa lon a tp a i n t e d c e i l i n g s , t h e C hat e a u d e

wood carv i n g, e tc . , Cha n t i l ly, afte r the

by a c l eve r art i s t i n or ig i n a l d es ig n s by

such work, M . L . H uet .

Chauve t . Spec ial l y H . C . M .

SEC RETA I R E - TO I LET TABL E; BY ED Po rEAU.

After the or iginal by Q ehen and R iesener in the W'

al lace Co l lec t ion.

I 9O

OR IG INA L D ES IGN BY JOH N BELCHILR , ESQ . , A . R A. , FOR TH E D ECO RAT IV E ART PAV I L ION .

BR IT ISH DECORAT IVE ART EXH IBITS .

I FEAR that o n e ' s fi rs t a n d mos t obv i ous refl ect io n afte r go i n g rou n d the space

al l o tted to B r i t i sh Decorat i ve Art wou ld be Nay,bu t to spy ou t th e n aked n essof the la n d are ye come . Of two broad ~

ais les wh i ch rema i n ove r from the

Loan . Collection, o n e a n d a ha l f are devoted to su ch use fu l, bu t 0 11 the whol e

u n decorat i ve, obj ects as cook i n g ranges, safes, pate n t fu r n i t u re, garde n seats, a n d

p la te glass, from am id s t wh i ch th ere i s n oth i n g to catch the art i s t i c eye bu t some

we l l - finished s tee l grates by th e Carro n'

I ro n Compa n y . I n t he rema i n i n g hal f,wi th a smal l p i ece at th e e n d of the ce n t re a i s l e, are eas i ly co n ce n t rated all t he

exh i b i ts of decorat i ve a rt wh i ch have bee n though t fi t to be represe n ted . Fou r of

t h ese are by wal l pape r firms, t he o n ly c l ass exh i b i t i n g as a body, a n d of th ese we

are compe l l ed to add that i n two cases at l eas t t he at t ract i o n s c l a imed are i n th e

n atu re of “l a tes t n ove l t i es rather tha n art . Messrs . Arth u r Sa n derso n So n s

exh i b i t pape rs for treatingp anelled rooms decorated i n th e art ific i al Georg ia n a n d

Adam sty l es, wh i ch are fash io n ab l e j u s t n ow — pape rs w i th a str i ped or powdered

fi l l i n g a n d n a rrow borde rs of flora l or wreath des ig n s . Some of t hese are p r i n tedon Japa n ese grass c loth . I n the same category may be c lassed a more cos t ly

s i l k flock pape r 0 11 a vel ve ty grou n d, wh i ch reprod uces i n to n es of du l l b l u e a n

a n t i que l ace des ig n . Of n ew pape rs the showi es t a t l east that t hey are offe r i n gis .a l a rge patte r n of peacocks a n d Ch rysa n t h emums i n bol d Ch i n tz col ou rs on awh i te grou n d . Ca n vas - l i ke patte r n s i n var i ou s se l f co l ou rs a re a spec i al i ty of

th i s fi rm .

Messrs . K n owl es are ma i n l y i n te res ted i n papers of the pa n e l o rder, l igh t

r i bbo n or fes too n des ig n s arra n ged as crow n a n d borde r on a p la i n o r s t r i ped

grou n d . Of n ew papers t hey show a large v i n e pat te r n w i t h c l u ste rs of grapes,a n d a n im i tat i o n tapest ry, of wh i ch I ca n ho n est ly say n oth i n g excep t that i t

shows a re tu r n to th e wors t t rad i t i o n s of the craft, a re tu r n wh i ch i s fu l lye n cou raged by th e so - cal l ed decorators of to - day .

Messrs . J oh n L i n es 81 Co . have made what is at l eas t a n i n te rest i n g i n n ovat i o n

i n tak i n g up the s tudy of pa i n ted mu ral decorat i o n , for wh i ch pu rpose they have

e n gaged the serv i ces of a cl eve r art i s t, who has al ready do n e work i n t h i s d i rect i o n

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FRANCO - BR IT I SH EXH I B I T ION

for var i ou s res tau ra n ts a n d pub l i c rooms, Mr . W . J . Neatby. The i r we l l - des ig n ed

exh i b i t co n ta i n s two l arge l a n dscape pa n e l s, two figu re su bj ects : “My Love i sl i ke a red red rose, a n d

“My Love i s l i ke a me lody, pa i n ted i n o i l o n ca n vas

w i th ra i sed gol d o r n ame n t, a n d a l u n e tte ove r the fi rep l ace i n the same sty l e . The

col ou r of th ese i s p l easa n t, i f a l i t t l e b r igh t, a n d the faces are p ret ty, wi th a soft

F lore n t i n e fee l i n g abou t the cos tumes a n d decorat i o n . I n t he i r n ote to the pu bl i c

on th i s su bj ec t,Messrs . L i n e depl ore the wro n g do n e by wal l papers to ge n e rat i o n s

of Goz z olis a n d Carpacc ios, who m igh t have pa i n ted glori ou s frescoes i f cheap n ess

had not bee n forced by cu stom u po n the i r patro n s . M r . N eatby i s n o t exactly a

Goz z oli or a Carpacc i o, bu t h e i s a we l l mea n i n g a n d a dese rv i n g art i st, wi th a

be tte r se n se of decorat i o n tha n most of the me n i n his l i n e of bu s i n ess, a n d, gi ve n

p roper co n d i t i o n s, cou l d produce some i n te res t i n g work . The wal l papers chose n

for ex h i b i t i o n by Messrs . L i n e are not part i cu larly remarkabl e . They al so have a“fi l l i n g a n d border patter n for pa n e l s . wi th th e n o t u n k n ow n mot i ve of da i sy

sprays powdered 0 11 a wh i te grou n d, a pape r cal l ed E l i zabe th’

s garde n , of du l l

gree n s a n d l arge red flowers o n a b l u e grou n d ; a l arge I n d i a n t i l e pat te r n i n b l u es,cal l ed De l h i ; a n d a fi ftee n t h ce n tu ry cu t ve l ve t d es ig n i n flock , wh i ch I co n s i de r

the i r mos t su ccessfu l effort .

The fi rm of Jeffrey Co . i s o n e h e l d i n spec i a l repu te amo n gs t pape r sta i n e rs

for the i r l o n g assoc i at i o n w i th the bes t art i s ts who des ig n for th i s c l ass of work,a n d the i r re fu sal to j o i n i n th e “wall pape r r i n g " wh i ch i n fes ts th i s cou n t ry . The“Macaw a n d Peach Tree des ig n , wh i c h occup i es the ce n t re of t he i r exh i b i t, i s

one do n e spec i al ly for the pu rposes of th i s Ex h i b i t i o n by M r . Wal te r C ra n e, who

has des ig n ed for them s i n ce 1 876 . I t is a fi n e exampl e of ha n d bl ock p r i n t i n g, i n

wh i ch 1 8 bl ock s are emp loyed . To the r igh t of t h i s i s a n or igi n al damask

des ig n by M r . Freder i ck Vigers, wh i ch i s a n exampl e of pr i n t i n g s i l k flock upo n a

wool flock grou n d . I n the recess i s a n exampl e of co lou r pr i n t i n g e n r i ched w i th

gi l d i n g, th e mot i f of wh i ch i s a Portuguese embro id ery . The p i l as ter, or re tu r n

of the recess, is cove red w i th a n embossed l eathe r pape r wh i ch has al l th e qual i ty

of a Spa n i sh l eather . The fr i eze show n i s i n th e same mater i al, bu t i s of h igher

re l i ef. I t i s from a des ig n by M r . F . S . Murray . These are bu t a few of M essrs .

J effrey ' s papers, wh i ch i n c l ude some of the best a n d most art i s t i c des ig n s that are

at prese n t be i n g prod uced .

O n the oppos i te s i de to Messrs . J eff rey i s a gl ass case exh i b i t of s i l k brocades,damasks, a n d s tamped ve l vet, by Messrs . War n er So n s . The des ig n s are

most ly of a Fre n ch or Adam s ty l e, wi thou t part i cu lar d i s t i n ct i o n , a n d excep t i n

regard to the i r weav i n g hard ly do cred i t to th i s we l l - k n ow n fi rm . Fortu n ate ly the

Fre n ch weave rs al so are not show i n g a n y th i n g good . I n the ce n t re of M essrs .

War n er'

s case is a remarkabl e tapest ry spec i a l ly des ig n ed by M r . Wal te r C ra n e to

ce l ebrate the E n te n te Cord i al e, a “Peacefu l Co n fl i c t, represe n ted by t i l t i n g

k n igh ts, t rumpete rs, a n d a n ge l s of peace, on a b l ue grou n d var i ed w i th a scro l l

des ig n i n gree n , am ids t wh i ch are see n the red roses of E n gla n d a n d the l i l i e s of

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G EN E R AL V I EW OF TH E BR I I‘ ISH AN D FR ENC H AP PL I ED AN D . DECORATIVE A RTS

BR IT ISH APPL IED ARTS .

I HAVE always hel d stro n gly that the taste of t he ma n i n the st ree t i s a s l a n de redth i n g ; a n d n oth i n g has bor n e ou t my case more C l ear ly a n d forc i b ly tha n th eastou n d i n g adva n ce i n the ge n e ra l taste d i sp l ayed i n t he E n gl i s h home of l a te

years . G i ve me, sa i d I fi ftee n years ago, e l e ve n flats t r i cked ou t i n th e appal l i n g

h i deous n ess of t he ord i n ary house - fu r n i she r, a n d l e t me fu r n i sh the twe l ft h as

I w i sh (a n d I u n d ertake that i t shal l cos t as l i t t l e as the others ), a n d I w i l ls take my sou l that the much - abu sed ord i n ary ma n a n d o rd i n ary woma n w i l l

p refer my more art i st i c flat . I t was th i s ear n es t co n v i ct i o n of th e art i s t i c se n se

of the ma n i n t he s tree t be i n g supe r i or to that of t he t radesma n who cate rs

for h im, a n d who for e ve r excuses h i s own vu lgar i ty by set t i n g up h i s own

vu lgar sta n dard as the s ta n dard of taste of the commu n i ty (a n d to a somewhat

l es se r degree the pa n de r i n g of the ma n u fac tu re r to th e t radesma n ), that fi rs t l ed

me to tak e u p the pe n of cr i t i c i sm . A n d I fou n ded i t u po n th i s fac t— t hat i n

t h e o ld days the o rd i n ary ma n had beau t i fu l t h i n gs abou t h im, a n d that h e

had them becau se be cou ld get Man .

To the i r e ter n a l c red i t, ce rta i n me rcha n t - hou ses, such as H ampto n , Gi l l a n d

Re igate, War i n g, Mal l et t of Bath, a n d G illow, i n fu r n i tu re, a n d th e hou ses of

Sa n de rso n , J effrey, K n owl es, L i n e a n d the l i ke i n wal l decorat i o n s, have fough tthe vu lgar i t i es th rough ev i l days, u n t i l to- day they ca n pr i de themse l ves on

hav i n g t ra n s formed the E n gl i sh home i n to a beau t i fu l p l ace . There is n owadays

no s l igh test excuse for a ma n , evenwi th a sca n t pu rse, hav i n g a n ugly home .

The comm i ttee seem to have fa i l ed to at t rac t t he moder n c raftsme n a n d the i r

abse n ce i s remark ab l e . The very smal l effo rt i n o n e sad l i t t l e room ca n n ot be sa i d

to rep rese n t t he fi n e c raftsme n of ou r day, a n d is best l e ft severe ly al o n e .

I t was therefore a happy though t that insp i red the l oa n of a co l l ect i o n of

famous p i eces of ol d fu r n i t u re i n the Large Hal l of the Decorat i ve Arts at

1 94

BR I T I SH APP L I ED ARTS

Shepherd'

s B ush . Bu t,perhaps th e greates t su ccess has bee n won by a n

o r ig i n a l Tudor H ouse se t u p i n t he ‘grou n ds hard by, a n d most appropr i ate ly

fu r n i shed, by M essrs . Gi l l a n d Re igate —an art i st i c effort that mu st have had

most sat i sfactory - resu l ts for th i s fi rm, as i t ce rta i n ly has bee n a n exce l l e n t

l esso n to thousa n ds who have v i s i ted th e exh i b i t i o n as to the beau t i e s of a

house deco rated a n d fu r n i s hed w i th taste . I t i s a thou sa n d p i t i es that M essrs .

Hampto n'

s co t tage n ea r i t had n o t bee n bu i l t a n d fu r n i sh ed earl i e r i n the pe r i od

du r i n g wh i ch the show has bee n ope n ; for i t i s al so a remarkab l e p roof of

th e charm i n g home that may be bu i l t a n d fu r n i shed at fa i r ly moderate cost .

The reques ts for famous p i eces of o ld E n gl i sh fu r n i tu re were ge n e rou sl y

met . H ere are ped igree - p i eces su ch as th e famous Cou n c i l - tabl e from B l e n he im

an E l i zabetha n oake n d raw - tab l e such as Shakespeare saw abou t him i n t he

hou ses of th e great . Here is . Lord de L'

I sle'

s oak gam i n g tabl e . Here may be

see n the h i s to r i c J acobea n u pho l s te red rose - col ou red cha i r i n wh i ch J ames I . sat

for h i s port ra i t whe n be i n g pa i n ted by Mytens . H ere are two Ve ry ha n d some

spec ime n s of the very rare cha i r k n ow n as the W i l l i am a n d Mary cabr io l e

tha t tal l - backed wal n u t d i n i n g - cha i r w i th carved spl at u sed by th e very r i ch,hav i n g the ear ly form of t h e cabr io l e l eg w i th the hoof that was to create the

form of t h e cha i r of Quee n ‘ A n n e a n d Georgi a n years fo r hal f a ce n tu ry afte r

ward s . No co l l ec t i o n of a n t i qu e fu r n i t u re wou l d be comple te w i thou t one or

two exampl es from the set of the ce l ebrated co l l ecto r of cl ock s, M r . Wetherfield

those cl ocks that we n ow cal l by the n ame of “gra n d fathe r . Here we may

d i scu ss the ovol o fr i eze that topped th e cab i n e t i n Charl es I I .

'

s day, or th e

hooded top that marked th e fash i o n s i n the cab i n e ts whe n 1 70 0 s t ru ck its fi rs t

hou r . Here al so are ma n y ev id e n ces of the great cha n ge that the Fre n chwoma n

Lou i se de Qu e’

roualle brough t i n to the E n gl i sh home i n 1 6 7 5— th e marqu et ry, the

flat s tre tch er, l acque r, the brass d rop - ha n d l e a n d key—pla te, a n d su ch l i ke . Here

we see exampl es of th e smooth se rpe n t i n e s t re tche r, t he Spa n i sh foot, the Spa n i sh

back, a n d othe r i n fl u e n ces that Du tch W i l l i am brough t i n to E n gl a n d . A n d so

th rough Quee n A n n e'

s years w i th the i r i n t rod uct io n of the smooth cabr i o l e l eg

to th e wal n u t cha i rs, t hat devel oped th e Ch i ppe n dal e mahoga n y cha i r famed

th roughou t th e wor ld . O n the wal l s of a n other room ha n g the Gobe l i n tapes tr i es

wrough t whe n Aud ra n was d i rector of th e l ooms, made for the H igh Adm i ra l

of Fra n ce, Alexa n d re de Bou rbo n , u n c l e to Lou i s Quatorze, as p roved by the

i n i t i a l s i n t he i r cor n ers, t he royal arms of Fra n ce, a n d th e a n cho r be n eath them .

Here, too, are M r . Cyr i l B u t l e r's h i s tor i ca l se t of l oop - backed cha i rs a n d set tee

made by Ch ippe n dal e i n 1 73 5 , a n d afte rward s ow n ed by M ar i e A n to i n e tte . Adamis represe n ted by th e loa n of S i r H e n ry Hoare

'

s pa i n ted d raw i n g - room set tee,amo n gst o the r p i eces— Sherato n al so

,a n d H eppl ewh i te . Rare ly have we see n

so ma n y ce l ebrated p i eces as were gathered together i n the Hal l of Decorat i ve

Arts at the Fra n co - B r i t i sh Exh i b i t i o n of 1 9 0 8.

HALDAN E MACFALL .

1 9 5

M M . BOUCH ERON 'S EX H I B I T O F OBJ EC TS OF ART .

FRENCH APPL IED ARTS .

THE Fre n ch Sect i o n of t he Appl i ed

Arts at Shepherd’

s B ush i s con

spicuou s for t he tech n i ca l exce l l e n ce

to be n oted i n t he co n s t ru ct i o n of

th e exh i b i t s .

I n t he show of j ewe l l e ry t he work

of the Ma i so n Bou chero n i s the

most i n te res t i n g a n d importa n t .

Nor is t he re a n y cau se for su rp r i se

D IAMON D AN D ” W NW, LACE BROOCH.

i n th i s . The h i s tory of th i s famou s

es tabl i shme n t may be fou n d i n

M . He n r i Vev er'

s book_

o n Fre n ch J ewe l l e ry i n th e N i n e tee n t h Ce n tu ry . He

dep i c t s for u s Frédér i c Bouche ro n , t he fou n de r of th e fi rm, begi n n i n g l i fe as a boyappre n t i ce to J u l es Cha i se, t he n as a n cmfiloyc

’

at the shop of T ix i e r - Deschamps at

th e Pa la i s Roya l, the l ocal i ty i n wh i ch h e se t u p o n h i s own accou n t somewhat

late r . He bega n bu s i n ess o n a very smal l scal e i n th e arcade, bu t h i s sk i l l a n d

e n ergy soo n brough t h im a measu re of success wh i ch fi rs t became ma n i fes t i n t he

Exh i b i t i o n of 1 86 7 . Fortu n e favou red h im i n ma n y ways, a n d his prem i ses

were repeated ly e n l arged, a n d by the t ime the Pal a i s Roya l had fa l l e n i n to

decay he was i n a pos i t i o n to i n augu rate the prese n t we l l - k n ow n bu i l d i n g i n th e

Place VendOme.

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F IN E EM E RALD AN D D IAMOND STOM ACH E R W ITH PEAR - SHAPED D ROPS.

Amo n g the most e l aborate p i eces of j ewe l l e ry, n o tab l e at o n ce for perfect i o nof workma n sh i p a n d for th e r i ch n ess of t he mater ia l s employed, by wh i ch th eMa i so n Bouche ro n is represe n ted i n t he Exh i b i t i o n may be me n t i o n ed a l arge

deva n t de corsage,” composed of two cor n u cop i as, i s su i n g from wh i ch i s a flood

of br i l l i a n ts, t he hor n s be i n g bou n d togethe r by a n e n ormous tal l ow- topped

1 98

FRENCH APPL I ED ARTS

D IAMON D AN D PLAT IN UM LACE BROOCH, W ITH CENTR EB R I LL IANT R I NG .

emeral d of great beau ty ; a n d a n othe r

i n wh i ch five l arge pearl shapei

d pear l s

depe n d from a ve ry i n ge n i ou s l y con

triv ed se t t i n g of pearl s a n d br i l l i a n t s .

A large d iadem composed of seve n

huge pear- shaped d i amo n d s su pported

by a vol u tes of br i l l i a n ts p rese n ted a

good exampl e of t he c lass i c s ty l e,wh i l e a fro n t l e t, made ou t of l a rge

flowers c u t ou t

spr i n k l ed w i t h p recious s to n es, pro

duced a n as to n i sh i n g effect of charm

of pl at i n um a n d

a n d beauty .

As regards the n eck l aces ex h ib i ted

by the Ma i so n Bou chero n , suppl e n ess

seemed to be the dom i n at i n g n ote .

Amo ng t he most remarkab l e were a c lose ly - fitting o n e composed e n t i re ly of

br i l l i a n ts, a n d one made of br i l l i a n ts a n d rub ie s ;attrac ted th e eye equal ly by the i r

r i ch n es s a n d by the i r n ove l ty a n d

i n ge n u i ty of des ig n .

Amo n g othe r n ove l t i es may

be me n t i o n ed a n umbe r of brooches

a n d d iadems co n s tru cted ou t of

oxydised pla t i n um decorated fa n e i

w i th br i l l i a n ts .

The spark l i n g effect ofthe br i l l i a n t s th u s set

i n b l ack i s a t o n ce

s tr i k i n g a n d

A charm i n g

fu l ly

art i s t i c .

fro n t l e t, en

tirely i n bfil

l i a n ts, repre

s e n t i n g a

fl igh t of th ree

3 w a l 1 o w 5

shou l d a l s o

b e i n c l u deda m o n g t h e

these, a n d severa l others,

S I LVE R - G I LT TO I LET S ET, LOU I S X IV . S'

I YLE

BY M M . BOUCH E RON .

n ove l t i es, as we l l as one i n wh i ch mu lberry - l eaves were represe n ted by br i l l i a n ts

a n d the fru i t by l i t t l e tal l ow - topped rub i es .

FRANCO - B R I T I SH EXH I B I T I ON

EX H I B I T or MM . BO IN - TABUR ET (Henry freres, s u ccessors, 3, R ue Pasq u ier, Par is) AT THF PALACE OF APPL I ED ARTS .

I n the mat te r of_goldsmiths

’ work th e Ma i so n Bouchero n was not l e ss we l l

represe n ted . A mag n ifice n t Lou i s X IV . to i l e t se rv i ce i n s i l ve r - gi l t a t t racted al l

eyes by reaso n a l i ke of i t s r i c h n ess, th e pu r i ty of i t s s ty l e of compos i t i o n , a n d i t s

bo l d n ess of execu t i o n . Severa l l arge vegetabl e d i s hes i n s i l ve r, wrough t i n c l ass i c

s ty l e, were al so co n sp i cuous for the i r art i s t i c workma n sh i p .

To sum u p, t he ex h i b i ts of t he Mai so n Bou chero n may be sa i d to have bee n

n o tab l e i n almos t equal d egrees for the i r or igi n a l i ty a n d good taste comb i n ed w i th

perfect workma n sh i p a n d th e ge n e rou s u se of r i ch mate r i a l . They sta n d for a l l

that i s best a n d most art i st i c i n t he fie l d of Fre n ch j ewel l e ry .

A n other ex h i b i t worthy of spec i a l me n t i o n i s that of Messrs . Veve r . I t is

i n d i cat i ve of co n temporary taste— a n d ve ry good taste, I haste n to add, for we

al l k n ow to what ex t remes the p ropagators of th e “moder n s ty l e ’ are carr i ed

al i ke i n Fra n ce a n d abroad . Messrs . Vever have Show n du e rest ra i n t, a n d haveco n t r i ved to make the i r j ewe l - work mode r n w i thou t excess, wi thou t ex t ravaga n ce,wi thou t i n cohere n ce, a n d w i thou t absu rd i ty .

A n imme n se success has bee n ob ta i n ed at th e Palace of Appl i ed Arts by

the Fre n ch gol dsm i ths ’ work sect i o n , a n d th e B r i t i sh pub l i c, not wi thou t

reaso n , are l os t i n adm i rat i o n i n face of su ch a br i l l i a n t ma n i fes tat io n of

Fre n ch tas te . Co n n o i sseu rs a n d profess i o n a l peopl e too are ab l e here o n ce

more to n o te the weal th of i n ve n t io n possessed by ou r ar t i s ts, art i sa n s,des ig n e rs, mode l l e rs, a n d Chasers, as wel l as t he ease with . which th ey as i t

were we l d together aga i n the cha i n of broke n t rad i t io n s a n d recreate a s ty l e

a n d ha n d iwork of former t imes i n th e work of the p rese n t day .

The exh i b i t i o n of Messrs . Bo i n - Tabu ret i s from th i s po i n t of V i ew one

of the most att ract i ve i n the whol e d i sp lay . I t is becau se the i tems here

show n have a n in comparab l e grace a n d spl e n dou r, a n d are i n ve ry tru th th e

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t ab l e ce n tre i n o l d Capo - d i - Mo n te, mou n ted by the house of Bo i n - Tabu ret, is

n o t l ess adm i rab l e tha n the above . O n the s teps a n d arou n d the co l um n s of

t h e l i t t l e templ e, su rrou n d i n g the de i ty that res i des th ere i n , th ere r i o ts a perfect

flora l l uxu r i a n ce ; flowers tw i s t rou n d, l igh t l eaves be n d or spread ou t, a n d

del i cate or n ame n ts are dev elopedfl the whol e form i n g a de l igh tfu l p i ece of

ma n n e r i sm, t he gracefu l ma n n er i sm of t h e e igh tee n th ce n tu ry wh i ch has made

so ma n y exqu i s i te t h i n gs of th i s k i n d .

MM . Chris tofle et C ie . ,Carde i l hac, a n d R i ss l e r et Carré are al so accomp l i shed

gol dsm i th s, a n d we may fee l qu i t e su re that from the po i n t of v i ew of tech n i ca l

workma n sh i p n o n e of t he Obj ects bear i n g the i r n ames are ope n to cr i t i c i sm .

The grea t Fre n ch fou n de rs are represe n ted by the Mai so ns Barbedienne,Fumiere a n d Su sse : the i r wares are pe rfect i n the i r way, bu t l ack var i e ty

they seem to have u n dergo n e n o cha nge for years a n d years . New mode l s

are few a n d far be twee n , a n d such as the re are do n o t po i n t to ve ry carefu l or

j ud i c i ou s method s of se l ect i o n .

Of the clocks a n d watches, i m i tat i o n j ewe l l e ry, a n d m i n or gol d sm i th s'

work

i n ge n eral, t he re i s l i t t l e or n oth i n g to be sa id . I n t h i s fie l d fash i o n re ig n s

su preme, espec ial ly i n regard to the im i tat i o n j ewel l e ry and'

goldsmiths’ work .

The o n ly th i n g tha t i t seems n ecessary to record i s t he u n de n i ab l e supe r i or i ty

of ou r c raftsme n over th e E n gl i sh i n th i s fie l d of i n d u st ry, i n the _manu factu re,

that i s, of articles de l uxe. What took p lace i n t he e igh tee n th ce n tu ry is

tak i n g p l ace aga i n , bot h i n regard to fu r n i tu re, cab i n e t - mak i n g a n d gold sm i ths’

work, a n d work i n b ro n ze . The E n gl i s h exce l i n the ma n u factu re of obj ects

of every day u se, wh i l e we take the fi rs t p lace i n the matte r of de l i cate a n d

tastefu l work GABR I E L MOUR EY .

TABLE CENTR E I N OLD CAPO - D I - MONT E FATE TENDR E, S I LV E R G I LT, BYBO I N - TABUR ET.

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D ECORA I ED IN TER IOR AND F U RN I TU R E E X H I B I TED MORR IS COM PAN Y.

MORRIS COMPANY.

H E Exh i b i t of Morr i s 8L Compa n y, i n t h e Decorat i ve Arts

B u i l d i n g, forms part of th e Loa n Col l ec t i o n of B r i t i s h

fu r n i tu re a n d decorat i o n . I t co n s i s t s of a n ope n room 2 5 ft .

wide by 1 6 ft . deep, decorated i n a s imp l e ma n n e r, bu t w i t h

great at te n t i o n to the ge n e ral co l ou r effect, always a l ead i n g

featu re i n th e work of the fi rm fou n ded by Wi l l i am Morr i s,who was before everyth i n g e l se a maste r of co l ou r a n d harmo n y . The

pr i n c i pa l obj ec t i n t he room i s a n Arras Tapes try, 1 2 ft . 6 i n . w ide by 8 ft . 6 i n .

h igh, represe n t i n g t he we l l —k n ow n Pr imave ra p ic tu re by Bott i ce l l i . The

weav i n g of Arras Tapest ry is o n e of t he arts wh i ch Wi l l i am Morr i s rev i ved .

Formerly t he n ob l es t of al l the arts, a n d ce rta i n ly o n e of t he ol dest, i t rose to

i t s ze n i th i n Fra n ce, Belg i um, a n d the Nethe rl a n ds du r i n g th e fi ftee n th a n d

s i x tee n th ce n tu r i es, whe n th e fi n es t tapes tr i e s i n the worl d we re made . I t was

in t rodu ced i n to E n gla n d by Charl es I . , a n d th rove for a t ime at Mort l ake,b u t became ex t i n c t aga i n d u r i n g th e re ig n of J ames I I . U n d e r th e tas tea n d gu ida n ce of Morr i s a n d Bu r n e - J o n es, i t has recovered much o f its l os t

b r i l l i a n ce, a n d th e tapestr i e s wove n s i n ce 1 880 at M erto n Abbey l eave l i t t l e,if a n yth i n g, to be des i red, eve n i n compar i so n w i th the bes t p rod uct i o n s of

FRANCO - BR IT I SH EXH I B IT I ON

Fla n ders . They are, i n fact, v i rtu al ly th e o n ly l i v i n g represe n tat i ves of th e

art, for at the Gobe l i n s a n d e l sewhere, where th e h igh - warp l oom su rv i ves, th e

work i tse l f i s bu t a l i fe l ess im i tat i o n of th e ol de r s ty l e . Th i s “Bott i ce l l i "

tapestry i s th e o n l y i n sta n ce i n wh i ch the Merto n Abbey workers have cop i ed

IN LAI I) CAB IN ET O F ITA L I AN \VALNUT I N TH E Q U E EN AN N E STYLE .D ES IGN ED BY M . E . M ACARTN EY, ESQ . ; M ADE BY MORR IS 8L COM PAN Y .

a p i c tu re, al l t he oth er exampl es of the i r work be i n g do n e from cartoo n ,spec i a l ly des ig n ed by S i r Edward Bu r n e - J o n es, M r . Wal te r Cra n e, M r . Morr i s,a n d other art i s ts .

O n the floor, a n d much adm i red for the beau ty a n d r i ch n ess of its co lou r, is

show n a ha n d—made “Hammersm i t h ” carpe t,wove n somewhat i n t he same way a n don a somewhat s im i l ar l oom as the tapestry . The rap i d dege n e rat i o n of Pers i a n

a n d Tu rk i s h carpe t weav i n g u n der Wester n i n fl ue n ce tu r n ed M orr i s to the subj ec t

ma n y years ago, a n d afte r l o n g exper ime n ts i n dye i n g a n d weav i n g, he su cceeded

i n p roduc i n g heavy p i l e carpets wh i ch p rese rved al l th e beau ty,wi thou t copy i n g

t h e sp i r i t, of t he O ri e n tal work . These mag n ifice n t spec i me n s of E n gl i'

sh

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Se rv i ce from earl i es t t imes th e des ig n s of two or t h ree arch i te c ts who were real

masters of s ty l e, n o tab ly M r . Ph i l i p Webb a n d his pup i l, M r . George J ack . A

large mahogany ch i n a cab i net w i th o r n a te sat i n wood i n lay shows th e charac teris t i ctou ch i n t rodu ced by them . Oppos i te to it i s a seve re r bu t not l e ss fi n e examp l e

M A HOGAN Y I NLAI I) COMMOD E, BRASS MO I NT ING S, AN D R IL I I S LABS \ E RDE ANT I Q U E .D ES IGN ED BY \V. A . S . B ENSON, ESQ . M AD E BY MOR R I S 8L

of s tyl e d es ig n ed by M r . Mervy n Macart n ey, a wel l - k n ow n pu r i s t a n d th e au thor

of a n Exempla r ” of a rch i tec tu ra l d e ta i l s wh i ch is i n great reque st . Th i s cab i n e t

i s i n I tal ia n wa l n u t of p i'cked gra i n , very r i ch ly u sed, a n d in i ts ge n e ra l fo rm i s

based upo n t he Q uee n A n n e per i od . The mou n t i n gs areof so l id S i l ver, take nfrom a n a n c ie n t caske t of D u tch E as t I n d i a n workma n sh i p . The rema i n i n g th ree

wal l - p i eces are exampl es of d es ig n by M r . W . A . S . Be n so n , in two of wh i ch a no rig i n a l a n d st r i k i n g effec t is ob tained by mea n s of metal e n r i chme n ts,wh i l s t t h e

th i rd, a square - shaped escr i to i re, depe n d s for i ts or n ame n t on r i ch i n l ay a n dquarte r ve n ee r i n g of burr wal n u t . The s ta n dard of workma n sh i p in t hese cab i n e tsis as perfec t as a n y th i n g tu r n ed ou t by Sherato n or Ch i ppe n dal e . The o ther

fu r n i t u re i n th e room co n s i s ts of a sol i d rou n d carved rosewood tab l e, a carvedse t tee, a n exampl e of th e we l l - k n own M orr i s “adj u s tab l e - back cha i r, wh i ch has

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FRANCO - BR I T I SH EXHI B I T ION

gi ve n its n ame to a whol e c l ass of armcha i rs i n Amer i ca, a n d two l i t t l e ru sh - seated

Su ssex cha i rs cal l ed afte r th e i r spo n so r, D . G . Rosse tt i, who, wi th M orr i s,Bu r n e - Jo n es, a n d Ford Madox - B row n ,was o n e of th e fi rs t fou n ders of th e

'

fi rm .

IN LA I D M AHOGAN Y CH INA CAB IN ET, BY MOR R IS 8L COM PAN Y .

These are pa i n ted i n red a n d gree n , afte r a fash io n that th e Oxford grou p

del igh ted i n . The exh i b i t i s compl e ted by port ieres of a we l l - k n ow n embossed

vel ve t of r i c h I tal ia n des ig n that Wi l l i am Morr i s d i scovered, a n d by fro n t cu rtain s

of o n e of t he ha n d - wove n tapes t r i e s m ade a t M erto n Abbey, the co lo u rs be i n g two

shades of in d igo b l ue, a n d t he des ig n one take n from a beau t i fu l spec ime n of early

s i x tee n t h ce n tu ry work prese rved i n Sou t h Ke n s i n gto n M use um .

2 0 8

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V l FW O F INTE R IOR O F IZKI- I I B I 'I .

marke t what t hey cal l Par i a n fa ie n ce, wh i ch they guara n tee to s ta n d exposu re to

the weathe r i n our cou n try, a n d wh i ch i s soh igh ly v i t r ified as to' be u n at tackabl e

by the su l phu r i c acId vapours i n the a i r, a n d impermeab l e to soot or d us t . The

probl em co n fro n t i n g the arch i te c ts was to produ ce a n art i s t i c e l evat i o n represe n t i n g

how a br i ck or fe rro - co n cre te s t ru ctu re cou l d be coated wi th fi red ’ s l abs of potte ry

made i n th i s mate r i al, a n d ye t r i d as far as poss i b l e of moul d i n gs or othe r arch i

tectu ral de ta i l s p rope r to s to n e wh i ch offe r difficu lt Ies i n ma n u factu re or afford

l odgme n t to d us t a n d d i rt . The exte r i o r i n quest i o n i s t reated w i th a chevro n

pat te r n i n wh i te a n d sage gree n ,wh i l e ba n d s of b l ue a n d wh i te a n d bl ack u n glazed

potte ry are used for re l i e f.

The most s t r i k i n g featu re of th e i n te r i o r i s a flatte n ed Byza n t i n e dome ove r

th e ce n t ral par t of the s ta n d, wh i ch i s i n cru sted wi th a mosa i c of tu rquo i se b l ue

t i l es re l i eved by n arrow ba n ds of s i l ve r l u s t re . The wal l s of the compartme n ts

on e i the r s i d e are decorated w i th pa i n ted t i l es des ig n ed by Lew i s F . Day, a n d

i n sp i red by the beau t i fu l t i l e decorat i o n of Pers i a . The patte r n s are E n gl i sh

e n ough i n de ta i l, bu t th e col ou r schemes, of r i ch cobal t b l ue, sage gree n , br igh t

tu rquo i se, a n d Rhod ia n red are s i m i l ar to those emp loyed i n the best Or i e n ta l

work of the fi ftee n th a n d s i x tee n th ce n tu r i es . The fi replace, co n s tru cted i n

2 1 0

P I LK INGTON '

S T I LES AND POTTERY

YI EW O F FRON T AN D INT ER IOR .

spec i al ly se l ected marb l es i n l a i d w i th l u s tre t i l e s, was al so des ig n ed by M r . EdgarWood, as was th e bl ack a n d wh i te ce ram i c mosa i c floor . I n add i t i o n to the

rich ly pa i n ted or l u s tre t i l es, the lowe r part of the i n ter i o r wal l s is l i n ed w i th a

dado of cool mott l ed gree n t i l es w i thou t pat te r n .

2 I I

FRANCO - BR IT I S H EXH I B I T I ON

Messrs . P i l k i n gto n are makers of two

wel l - k n ow n k i n d s of potte ry, wh i ch are

p l e n t i fu l l y exh i b i ted i n th e showcases at

the fro n t a n d back of the i r s ta n d . The i r

LancastrPan potte ry co n s i s ts of bol d,s imply - des ig n ed p i eces i n pl a i n col ou r

good gree n s,i n c l ud i n g a

reds, b l ues, or ye l l ows,n ew a n d very i n te res t i n g

ora n ge - Ve rm i l i o n , var i ed by some ve ry

ha n dsome mott l ed a n d opal esce n t eff ects,a n d a r i ch bro n ze - d us t gl aze wh i ch is

k now n as “fie ry crystal l i n e . The i r l ates t

a n d most

the produ c t i o nD ES IGN ED BY L . F . D \Y. PA IN T ED BY “7 . S. MYCOCK.

ware cal l ed

La n cas tr i a n Lu s tre, u po n wh i ch M r . Wi l l i am

Bu rto n , the i r tech n i ca l a n d art i s t i c d i rector, by

far the most l ear n ed potte r i n E n gl a n d s i n ce

Wi l l i am De Morga n , has bee n e n gaged for some

years . The importa n ce of t h i s l u s tre - ware, wh i ch

has var i ed a n d added to the gorgeou s eff ec ts o f

H ispa n o - Moresqu e a n d I ta l i a n work i n t he same

fie ld, was reveal ed to th e worl d i n a pape r read

before th e Soc i e ty of Arts l as t year by M r. Bu rto n ,a n d i l l u s t rated w i th every k i n d of l u s tre - ware from

earl i es t to the la tes t t imes .

I f we compare the exh i b i t s i n Messrs . Pilk ingto n

'

s cases w i th a n y of the old E n gl i sh l u stres,commo n ly so cal l ed (wi th those, for i n s ta n ce, from

the col l ect i o n of M r . Wi l l i am Ward, i n the Loa n

Col l ect i o n cl ose by),we shal l see at o n ce that they

are of a whol ly d i ffe re n t characte r . I n t he lat te r - a

heavy smooth metal l i c depos i t has bee n got,wh i ch

makes the earthe n ware u te n s i l s on wh i ch i t is

employed gl i ste n , as they were i n te n ded to do, l i ke

copper or s i l ve r ware . Metal l i c qual i ty of su rface

is, however, o n ly o n e featu re of real l u s tres, a n d

n e i the r the most importa n t n or th e most beau t i fu l

o n e . I f we exam i n e spec ime n s of the l u s tre work

of ol d Pers i a n or I ta l i a n or Spa n i sh potte rs, we

shal l fi n d that the decorat i o n , however s tro n g a n d

metal l i c i t may be i n ce rta i n l igh ts, i s softe n ed a n d

n otabl e ach i eveme n t has bee n

of a h i g h l y p e r fe c t e d

F LORAL D ES IGN BY L . F . DAY .PAINT I

‘

D BY T . F . EVAN S .

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is abl e n ow to produce batch afte r batch of pract i cal ly u n i form perfect i o n eve n

w i t hou t the u se of t r ia l p i eces at al l . Mr . Bu r to n , s i n ce h e fi rs t s tarted t h i s

i n d u st ry, has col l ected a schoo l of art i s ts u n de r h im who are e n deavou r i n g to

br i n g to the i r work th e art i s t i c va l ue cal l ed for by such perfect i o n of t ech n i ca l

sk i l l as he has obta i n ed .

The ch i ef of these is u n doubted ly M r. Gordo n M . Forsy th, formerly a pu p i l

of M r . Gera l d Mo i ra a t Sou th Ke n s ingto n , who excel s i n h era l d i c des ig n s,c o m b i n e d w i t h at te n t i o n to fou r

figu re work a n d or fi ve l arge p i eces

ba n d s of l e t ter i n g . decorated by M r .

Others worthy of Forsyth, wh i ch,i n d i v i d ual me n t i o n i n pe rfect i o n of

are M r. R i chard co lo u r a n d execu

J o y c e, w h o s e t i o n , are amo n g

spec i a l ty i s t h e the maste rp i eces

pa i n t i n g of l u s t re of th e fi rm .. The

d es ig n s of b i rd s, fi n es t i s a tal l vase

a n i m a l s , a n d of rich cobal t b l u e,f i s h e s ; W . S . flawless in su rface,Mycock , conv en a n d pa i n ted wi th

tional floral de a bol d des ig n i n

s i g n 5 C . E s i l ve r l u st re of th e

Cu n dal l, M i ss D . R ide of t h e Va l

Dacre, M iss G . k y r i e s . T h e

Rogers, a n d M i ss adaptat i o n of the

J . J o n es . des ig n to t he form

M r . Wal te r of th e vase, the

Cranehas des ig n ed maste rl y d raw i n g,somecharacteristic a n d th e pecu l i ar

p i eces for t he fi rm, t r a n s p a r e n c y o f

w h i c h a r e a l s o the l u s tre, wh i c h

amo n g the i r bes t . e x p e r i e n c e c a n

Of the spec i n eve r absol u te l y

In éns e x h i b i t e d guara n tee to come

u n de r glass, o n e ou t r igh t, make

mus t cal l spec i al this piecearemark

abl e spec ime n worth i e r of a n at i o n a l museum tha n a p r i vate co l l ect i o n . Scarce ly

l ess fi n e is a n othe r l arge b l u e vase pai n ted wi th a sce n e of Orpheus a n d the beasts,n ex t to which ‘

is a very dark gree n one decorated w i th a n early sh i p a n d a motto

across the back . The effect of the l u stre aga i n s t th i s sombre grou n d i s ve ry fi n e,a n d is repeated i n a n o the r l arge spec ime n d i v i ded i n to pa n e l s by ve rt i cal r i bs of

l ustre, a n d decorated w i th floral scrol l s .

P I LK I NGTON ’

S'

, T I LES AND POTTERY

L ANCASTR IAN POTTE RY . VASE D ES IGN ED AND PA INTED L \NCASTR IAN POT TERY.BY W . S . MYCOCK.

BO\VL D ES IGN ED BY \VALT ER C RAN E .PA INTE D BY R . JOYC E.

VASE D ES IGN ED AN I ) VAS E DES IGNEDPA I NT ED BY PA I NT ED BYR . JOYCE . \V. S . MYCOCK.

FRANCO - BR IT I S H EX H I B I T I ON

The l a rges t vase i n t he col l ec t i o n i s o n e of a spl e n d i d scarl e t red, rath er a

try i n g co l ou r perhaps i n a decorat i ve scheme, wh i ch i s mag n ifice n t ly pa i n ted w i th

a n [Eschylean sce n e of the th ree Eume n i des, i n gol d e n l us t re pe rfect ly adapted

to the rou n ded cu rves of the grou n d . Th i s cgmpet’

es for maste ry w i t h a n o l ess

i mpos i n g spec ime n , 2 4 i n ch es h igh, of pal e bl ue body decora ted w i th a ra i sed a n d

mode l l ed represen tat i o n of St . George a n d th e D rago n . By a happy acc i de n t of

th e fi r i n g th e golde n l u s t re o n th e armou r of th e Sai n t, a n d i n c i de n tal ly his'

face as

we l l, glow l i k e bur n i sh ed brass, wh i l s t th e D rago n'

s w i n gs reflect a myr i ad

i r i d esce n t rays .

O the r p i eces cal l i n g for spec i al .me n t i o n ou t of the w i de assortme n t of wel l

des ig n ed a n d we l l - pai n ted vases, bowl s, bot t l es, a n d l i d ded boxes of eve ry s i ze, are

a tal l Ch i n ese oval vase w i t h cap, i n gol de n l u st re o n a ye l low grou n d, represe n t i n g

boys s teal i n g grapes, t he v i n es ru n n i n g rou n d th e body i n two broad ba n ds ; a squat

G reek vase of mott l ed grey - bl ue (a co l ou r much fa n c i ed by M r . Burto n a n d n ever

prev ious ly obta i n ed ) covered w i th S ig n s of th e Z od iac arra n ged i n a s i l ve r scrol l

work ; a n othe r St . G eorge a n d the D rago n i n s t ro n g red o n a grey - b l ue mott l ed

grou n d ; oneof s i l ve r sh i ps a n d t rees i n a co n ve n t i o n al ba n d form upo n a l igh t

cobal t body, a n d two p ieces i n go l d l ust re u po n ye l l ow beari n g the eas i ly

recog n i sed des ig n s of M r . Wal te r C ra n e .

The P i l k i n gto n T i l e a n d Pot tery Compa n y was fou n ded i n 1 89 2 , a n d has

progressed i n to the fro n t ra n k of pot te r i es s i n ce . U n de r t he i n flue n ce of M r .Burto n , who

'

i s a n expe rt au thor i ty upo n h eal th - sav i n g dev i ces i n t he da n ge rou s

trades, the i r workshops have a n e n v i ab l e repu tat i o n as be i n g amo n gst the most

perfect ly co n st ruc ted i n the worl d, both from the po i n t of v i ew of ma n u factu re

a n d of safeguard i n g the l i ve s a n d heal th of the worke rs .

MAR ILLIER .

CUP D ES IGN ED AND PAIN I ED BY GORDON M . I'OR SYTH.

2 1 6

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s traw - col ou red eve n i n g d ress by R ev erdot was always much

adm i red, al so a gold - co l ou red sat i n ove r a wh i te sk i rt .

To i l l ust rate t h i s ar t i c l e we have se l ected from the

twe n ty - fou r exh i b i to rs in t he col l ec t i v i té t hose gow n s we

co n s i de red most tastefu l . These are s ig n ed A i n e - Mo n ta i l le,R ev erdot, Perdoux Cie. , N ey Soeu rs, D etrois, D eeu illet,

Carol i n e, Beer, a n d Pau l Po i re t .

I t wou l d n o t be su rpr i s i n g i f app l i cat io n s were rece i ved

from al l parts of t he worl d for th i s adm i rabl e Col l ect i v i té

Exh i b i t i o n , n ow that the Press has spread i ts fame far a n d

w id e . The beau ty a n d n ove l ty of the wax figures al o n e

made a great se n sat i o n amo n g al l who saw them . Neve rbefore i n a n y ex h i b i t i o n he l d i n

E n gla n d had such a var i e ty of

postu res bee n see n i n figures made

of wax . These are cal cu l at ed to

show to th e best ad va n tage the r i ch

a n d beau t i fu l d resses, coats, fu rs,l i n ger i e, corsets, d i sp l ayed . The n ,aga i n , th e i dea of d i spos i n g these

figu res i n groups i n sal o n s fu r n i sh ed

l i k e rooms, had i t s share i n t heCARD ] lxu.— E\cmng Go“n m marq u ise t te

embroidered with s i l v er p h e n o m e n a l su ccess of the

exh i b i t i o n . The n at u ra l poses, t he cl ever ly co n st ru cted

shapes so d i ffe re n t from those u sual ly assoc i ated wi t h

wax - work, a n d the sk i l fu l l igh t i n g, comb i n ed to form

a ve ry fasc i n at i n g e n sembl e .

What a n imme n se se n sat io n t he co l l ect i v i té wou ld

make o n tou r t h rough the U n i t ed S tates, fo r i n s ta n ce,amo n g the Amer i ca n l ad i es, who have su ch exce l l e n ttaste i n d ress a n d u sual ly suffic i e n t mo n ey to i n du lge

i t . The n t here i s Austra l i a, th e “com i n g cou n t ry "

i n the matte r of m i l l i o n a i res ; a n d fu rthermore Sou th

A fr i ca, wi th i t s wake n i n g w i shes for al l the l uxu ry a n drefi n eme n t of weal t h a n d h ighes t c i v i l i sat i o n . Here

wou l d be a l i s t of t r i umpha n t successes i n i t i a l l y d u eto the Fra n co - Br i t i sh Exh i b i t i o n .

I n add i t i o n to the co l l ect i v i t é were ma n y pr i vate

exh i b i t s,a l l of t hem i n terest i n g .— E\ enmg D ress m peacock

b lu e meteor wi th moonl igh t cmbronden .

Pu re ly se n sat i o n a l we re some of t he exaggerated

D i rec to i re a n d I n croyabl e gow n s, wi th the i r ee l - t igh t c l i n g i n g to the figu re,

t he i r sk i n - t igh t s l eeves a n d l o n g, n arrow poi n ted t ra i n s . For the crowd t hese

2 1 8

FASH I ON EXH I B I TS

had a sucré’s (Z0 f ire, so cu r i ou s was the s i l houet te of th e

figures a n d so t igh t ly st ra i n ed ove r t hese were the gow n s .

Yet th ere was grea t beau ty of mater ial a n d co l ou r i n some ofthese, for i n s ta n ce a du l l Egypt i a n b l ue a n d a N i l e gree n verysubt ly comb i n ed . Bu t a te rr i b l e spec ime n was a ye l l ow a n d

black gow n i n hor i zo n ta l s t r i pes, suggest i ve of a wasp, a n d

ou r/n”i n form as wel l as col ou r .O n t h e o the r ha n d, t he maj or i ty of th e d resses show n

we re i n excel l e n t taste, as m igh t be expected, o n e i n

embro id ered tu l l e, a n ot he r i n red crepe - de - ch i n e w i th

pal est gol d st i tchery .

Wi th every des i re to fi n d good i n t he exh i b i t s of

E n gl i sh fi rms, o n e has to ack n owl edge the super i o r

beau ty of Fre n ch exh i b i t s, both

i n col ou r a n d i n d rap i n g . O n e ’smemory reverts to the l ovely

ye l l ow sat i n , by Bee r, ve i l ed

i n grey ch iffo n , a gracefu l

pel i sse caugh t togethe r i n fro n t

a n d ha n d somely embro i dered

i n grey pearl s i n a des ig n

o f popp ies ; or to a most

exqu i s i t e gow n i n d iapha n ou s

s i l k musl i n i n two to n es of

Egypt i a n b l ue, wi th a l o n g

scarf i n s im i la r t i n ts arra n ged

ve ry “My ove r 0“ Sho“'de"a n d fal l i n g l ow o n the sk i r t i n

e n ds embro i de red i n peacock t i n t s, th e rea l eyes of the

p l umage i n t roduced w i t h greates t sk i l l i n t he embro i dered

fr i n ge .

Tak i n g i n to co n s i de rat i o n a l l t hese l ove ly th i n gs i t

was n ot d i fficu l t to accou n t for the popu l ar i ty of th i s part

of t he Exh i b i t i o n .

The n t here were t he fu rs, amo n g wh i ch G ru nwaldt'

s

show was su preme, the co n te n t s e l i c i t i n g cr i es of adm i ra

t i o n from the mass of gazers who fi l ed past . There

was al so Ju ngmann'

s at t ract i ve exh i b i t, a n d R ev i l l o n'

s,et c . R e v i l l o n

'

s d i o rama of fu rs was remarkably

i n te rest i n g, showi n g the whol e of th e p rocesses co n

nected wi th pe l try . F i rst there were the t rappers at work i n the s n ows of

the Hudso n , t he l itt l e fu rry a n imals st i l l i n possess i o n of th e i r sk i n s . The n

2 1 9

FRANCO - BR IT I SH EXH I B IT I ON

came the cl ea n i n g a n d prepar i n g, a n d at th e o ther e n d of

the d io rama was a n ope ra box occup i ed by lad i es wear i n g

beau t i fu l fu rs, the i l l um i n ated opera house beyo n d them .

Th i s exh i b i t fasc i n ated th e spectators beyo n d measu re .

Amo n g t he l ove ly fu rs show n by th e co l l ectiv i té i t wou l dbe diflicu lt to say wh i ch were most adm i red, t he l o n g coatsof R u ss ia n sab l e a n d seal sk i n , a n equal l y l o n g ma n t l e of

emeral d sat i n w i t h a dark sab l e co l l ar, a n e n t i re gow n i n

royal e rm i n e ope n i n g over a fro n t of gracefu l ly d raped l ace ;a lo n g ch i n ch i l l a coat arra n ged i n s t r i pes of dark a n d pal e,or a coat a n d sk i r t compl e te ly made of broad ta i l .

Nor d i d th e Fre n ch perfumery fa i l i n a n y way tofi n d adm i re rs . I n fac t i t was w i th diflicu lty - tha t o n e

fou n d room for a good l ook at some of th e cases,espec ial ly that of L . T . Piv er, so adm i rably d i sposed

a n d l igh ted, a n d so very co n ve n i e n t l y p laced i n ful l

v i ew of those ‘ who passed ou ts i de th e sa l o n , a n d who

e n j oyed the de l i c i ous perfumes ema n at i n g from such

exh i b i ts as Trefle I n car n at, th e Coryopsis of j apa n ,e tc .The beau ty of t he boxes was

a n othe r cause of adm i ra t i o n , to

say n oth i n g of th e i r exqu i s i te l y

pe rfumed co n te n ts,whethe r soap,powder o r o the r p reparat i o n for

t h e t o i l e t t e . The cu t - glass

bott l es i n wh i ch th e var i ou s 2 52210

35 5255 ; iiiiiismok e- grey embro ideredmu s l in pomts of thedouble

del i c i ou s perfumes were e n c l osed sk irt endm large m seh

gl i t te red l i ke d iamo n ds i n the rays of the el ect r i c l igh t .

Much“

of the exce l l e n t effect was due t 0 ' th e tastefu l a n d

sk i l fu l a rra n geme n t of th i s much - adm i red exh i b i t .

Fre n ch gl oves are too wel l apprec iated i n E n gl a n d to

adm i t of a n yo n e pass i n g w i t h i n d iffe re n ce t he cases i n

wh i ch they were show n , a n d th e same hol ds t rue of t h e

spec ime n s of fi n e,

a n d beau t i fu l l y shaped u n derwear for

wh i ch Par i s i s so j u st l y famou s .

The corse ts, fo r a s im i l ar reaso n ,rece i ved the fl at te ry

of much at te n t i o n , e spec i a l ly t hose of Le’

oty, w i t h the

accompa n y i n g profu s io n of l uxu r i ous u n derwear . The

PA l L PO l R ET .— Ou tdoor Gown in s t riped figures i n t h i s exh i b i t we re so l i fe l i ke a n d so p l eas i n g

as to add to t he att ract i o n of t he corset s a n d th e

garme n t s show n . The former were ve ry beau t i fu l ly shaped, as m igh t have bee n

expected, a n d fi n i shed i n a ma n n e r t hat m igh t be a l esso n to some of the other

2 30

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FRANCO - BR I T I SH EXH I B ITION

t h roughou t the whol e of th e sect i o n . Embro i de ry, a k i n d red

a rt to l ace - mak i n g, mai n ta i n ed th e h igh l eve l of othe r

exh i b i ts,a n d was imme n sely adm i red for t he beauty of the

des ig n s a n d the fi n e n ess of th e st i tche ry ; al so for th e adm i rab l e

adaptat i o n of t he var i ou s pat te r n s to art i c l es of' d ress .

Those who had n o t t he good fortu n e to see th i s D ressExh i b i t i o n ca n scarce ly imag i n e i t s compl ete n ess, i ts bread th

of pl a n n or ca n they co n ce i ve of th e t reme n dou s at t ract i o n i t

co n st i tu ted for the e n ormous crowds who v i s i ted the Exh i b i t i o n .

I mu st n o t forget to me n t i o n t he d io ramas of flowers

a n d feath ers exh i b i ted by the Col l ect i v i t é of the I n d ust r i es of

the A rt ific i al F lowers of Par i s . Most i n ge n i ou sl y a n d

effect i ve l y arra n ged was the beau t i fu l sce n e i n Tokyo,Wi t h i ts p rofus i onof Ch ry sa n t hemums . The Synd i cate

Chamber of Ma n u factu re rs of H ats fo r Lad i es hada n oth e r p i ct u resqu e exh i b i t of flowers showi n g the ce l e

brated garde n of Mar i e A n to i n e tte at th e Pet i t Tr i a n o nat Versa i l l e s . The n aga i n . a fu rther at t ract i o n was

supp l i ed by the P r i n c i pa l I m porte rs o f B i rd s, whose

exh i b i t showed a sce n e i n Uppe r Egypt w i t h ru i n s a n d

t he sacred b i rd, th e rose i b i s ; a l so a sce n e i n th e

mou n ta i n s wi th b i rds of prey .

The cl eve r n ess w i th wh i ch these p i ctor i al sce n es were

arra n ged was wel l apprec i ated by e n th u s i ast i c spectators .

Fre n ch art, taste a n d i n ge n u i ty have alwav s bee nL d

REWER DOT — A red clo th Toilet te wl th b lack sash

ack n owl edged a n d adm i red i n E n gl a n d, a n d t hese

opportu n i t i es of obse rv i n g the i r resu l t s have e n ha n ced the al ready br i l l i a n t

su per i o r i ty of ou r n e igh bou rs . M rs HUMPII RY

THE CASCAD E AND ELECTR IC LAUNCii.

2 2 2

P . M . G R UN \VALD I‘ R EC E IV ING H. M . THE K ING AND PR ES I DENT FALL“RES AT I I IS S I AND .

BEAUTY AND FURS.

OME peop l e say that a ha n dsome woma n n eve r l ooks so we l l

as i n a r i d i n g hab i t . O thers th i n k sh e l ooks he r bes t i n eve n i n gd ress . There are those who prefe r he r i n the l igh t garb of su mme r

[ wi th i ts d i apha n ous d raper i es, i t s sem i - t ra n spare n t l i n e n s a n d

bat i s tes . Bu t the poe t and t he art i s t— a n d who ca n be tte r

est i mate the degrees of beau ty — find someth i n g beyo n d al l t hese i n t he

co n t rast afforded by fu rs to the de l i cacy of comp l ex io n , t he sl im n ess of figure,t he ge n t l e fem i n i n i ty of a pretty woma n .

The n , too, t he re i s a certa i n d i s t i n ct i o n imparted by r i ch fu rs to eve n t he

most e l ega n t of wome n . A l i t t l e l ady, who m igh t o therw i se pass as i n s ig n ifica n t,at t racts adm i r i n g gaze i n a se t of sabl es, e rm i n e, ch i n ch i l l a, or a c lose - fitting

coat of bre i tschwa n z . What a se n sa t i o n i s created whe n someo n e sa i l s i n to t he

sta l l s of a theatre i n a n ampl e coat of some beau t i fu l fu r, fi n e l aces t r imm i n g the

co l lar ; or i n a cape of, say, ch i n ch i l l a o r e rm i n e, composed w i t h al te r n a te ba n ds

of l ace .

Agai n , at a smart wedd i n g i n au tum n ,wi n te r o r ear ly sp r i n g, whom do thewome n - jou r n al i st s s i n gl e ou t for spec ia l me n t i o n i n the i r var i ou s papers ? O fcou rse i t i s t he guests who are mos t sumptuou sl y garbed i n r i chest fu rs . There

fi f’ fl-

0

FRANCO - BR IT I SH EXH I B IT I ON

i s n ot h i n g more te l l i n g — n ot eve n j ewe l s — in a to i l e t te t ha n fi n e, wel l

des ig n ed fu rs .

Quee n A l exa n d ra l ooks l ove ly i n fu rs . O n e w i n te r H er Maj esty wore asab l e s tol e wh i ch e n ha n ced to a marve l h e r cle‘ar pal l o r a n d the su n n y brigh t n ess

of her ha i r . Las t year she wore e rm i n e, a n d i t i s d i fficu l t i n deed to say wh i chsu i ted he r bes t . Her Maj esty accompa n i ed K i n g Edward o n the occas io n of the

v i s i t of Pres i de n t Fallieres to t he Fra n co Exh i b i t i o n a n d was so much stru ck

by the beau ty of th e fu rs show n by Mo n s i eu r G runwaldt that he co n gratu lated

h im . The Quee n comma n ded a sel ect i o n to be se n t to her at Bu ck i n gham

Palace . Every woman wou ld l i k e to k n ow wh i ch were Chose n by ou r Quee n ;whether o n e of the long coats in sabl e o r seal t hat g i ve su ch e l ega n ce of tou r n u re

to t he wearer, toge th e r wi th such pe rfect p rotect i o n aga i n s t the co l d ; or o n e or

two of the adm i rab ly des ig n ed sto l es wh i ch nes t l e so C l ose l y i n the i r wo n derfu l

s i l ky supp l e n ess to th e figure as n o t to co n ceal i ts grace . Some of thes e s to l eCapes are beyo n d p ra i se for the ma n n e r i n wh i ch they pro tec t t h e l u n gs, reach i n g

to the wa i st at the back a n d cover i n g the shou l de rs back a n d fro n t . Very n ewi s a fou r - yard s to l e, some fi fteen i n ches w i de, wh i ch fo l ds rou n d the figu re as

softl y as s i l k o r ve l ve t, c ross i n g at t he back a n d ha n g i n g i n gracefu l e n ds i n

fro n t . O the rs, i n a l te r n ate rows of l ace a n d e rm i n e, are caugh t i n by fo l ds ofs i l k to the po i n t a t wh i ch t he short wa i s t of the Empi re gow n s fi n i shes at t he

back . The n ce they cross the shou l ders, fa l l i n g over the gow n . Smal l wo n de r

tha t th i s exh i b i t of G ru nwaldt'

s at the Fra n co - B ri t i sh Exh i b i t i o n i s a lways

su rrou n ded by adm i r i n g crowds— Adm i r i n g ? Perhaps e n v ious asi

well ? How

cou l d i t be o therw i se ?

The supp le n ess of the fu rs i s b rough t to a fi n e ar t . The c l ose ly - fitting coats

i n broad ta i l fi t l i ke gl oves a n d show off a pret ty figure to perfect io n . Erm i n e, too,i s equal l y sumptuou s i n i ts soft n ess, a n d t he da i n t i es t poss i b l e of short coats are

made of i t . The n th ere are th e l i t t l e t i es, w i t h the i r su pp l eme n tary ruflies of lace,of n e t, of r i bbo n , a n d the i r faste n i n gs at t he back or the s ide, ep i tomes of

coque try . One of these i s a sabl e, ruffled w i t h b row n tu l l e i n a del i c i ou s gol de n

shade a n d t i ed with a k n o t of gol de n - brow n sat i n r i bbo n to match . A n o the r i s i nCh i n ch i l l a a n d abou t the n eck r i ses a rufll e of s i l ve r - grey sat i n a n d be n eath i t a ni n n e r o n e of wh i te tu l l e . The whol e i s fas te n ed by a k n ot of s i l ve r - grey r i bbo n

w i t h two shor t coque t t i sh e n ds of u n equal l e n gth . Cou ld a n yth i n g be more

becom i n g ? More coque t t i sh ? A n ot her l ove ly l i t t l e t i e i s i n e rm i n e w i th a cl eftcomm i n gl i n g of wh i te sat i n r i bbo n a n d s n owy tu l l e ruche abou t the n eck, r i s i n g

h igh i n t he ears .

The fu r toque see n o n a p ret ty head has a charm all i t s ow n . Beau t i fu l ha i r

n ever see n to bet te r ad va n tage t ha n n owadays,whe n so much sk i l l a n d care are

devoted to i t, i s e n ha n ced i n b r i l l i a n cy of gl oss a n d excel l e n ce of co lou r by th e

prox im i ty of the r i ch n o te of dark R uss ian sab l e, t he deep, sombre dark n ess of

seal sk i n , or the golde n - brow n of m i n k . The add i t i o n s that G runwaldt k n ows so

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F RANCO - BR IT I SH EXH I B IT I ON

perfect ly how to make add to th e effect, whether t hey co n s i s t of a sp ray of

metal l i sed l eaves or bl ossoms, a bu n ch of v io l e ts or camel l i as, or a n arra n geme n t

of l ace that l ooks as though fa i ry fi n gers had achiwed i t . O n e of t hese toques, i ndarkest sabl e

,has a rath er h igh crow n , a n d the o n l y t r imm i n g i s a bu n ch of wax

wh i te b lossoms w i t h a few gl ossy gree n l eaves . Th i s i s a n i n s ta n ce of what

R u sk i n always advocated, t he mode rat io n of a n y effort at decorat i o n co n du c i n g to

i ts su ccess .

O n e of the smartes t fu rs of the seaso n i s t he po i n ted s i l ve r fox . The real

s i l ve r fox i s very cost l y, bu t a n ew mode of po i n t i n g— othe rwi se s i l ve r i n g— black

fox has bee n i n ve n ted, wh ich makes i t so l i ke the real fu r as scarce ly to be detected

excep t by a rea l expe rt . There i s some th i n g i n comparab ly r i ch abou t th i s fu r . I t

adds d ig n i ty a n d d i s t i n ct io n to the s impl es t of ta i l o r - made w i n te r costumes, a n d to

a to i l e t te of ce remo n y i t g i ves the l as t tou ch of grace a n d el ega n ce, equa l i f n ot

su per i o r to t hat l e n t by sabl e . With a gow n i n o n e of the n ew wi n e - co lou red

ve l vets, for i n s ta n ce, i t i s a mat te r of Cho i ce wh i ch l ooks be t te r, a se t of s i l ve r fox

or o n e of dark sabl e . Both are hard to bea t .

Ch i n ch i l l a i s st i l l very mod i sh, a n d some fi n e exampl es of coa t, stol e a n d t i e

are to be see n amo n g the G ru nwaldt exh i b i t s . The preval e n t fa n cy fo r greys a n d

other n eu tra l t i n t s i s al l i n favou r of Ch i n ch i l l a . A l o n g ch i n ch i l l a coat w i th

i ts thou sa n d t i n ts of grey i s a mos t becom i n g garme n t, espec i al l y whe n l i n ed

wi th a brocade, of wh i ch the grou n d i s grey, scatte red ove r w i t h flowers i n

j ewe l—l i k e t i n ts, su ch as tu rquo i se, l ap i s - lazu l i, sapph i re, a n d other shades see n

i n sea a n d sky, i n r i ve r a n d l ake, i n d i s ta n t m i s t, or eve n i n a n ot too i n s i s te n t

Lo n do n fogFor G ru nwaldt i s a art i s t i n l i n i n gs as i n al l e l se . Some are s i l ks i n the softest

to n es of grey - bl u e, grey - gree n , he l i o trope, su l phu r co lou r . O the rs are brocadeswh i ch cha n ge i n t i n t as the l igh t fa l l s he re upo n t hem, n ow there ; aga i n , t he re

are st r i ped s i l ks a n d sa t i n s, a n d, fo r ma n y years th e prefe rred of al l, pl a i n , r i ch,wh i te sat i n , so we l l adapted for t he protec t i o n of t he l igh t eve n i n g gow n over

wh i ch fu r coats are so ofte n wor n . Much of th e Characte r of a garme n t i s

expressed by i ts l i n i n g, as n o o n e k n ows bet te r tha n t h e art i s t i n qu es t i o n .

M r . P . M . G ru nwaldt has j u st l y ob ta i n ed a G ra n d Pr i x, t he h ighest awardobta i n ab l e, for h i s exh i b i t i n t he Fu r Sect i o n .

M R S . HUM PH RY

(of Tr zzf/z ) .

no

toG\

G EN E R \L V I EW OF THE EX H I B I T .

THE SA I NT - ET IENNE COLLECT IVITE.

THE R IBBON WEAVERS’

EXHIBIT“N ou s avons (les ru bans pou r err/ne'er les belles.

TH I S l i n e of a local poe t i s t he motto whichsu i ts bes t t he tow n of Sa i n t - Et i e n n e, ce l e

brated th roughou t th e whol e worl d fo r the

beau ty a n d var i e ty of i t s p ret ty trifles .

The coque try of wome n , C l eve rly arou sed

by the makers of the modes, employs a

work i n g popu lat i o n of a lmost sou l s

in the Sa i n t - Et i e n n e reg i o n . I n th e face of

such happy resu l t s, l e t n o o n e de n y th e

u t i l i ty of wh ims I

I n the fi ftee n t h ce n tu ry appeared the

fi rs t r i bbo n makers i n Par i s, R oue n a n d

Lyo n s . I t was n o t u n t i l t he l ast years

of t he s i x tee n th ce n tu ry that the r i bbo n

t rade bega n to sp read i n th e regi o n of

Sa i n t - Et i e n n e a n d Sa i n t - Chamo n d . A s soo n as these da i n ty fr ivo l i t i es bega n togarl a n d the shop w i n dows they became a n e n o rmous success . Lords a n d l ad i e s

2 2 7

FRANCO - BR IT I SH EXHIB ITj ON

adopted e n th us i as t i cal l y these pre tty

add i t io n s to the i r sump tuou s to i l e t tes .

U n de r H e n r i I I I . the M ig n o n s,u n der Lous X I I I . . the M u sq u eteers,

u n der Lou i s X IV . t he ,Cou rt i e rs, a n d

e ve n A l ceste, “the ma n w i t h é he gree nr i bbo n s, decked themse l ves w i t h bows,rose t tes, l oops a n d shou lder k n ots,or n ame n ts that were eff em i n ate bu t

certa i n l y gracefu l, though d i sda i ned

by ou r morose age, at l eas t so far as

mascu l i n e d ress i s co n ce r n ed . I n ou r

days me n wear r i bbo n o n ly o n t he hat,a n d e ve n th i s i s ofte n dark a n d p la i n

i n co lou r . Bu t the re rema i n s to th e

r i bbo n - makers of Sa i n t - Et i e n n e, who

are n o t to be p i t i ed, th e vas t fie l d of

fash io n ab l e wome n , day a n d eve n i n g

ma n t l es, a n d above a l l u n derwear, o n

wh i ch r i bbo n i s assoc i ated w i t h l ace,a chef- d

'

oe uvre of or n ame n t . We are

n o l o n ge r of the age whe n su ch costl y

fash io n s at tracted the thu n d ers of the

au thor i t i e s ; ou r r i bbo n - weave rs have

n o t n ow to fear t hat a Mazar i n shou ld

l au n ch a n ed i c t aga i n s t‘

th e “gal l a n tso r wearers of r i bbo n s, aga i n s t

“fata la n d ru i n ou s passeme n te r i e .

”

The Chamber of Commerce at

Sa i n t Et i e n n e, created i n 1 85 5 ,

fu r n i shes exact s tat i s t i cs wh i ch prove

the i n creas i n g prosper i ty of the Sa i n t

Et i e n n e r i bbo n t rade . From a n i n qu i ryco n fided to th e j ust i ces of the peace of

the two ca n to n s of Sa i n t- Et i e n n e u n d e r

the Seco n d R epu b l i c it i s es tabl i sh ed

that i n th e bad year, 1 848,47 m i l l i o n

fra n cs'

worth of r i bbo n , ve l ve t a n d em

bro i dery we re so ld i n t he departme n t .

What a n adva n ce i n forty years I

To - day the figures have r i se n to 1 1 1

m i l l io n s of sal es, of wh i ch 42 % m i l l i o n s

2 2 8

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nou nced u n r i val l ed .

are exports !

I n t e r n at io n al

E xh ib'

it ions

h a v e c o n

t r i b u t e d

l a r g e l y t o

th i s, i n ex

te n d i n g t h e

fame of th e

w e l l k n o w n

Sai n t - Et i e n n e

works . S i n ce

th e fi rst of

t hese i n te r n a

tional ma n i

festations i n

Par i s i n 1 85 5

t h e r i b b o n

m a k e r s o f

Sa i n t - Et i e n n e

a r e p r o

FRANCO - BR IT I SH EXH IBI T I ON

A t t ha t t ime there were 1 2 3 establ i shme n ts at work

(3 5 0 ma n ufactu re rs ), a n d i n the arro n d i sseme n t al o n e workme n were

empl oyed at l ooms v elv et , looms a n d r i bbo n l ooms at

Sa i n t - Et i e n n e, i n t h e cou n t ry ) .

product i o n osc i l l ated betwee n 9 0 a n d 1 0 0 m i l l i o n s .

The tota l n umbe r of r i bbo n - workers was

The asce n d i n g scal e of p roduct i o n has bee n co n t i n u ed s i n ce the n , notwith

sta n d i n g the capr i ce

of fash io n ,wi th some

decrease d u r i n g wars

o r other t roub l es .

I t i s to be hoped

for the deve l opme n t

of these i n du st r i es

t h a t t h e b a r r i e r s

wh i ch at prese n t p re

ve n t th e e n t ra n ce of

th e Sa i n t - Et i e n n e

p r o d u c t i o n s i n t o

ma n y cou n tr i es wi l l

be red uced to a lowe r

l eve l . 90 8.

T h e F r a n c o

B r i t i sh Ex h i b i t i o n ,at wh i ch the Sa i n t

E t i e n n e W o r k s

obta i n ed from the

Fre n ch Comm i t tee

t h e c r e a t i o n o f a

spec i al c l ass, proves

t r i u m p h a n t l y i t

may be sa id wi thou t

e x agg e r a t i o n — t h e

i mporta n ce a n d th e

beau ty of i t s pro

ducts .

Mrs . HUM I’HR Y.

PALACE OF WOMEN’

S WORK.

S i t n o t o n ly r igh t that th e Palace of Wome n'

s Work

shou l d occu py o n e of the mos t prom i n e n t pos i t i o n s i n

t he Wh i te C i ty ? A n d hav i n g tha t ho n ou red place, i s

i t n o t t herefore much more a th i n g fo r regre t that th e

cou n t l ess var i ed exh i b i ts, co n s i d e red i n th e l igh t o f a

represe n ta t i o n of t he work of wome n , l eave so th i n a n

impress i o n o n t he m i n d ?

Look you— in o n e case i n th i s bu i l d i n g I w i l l show

you a m i x i n g that i s woma n ly we i rd . The case she l ters sampl e bottles of a

pate n t paste for fa l l i n g ha i r, th e l ates t i n s ta n ta n eou s remedy ; meta l re pou sse

combs ; b l ou se t r imm i n gs ; be l ts a n d buckl es ; a n d n ear by the p i ct u res a re h u n g

beh i n d j ars of j am a n d tomato pu l p a n d gooseberry j e l ly . Shou l d you, to show

the worl d what we wome n ca n do, ha i l w i th pra i se a j ar of j am ?

What shal l we s tep ou t fo r to see, hav i n g see n th e j e l ly a n d th e jam . The

B russe l s l ace Empi re d ress t ha t Mar i e Lou i se wore at h er wedd i ng, or th eMaisette Eye Shade, used by R oya l ty, a beau ty preserve r for all ou tdoor

fu n ct i o n s, se n t by a Bo n d St ree t fi rm,or th e s i l k - embro i de red p i ct u re of Fra n kfor t

on- t he - Mai n e,or the “R ob i” cycl e muff ? Tru ly, of a l l t h e Wh i te C i ty B u i l d i n gs,

t h i s i s th e o n e that she l te rs the greates t co n t ras t s be n eath i ts roof.

I t i s as though every ou t - of- th e - ord i n ary th i n g tha t a n y woma n e ver d i d i s

commemorated here . My gloom does n o t l i ft as I co n t i n u e my tou r,a n d n o te that

th e p las te r statu et tes stuck abou t t he arch i ves are d i s t ress i n gly amateu r . Amateu r“ that

'

s th e n ote of th i s Palace . Somewhere here i s d i sp l ayed work of th e

s tude n ts of var ious art school s— the i r l ack of i n sp i rat i o n , the i r co n fess i o n of the

u n sk i l l ed a n d th e immatu re, i s real matte r fo r wo n de r that th ey were j udged

worthy of d i spl ay a t al l .

I do n o t see the rea l woma n worker represe n ted i n a n y way . Here i s th e

work, maybe, for th e eve n i n g hou r, here i s the fr i ppery (al l sa i d a n d do n e ) of th e

woma n of l e i su re . Pre t ty - pret ty, or n ame n ta l , l ace work, embro id ery, e n amels,t he b i n d i n g of books why, i f you ca n i magi n e a ma n who was a n u t ter

st ra n ger to B r i t i s h t hough t e n te r i n g th i s p lace, he wou l d go away th i n k i ng tha t

th e wome n of to - day were as C l o i stered as th e wome n of th e Tu rk, a n d d id

n oth i n g bu t swee t l i t t l e th i n gs al l day l o n g a n d al l year th rough . Palace of

Wome n'

s Work n ay, i t i s ra the r t he hou s i n g of wome n'

s fi l l i n g u p of t ime .

The work of th e hosp i ta l s i s represe n ted we l l . The Lo n do n H osp i ta l showsa mode r n ward, atte n ded by n u rses who are most w i l l i n g to te l l t h e i n qu i re r how

the work of a great hosp i ta l i s carr i ed o n . O n e week the wax pat i e n t may besuffer i n g from tubercu l os i s, th e n ex t from a fractu red sp i n e ; wh i l e t he exh i b i t i o nhas l asted he has bee n a n as to n i sh i n gly u n fortu n ate s i ck ma n , that pat i e n t i n wax .

V i s i to rs watch how he i s t reated a n d ba n daged . V i s i to rs, too, i n a n X - ray

treatme n t room, see what the X - rays have do n e for moder n su rgery .

2 3 1

FRANCO- BR IT I SH EXH I B I T ION

More th i n gs that belo n ged to, or were worked by, famous wome n — a n d th e n

you may step fromthese ol d d ry th i n gs i n to th e b r igh t a n d j oyous demai n of thebaby. Baby

'

s n u rsery— as— it— shou l d— be i s Q bigat t ract i o n . Ch i l d re n gaze,andwi sh th ey m igh t l i ve therewi th theC i ty of Wo n der at the i r doors . I t was des ig n edby the M isses Fr i th, th e daugh te rs of

'

the ar t i s t . A l l wh i te a n d gree n i s th i smode l n u rse ry, wh i te a n d gree n a n d flowers, wi th Cha i rs n amed spec i al ly fo r the i r

proudow n ers, He n ry, a n d Baby, a n d J oh n .

Toys are there for play t ime, amo n g them such a boat . A boat fo r h ugejou r n eys— a boat tha t ploughs th e a n gry deep of th e n u rsery floor, rock i n g- horse

wi se, onsafe d ry l a n d . A C l ock t i cks merr i l y, a n d gree n t rees make th e l a n d scape

of the wal l s .

N ear i s a n exh i b i t just as en cha n t i n g, th e mode l of a creche . I t i s show n by

the Soc i e ty of Day N u rser i es . The R u l es of th e place ha n g upo n the wal l s, a n dal l the rooms of the crech e are

“

show n .- A fi n e dol l game,

'

the Ch i l d re n o n l ookers

th i n k — th i s toy wou l d make them happy for the rest of '

their Ch i l d - t ime . The

exh i b i t represe n ts t he sc i e n ce of “créchery”

; here are spec ia l rooms for eve ry

n eeded pu rpose z - Bath room, the room where doubtfu l C l o the s are d i s i n fected,recept i o n - room for wa it i n g mothers, d i n i n g- room, play - room a n d al l . The o n ly

th i n g u n t ru e to l i fe i n th i s mode l i s, I su ppose, t hat th e Ch i l d re n are so qu i e t,be i n g made of wax . The dev i ce of th e cresce n t - shaped tab l e, wi th the plates

fixed i n depress i o n s so that t hey ca n n o t be sp i l t, i s th e i n ve n t i o n of M i ss B low,a you n g

.

l ady at the Fu l ham day n u rse r i es . The lady i n Charge of the model,sympathe t i c a n d fr i e n d ly to i n qu i re rs, has made ma n y fi rm fr i e n d s to the DayN u rser i es, fr i e n ds who ~ doubt l ess wi l l h e l p pract i ca l ly th e adm i rab l e work of

th e Soc i e ty .

O f th e wome n pa i n te rs represe n ted by p i c tu res th e best are M i ss - Lucy KempWel ch, Lady B u t l e r w i t h the famou s R ol l Cal l, a n d the l ate Lady Waterfordwi th a ser i es of he r water col ou rs . O f n o tab l e re l i cs, perhaps the o n e mostge n e ral l y i n te rest i n g i s th e carr i age u sed by M i ss F l ore n ce N igh t i n gal e d u r i n gthe Cr i mea n War . Frocks fi n d a pl ace, of cou rse, i n t he Wome n

'

s Palace .

Before a creat i o n i n a gi l t frame, by N et t l esh i p, Subu rb i a sta n ds amazed a n dexcla ims, O h grac i ou s ! a n d a n o the r b ig fi rm has fou n d a n ew i dea i n fi t t i n gi ts frocks rou n d waxe n figures of wel l - k n ow n ac tresses . Mrs . La n gt ry,M i ss Mar i e Tempes t, a n d Sarah Ber n hard t i n wax move both Subu rb ia a n d

Mayfa i r to adorat io n . A t a n othe r exh i b i t ac tual l i v i n g ma n n i k i n s pose i n “th every lates t from t ime to t ime .

Last ly, i n th e gree n a n d wh i te i n qu i ry oflice that sta n ds a t the e n t ra n ce,ready i n format i o n o n a l l b ra n ch es of wome n

's e n te rpr i se i s g i ve n . Here are

u n i ted ma n y of the assoc i a t i o n s, u n i o n s a n d employme n t assoc i at i o n s tha t have

to do w i th wome n ’s work a n d th i s office has bee n of great u se a n d hel p to very

ma n y wome n v i s i to rs to th e Exh i b i t i o n .

D . H . M .

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FRANCO - B R IT I SH EXH I B IT I ON

eyes br ighte n a n d o l d fears are forgot te n a n d shadowed hearts l eap aga i n . The

l amps are l i t t he hou rs of her n igh t l y ru l e begi n : a n d heavy ol d T ime a n d

R egre t, h i s a id e - de - camp, s n ar l i n th e cor n e r, powerl ess to hu rt . Le t themcome aga i n to - morrow, ve n omed a n d respectabl e . To - night,

'

O Empress, i n th e

n am e o f y o u r m a n y to n gued, m igh ty army, I

ra i se my glass to you . are worsh i ppers a l l .

I n t he su n l igh t of th i s mor n i n g,wh i l e the crowds of th e Exh ibi t i o n go by,I d r i n k a glass to th e me n who k n ew

the myste r i es of you r temp l es, a n d

l a b o u r e d i n t h e v inelands of fa i r

F r a n c e t h a t w e m i g h t h a v e

pl easu re a n d j oy . You wi sh for a

n ame The n I d r i n k to th e n ame

of o n e i n espec ia l — it i s t h a t o f

C l a u d e L o u i s N i co l as M oet,whob o u g h t v i n tages from the Abbey ofH au tv i l l e rs, a n d whose sp i r i t dwe l l s

i n th i s fragra n t I i t t l e w h i t e

Pav i l i o n , wi th i ts R ége n ce fu r n i tu re

a n d i t s B e a u v a i s tapest r i es a n d i ts coo l

i n n e r room ; a n d i t s r o o f p l e a s a u n c e,whe n ce onecan watch c o m fo r t a b l y t h e

crowded pass i n g show . Ah,the re i s, I am su re,a n o t h e r v i s i t o r i n

P0

33 2]

; th i s p l easa n t p l ace .

Dom Peter Per ig n o n , ce l l are r of th e Abbeyfor 47 years, across more tha n 2 5 0 years of t ime I reach ou t my ha n d to you .

You are th e h igh pr i est of th e c reed of th i s ou r Empress, for you were th e fi rst

make r of champag n e . What a spl e n d i d mome n t that mu st have bee n whe n you

fi rs t p rod uced that pe rfec t l y spark l i n g w i n e, wh ich l eapt rest l ess as you pou red

whe n you fi rs t saw that da n c i n g i n th e gl ass . I shou l d l ove to have bee n w i th

you the n . I wou l d have had you rou n d u p you r b rothe r mo n ks, a n d make a

champ io n n igh t of i t . Poss ib ly you d id . Dom Pete r a n d C l aude Lou i s, youwere certa i n l y both good me n . I t ru st that you were happy, a n d that th e years

of both of you we n t dow n i n peace .

Here i s t he ve ry bu s i n e ss book C l aude Lou i s Moet kep t, back i n 1 743 a n d

o n wards . He was a good bu s i n ess ma n , n ot wastefu l of space, fo r th i s qua i n t

co l um n that Mess rs . Moet a n d Cha n do n r igh t ly t reasu re was h i s daybook, ge n e ra l

book , l edge r, a n d d i ary comb i n ed . From the co n te n t s, i n t he i r c rabbed, carefu l

wr i t i n g, you w i l l k n ow the ma n as he l i ved” Ga've nine ll 'ores [0 my son, he is going to R hez

'

ms 1 0 buy a hat.

B ought 5 0 pounds of candles.

“Shipped IVz'

ne to Paris . Paid 42 sou sfor bill of ladz'ng this day .

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MOET CHANDON ’S PAV I L ION

THE ENTRANCE HA LL.

A l l h i s expe n ses we n t dow n i n t h i s book, so that i t becomes a sort of fam i lye n cyc lopaed ia . Ev id e n t l y C l aude Moet fou n d' th e d i sbu rs i n g of mo n ey d i stastefu l

at t imes, fo r now a n d the n h e adds to the e n t ry path et i c l i t t l e compla i n ts as to the

ext ravaga n ce wh i ch n ecess i tated i t“Given to my sisterfor expenses of the household,3 0 l z'v res. [find th is 1 0 0 mu ch . I have

given her 1 2 6 ll 'ores lately, and this does not include meal, bread, and coal. These arehard times, and she wants too mu ch

Late r, too, he buys a horse, a n d records that h e fou n d i t ve ry expe n s i ve .A n d the re are record s of sh i pme n ts of wi n e to Warsaw, B ru sse l s, S te t t i n ,Amsterdam,V i e n n a, a n d Da n tz ig, bu t i t

,

was l eft to J ea n R em i , t h e so n , to se n dthe fi rst Moet Champag n e to E n gl a n d .

I n 1 79 0 came Jeanson to E n gl a n d,a spec i a l t rave l l e r to spread the fame ofthe w i n e that, l a ter, K i n gs a n d Emperors orde red . Ki n g J e rome of Westphal i awrote for bot t l es, a n d wou l d have had more, sa i d he, bu t that he feared i t

wou l d be d ru n k by th e R u ss i a n s . I n deed, i n 1 81 4 R uss i a n a n d Pruss i a n forces

occup ied Eper n ay, a n d (wou l d you b lame them ? ) made as free as th ey cou l d wi tht he w i n e . Was i t o n ly t he Cha n ce of war that made them e n camp i n t h e place

where that w i n e was produced Late r Napol eo n s tayed i n J ea n Moet 's house,a n d he re i s th e very glass from wh i ch he d ra n k . Can you see h im, sombre bu t

co n fide n t, d r i n k i n g to h i s s uccess i n t he desperate days to come ? Two days la te r

h e had go n e o n h i s ste r n b us i n ess, a n d the Pruss i a n s— wi se me n — broke from

the n igh t o n to Epe r n ay a n d p i l l aged th e p l ace o n ce aga i n . “far came a n dwe n t great th i n gs were do n e a n d u n do n e t h rough the years bu t abou t Epe r n ay

a n d the Mar n e t h e fam i l i es of M oe'

t a n d of Cha n do n (who had come i n by

marr i age ) st i l l cu l t i vated the grapes— wh i te a n d a wo n de rfu l dark pu rp l e— t i l l

t he i r w i n e became a n ame th roughou t the wor l d . They work acres of

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FRANCO - B R IT I S H EXH I B I T I ON

P LAN D ES ETABL ISS EM ENTS MOET CHAN DoN‘

S. E PE RNAY (MARNE ) .

v i n e l a n d n ow . The i r ce l l ars s t re tch for 2 0 acres, a n d the i r rese rve s tock

a lo n e i s over bot t l es . Gath er a n d p ress, ferme n t a n d b l e n d w i thmaste r k n owl edge so that th e sway of ou r Empress shal l be worthy of her,so that th e w i n e sh al l be ready to do i ts par t i n the great m i ss i o n of p l easu re .

As a ru l e, a “gra n d v i n tage"

of Champag n e i s in i t s p r ime whe n from

1 0 to 1 5 years o l d . These are the gra n d v i n tages : 1 880 , 1 884 (wel l k n ow n by

the Cu vée 1 889 (famou s by the Cuvée 1 89 2 , 1 898 a n d 1 9 0 0 .

V i n tages wh i ch i n the fu tu re w i l l ra n k amo n g the very good w i n es are thoseof 1 9 0 4 a n d 1 9 0 6 .

Some peop l e s t i l l th i n k that Champag n e i s a ge n e ra l n ame for spark l i n g

w i n e . Th i s i s n o t so . Champag n e i s a defi n i te n ame for th e w i n e p rod uced

i n t he departme n t of t he Mar n e, a n d for t hat w i n e o n ly ; a n d at temp ts to se l l

w i n e p roduced a n ywhere e l se are fraud s pu re a n d s impl e .

Back to the prese n t mor n i n g : for i n t h i s u n i q ue exh ib i t there i s th e who l e

b us i n ess of champag n e mak i n g, the v i n eyards a n d t he cel l ars, brough t to ou r

fee t . I fol low the fee t of a cou n t l ess n umbe r whe n I t read the s ta i rs to the

baseme n t . “Can we get ou t aga i n , asks a n e rvous co u n t rywoma n at th e top,for she has bee n mazed by bewi l de r i n g s i d eshows (su ch as t h e H au n ted Housea n d the Sp ide r

'

s Web ), a n d th i n ks t h i s a n othe r t rap .

“Oh , yes, rep l i es t he

atte n da n t,“bu t you must n o t speak to th e workme n . The l ady prom i ses n o t

to do so, a n d i t i s n o t t i l l she has bee n i n th e baseme n t for severa l m i n u tes that

she u n ders ta n ds why she must n o t speak to th em . For the l i fe l i ke figu res are of

wax, t hough i t wou ld n ot be su rpr i s i n g i f t hey shou l d speak .

I n t he fi rst sce n e me n are busy gather i n g grapes in a su n l i t v i n eyard of Aythe grapes l i e p i l ed i n baske ts me n be n d a n d me n carry ; the

'

whole so adm i rab l y

do n e that you wou l d be l i eve you cou l d step i n to th e p l easa n t sce n e a n d begi n to

j o i n the workers . Further o n , th e n ew w i n e i s be i n g s tacked i n cask ; afte r we see

the work of remuage be i n g carr i ed on— t he da i l y shak i n g in bot t l e s so that

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A PAG E OF M R . MOET’

s JOU RNAL IN I 743 .

2 38

MOET CHANDON‘

S PAV I L ION

t he i r ve l vety co l ou r i n g . Pu rp l e are th e grapes from the v i n eyard of H au tv i l l e rs,the mothe r of them al l . I t i s s t ra n ge, i s i t n o t, t hat t hey have n ever though t

to create a Sa i n t Champag n e ? Bu t perhaps that she i s j u st a Lady of theWorl d su i t s be t te r .

The v i n es ru n , fu rrows of orde rly gree n , u n de r th e cl oud l ess sky ; a n d bu sy

workers gathe r th e grapes, a n d othe rs carry the laden basket s away . Tra n sfe rred

FACS I M I LE OF AN ADD R ESS EX H I B I TED IN THE COSY B U R EAU .

to w i cke r s i eves, wome n remove a l l i n d iffere n t s ta l ks a n d take away a l l b ru i sed

a n d u n r i pe berr i es . The n to the p ress i n g hou se, where each press has room

for ove r fou r to n s of grapes . Tak i n g a n ave rage, fou r to n s w i l l y i e l d 1 5 casks

of wi n e, th e fi rst p ress i n g (or cuvée ) be i n g respo n s i b l e fo r 1 0 casks of th i s . Nowfrom the presse s to t he vats fo r a few hou rs : t he n , d raw n off i n to cask s, th e

w i n e u n de rgoes i t s fi rs t ferme n tat i o n i n t h e cel l ars, where i t dwel l s t o th e e n d

of the year . The n comes th e ex t reme ly carefu l operat i o n of d rawi n g a n d tast i n g

sampl es, a n d the n ecessary b l e n d i n g i s ca rr i ed ou t i n i n mo n st rou s va ts .

2 39

FRANCO - B R I T I SH EXH I B IT I ON

PA T E N T EDEPAR T E M E N T D E L A MAR N E .

donl fa Popu lationO de [a Republiqzze.

N .

O

I t. 7 "

NOUS Adminisiru tnu rxmunicipaux du Canton di

s

mwiru Anous faitcpar I s‘ Canyon . Ilem «Mo et . N

3 3 ‘t‘no a v

I

di at e-“w: dcIn qu i ttanu 5 déhv u cIe“N M ? “0

I l arnv i‘ u r azi Il l l l l‘fll l cIe Ii

f‘n l‘cgl b l rcment dc C sous It: A

i 1 I C 4rmu dp mic c t i t alu j t n ” A. (I (Inc

d" R‘ h m ‘“o m ‘

LI‘N u sav oir « Ir mt g -L a d . pou r Io (II OI I li t e cl ce ll o

ponr Ie din b ue (In In v J Ienr Iucnlwe (1 ) da

‘ ll ‘

i “N Lu I avons cn consé i lmvncc

l s

tlgliu é la présemcPatentt ,.I u moyen do lmlm-llp pmm I “p r,” [wi ld-mt rm, I k (M 3PM"Own . “w om

su sdi t (4 (in : u . ~ sans l ru nlhlo I I ! I Inpt

‘chenu u t (‘ I I M, (u n lb imant aux Io is 0 1 an : nighmons do po l i ce E ! a

iI : (l i t C i lov on ohh nl ”gm“nu n .I I I rd‘

gtxl ie Sous IoN .

"‘

L\ “41 0 5 5“ ‘I'w su r la preseme (G)Fancl deb s t e Qvu t

Signature (f a dd [Ir/p uma:

Sl l 'ak dcl ’At/muu t trancm.

VU par Ic(mun-mane «311 IM .

W'

I IOLESALE WIN E M ERCHAN TS ' L IC EN SE (PATENT E ), Y EAR 8 OF THE R E PU BL IC.

The d iffere n t growth s have characte r as th e huma n s have, a n d th i s

th e b l e n de r k n ows wel l, fo r t hat i s h i s art . Wi n es of Ay a n d D i zy aresoft a n d rou n d, w i n es of A v ize a n d Crama n t are de l i cate a n d ge n t l e, Bou z y

'

s

wi n es have “body .

"

The art of the b l e n d er i s to n i ce ly comb i n e t hese spec i a l

qual i t i es .

Th i s i s carr i ed o n at t h e huge Moet Cha n do n estab l i shme n t at Epe r n ay .

O n e floor of the bott l i n g estab l i shme n t th ere has l odg i n g room for fou r m i l l i o n

bot t l es, a n d i n the o n e p i l e of bu i l d i n gs, i n add i t i o n to ma n y othe r bot t l es o n

the var i ou s floors, casks of wi n e ca n sta n d .

The t ime for the bot t l i n g of the w i n e i s whe n t he v i n e flowers i n t he spr i n g .

There are spr i n g cl ea n i n gs a n d spr i n g cl ea n i n gs i n ma n y var i ou s degrees to su i t

exact i n g o r care l ess housew i ves, bu t n o spr i n g Cl ea n i n g of them al l ca n compare

w i th that wh i ch every Mo ’e t bott l e must u n de rgo before i t i s j udged fi t to

co n ta i n w i n e .

From a p i pe a j e t of sa n d a n d wate r, t hat, u n rest ra i n ed, wou l d shoot 3 0 fee t

h igh, i s forced i n to each bot t l e, a n d the n water a l o n e d r i ves i n to them o n i t s

cleansing work from a n o th er powerfu l j e t . A fte r, the win e, pumped u p bysypho n s a n d the n a lo n g s i l ve r p i pes, i s rece i ved i n to t he bot t l es . A fte r rest i n gfo r some years, t he bot t l e s are p laced n eck dow n ward i n racks a n d tu r n ed da i ly

to dil dge a n y sed ime n t from the s i des o n to the cork . I n t h ree or fou r mo n th s

the’wi n e i s qu i te c l ear ; a n d, s t i l l n eck dow n ward, bu t t h i s t ime perpe n d i cu l ar,

th ey wa i t for t he “d i sgorging .

”

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FRANCO - B R IT I SH EXH I B IT I ON

ON E OF THE CE LLARS W' I TH M I LL IONS OF BOTTLESA FTE R THE D ISGORG ING .

i s th e sa l t of t he earth :

to o n e bot t l e of Champagn e a day .

S t or i e s are o n record of how the

great me n of B r i ta i n s n at ched from

the famous w i n e its t reasu re of good

spifits a n d aba n do n . Pit t we n t

gal l op i n g th rough a tu r n p i ke gate

o n e n igh t, a n d, made a k i n g for

the eve n i n g th rough Champag n e,t rou b l ed n o t to s top a n d pay to l l

N e l so n toasted h i s Lady Ham i l to ni n i t : Byro n , for cer ta i n , u sed it as

wel l as i n k, a n d t he re was more

power i n h i s pe n t hereby Sher i da n

d ra n k Champag n e, a n d by so much

h i s w i t sp ra n g to a kee n a n d flash i n g

l i fe, so that he gave t he l i e for ever to

the o l d prove rb abou t speech be i n g

s i l ve r a n d s i l e n ce gol de n , for h i s

A n d so,as you d r i n k to - day, you r compa n y

speech was gol de n i n deed .

K i n gs, Marqu i ses, Cou n ts a n d Lords are of Mo '

e‘

t a n d

Cha n do n’

s cu stomers, j o i n i n g w i t h commo n e rs to be t r i besme n of the Lady whoSmi l es . K i n g Edward v i s i ted th i s

very Pav i l i o n , a n d h i s n ame i s fi rst

i n th e sumptuou s red book . Bel ow,amo n g others, are the n ames of the

Duke of Sparta, the C row n P r i n ceof G reece, a n d the members of theFre n ch Embassy . No exh i b i t hashad su ch a n umber of d i st i n gu i shed

Vis I tors .

w e l l

Ou r Lady Champag n e i s se rved .

U psta i rs - to th e l igh t aga i n , to see

Fra n co i s “A l a Sa n té

du Chef, where happy Card i n a l s

g i ve th e due pra i se of good, gratefu l

me n to th e art i s t of th e i r food, the

ma n who has made them happy .

A n d i n the foregrou n d O ur LadyChampag n e, i n he r earth l y form

of a bot t l e, sm i l e s at t h e Card i n al s

Y o u k n o w n o w h o w

B ru nery’

s

2 42

THE SHAR ING OF THE BOTTLES, “R EM UAG E.

MOET CHANDON ’S PAV I L I ON

S IGN ATU R E OF H . M . K ING EDWAR D V I I . I N THE S IG NATI'

RE BOOK AT THE PAV I L ION . ’

wi thou t e n vy . A l l p ra i se to the chef of cou rse, bu t what wou ld the d i n n e r havebee n w i thou t her ? Ah I sh e k n ows wel l, a n d there fo re does n o t grudge the chefh i s mome n t .

J osé Frappa ’

s “Dom Pe’ r ig n o n , C l ose by, t he bes t work of the pa i n te r, i s,I th i n k, as n ear to my heart . For th ere i s th e o l d mo n k who had that wo n derfu l

mome n t whe n fi rst spark l i n g Champag n e tumb l ed i n to th e glass l i ke a l i v i n g

breath i n g th i n g . D i d h e k n ow the real worth of that su rpass i n g day ; d i d he

THE G RAN D CHANT I E R, BOTTL ING, COR K ING AND CARRY ING .

d ream how the hou r of that d i scove ry wou ld sh i n e ou t as a d iamo n d flashes aga i n s t

al l th e years to come . How shal l I pra i se that m i n u te, that hou r ? I t mea n t for

th e me n a n d wome n o f th e earth a mag n i tu de of pl easu re n o t to be recko n ed,

a vas t fi n e sum of upl i ft i ng of sp i r i t s a n d ba n i shme n t of gl oom, whe n you

243

FRANCO - BR IT I SH EXH I B I T I ON

co n s i de r th e vas t ba n d that has, some t ime or

othe r, bee n made gl ad th rough i t . D i d h e th i n kat a l l of the

'

many fi n e so n gs that wou l d be su n g,th e fi n e th i n gs wr i t te n , i n wh i ch ou r Lady Champag n e wou l d have some ha n d

For myi

small part, I k n ow what I w i l l do .

Ou t of a n empty M oet a n d Cha n do n case I w i l lfashio n , as bes t I may, a little very spec i al book

case . I n it I w i l l k eep j us t th e so n gs a n d t h e

wr i t i n gs of t hose great h earts whom I l ove most— me n who k n ew the worl d

'

s beau ty a n d l oved

al l good t h i n gs — Swi n bu r n e, Keats a n d Byro n ,Gau t i e r, Fl aube r t, a n d A n ato l e Fra n ce, j u st ton ame a few . They are of those who l oved th e

t i me of t he l amps . A n d at t he s ide of the she l vesshal l res t o n e of those ta l l taper i n g Champag n eglasses that you r sou l l o ved ; a n d whe n t h i n gs go

we l l w i th me I w i l l fi l l w i th you r pal e gol d, a n d

I w i l l d r i n k to al l my brothe r t r i besme n of the

k i n gdom of ou r Lady Champag n e, a n d w i sh themwell, cal l i n g the wh i l e you r n ame .

HERBE RT SHAW .

CHAM PAGN E BOTT LES, 1 74! 1 0 1 90 0 . EX H I B I TED IN THE EN TRANCE H ALL .

2 44

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des ig n ers are

rio t u n commo n ,there has n eve r

bee n an age i n

wh i ch the l i v i n g

a r t s w e r e s o

per i l ous ly n ear

e x t i n c t i o n .

Pa i n te rs, arch i

tee ts,decorators,tapest ry workers

a n d craftsme n of

every k i n d w i l l

te l l you the same

tal e, that the

twe n t i e t h ce n

tu ry, as repre

se n ted by its co nno is seu rs a n d

FRANCO - BR IT I SH EXHI B I T I ON

IN LA I D WARDROBE CAB IN ET OF CHARLES I I . R E IGN .

patro n s of th e

ar ts, has tu r n ed

i ts back upo n

i t s e l f. T h e

craze i s a l l for

what i s o l d a n d

rare— n o t n eces

sarily for what

i s beau t i fu l, bu t

s imp ly for what

i s Old. I t i s a

reac t io n , n atu ra l

e n ough perhaps,from the care l ess

way i n wh ich o l d

t h i n g s w e r e

trea ted for some

ge n erat i o n s be

fore u s . Whe n

the awake n i n g came, wi th a n ew a n d who l esome revere n ce for a n c i e n t bu i ld i n gs,the fee l i n g sp read to every al l i ed bra n ch of ar t . D eal ers, wi th the i r myrm ido n si n eve ry cou n ty b reak i n g i n to a n d l oo t i n g th e fi n e o l d yeoma n hou ses

,fa n n ed th e

zeal ou s flame . Preserv i n g soo n gave way to co l l ect i n g, a n d to - day the craze has

reached a s tate wh i ch al l l overs of ou r ow n t i mes ca n o n l y l ook upo n as d i sas trous.

L i v i n g ar t sta n d s by a n d sees t h e patro n s who shou l d be i ts su ppor te rs spe n d i n gex travaga n t, n ay, absu rd sums upo n th e acqu i s i t i o n of broke n - dow n , faked,a n d decrep i t fu r n i t u re ; mass i ve a n d ofte n tas te l ess decora t i o n s of bygo n e D u tch,Fre n ch, Belg ia n , Ha n over i a n , Ch i n ese, a n d heave n o n l y k n ows

what o ther al i e n s ty l es ; washed

ou t a n d crumbl i n g tapes t ry ;t h r e a d b a r e emb r o i d e r ie s ;

bat te red pewte r ware a n d s i l ve r ;a n d a n ybody ’s d i scard ed fam i ly por

tra i ts that they ca n ma n age to

p i ck up . A s the good becomesexhausted (a n d mos t of i t has bee n

so l o n g ago ) t he spur i ou s takes its

p lace, or eve n th e bad, so i n d i s

c r im i n ate i s th i s rage for th e a n t i que .

Eve n th e Ear ly V i c tor i a n , from thehorrors of wh i ch we have“ bee n so

rece n t ly de l i vered, th reate n s o n ce

2 46

GEORG IAN AR MCHA I R .

THE LOAN COLLECT I ON OF B R IT I SH FURN ITURE

more to resume its po n derou s a n d

d egraded sway . The wor ld, l i ke th e

dog i n the Scr i p tu re s, i s re tu r n i n g

to its vom i t ; a n d I say that th i s i s

a dep l o rab l e co n d i t i o n of th i n gs from

every po i n t of v i ew . D ep l orab l e forou r o l d bu i l d i n gs, wh i ch are s t r i pped

of the i r n a tu ra l su rrou n d i n gs ; de

plorable for ou r moder n E n gl i sh

homes, wh ich are fi l l ed with '

incon

gru ou s a n d u n su i tab l e t h i n gs ; d e

plorable for the d i sho n es t t rad e

w h i c h it e n g e n d e r s ; a n d mos t

d ep l orab l e of al l for the craftsme n

of to - day, who see a gradual l y

d i m i n i s h i n g m a r k e t fo r sou n dCH I P PENDALE TABLE .

or ig i n a l work . Co n t i n u i ty cou n ts for much i n a n at i o n’

s t rad i t i o n s, a n d

wha t w i l l pos te r i ty th i n k of a n age wh i ch de l i be rate l y sacr ificed i t s art i s t s a n d

al l owed th i s co n t i n u i ty to l apse .

J ACOBEAN ARMCH A I R F ROM K NOLE .

Su re ly i t w i l l say tha t what was o n ce a fi n efee l i n g fo r th e past has dege n e rated by

excess i n to a n orgy of tas te l e ss a n d se n se l e ss

vu lgar i ty .

Wi th so much by way of preface a n d

apo l ogy to th e cu r i ou s v i s i to r from fore ig n

shores, who may be i n c l i n ed to wo n de r a t the

abse n ce of n ew work i n t h i s the most impor

ta n t of all arts (because i t i s the o n e most

i n t imate ly wrapped up wi th ou r l i ve s ), we

may tu r n to a su rvey of the a n t i qu e fu rni

tu re a n d decorat i o n s wh i ch a comm i ttee

of taste has co l l ected i n p l ace of i t'

for

ou r i n spect io n a n d i n format i o n .

The Loa n Co l l ect i o n i s grouped i n ase r i es of rooms ra nged one i the r s i d e of th ece n t ra l a i s l e a l l o t ted to B r i t i sh Decorat i veA r t . F ive of these rooms are d eco rated

w i th h igh ly or n a te pa n e l l ed ihteriors s t r i pped

from old hou ses wh i ch have bee n p u l l ed

dow n , a n d very Cl eve rly reco n s tru cted by

Messrs . Wh i te, Allom Co . The earl i e st

of these rep rese n ts a n apa rtme n t of th e

t ime of W i l l i am a n d Mary, ador n ed w i t h

2 47

FRANCO - BR IT I SH EXH I B IT I ON

fi n e carv i n g by G r i n l i n g G i bbo n s, a n d character i sed by ha n d some cor n i cemou ld i n gs a n d arch i traves ; n ex t to i t i s a Q uee n A n n e room (so cal l ed,t hough the date gi ve n

, 1 7 39, carr i es us i n to the re ig n of George n ex t to

i t a g a i n i s

a n e a r l y

G e o r g i a 1 1

room ; a n d be

y o n d , a t t h e

e n d of th e row,a l a rge a n d

h a n d s o m e

Ch i ppe n dal e

room ,hu n g w i th

fi n e s i l k b rocade

o f e m er a l d

gree n a n d gol d .

Th i s room i s

most ly, i f n o t

e n t i re l y,moder n

i n i ts co n s true

t i o n a n d deta i l s .

TheQu eenAnneJACOBEAN B U FFET.

fu r n i tu re for wh i ch these five rooms a n d two o the r

n o n descr i p t compartme n ts fu r n i sh t he n o t alwav s

\VILLIAM AND MARY CHA I R .

very appropr ia te se t t i n g, i t i s wel l to

begi n ch ro n o l ogi ca l l y, a n d for t h i s we

mu st go a l i t t l e beyo n d th e true

prec i n c ts of th e Loa n Co l l e ct i o n , a n dstudy the co n te n ts of th e El i zabe tha n

hal l,co n s t ructed by M essrs . Hampto n

after the mode l of H atfie l d, o n a scal e

two - th i rd s of th e act ual s i ze . Here

i s grouped a smal l , bu t o n th e whol e

se l ec t,assor tme n t of oak fu r n i tu re of

Tudor a n d J acobea n t imes .The earl i es t p i ece i s beyo n d

doub t t he low buffe t or s i d e

tab l e exh i b i ted by M r . Er n es t

Carved w i th bo l d

Goth i c patte r n s o n i ts twoGeorge .

cupboard doors a n d ce n t ra l

pa n e l, i t has a' cu riou sly

2 48

ADAM

a n d G e o rg i a nb o t h

came ou t of a

r o o m s

hou se in Hatto n

Garden,repu ted,

o n n o ve ry good

a u t h o r i t y , t o

have be lo n ged

former ly to Sir

C h r i s t o p h e r

H atto n .

“ O n th eoppos i te s id e of

th e a i s l e i s a

s e c o n d Q u e e n

A n n e r o o m,

b e l o n g i n g t o

M r . C h a r l e s

Dav i s . I n de

s c r i b i n g

CHA I R .

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FRANCO - BR I T I SH EXH I B I T I ON

pa n e l s i n h igh rel i ef, i n l a id w i th i vory a n d moth er - o’

- pearl , a n d fu rthe r decorated

o n the su rface w i th appl i ed spl i t t u r n i ngs of the regu l ar ty pe. What may have

bee n th e orginal u ses of th i s cab i n e t o n e ca n b u tgu ess,bu t i n i ts p rese n t co n d i t i o n ,a n d i n oth er spec ime n s wh i ch I have see n , the ha n dsome doors are u sed to h ide a

remarkably pl a i n a n d rough - l ook i n g ches t of dfawers . The compa n i o n p i ece o n

the other s ideof the fi rep lace i s a n eve n fi n e r spec ime n , of date abou t 1 6 1 0 , l e n t

by Maj or A . C . Qu i l te r . I t i s a t ra n s i t i o n al d es ig n be twee n t he cou rt - cupboard

a n d the buffe t, a n d se rv i n g the pu rposes ma i n l y of the l a t ter . A n ugly add i t i o n tothe l egs has masked th i s or igi n a l pu rpose a n d part ly spo i l t - the ha n dsome propor

t i o n s of the p i ece . Decorated w i th marque try of beau t i fu l fi n i sh a n d co l ou r, th i s

bu ffe t ch ro n i c l es the da te a t wh i ch meal s bega n to be take n i n th e l i v i n g rooms

i n s tead of i n a gau n t hal l . The u ppe r,or cupboard, port i o n i s th ree - s i ded i n p l a n ,a n d formed of th ree pa n e l s, of wh i ch the ce n t re o n e i s a door . Above, to quo te fromM r . Macqu oid,who figu res th i s p i ece i n h i s mo n ume n tal work o n oak fu r n i tu re,r i ses a carved a n d i n l a i d fr i eze, d i v i ded i n to two port i o n s by carved corbe l s

a n d headed by a de n ta l cor n i ce . Th i s i s su pported at each e n d by a group

of s l e n de r col um n s o n p l a i n p l i n th s ; t he l ower part i s headed by a n i n l a i d

fr i eze form i n g a d rawer, a n d th e face of the shel f be n eath i s carved w i th

a flow i n g arabesque des ig n . The easte r n cou n t i es may cl a im cred i t for i ts

ma n u fac tu re . I have dwe l t o n th i s p i ece at l e n gth, becau se to ma n y i t w i l l appear

the cho i ces t spec ime n of early work i n th e col l ect i o n . I have n o t much to say of

the pla i n El i zabe tha n Cha i r be l o n g i n g to th e Carpe n te rs‘

Compa n y, or the i r sol i d

l ook i n g octago n a l oak tab l e of the t ime of J ames I . , th ough both are wo n de rfu l l y

wel l p rese rved ; bu t a word mus t be spared for a ve ry i n te res t i n g l i t t l e carved

ladde r - back cha i r of Cromwel l i a n des ig n , l e n t by M r . Charl es Allom, wh i ch th e

ow n er cl a i ms, o n the st re n gth of some i n i t i a l s carved o n th e back, to be l o n g to the

re ig n of Charl e s I . Th i s has th e scro l l e n d s to the upr igh ts a n d ge n e ra l featu res

of the cha i rs wh i ch were made i n Yorksh i re d u r i n g the t ime of th e Protec torate .The fi n e J acobea n X cha i rs w i th the i r port ly cu sh i o n seats, i n c l ud i n g th e

n otab l e o n e i n wh i ch J ames I . sat for h i s port ra i t by Mytens, l e n t from the

co l l ect i o n a t K n o l e, shou l d s t r i c t ly have bee n p l aced amo n g these exh i b i ts, bu t

they w i l l be fou n d repos i n g rathe r i n co n gruou sly i n a tapes tr i ed room C l ose by,together w i th a m i xed assor tme n t of Quee n A n n e a n d Ch i ppe n da le fu r n i tu re .

I n d eed, i t i s a l i t t l e d ifficu l t to proceed a n y fu r ther i n a sys temat i c ma n n e r, as the

Comm i ttee of A rra n geme n t appear a t th i s po i n t to have gi ve n up a n y a ttemp t a tc l ass ificat i o n , a n d have mere ly fi l l ed th e var i ous rooms as fa n cy cha n ced to d i c ta te

.

Tak i n g them i n orde r, we fi n d i n th e ha n dsome Quee n A n n e room of M r . Dav i s,

wi th i t s r i ch carv i n g a n d pa n e l l i n g of pal e grey p i ck ed ou t i n wh i te, a pa i r

of very exqu i s i te ly carved Ch i ppe n dal e a rm cha i rs, wi th r i bbo n backs a n d l i o n

head arms, l e n t by M r . R . W . Part r i dge ; t he cha i rma n'

s Cha i r of the M idd l esexHosp i tal, al so by Ch i ppe n dal e, a n d n o t so mo n s t rou s i n s i ze as the o ther

pres i de n t i a l cha i rs wh i ch figu re i n the co l l ec t i o n ; a stuffed G eorgia n set tee

2 5 0

THE LOAN COLLECT ION OF BR IT I S H FURN ITURE

wi th po n de rou s she l l - cres ted back, l e n t by Sir He n ry Hoare, a n d fac i n g a

square fo l d i n g Ch i ppe n dal e tabl e from th e same ow n e r, wi th l arge carved mask

a n d l i o n s ’ heads bear i n g r i n gs o n the k n ees of i t s cabr i o l e l egs ; a Ch i ppe n dal e

cab i n e t 0 11 a tab l e - s ta n d w i th square l egs a n d Ch i n ese fre twork, l e n t by

M r . P . Fu rnI val ; a n d seem i n gly in

a l a r g e c a r v e d e x t r i c a b l e c o n

a n d gi l t co n so l e fu s i o n , l e n t b y

tab l e w i t h S i e n a M r . D a v i s ; amarbl e top, o n e of George I I . ma

abou t a doze n l e n t hogany a n d gi l t

by Messrs . Whi te, co n sol e tab l e of

A l lom Co . ; equal ly m a s s i v e

a heavy l ook i n g a n d ugly propor

Charl e s I I . gi l t t i o n s i n a d i ffe re n t

c o n s o l e t a b l e way, l e n t by th e

c o v e r e d w i t h same ge n t l ema n ,cupids,swags, a n d a n d s ta n d i n g i n

femal e bu sts i n c l ose prox im i ty to

e nO r n ] O u S r e ] i e f C \RVED BI AHOGANY SHA PED CH I P PENDALE TA BL E .all extrenl el)

; fi n e

a n d da i n ty sat i n wood work - tab l e w i th pa i n ted pa n e l s of the A n ge l i ca Kau ffma ntype, wh i ch formerly be lo n ged to the P r i n cess Char l o t te of Wal es, daugh ter of

G eorge IV . N ear th i s, too, i s a “Quee n A n n e" B roadwood p ia n o, cased w i th

beau t i fu l wal n u t ve n ee r, bu t spo i l t by heavy square a n d ove r- gi l t l egs . The

Duchess of Wel l i n gto n co n t r i bu tes a she l l—back Quee n A n n e cha i r w i t h eagl eheaded arms, of wh i ch the compa n i o n i s i n the adj o i n i n g room, a n d th e med ley

i s compl e ted by a g i l t Georgi a n m i rro r l e n t by M essrs . A llom.

The smal l room adj o i n i n g co n ta i n s two sat i n wood commodes of She rato n s

ELIZ AB IZTI IAN COLNC IL TABLE, F ROM BLENHEI“.

2 5 1

FRANCO - BR I T I SH EXH I B I T I ON

make, pa i n ted w i t h de l i ca te wreath s of flowers a n d Baccha n tes i n oval m edal l i o n s

by,W . Ham i l to n , R .A . , for the the n Marqu i s of Ormondef These are l e n t by

M r . Fran k L l oyd . I n a cor n e r s ta n d s a da i n ty l i t t l e sat i n wood tab l e arra n ged

wi th th ree d im i n i sh i n g t i e rs for the d i sp l ay offlgwers, be lo n g i n g to M r . R omai n eWal k er a n d o n t he same s i de is a charm i n g l i t t l e octago n a l i n l a id work - tab l e l e n t

by M r . Dav i s . The ce n tre of the room i s occup i ed by a case of ol d E n gl i sh

l u s tre ware from the col l ec tio n of M r . Wi l l i am Ward, a n d the wal l s are d ec i ded ly

e n l i ve n ed by fou r l arge g i l t m i rrors i n Ch i ppe n da l e'

s w i l dest ma n n e r, two of them

u l tra - Ch i n ese i n co n cep t io n . Here al so i s “R ob i n so n C ru soe'

s " gu n , th e

i de n t i ca l weapo n , carved w i th the n ame of A l exa n der Sel k i rk a l l over the bu t t,a s igh t to draw - al l ma n n e r of se n t ime n tal reflect i o n s,bu t n o t ca l cu l ated toimpress - par t i cu l ar ly the aes the t i c se n se .

The Tapes try R oom, which fo l l ows n ext, i s so ca l l ed from fou r l a rge p i eces

of Gobe l i n ma n u fac tu re wh i ch ador n the wal l s . These ca n hard ly be regarded

as E n gl i sh i n a n y respec t, a n d th ey were made, as th e arms o n t he border show,for A l exa n d re de Bou rbo n ,H igh Adm i ra l of Fra n ce, a n d u n c l e to K i n g Lou i s X IV .

The eye i s at tracted from these fi rs t, by sh ee r force of bu l k, to th ree capac i ou s

chairmen’

s cha i rs, the fi rs t, i n wo n d e rfu l mahogai a lmos t b l ack w i t h age,be lo n g i n g to the Compa n y of J o i n ers, a n d carved for them by Edward N ewma n ,Master i n 1 749 . Bu t fo r th e l abe l o n e m igh t imag i n e i t to have bee n made i n

Ch i n a, so ce l es t i a l i s the bo ld flamboya n t carvmg of the Ope n - work back , so

freak i sh the whol e d es ig n , a n d so much more suggest i ve of a tor tu re tha n a cha i r

to s i t back i n bu t th i s i s dwarfed by the huge th ro n e of the Carpe n te rs n ear by,wi th i ts great l i o n - head arms, its towe r i n g cres t of cor n ucop i a a n d fru i ts, a n d i ts

almost i n ev i tab l e Ch i n e se fre twork o n th e l egs . More e l ega n t i s the th i rd examp l e

of these mo n s te rs, a n“Adam a n d Ev e cha i r l e n t by M rs . S tor r, wi th l i t t l e n ude

figures of th e earl i es t pa i r s ta n d i n g am id a r i o t of bo l d r i bbo n - work t racery i n

wh i ch they seem hopel essly ou t of sca l e . I n the medal l i o n formed by the po i n ted

cres t i s a l ade n w i n e - car t, wh i ch seems to sugges t some V i n t n ers ' Compa n y as th efi rst possessors of th i s (probab ly ) Ch i ppe n dal e maste rp i ece . A very mass i ve

cab i n e t of l ate Georgi a n t imes, l e n t by H. R .H. The Pr i n cess of Wal es, occup i es

t he p l ace of ho n ou r i n the ce n tre of the room . Wi th i t s bo l d co l um n s a n d

Cori n th i a n cap i tal s, i t s seque n ce of brok e n ped ime n ts, a n d swags of s tro n gly carved

appliq ueor n ame n t, i t i s too arch i tec tu ra l to su i t any' bu t a very forma l ma n s i o n ;

bu t i n po i n t of workma n sh i p i t i s excep t i o n a l a n d mag n ifice n t . Com i n g

down to l i fe o n the n ormal p l a n e, th i s room co n ta i n s a set of th ree cha i rs

i n ches t n u t or ve ry pal e wal n u t be lo n g i n g to Sir Spe n ce r Po n so n by Fa n e .

They are l arge i n d es ig n a n d sweep,“ w i th rese rved tou ches of carv i n g, a n d

they are at t r i bu ted to Ch i ppe n dal e, bu t are a lmost certa i n ly ear l i er . The

gems of th e room for da i n t i n ess a re th ree l i t t l e Ch i ppe n dal e tab l es n ear the

m idd l e . Of these the mos t perfec t i s a card - tab l e w i th flap top and exqu i s i te l y

carved edges a n d mou l d i n gs, l e n t by M r . Perc i va l G r i ffi ths . I t shares w i th a

2 5 2

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FRANCO—BR I T I S H EXH I B IT I ON

cha i rs i s a p i cked - off spec ime n of th e huge carved swags from Lord Ches terfield’

s

house, Holme Lacey, wh ich are at t r i bu ted to G r i n l i n g G i bbo n s, bu t are a lmos tcerta i n ly too coarse i n execu t i o n fo r t hat maste r to c l a i m them .

Cross i n g the a i s l e, we come n ext to th e Wi l l i am a n d Mary room al ready

descr i bed . I t m igh t have bee n hoped that su ffic i e n t Wi l l i am a n d Mary fu r n i tu recou l d have bee n got togeth er to keep th i s rea l ly beau t i fu l l i t t l e boudo i r pu re , bu t

beyo n d a typ i ca l pa i r of h igh backed ca n e chai rs, wi th the tu r n ed l egs of th e

per iod, le n t by L i eu t . Walker - Mu n ro, th e re i s n o th i n g s tr i ct l y appropr i a te .

Mr . Weatherfield'

s ta l l c l ocks, cove red wi th marque try of rare perfect i o n , espec i a l ly

i n th e ear l i e r o n e wh i ch has i n l ay eve n o n the smal l rou n d co l um n s support i n g the

ca n opy, come n eares t to the p rope r date, a n d are Quee n A n n e a t l ates t . A l o n gw i th th em, the most beau t i fu l obj ects i n t h e room are the two large l acque r

cab i n e ts ; o n e, l e n t by M r . Bucha n a n , o n a carved gi l t s tan d, of Char l es I I . date,a n d the oth er, probab ly Quee n A n n e, l e n t by M rs . - Macq u oid. Very r i cha n d gorgeou s are th e to n ed gol d a n d col ou rs of the pa i n ted decorat i o n

i n these cab i n e ts, a n d fi n e a l so th e workma n sh i p of th e e laborate l ock s

a n d h i n ges, always a n ob l e featu re i n fu\

r n i t u re of th i s descr i p t i o n . A n otheri n te rest i n g p iece of l acque r work i s the l arge fol d i n g scree n of M r . C l a re n ce

Wi l so n , wi th a typ i ca l Ch i n ese l a n d scape ru n n i n g al l ove r i t i n i n c i sed work

a n d co lou rs . The rema i n der of the fu r n i tu re here i s most ly of the Quee n

A n n e pe r i od, two n arrow h igh - backed chai rs w i th s t ra igh t sl ats se t i n

ca n e - work, l e n t by M rs . Macq u oid, hav i n g rath er a n ear l i e r appeara n ce . There i s

n o doubt,howeve r, abou t t he doub l e se t tee,or Love - seat," of M r . Char l e s Allom,

wi th i ts b road co n cave wal n u t sh i e l d s a n d s tu rdy cabr io l e l egs . Quee n A n n e i swr i t l a rge (too large fo r my tas te ) al l ove r i t, bu t i t i s comfortab l e for a l l i ts

ugl i n ess . A t th e r i sk of be i n g cap t i ou s, I m ust co n fess to a stro n g d i sl i ke for thepai r of cha i rs w i th l ead appliq ueor n ame n t and a n ear l

'

s co ro n e t a n d arms l e t i n to

the back u n d er gl ass . Th i s fea tu re a n d the carv i n g o n the back a n d l egs

seem to me abou t equal l y h ideou s . El sewhe re, o n the o the r s ide of the room,

Messrs . Allom exh i b i t some cha i rs of th e per i od wh i ch are a good deal more

tol e rabl e ; bu t n early al l t he Quee n A n n e cha i rs exh i b i ted are squat a n d toad - l i k e

i n appeara n ce, n ot a t a l l rep rese n tat i ve of the bes t p roport i o n s . I shou l d be

bet te r co n te n t myse l f w i th M r . Cyr i l B u t l e r'

s card tab l e wh i ch i s h ere, wi th

i t s ca n d l e d i scs of b lack a n d wh i te i n l ay, a n d sl e n der, wel l - cu rved legs,suppos i n g tha t that a l so i s of Du tch ex tract i o n , as I su spect . I t has, at a n y

rate, E n gl i sh good tas te embod i ed w i t h i t .

The rema i n i n g th ree rooms, of wh i ch the decorat i o n has al ready bee n

n o t i ced, are fu r n i shed ma i n ly, i f n o t e n t i rel y, by M essrs . Mal l et t Co . , of Bath,wi th spec ime n s of a n t i q ue fu r n i t u re from the i r showrooms, wh i ch, cho i ce as they

are fo r the most par t, hard ly come w i th i n the scope of th i s art i c l e . The same

reservat i o n app l i es to the room fu r n i sh ed a n d decorated i n the i r ow n spec i a l s ty l e

a n d col ou r i n g by M ess rs . Morr i s 85 Compa n y, wh i ch fi n d s a pl ace i n the

2 5 4

THE LOAN COLLECT I ON OF BR IT I S H FURN ITURE

“WI LL IAM AND MARY ROOM.

Loa n Col l ec t i o n w i thou t be i n g real ly of i t . The i r exh i b i t i n fac t l ooks a

l i t t l e i sol a ted i n i ts su rrou n d i n gs of dead a n d go n e ages, l i ke a l i v i n g creatu re

dwel l i n g amo n g the tombs . I t may be me n t i o n ed, howeve r, as co n s t i t u t i n g the

sol i tary excep t i o n I refe rred to i n the begi n n i n g, of a fi rm exh i b i t i n g fu r n i tu re

made a n d des ig n ed to - day . Wi l l iam Morr i s was the grea t p i o n ee r who redeemed

u s from the ugl i n e ss a n d tas te l ess n ess of th e m idd l e n i n e tee n t h ce n tu ry, go i n g

back for h i s i n sp i rat i o n s to the sp l e n d i d e ra of the ear ly re n a i ssa n ce i n I ta ly, or

rathe r to t he Goth i c age wh i ch immed i ate ly precedes i t, a n d co n s t ruct i n gtherefrom a n e n t i re scheme of co lou r, des ig n , a n d decorat i o n wh i ch was

or ig i n al a n d whol l y E n gl i sh i n i ts fu lfi lme n t . Were i t n o t tha t o n e k n ows

how ma n y workers have p rofi ted by th i s redemp t i o n a n d a re carry i n g o n i n the

worl d the trad i t i o n h e fi rst started, the re wou l d be some th i n g al mos t t ragi c i n th i s

spec tacl e of the fi rm that bears h i s n ame sta n d i n g al o n e am id the flotsam of

the past, l i ke Macau l ay'

s New Z ealai‘

ider su rvey i n g fal l e n Lo n do n . Happ i l y

i t i s n o t rea l ly so . The Morr i s fi rm i s bu t o n e of ma n y tha t a re carry i n g o n

l i ve work, i n weav i n g, i n tapest ry - mak i n g, i n fu r n i tu re, a n d the k i n d red arts, a n d

I fo r o n e am sor ry that n o othe rs are repre se n ted .

There i s a ce n t ral space, a sort of i s l a n d, i n the Loa n Col l ect i o n H al l wh i chmus t n o t be overl ooked, a l though from a cu rso ry i n spect i o n i t l ook s a l i t t l e

u n i n v i t i n g . Th i s may be d ue to the overpower i ng se n sat i o n c reated by th e fi rs t

s igh t of th e huge e rec t i o n fac i ng those who e n te r . A l abe l i n forms u s tha t th i s

FRANCO - B R IT I SH EXH I B IT I ON

cab i n e t was des ig n ed by Sir Wi l l i am Chambers, pai n te d by W . Ham i l to n , R .A .

a n d made for Char l es IV . of Spai n by Seddo n , So n s Shack l e to n , i n 1 79 3 .

Bat i n g th e makers,‘ who have do n e thei r bes t, a more u n for tu n a te set of

ausp ices cou ld hard ly be imagi n ed . There is.

nothingworse to fol l ow beh i n d the

EL I ZABETHAN COU R T C LPBOAR D .

scree n , or eve n hal f so bad, so we may proceed . Two pa i n ted Adam cha i rs, a n da very l arge se t tee i n th e same sty l e, l e n t by Lady Batte rsea a n d Sir He n ry Hoarerespec t i ve ly, are almos t t he o n ly rep rese n tat i ve s of th i s wel l - k n ow n s ty l e .

El sewhere, there i s a pl a i n wh i te a n d gol d Adam Cha i r o f Lord Darnley'

s .

Heppelwhite i s represe n ted eve n more sparse ly by o n e of h i s fam i l i a r l i t t l e

w i n dow seats, wi th s l e n der taper i n g l egs a n d rol l ed - ove r e n ds . B roadwoods show

a G eorgi a n p i a n o, of wh i ch th e wal n u t ve n ee r i s as perfect as i n t he i r othe rexamp l e, a n d th e cu rved l egs a n d u n de r - frame more p l eas i n g . Lady VVernherse n d s a Sherato n ca n e se t tee of decorated sat i nwood, a n d a pre t ty l i t t l e cab i n e t

from the H u th col l ect i o n ; M r . Dav i s a very i n ge n i ou s a n d i n te rest i n g wr i t i n gtab l e, i n wh i ch the top sw i n gs over o n a ratche t a n d al l ows a s tat i o n ery cab i n e t to

r i se u p ; M r . Basse t t a smal l harewood cab i n e t, wi th vases i n l a i d o n the pa n e l s ;Mr . P . Fu rniv al a pa i r of regu la r Ch i n ese Ch i ppe n dal e cha i rs, wi t h pagoda

crests ; Mr . E. G . R aphae l a l adde r - back cha i r of 1 7 7 0 , a good spec ime n of the

yeoma n fu r n i tu re of the day . A t the ext reme e n d i s a fi n e bow - fro n ted sat i nwood

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SATINW'OO I) COWVIOD E \V I TH PA INT ED PAN E LS, BY ANG E L ICA KAUFFM \NN .

bee n l i n ed w i th pa n e l l i n g of approp r i ate date from var i ou s other ol d houses of the

n e ighbou rhood, th e most beau t i fu l be i n g that of the d i n i n g room, wh i ch has r i ch

hol ly marque try al l ove r th e doors a n d some of the pa n e l s . Th i s room i s fu r n i shed

by Messrs . G i l l R e igate w i th ge n u i n e oak fu r n i tu re of th e per i od, wh i ch vast l y

e n ha n ces i t s appeara n ce . A w i n d i n g sta i rcase, wi th quai n t d ecorat i ve p i e rcedbal uste rs a n d n ewe l s, l ead s to th e u sual su i te of bed rooms, l ead i n g ou t of each

othe r, i n wh i ch w i l l be fou n d a n assortme n t of fu r n i t u re of l ater date, mostly

Quee n A n n e o r Wi l l i am a n d Mary . Some of the p i eces i n t hese rooms are as fi n e,though p robabl y n o t so wel l p rese rved, as a n yth i n g to be fou n d i n the Loa nCol l ect i o n p rope r . The whol e bu i l d i n g does co n s i derabl e cred i t to the sk i l l a n d

e n te rpr i se of t he exh i b i to rs, who have om i t ted n o de ta i l wh i ch cou ld add to i ts

effect i ve n ess, eve n dow n to th e l i t t l e formal garde n w i th i ts top iary sh rubs wh i ch

su r rou n ds i t as a n e n cl osu re .

N ear by i s a cred i tab l e p i ece of moder n co n st ruct i o n work, i n t he shape of a

cottage bu i l t o n a n t i que l i n e s w i th t imbe r i n g of o l d oak, by M r . J . Wi l l iams, of

Oxted . Mr . Wi l l i ams has al ready erected some s im i l ar cottages i n h i s own

v i l l age, o n t he H osky n s - Maste r es tate .

H . C . MAR I LLIER .

A CORN E R OF T I I E M ACH IN E RY HAL LS .

MACH I NERY HALLS .

HERE i n t he Mach i n e ry H al l th ey e n sh r i n e th e re l ig io n of stee l a n d s teamtha t most fo rcefu l re l ig io n wh i ch has a l te red th e face of the earth . The exh i b i ts

se t the layma n gap i n g . I n th e sou l s o f most me n (prac t i ca l o r n o t ) l i es tha t

revere n ce a n d fasc i n a t i o n for mecha n i ca l mo n ste rs, fo r wh i rr i n g m igh ty wheel s,a n d here there comes to the v i s i to r some th i n g of tha t o l d fee l i n g of awe a n d

wo n de rme n t w i th wh i ch, as a boy, he saw a b ig e n g i n e pu l l ou t of a s ta t i o n , or

peered dow n from th e al l eyway of a sh i p to see the l eap i n g cra n ks a n d th rust i n g

p i sto n s that (by ma n y m i racl es ) made the sh i p to go .

I t i s a vast p l ace, vast - a i sl ed, vast i n t h e crowded sh i n i n g exh i b i t s— work i n g

or a t res t —most vast i n i ts roma n ce . A re n o t the i ro n maste rs of to - day, i n a

ma n n e r, th e k i n gs of the worl d ? The charm of th i s p l ace i s gr im, bu t very

l u r i n g, a n d to th e v i s i to r w i th eve n t he fa i n te s t “mecha n i ca l m i n d” i t i s l u r i n g

above al l e l se i n the Wh i te C i ty .

Ch i ef se rv i n g- me n to the Gods of War are the me n of s tee l . H ere they

show wel l the i r co n cre te sh udders . The famous fi rm of V i ckers - Maxi m, o n e of

the mos t i n te res t i n g exh i b i t s i n the ha l l s, show ma n y smart th i n gs, spec i al l y

des ig n ed to make k i l l i n g easy . Au toma t i c gu n o n l igh t t r i pod— gu n , t r i pod,ammu n i t i o n a n d a l l are carr i ed o n the backs of t h ree dummy me n . S tee l frames

cove red w i th l eathe r have th i ck pads so tha t the bu rde n does n o t p ress too hard,l ower parts of frames a t tach to the wa i st - be l t, the u pper e n ds be n d to fi t ove r t he

shou lders a n d are co n n ected w i th the wa i st - bel t by straps . The we igh t of the

gu n i s o n l y for ty pou n ds, a n d th e weapo n i s fed w i t h car tr i dges from a be l t . An ea t l i t t l e mou n ta i n gu n show n i s operated by a ha n d l eve r a t t he top, easy of

access i n a n y fi r i ng pos i t i o n . I f a spec ia l t r i p to the Mach i n e ry Hal l s cou ld have

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FRANCO - B R IT I SH EXH I B IT I ON

bee n arra n ged for tu rbu l e n t h i l l t r i bes of th e I n d i a n fro n t i e r, they wou l d th i n k

tw i ce i n the fu tu re be fore they go ou t o n the war path aga i n .

War o n l a n d a n d war o n sea— th e re are st ro n g l esso n s i n each here . The

beau t i fu l mode l fl eet of warsh i ps i s of more tha n ord i n ary i n teres t to both Fre n ch

a n d B r i t i sh v i s i tors . The sc i e n ce of th e sh i p of war, her mak i n g, her equ i pme n t,has go n e up w i th a ru n these l as t few years . No t s i n ce the Naval Exh i b i t i o nof 1 89 1 has th ere bee n a n y su ch br i n g i n g togethe r of warsh i p mode l s . A l l t h egreat fi rms have u n i ted spl e n d i d ly to make th i s fi n e show poss i b l e . A rmstro n gWh i tworth,Cammel l - La i rd, Yarrow, J . L . Thornycroft— scou t, des troyer, armed

cru i se r a n d torpedo boat, al l are he re i n m i n i a tu re to tel l how we use th e sea, to

te l l a l so how fr igh tfu l ly we may u se the sea i n a t ime to come, i f th e Gods of Warshook off the res tra i n i n g cou n se l s of th e A n gel of Peace . Look at t he A rmstro n gbat t l esh i p wh i ch that gia n t fi rm i s bu i l d i n g for B raz iL— the “M i n as Ge raes .Twe l ve 1 2 —i n ch gu n s sh e carr i es, the gu n tu rrets ra i sed above each oth er, so tha t

th e i n n ermost tu rre t gu n s may fi re over t hose of the ou te r ; a n d i n a n y d i rect i o n

she ca n dea l death . She has a d i spl aceme n t of to n s, th ree thou sa n d to n s

more tha n the re n ow n ed “D read n ough t . N ear by i s th e “Ermack , that

wo n derfu l R u ss ia n sh i p tha t ca n break th e i ce as she carves he r road th rough the

bou n d Bal t i c ports . H ere i s the l i t t l e Ghu rka, destroyer— on her t r i a l t r i p sh e

made th e record speed of 3 3 k n ots .

A l l are fasc i n a ted by th i s sh i n i n g fl eet, bu t espec ial ly the you n gsters, to whom

a sh i p mode l i s a lways a d ream - j oy . Such toy s, so far ou t of reach — i n d eed th ey

wou ld be fi t toys fo r th e so n s of k i n gs, though as far ou t of reach eve n i n tha t

case . The sh i ps the Fre n ch Navy shows are as at trac t i ve, j u s t beyo n d thesp le n d i d model of th e l igh thou se .

The French Adm i ral ty exh i b i ts have s tor i es of roma n ce to te l l . I n beau t i fulb i n d i n gs, a n umbe r of ma n u scr i pt s te l l of ol de n Fre n ch rovers of the seas .

Beauches n e fared to the Sou th Seas i n the Spr i n g of 1 698 (a n d that was a - th ree

years'

cru i se a n d more ), here i s h i s very log book, a n d here i s the s ig n a l book of a

Fre n ch seama n who made a good figh t w i th B r i ta i n off th e chal k cl iff s of E n gla n d .

Here are re l i cs o f grea t i n te res t, t he barge of the great Napol eo n , th e flatbot tomed boats wh i ch the Fre n ch u sed whe n they captu red A lgi e rs, a n as

i

trolabe

of 1 5 78, the fi rst bo i l e'

r Pap i n made, a n d some of th e smal l ca n n o n tha t they used

o n the gu n wal es of the e igh tee n th ce n tu ry warsh i ps of wood . Moder n , fou r

cl asses of armoured cru i sers a n d five types of Fre n ch torpedo craft a re show n , a n d

hal f a doze n Fre n ch fi rms prese n t examp l es of warsh i p equ i pme n t, armou r pl ates,proj ect i l es, a n d a 2 0 mm . (47 ) gu n .

The M i n i s te rs of Commerce a n d of Mar i n e have worked wel l to ge t such a

represe n tat i o n of Fre n ch e n gi n ee r i n g ge n i u s . A Par i s fi rm shows the larges t

search l igh t of i ts k i n d ye t made, mou n ted o n a M oralle e n gi n e . The place of

ho n ou r i n the Fre n ch hal l, ce n tra l a n d n ob l e,"i s take n by the great Po n t a

Mousso n b last fu r n ace . M . Ph i l i p B ert i n shows h i s wo n derfu l sys tem of

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FRANCO - BR I T I SH EXH I B IT I ON

be l o n gs to ma n ufactu rers of d i v i n g apparatu s . The gl i s te n i n g col um n i n the

ce n t re is made u p of mother - o'

- pearl she l l s .

A t the s i d es of th e octago n al co l umn s ta n d model s of d i ve rs, fu l ly equ i pped .

The pate n t te l epho n e th ey use i s o n e of the s impl est th i n gs o n earth —~ n o, n o t o n

ear th, u n l ess you ca n cal l t he sea - bed ear th . I t i s a ttached to th e he lmet, a n d by

i ts mea n s d i ve rs, work i n g i n twos, ca n co n verse wi t h o n e a n o th e r, a n d w i th the

me n i n the boa t so far above the i r heads .

Su rely the i n d us t ry of i ro n a n d s tee l i s the m igh t i es t i n d us t ry of al l — th i s, a t

l east was a n i dea v i s i to rs cou l d carry away who had n o k n owl edge of th e

tech n i ca l i t i es of s tee l, a n d were l os t i f a n e n gi n ee r shou l d speak of sp igot a n d

fau ce t tub i n g, expa n s i o n be n ds, h igh pressu re cy l i n ders . ro tor ce n t res a n d va l ve

ope n i n gs, comb i n a t i o n fr i c t i o n a n d pos i t i ve C l u tche s, a n d the l i ke . I doub t n o t

tha t the rea l e n gi n eers who v i s i t the Exh i b i t i o n s tay i n t he Mach i n e ry Hal l s fromarr i va l to du sk, s tudy i n g fly whee l s, su ct i o n p roducers, a n d oth er beau t i fu l th i n gs,u n trou bl ed eve n by des i re of the Sce n i c R a i lway ou ts i de the doors . Bu t the

layma n i n s tee l, ig n ora n t, hal f a l armed— eve n h e may vaguely k n ow the m igh t i n ess

of s tee l craft from h i s layma n'

s mor n i n g here .Here, from N ewcast l e, i s a mammoth pla te of te n s i l e s tee l, t h i rtee n ya rd s

lo ng, twe l ve fee t w i de, o n e i n ch th i ck, we igh i n g n i n e a n d a hal f to n s . I t i s the

larges t p l a te eve r ro l l ed . See th i s mode l of o n e of th e tu rb i n e d rums of the“Lus i ta n i a — mak i n g a gateway to the s ta n d of the fi rm who tu r n ed i t ou t . The

or ig i n a l i s ho l l ow forged stee l, wi th a d iamete r of n early twe l ve fee t a n d we igh i n g

twel ve to n s ; th i s mode l th rough wh i ch you wal k i s exact s i ze, a n d so w i l l g i ve

you accu ra te i dea of i ts huge n ess . H ere i s a steam tube, draw n ou t to the

as to n i sh i n g l e n gth of fiftee n yard s— t hat a lo n e w i l l show you ma n'

s maste ry over

s tee l .

No t l ess i n terest i n g i s t he d i sp lay Of the Lo n do n El ec tr i c i ty Compa n i es,where demo n s t ra t i o n s of cook i n g by e l ect r i c i ty are be i n g gi ve n to show how al l

t he d rudgery of the o l d - t ime k i tch e n ca n be abol i sh ed by e l ect r i c i ty'

s a i d . Wi l l you

n o t marve l a t the e l ect r i c ke t t l e, a n d th e sewi n g mach i n e operated by el ect r i c i ty ?

Press bu t to n s, i t seems, a n d al l hou sework i s do n e . A n d the el ect r i c ra n ge hasma n y wo n ders . Not l east, to o, of th e Exh i b i t io n

'

s good th i n gs (those to wh i ch

the ord i n ary v i s i to r w i l l accord the Pr i x d'Honneu r i n h i s m i n d ) i s th e res t room

here prov ided, wi thou t fee o r charge of a n y k i n d . Set tees for t i red l imbs, a n d a

pl easa n t fou n ta i n to res t the eyes, t i red w i t h th e st ra i n of s igh t - see i n g, wh i l e a

pu n kah (e l ec t r i ca l ly d r i ve n , of cou rse ) br i n gs a b reeze of swee t coo l n ess .

The most ig n ora n t layma n i n mat te rs of stee l mo n ste rs ca n , a n d does,apprec i ate the res t room to th e fu l l . R emember i n g the ge n e ra l comfort l ess n ess of

th e grou n ds, i t was a s troke of rea l ge n i u s to pu t t ha t oas i s of res t i n the ce n t re

of the gr im a n d dou r Mach i n ery H al l s .

V I CTOR ANTHONY .

toO“\N

P I LLEY AND ASTON 'S EXH I B I T .

BRIT ISH TEXT ILES AND CHEM ICALS.

YOU tu r n to the r igh t ou t of t he su n n y Cou rt of H o n ou r, a n d the shade of the

we l l - l igh ted bu i l d i n g that shel te rs “B r i t i sh Tex t i l es i s gratefu l . A sol i d n amea n d a se n se of tru e B r i t i sh so l i d i ty ha n gs abou t t h i s i n t eres t i n g co l l ect i o n of

exh i b i ts . For o n e th i n g, cot to n , wh i ch i s o n e of the greatest B r i t i sh i n du st r i es,bu l ks l arge ly here a n d there are B radford st u ffs, pr i n ted fab r i cs from La n cash i re,wool, s i l k, a n d l i n e n ,flannels a n d homespu n s .

I da re wager that for the vast major i ty of wome n who v i s i ted the Exh i b i t i o n

the frock s of Pav i l i o n 1 4 dom i n ate th e i r memory of the who l e show . From

ope n i n g t ime t i l l c l os i n g the cal l of the frocks l asted ; the cal l was fe l t from cor n e r

to cor n e r of th e grou n d s .

The grea t do l l s moved o n a n arrow t rack, rou n d a n d rou n d o n t i re l ess fee t,a n d moved n ot a n i n ch to the r igh t o r the l eft . They smil ed beau t i fu l ly as t hey

moved they were wome n above pr i ce i n t hat th ey cou l d n o t speak .

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FRANCO - BR ITI SH EXH I B I T ION

I n the fi rs t glass house they wore the gow n s of ma n y years . U n der flowered

archways,fa i n t l amps l i t the i r path at n igh t . Fai n t s igh s from the l i v i n g wome n

the o the r s i de of the glass, words of sw i ft ly crushed sat i re from the me n , made the

accompa n ime n t of t he i r t r i umpha n t s i d l i n g from the arch of ye l l ow l abu r n um to

the arch of yel l ow labu r n um agai n , rou n d anarou n d a m i l l i o n t imes or

more a day . Two d id n ot move at al l . They rema i n ed eve r i n a p l ac i d wax ;1 81 0 a n d a l i t t l e ch i l d, s t i ff a n d foo l i sh, aga i n s t a pa i n ted bal co n y, gree n w i th

l i fe l ess flowers . 1 830 was i n wh i te sat i n , a n d her everl ast i n g s imper was framed

by cu rl s ofgold . 1 80 5 was the most grotesqu e ; from her wa i s t shew'as c l othed i na hugh be l l buoy made of some r i ch s tuff, a n d a p l ume s tood stup i d ly from her

ha i r . 1 85 5 directoired for he r l i v i n g, a n d he r face showed n o e n th u s i asm for her

work ; 1 83 5 was a so l i d v i l l a of yel l ow ; 1 82 5 , i n o l d Ch i n t z, was pu ffed -u p i n

he r waxe n m i n d becau se of th e i n a n e huge streamers that da n gl ed from he r

bo n n e t ; 1 86 0 was th e gra n dmothe r of t hem al l .

A yard away, a n o the r gl ass hou se i mpr i so n ed “or ig i n a l creat i o n s, a n d t heeyes of the l i v i n g wome n grew rou n de r s t i l l . Here were Ascot a n d Goodwood,Hyde Park

'

s Holy of H ol i es a n d R a n e l agh, t he Carl to n a n d Cowes . O r h ere,at l east, was as much as mat tered of t hose swee t p laces, prese n ted to make a

beau t i fu l i n d igest i o n for t he subu rba n m i n d .

Wome n tu r n ed re l u cta n t l y from Peter R ob i n so n'

s exh i b i t to d ream of a b l ack

gl eam i n g frock tha t fi t ted l i ke mol te n metal . The n they gasped at th e s igh t of

s t i l l more wax— cl othed th i s t ime i n Debe n ham a n d Freebody'

s fu rs — sabl e,erm i n e, s i l ve r fox, seal sk i n , sea ot te r a n d ch i n ch i l l a .

So much for these— the cream of l i fe to a woma n'

s ou t l ook . Fac i n g them

are good stu rdy th i n gs, l i n e n s a n d l o n gclo th s ; a n d the l argest co tto n bo l l s o n

record, each bear i n g 1 4 l ocks a n d we igh i n g a n ou n ce, from Br i t i sh Col umb ia .

A step o n are tarta n s from Scot l a n d, bear i n g a l l t he o l d h i stor i c n ames— C l a n

A l p i n e a n d Camero n of Loch i e l, G raham of Mo n trose a n d K i lgou r, Macdo n al da n d MacFeydran, U rqu har t a n d R ob R oy, a n d a tarta n cop i ed exact ly from

the o n e wor n by Pr i n ce Char l i e i n 1 745 .

Lo n do n a n d Par i s g i ve rem i n der that t he worl d '

s supp ly of va n i ty a n d pr i de

of dress i s n ot ye t al l ocated sol e ly to wome n , for th ey show samp l es of t i es,pyjamas a n d u n derc l oth i n g that rou se eas i ly ma n - e n vy . Further o n , soap ru l es,mark i n g i ts spec i a l p rov i n ce of Pav i l i o n 1 4 by a C l ea n a n d gratefu l sme l l . The

giga n t i c Erasmicsoap - bubbl e, wide, h igh, a n d w i th n eve r- ceas i n g foam, i s i n deed

o n e Of the featu res of the whol e Exh i b i t i o n . A t n igh t, su re ly, from the n u rse ry oft he gods the god - ch i l d re n must s tep dow n a n d p lay w i th su ch a toy .

C l ose by, soap i s be i n g made, a Lo n do n a n d Par i s fi rm hav i n g la i d dow n a

fu l l p la n t of moder n m i l l i n g mach i n e ry d r i ve n by a n e l ect r i c motor .

The swee t soap sce n t c l i n gs l i k e a d rug— pass n atu ral ly to the d rugs of all t he

worl d . The col ou rs of chem i st ry are as beau t i fu l as the co l ou rs of the frocks,where the e n d l ess process i o n of adm i r i n g wome n st i l l ha n gs th i ck ly .

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V I EW OF THE I ND IAN PAV I L ION .

THE I NDIAN PAVIL ION .

And whoso will,from Pride released,

Contemning neither creed or pries t,

May feel the sou l of all the East

Abou t h im at Kamak u ra.

”

R udyard s /z‘ng.

B u t Kamaku ra i s a very lo n g way off ; a n d th e v i s i to r to the Exh ib i t i o n ,i f he had a n y imagi n at i o n , cou l d bel i eve that h e fe l t

“al l the East abou t h im

by a carefu l j ou r n ey w i t h i n the doors of th e I n d i a n Pav i l i o n . A fi n e th i n g

i n deed was th i s Pav i l i o n of R i ches, orga n i sed by th e Gove r n me n t of I n d i athat u n k n ow n cou n t ry to so ma n y of u s — a n d u n dersta n d i n g v i s i tors, hav i n g

amazed ly s tud i ed i ts glo ry a n d gol d a n d co l ou r, we n t ou t, gratefu l for greate r

k n owl edge . O fte n t hey re tu r n ed aga i n .

For the l i fe of th e East was show n a n d typ ified i n th e I n d ia n Pav i l i o n

a n d th e East'

s wo n d rou s art . East a n d West met th i s o n ce ; a n d West (i n t he

shape of th e ma n y thou sa n d v i s i tors ) departed though tfu l, hav i n g l ear n t

someth i n g of i t s l esso n . They say that i t cost th e I n d i a Office fifty thousa n d

pou n ds j us t to co l l ec t th e exh ib i ts show n here . I t was mo n ey wel l spe n t .

The work i n ha n d was to show the peop l e at home the l i fe a n d work of a

cou n t ry hugely myste r i ous, huge ly u n k n ow n ; a n d you ca n n ot se t abou t such

bus i n ess Cheap ly .

I t was al l of a hu n d red gu i n ea Easte r n “Cook’s t r i p a n d more, t h i s tou r

of a n hou r o r so rou n d th e I n d i a n Pav i l i o n . D i d you hal t at t he very fi rs t

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THE I ND I AN PAV I L I ON

CORN E R OF THE PALAC E SHO\V ING CO PP ER R E POUSSE DOOR .

exh i b i t— a l arge wh i te case th at she l te red ransack ings from Nagpu r, Gwal i o r,Karach i, Hyderabad, Baroda, Ba n gal ore — the n you la n ded i n I n d i a a t o n ce,revere n t, eage r . Plaste r figu res, de ta i l e d a n d correct, showed you some of the

workers ; the n at i ve postma n , the n at i ve po l i cema n , a n d so o n . A n d cas tb rasses, l i t t l e a n d b ig, showed pl a i n th e l i fe of th e roads, t h e bazaars a n d th e

s t reets, th e fa n tas i es of the templ es . Here we re s tra n ge ma n y - l i mbed gods,a n d hooded cob ras l i fted th e i r w i cked heads ; th e s n ake - charmer p layed to h i s

s t ra n ge pl aymates ; t he camel s we n t m i n c i n g al o n g the roads, gay w i th

t rapp i n gs . Here were some of th e t reasu res of th e eart h i n a l a n d of su n,

th e dark red lu shia bea n , th e fish - ta i l palm, t he teak seed, the t i n y l u st rou s

b lack ca n n a— beau t i fu l seeds that are st ru n g fo r or n ame n t, to d eck th e shou l ders

of wome n .

Now al ready you we re tru l y i n I n d i a . A n d n ow the art of t he l a n dsd reame rs, t he j oyfu l wo rk of th e l a n ds craftsme n , were flu n g prod iga l for you r

de l igh t . D e l i cate worke rs i n wood, th e me n of th e East d i sp l ayed the i r sk i l l tomake e n v ious the o n l ooke rs of th e West . El e pha n ts t rumpeted a n d fough t alo n g

the fro n t of a carved sa n da lwood box from Mysore S tate, wh i ch al l who saw i t

mu st remember cove tou sl y— it was pr i ced at £9 0 . A fi n e carved ove rma n te l

by A l a S i n gh came from the Pu nj ab School of A rt ; a n d from the Schoo l Of A rtof M adras (carved s i l ve r work ), Bombay (e n amel l ed gold, coppe r, a n d j ewel l e ry),

2 6 7

FRANCO - BR IT I S H EX H I B I T I ON

T r iv a n d I n deed, the

rum(carv ed e x h i b i t s

i v o r i e s ) , o r ga n i s e d

J a i p u r b y t h e

(c o l o u r'

e d G o v e r nC l o t h s ) , me n t were

c a m e e x always th e

ampl es of mos t i n te r

the ge n i u s est i n g, for

of stude n ts, they show

a n d e v i ed th e w i s

dences o f dom of the

the watch ru l e rs of a

fu l care of s t r a n g e

the Gover n l a n d i n en

me n t that cou raginghadfostered al l tal e n t i n

t hat ge n iu s . t h e m e n

L a h o r e they ru l ed .

S c h o o l o f So t hat the

A r t se n t a P a v i l i o n

b rass l amp, s t o o d , i n

d es ig n ed by a way, for

thestudents a k i n d of

to adorn the p e a c e f u l

e n t ra n ce to tr i umph of

t he famous g 0 v e r n

Taj M ahal CARV ED \VOOD T ROPHY . nTQ II t . The

o f A g r a . G o v e r nme n t of Bu rma prov ided a fi n e exampl e of th i s i n i t s col l ect i o n of s i l ve r bowl s

a n d caske ts by n at i ve art i s t s ; a n d H.H. the Maharaj a of Mysore se n t exampl es

of i n l a i d work a n d b rass ware wh i ch were much adm i red . St ro n gl y i n d i v i dual

a n d fasc i n at i n g i s th e n at i ve ar t of I n d i a : of i ts ow n k i n d, al oof a n d st ra n ge,ow i n g n o th i n g to th e West . N ot i cab l e were a scree n by Thake r S i n gh a n d acoppe r repou ssé door from th e Bombay School of A rt . A l i t t l e i ro n i c showi n gof .t he gu l f betwee n East a n d West, su re ly, l ay i n th i s— t hat several beau t i fu l

th i n gs were the work of me n impr i so n ed i n t he B ik anir J a i l, R aj pu ta n a

l acquered k oopis a n d a pa i n ted b rass vase, amo n g other th i n gs . The summ i t of

art i s t i c ach i eveme n t of ou r E n gl i sh gaol s i s t he mak i n g of ma i l bags .

Espec i al l y i n t eres t i n g to Fra n ce a n d B r i ta i n was th i s H al l of I n d i a ; to

real i se that you’

have o n ly to co n s i de r t h e vast t rade re l at i o n s of I n d i a w i t h

both cou n t ries . A n d do you k n ow the s i ze of I n d i a ? She boasts a m i l l i o n a n d

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FRANCO - BR I T I SH EXH I B I T I ON

cou rse th e mai n spectacu l ar at tract i o n . A l l v i s i tors w i l l l o n gremember i t, wi th the fa n tast i c sh i n i n g peacock o n i t s fro n t . Two

l amps hu n g i n t he doorway, a n d above them the peacock sho n e,n eed i n g n o l amps to show i ts dazz l i n g co lou red spl e n dou r .

From the workers of the Pu n j ab came the©back of the

arch, wi th e l epha n ts at th e foot, a n d workers i n wood from

Baroda a n d Mysore worked l ov i n gl y to make the s id es ;a n d the whol e of the arch was pat i e n t ly a n d wo n de rfu l ly

carved . I t had a n exot i c beau ty, a n d wh i spe red of the

East, l os i n g some of i ts effect, n atu ral ly, becau se of th e

crowd i n g i n u po n i t of so ma n y othe r th i n gs, i t wa n ted

hal f l igh ts a n d a free road before i t fo r p rope r

worsh i p i n g at th e peacock'

s sh r i n e . I t s carv i n gs

were ofte n de l i cate as l ace, a n d n at i v e workers from ELEPHANT CARVED m WOOD .

ma n y prov i n ces of I n d i a had had ha n ds i n i ts mak i n g.

The Pav i l i o n was r i ch i n al l ma n n e r of crafts . The l oom s of Bjapu r,Amr i tsar, Kashm i r a n d Be n ares hu n g i ts wal l s w i th carpe ts a n d rugs, a n dp roducts of th e s imp l e ha n d l ooms were al so show n . For t h e Gover n me n t

,

eage r for th e wel fare of th e vast gover n ed, i s do i n g al l i n i ts power to promote

the use of these l i t t l e l ooms, so t ha t the spread i n g thou sa n d s shal l be workfu l

a n d fed . A n d shawl s a n d emb ro ider i es,musl i n s a n d tu sso r s i l k, drove i n to u sth e dim k n owl edge of t hat t reme n dou s Easte r n worl d . For th e bes t par t of a

week you cou l d have l i ved i n t he Pav i l i o n , a n d you r wo n de r wou l d n o t have

stayed i t s cou rse . Perfumes a n d i n ce n se, l eat h er work a n d l acquer work, ta n n ed

s n ake sk i n s made to be l t a woma n'

s wa i s t, a great l og of Bombay rosewood ,we igh i n g fou r to n s a n d ove r, that w i l l i n t i me fi l t e r i n to ou r ow n \Vestern l a n ds i n

t he form of p i a n os, agr i cu l tu ra l impl eme n ts to coax t he parched a n d re l ucta n t

earth . Sce n as i n re l i e f, pa i n ted by W . T . Helmsl ey, t h e wel l - k n ow n sce n i c

art i s t, showed u s th e i n du s t r i es of the l a n d, or some of th em— a ruby m i n e of

Bu rmah (n ear i t a case of rub i es t o th e val ue of ma n y thou sa n d s ), a cot to n fi e l d

of Bombay, a n d j u te from Be n gal .

A n d you saw by p i ctu res how the me n who hel ped to make the l a n d worked,giv i ng of the i r sweat a n d th e i r b ra i n . The br i dge bu i l de rs, th e me n who d rove

th e roads . By these o n e k n ew a l i t t l e how the ra i lways cl imbed a n d we n t : o n e

marve l l ed at t he b r i dges whe re me n u n dau n ted had da i l y worked whethe r th e rive r

was i n cal m or flood, br idges l i ke t h e Empress B r i dge over t he Su t l ej , w i th i ts

s ixt ee n spa n s of g i rders of 2 6 0 fee t .

I n d i a'

s l av i sh show i n g to th e Weste r n Peopl e was a t r i umph . Ou t aga i n i n tothe su n n y co u n t ry of the Exh i b i t i o n o n e carr i ed spl e n d i d m i rac l es i n t h e m i n d .

H . S .

AUSTRALIAN PAV ILION.

HE appears a t t he Wh i te C i ty as a proud a n d t r i umpha n t you n glady, does Au stral i a— t h e fa i res t of B r i ta i n ’s daugh te rs overseas .The s i x S tates of th e Commo n weal th, N ew Sou th Wales,Quee n sl a n d, V i c to r i a, Tasma n i a, Sou th er n a n d Weste r n Au st ral i a,show i n the i r respect i ve cou rts th e t reme n dou s r i ch n ess of the

l a n d tha t i s i n dead ear n es t i n h e r des i re fo r se tt l e rs . The

Pav i l i o n i s Au st ral i a ’s mag n ifice n t adve rt i seme n t of a gi a n t h ou se of u n tol dt reasu res .

Lofty a n d l igh t a n d hu n g w i th ma n y flags, th e n o tes of Au stral i a'

s great

d i sp l ay are gems a n d go ld, wool a n d gold e n whea t . I n o n e sect i o n al o n e are

gol d n ugge ts to th e val ue of I n V i c tor i a '

s cou r t a huge arch of gol d

r i ses, to show the bu l k of th e prec i ou s me tal m i n ed . are the

impress i ve figu res fo r th e m i n era l s wres ted from N ew Sou th Wales S tate over a

space of fi fty years . The same State shows fi n e arch es— o n e of gra i n s a n d

s traws, a n d o n e of th e fi n es t mer i n o woo l . A l so a n arch of coal, a n d arou n d i tsampl es of gol d, s i l ve r, i ro n , t i n , a n d othe r m i n e ra l s .

A pyram i d of s i l ve r comes from the B roke n H i l l m i n es . I n th e we l l - guarded

M i n e ral Cou rt th e v i s i to r stays fo r a wh i l e, a n d is perfect ly dazed w i th th e

weal th that su rrou n ds h im .

Here are th ree gol d n uggets that are wo n derfu l apart from the i r val ue, for,u n ear thed i n d iffe re n t parts of the Commo n weal th, they form a remarkabl e“E n te n te Cord ia l e " k i n d of fam i ly . O n e i s a n al mos t exac t facs i m i l e i n ou t l i n eof the co n figu rat i o n of F ra n ce, the se co n d fo l l ows cl ose ly th e coast l i n e of

E n gl a n d, a n d the th i rd i s a so l i d map of th e coast ou t l i n e of th e Commo n weal th

i tse l f. They are show n exact ly as th ey were fou n d .

See what the S tate ca n do i n th e way of woods : a beau t i fu l room made

e n t i re ly of bl ack bea n , w i th carv i n g a n d decorat i o n s of wh i te beech, a n d a parque t

floor i n g of spo tted gum . Oak a n d rosewood make the fu r n i tu re the roomco n ta i n s, a n d i n i t R oyal ty has take n tea .

The larges t gol d - produc i n g m i n e of al l— the Mou n t Boppy M i n e— shows a n

i n te res t i n g mode l of i ts equ i pme n t for t reat i n g ox id e a n d su l p h i de ores, a n d

B roke n H i l l — t ha t spot of la n d so r i ch i n roma n ce, for you w i l l h ear A u st ra l i a nv i s i to rs swapp i n g ” stor i es of how, before the fu l l va l u e of the pl ace was k n ow n ,a ma n so l d a share i n B roke n H i l l fo r a few head of cat t l e . Exh i b i t s d r i ve i n

o n th e v i s i to r that i t was a su rpass i n g m i racl e i n a l a n d of ma n y m i rac l es .

The bou n dary r i de r who fi rst d i scovered B roke n H i l l t hough t that B roke n

H i l l'

s ou tcrop co n s i s ted of t i n o re . He we n t back to h i s s tat i o n a n d formed

a sy n d i cate of seve n peop l e, each co n t r i bu t i n g th e sum of £7 0 . There were

I 4 shares i n th e ha n ds of these o r igi n a l hol d ers . Bu t i t was n o t t i n , bu t s i l ve r, t hat

was to make B roke n H i l l s ta n d fo r ever as th e greates t sy n o n ym of l uck : a n d i n

s i x years from that t ime th e marke t val u e of each o n e of those shares was

Now B rok e n H i l l has pa i d over i n d i vide n d s .

2 7 1

AUSTRAL IAN PAV I L ION .

I n . the N ew Sou th Wal es sect io n are fleeces from all the d i s t r i c ts, fromR iv erina to the H u n te r R i ve r, a n d d ress goods made from Au stral i a n moha i r .Wome n ’s eyes take the j ewe l l u s t i n to t hem at the s igh t of cases c rowded

w i t h wo n d rou s gems . The opal predom i nates, a n d th e opal i s a mal ig n eda n d a m i su n derstood sto n e . Not i ce t he l arges t Opal carv i n g i n the wor l d — a

rep rese n ta t i o n of Cup i d a n d Psyche, carved from a s i n gl e sto n e of carats .

Pass o n to see a Ou eensland pearl d i ve r equ i pped for h i s da n gerous work o n

the pea'

rl i n g s tat i o n s of th e North Coast . A n d i n the Weste r n A u stra l i a n Sect i o ni s the famous Sou th er n C ross pear l— n i n e pear l s, real ly— j o i n ed by n atu re herse l f

to make a perfec t cross . Mou n ted i n a n ope n gol d se t t i n g, i t shows as a k i n g

gem i n a bewi l der i n g col l ect i o n of wo n derfu l gems, a n d you ca n we l l u n d ersta n d

why the n at i ve d i ver who fou n d i t (a stau n ch Catho l i c ) t hough t he had fou n d a

sacred th i n g, a n d h i d t he pear l for s i x mo n ths, wai t i n g a favou rabl e opportu n i ty to

co n vey i t to the Pope . The story of the fi n d i n g l eak i n g ou t, the pear l of

val ue passed i n to other ha n ds tha n t hose of H i s H ol i n ess .

Quee n s l a n d has a great pagoda made u p of 1 6 var i e t i es of Quee n s l a n d

wood, a n d the s i l ky oak, mapl e, e l m, a n d crowsfoot, are al l represe n ted . Her

larges t t rophy i s a b ig p i l e of beef t i n s, fr i n ged w i th the hoofs of cat t l e, to rem i n d

th e st ra n ge r of he r cat t l e - ra i s i n g i n du s t ry, a n d th ere i s a huge pyram i d of cereal s,e n d i n g i n a w i n dm i l l made of wheat .

The l i t t l e s i s te r of the Commo n weal th, Tasma n ia, i s p rou d of her sce n ery,a n d of her fru i t : a n d th e app l es sh e shows make al l me n fee l l i ke th e boy i n

fro n t of a wel l - s tocked orchard . I s i t wood you wa n t — Tasma n i a d i sp l ays 6 0 0

spec i me n s . A n d a n ugge t of t i n that has a historyH — for t h i s very n ugge t l ed to

th e d i scovery of Mou n t B i schoff M i n e, wh ich ra n ks amo n g the l arges t i n th e

worl d .

Froze n , i n a col d s tore, l i e meat, bu t te r, a n d fru i ts, to show how Aust ra l i ahel ps th e tabl es of the Mother Cou n t ry . A n d i n t h e very ce n t re of th e hal l a nAu st ral i a n garde n makes fo r more wo n de r at th e overpoweri n g fert i l i ty of thecou n t ry— a n d for regre t tha t you must so soo n take the Tube back to Lo n do nal l stu ffiness a n d crowds a n d t i r i n g paveme n ts— whe n there i s such a la n d as th i s

to make fa i r the ear th, a l a n d so bl essed by the gods . A n d the se tt l er ca n reachthat cou n t ry for £6 .

Wel l, n o t l eas t of t he ma n y th i n gs that th e Wh i te C i ty d i d was to awake n

th e “wa n der - hu n ger, so that i t tugged at t he h ear t w i th a pu l l that was sheerpa i n . I t was terribl e for ma n y to go back to l i t t l e h ou ses i n crowded s tree ts i n

compa n y w i th hau n t i n g images cal l ed up by see i n g the spread - ou t l av i sh n ess of

o the r su n n i e r l a n ds . Ma n y v i s i tors reg i stered vows of em igrat io n w i th i n the

Col o n ial hal l s, a n d fu ture se t t l e rs i n Au stral i a a n d e l sewhere w i l l (ma n y of them )n o t de n y that i t was the Fra n co - B r i t i sh tha t real ly se n t them overseas .

V . A .

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INTER IOR V IEW I N CANAD IAN PAVI L ION.

CANADIAN PAVILION.

HEN you se t ou t to represe n t i n o n e fi n e bu i l d i n g the work a n dl i fe of a cou n try hal f the s i ze of th e B r i t i sh Emp i re (to be

more exact, a cou n t ry cover i n g square m i l es ), you

are go i n g to do a great t h i n g . Ca n ada, t h i r ty t imes the s i ze

of the U n i ted K i n gdom, does th i s great t h i n g i n the Ca n ad i a n

Pav i l i o n , a n d does i t w i t h su ccess . Hers i s th e most sweep i n g a n d impress i ve

resu l t i n the whol e Exh i b i t i o n .

I t i s a so l i d temp l e, t h i s p l ace, a templ e wi th a s te r n , compel l i n g sp i r i t . Here

i s tra n sm i t ted the magi c, th e gl amou r of a m igh ty sweep i n g l a n d, cal l i n g w i th a

c l ear a n d m igh ty vo i ce . Hard ly a n e n t ra n t i n t hat n ob ly packed templ e who does

n o t h ear th e cal l . Where th e earth l abou rs r i ch ly to he r sat i sfied fru i t i o n of wheat,where w i de r i ve rs a n d w i de l a n ds s t retch i n a res tfu l power (ask i n g o n ly for ma n

's

l abou r as a serva n t ), the m i n d s of very ma n y me n have bee n tu r n ed th rough av i s i t to Ca n ada ’s Pav i l i o n .

They repl i ed to th e s t ro n g cal l of Ca n ada w i th a real l o n g i n g for the

Dom i n i o n ’s spaces a n d cl ea n a i r . Ca n ada worked her spe l l over h er v i s i tors,u n ashamed, a n d woke a des i re by n o mea n s smal l . She had n o apology i n her

speech, for she be l i eves i n he rse l f. A l l t h e n o t i ces scat te red abou t a pav i l i o nbew i l der i n gl y r i ch w i th n atu ra l exh i b i ts, had supreme co n fide n ce as the i r key n o te .She was royal ly p rou d i n h er i n depe n de n ce, i n h er shee r co n fide n ce .

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CANAD IAN PAV I L ION

These mot toes seal ed up, for the v i s i to r, th e u n co n qu erabl e i mpress i o n o f

sp l e n d i d power . “The Ca n ad ia n s are bu i l d i n g u p a great n a t i o n . The U n i ted

S ta tes has the n i n e tee n th ce n tu ry, bu t now i n t he twe n t i e th i t i s Ca n ada’s tu r n .A n o the r message of Earl G rey, a fi t t i n g o n e for th e Fra n co - B r i t i s h Exh i b i t i o n

To - day t he i n hab i ta n ts of the Dom i n i o n are n e i the r E n g l i sh n or Fre n ch . They

s ta n d before t he worl d n o t as E n gl i sh or Fre n ch, bu t as Ca n ad ia n s . I n l e t te rs of

gol d were all t hese i n scr i p t i o n s, a n d al l we re go ld, too, i n t he i r bo l d i n d i v i dual i ty,brook i n g n o co n t rad i c t i o n . “The North Star of the B r i t i sh Emp i re i s t h e hardwheat l a n ds of Ca n ada .

”

Ca n ada's hard wheat areas are of more val ue tha n a l l

the coal l a n ds i n the B r i t i sh I s l es a n d the Co lo n i es comb i n ed .

Was i t b raggart ? I th i n k i t was s imply the bu t t ressed sere n ity of a great

woma n g i fted by the gods, co n sc i ou s of wo n de rfu l l i fe . I n th e pav i l i o n sh e showed

h er g i fts ; shou l d she w/‘zi

z

'

sper her ow n pr i de in them No t she .Master m i n ds have p l a n n ed al l t h i n gs t ha t we n t to make up he r t reme n dou s

shou t of tr i umph . G ra i n o n gree n grou n d s cove rs th e wal l s, worked i n to opu l e n tdes ig n s suggest i n g t he fru i t fu l boughs of trees . Wheat,

” she cr i es, I have the

l arges t area of arabl e l a n d to be fou n d i n a n y cou n t ry i n t h e worl d . So i n t h e

ve ry ce n t re of her pav i l i o n we l ook up a n d marve l at t he gra i n hoppe r tower i n g to

th e roof, bu i l t of gra i n . U p at th e top, bags of wheat, hard wheat from Ma n i toba,n or the r n wheat from Saskatch ewa n , pou r the i r wea l th i n to the hoppe r . From

the hoppe r, hor n s of p l e n ty sp r i n g ou t, mak i ng t h e roof of the pav i l i o n t hat i s th e

base of th i s ALL R ED exh i b i t . A n d aga i n you seem to hear Ca n ada speak,though th i s was n o t l e t tered o n th e wal l s,

“I am n ot ou t for smal l th i n gs . ALLR ED . I ca n feed you r who l e Emp i re

'

s peop l es w i t h th e gra i n I bear. ”

A n o ther gi a n t i n du s t ry— pu l p - wood, t he ma n ufactu r i ng of pu l p for pape r, so

that t he ' reg ime n ts of ou r n ewspapers shal l co n t i n u e . backs th i s

i n du st ry in Ca n ada . Here, amo n g the wood - pu l p logs, t he fi rs t wood worke rs arebu sy— a co lo n y of l i ve beavers in a pool, t hough the i r s t ra i te n ed c i rcumsta n ces

h i n de r them from actual ly mak i n g a dam, as they wou l d do, wi th th e s t i cks a n d

tw igs at t he i r d i sposal, i f t hey were real ly i n the i r n at i ve hau n ts . There was fierce

a n d da i ly figh t i n g amo n g them whe n t hey fi rs t came, for t h e beaver i s t heI r i shma n of a n imal s, a n d n ow they gl are a t each o the r, l o n g i n g fo r a scrap,t h rough w i re n e t t i n g, wh i ch n o t eve n th e craft of a beaver ca n break .

A l l t h e i n d u st r i es are he re : l umber i ng, fru i t a n d da i ry produ ce . I n sce n as

made up of bu t te r, jacques Cart i e r l a n ds i n Quebec, a n d K i n g Edward mee ts

Pres i de n t Fallieres wi t h a n u n mel t i n g sm i l e, a n d there b l oom roses of bu tte r t hat

shal l n eve r w i ther . Adj ace n t, the refr igerat i n g chamber shows how they arebrough t to the tab l es across the seas .

F i sh— Ca n ada supp l i es the wor l d w i t h l obs te rs, a n d shows here her cod a n d

salmo n , swimm i n g s tuffed a n d mot io n l ess i n great ta n ks . For th e ove rseas tabl es

aga i n , the re are p i l es of t i n s of ca n n ed salmo n , t hat i n t he i r l ast m i n u tes madepart of a heaped crowd, al l gl i s te n i n g s i l ve r, i n a B r i t i s h Col umb i a t ra i l - n e t .

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FRANCO - BR I T ISH EXH I B I T ION

A fi n e l a n d for sport ! Tu r n to th i s tabl eau of sce n e ry, i ts k i n gly a n imal s

cover i n g t he foregrou n d th i ck ly, a n d meet t he fi xed stares of th e e l k, deer, a n d

antelope,,the bear, the mu sk ox, a n d th e mou n ta i n goat . H ere i s game for th e

t rappe r, ly n x a n d m i n k , a n d sab l e, a n d i n a n d abou t t h e a n imal s are t he peop l es of

th e a i r : cu r l ew, s n i pe a n d qua i l, geese a n d dlfitk , a n d cranef The very s igh t of

the Ca n ad i a n ca n oes exh i b i ted se n d s o n e padd l i n g o n free h uge waters, al l th e

weal th of a n ope n a i r day i n fro n t .

S l ay that d ream swi ft ly, or i t w i l l hau nt '

you th rough the day ; a n d n o mad

rush o n the Sce n ic, or th r i l l of t he l i ft i n g F l i p - Flap, shal l seem good to you , or

b l ot the d ream i n g from you r m i n d . Forget i t, the n , i n t h i s othe r sce n a, where

red a n d ye l l ow appl es, peaches a n d pl ums, n atu re'

s j ewel s of r i ch beau ty,d r i ve

i n to you how hugely dowered the l a n d i s, a n d wake n n ew des i res . 1 9 0 3 saw ove r

6 0 m i l l i o n bu she l s of app l es i n Ca n ada ; soo n the you n g t ree s w i l l begi n to bear,a n d that n umber w i l l be doubl ed i n 1 9 1 0 .

Su re ly the work i s to Ca n ada, a n d i n some year, o n e th i n ks, some year of a

mo n s trou s d im - imagi n ed u pheaval, th e n at i o n s shal l a t l as t see c l early what she

ca n do . I n a year whe n th e peop l es cry, a n d Ca n ada alo n e shal l be bl essed a n d

gree n I n that year we shal l see h e r gi a n t arms ope n a n d l e t l oose the i r

bu rde n , to ra i n a l l God’

s t h i n gs upo n t he starv i n g other eart h . The n ou r h udd l ed

m i l l i o n s shal l pou r mad ly u po n h er l i fe - gi v i n g shores, a n d eve n th e d regs of me n

shal l have cha n ged u t te rl y, so that every ma n who ca n wal k shal l a l so work, work

u n goaded a n d w i t h sp i r i t . The n at l as t we shal l real i se Ca n ada, a n d k n ow he r

pu rpose to t he fu l l .

That i s a wayward d ream, a mo n s t rou s d ream of a bl ack n igh t of T i ta n i c

c rue l ty, e n ve lop i n g t h e world t i l l t h e daw n shou l d come to d i scover a n ew su n .Yet somet h i n g we k n ow of Ca n ada who have stayed a n d bee n s tr i cke n w i th

wo n der be twee n t he doors of her pav i l i o n .

HER BERT SHAW .

THE BEAR I’ IT OUTS IDE THE CANAD IAN PAV IL ION .

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A CORNER IN THE FR ENC H COLON IES.

th i r ty i n Tu n i s i a, twe n ty i n I n do - Ch i n a, have p roved, o n t he co n trary, by a

very s tr i k i n g eco n om i c evol u t i o n that we k n ow how to br i n g p rosper i ty to th e

cou n tr i es i n ou r protecto ra l a n d the prov i n ces we have co n quered . Ou rpossess io n s, i t i s t rue, are n o t to be compared w i th those of E n gla n d e i the r i n

exte n t o r i n importa n ce, bu t there i s th i s to be sa id, that ou r ru l e over t he

terr i tory i n qu est i o n i s bu t rece n t, a n d, fu rthe r, that we have had to st ruggl e i n

A lger i a for ma n y lo n g years aga i n s t the most warl i ke a n d the l eas t i n d us t r i ousrace i n the worl d . Now, n o tw i th sta n d i n g the short per i od s i n ce ou r co n ques ta n d occu pat i o n , i n sp i te of d ifficu l t i e s a n d obstacl es, l e t u s take n o te of the work

accompl i shed . I n 1 882 , o n l y hectare s i n the p r i n c i pal i ty of Tu n i s were

cu l t i vated for t he p roduce of cereal s . I n 1 886 t he same supe rfic ia l area was

e n t i re l y sow n w i th wheat, a n d add i t i o n a l h ectare s p roduced oats a n d

bar l ey ; hectares have bee n p l a n ted w i t h v i n e s . I n 1 886, t he exports

were u n d er I n 1 9 0 7, th ey exceeded I n A lger ia, ou rprogress i s st i l l more s tr i k i n g . I n I n do - Ch i n a ou r pr i n c i pa l obj ect has bee n to

deve lop, to re n der more rap i d the mea n s of commu n i cat io n w i th the imme n se

marke t of Ch i n a, so as to reach i t more eas i l y a n d speed i l y . We have taugh t

the n at i ves to u t i l i se t hose improved methods of work that ou r c i v i l i sat i o n pu ts

i n to the i r ha n d s . I n short, we have tr i ed, by mea n s of exper ime n tal fie l ds a n d

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THE FR ENCH COLON IES

ALGER IAN ATTENDANTS.

tes t i n g garde n s, to ver i fy the modes of cu l tu re i n u se in order to co n ce n t rate

u po n those that g i ve th e bes t resu l ts a n d th e l arges t p rofi ts . I n th i s vas t I n do

Ch i n ese Emp i re, the popu la t i o n of wh i ch i s n o t e n dowed w i th l i ve ly e n ergi es,a n d whe re the co l o n i s t so soo n becomes e n feebl ed by the clamp heat of the

c l imate, it wi l l n o t be poss i b l e to o rga n i se a frugal, th r i fty l i fe w i t h as m uch

i n te n s i ty a n d var i e ty as i n ou r North A fr i ca n possess i o n s, for i n s ta n ce ; bu tn everthe l ess, tha n ks to th e edu cat i o n of t he To n k i n ese a n d the A n n am i tes, t ha n ksto the gradual acc l imat i sat i o n of the

.

i mm igra n ts, we shal l su cceed i n bes towi n g

p rosper i ty a n d happ i n ess upo n a regi o n wh i ch has n ever k n ow n a n yth i n g bu t

d i st ress a n d oppress i o n .

A n d l e t me d raw atte n t i o n to the ge n e rous characte r of ou r i n te rve n t i o n asco n qu erors, everyth i n g co n s i dered . Co n dem n i n g, o n ce fo r al l, t he v io l e n ce of

the war a n d the rep r i sal s fol l ow i n g v i ctory, we try‘ to assoc iate ou rse l ves w i th the

co n quered peop l e ; we i n sp i re them wi th co n fide n ce ; we do n o t despo i l themof the i r p roperty ; we gi ve them th e support of ou r protect i o n a n d ou r power .

Thus, afte r some years of ra n cou r a n d i l l - fee l i n g, th e n a t i ves of al l races l i ve

u n der ou r l aws, accep t ou r ru l e, a n d profi t by the adva n tages of the safety they

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FRANCO - BR I T ISH EXHIBI T ION

owe to u s . There are to be fou n d i n A lger i a - A rabs who have become r i chertha n ou r col o n i s t s,a n d who have rega i n ed possess i o n of l a n ds that h ad bee n i nt he ha n ds of these co lo n i s ts . I n th ese th i n gs the ge n i us of Fra n ce, fa i th fu l to

i tse l f, e n d eavou rs to imp la n t ideas of l i berty a n d j us t i ce whereve r i t hovers .

Bu t ret'enons 2; nos mou lons, as the prof/erb says, a n d i t i s part i cu l arlyapp l i cabl e i n th i s case, for we co n d u ct th e reader to p i l es of sk i n s a n d wool l e n

fleeces arra n ged i n th e th i rd bu i l d i n g, rather pre te n’

t i ous ly ent i t l ed : “Palace ofthe Co lo n i es . ” The few sampl es refe rred to above, th e u t i l i ty of wh i ch I am

far from de n y i n g, are los t a n d u n not i ced i n t h i s H al l, wh i ch has bee n t ra n s

formed — a n d why — i n to a bazaar, where the re are ma n y art i c l es from Par i s or

e l sewhere t i cke ted “O rie n tal o r “Far- Easter n mere ly for the occas i o n .

These s tal l s were mu ch v i s i ted by the crowd s at t he Exh i b i t i o n ,who prov i d ed

themse l ves t here w i th sou ve n irs . I n s i de were A rabs, Tu rks, Germa n s, E n gl i sh,a n d eve n a few Fre n ch, speak i n g a n ou t rageou s polyglo t g i bber i sh i n n asal vo i ces

a n d offer i n g the i r cheap wares for sal e : j ewe l l e ry at six fra n cs,gi l t be l ts, s i l k o r

pear l - embro i de red kerch iefs, dol l s, mecha n i ca l toys, perfumes, glove - boxes, pu rses,I Itea - cups, feathers, e t c . I was su rpr i sed to fi n d i n th i s “Colo n ia l Palace a n ove l

s t rap of Au st r i a n ma n ufac tu re a n d a scou r i n g paste of Ya n kee or igi n .Am idst t he ru bb i sh we saw a superb au tomob i l e of Fre n ch make, the

s tat i s t i ca l co l l ec t i o n s of the Col o n i a l M i n i s te r, e n grav i n gs, samp l es of wood, s traw

hats, mate r i al s for d ress o r fu r n i t u re, n a t i ve figures a n d costumes, d i sp l ays of

Col o n i a l n ewspape rs, a few carpe ts n o t very att ract i ve i n co l ou r or des ig n . What

a chaos ! O n e read i l y pe rce i ves tha t the v i s i to rs were n o t at t racted by thei n s tru ct i ve obj ects scat te red amo n g th i s t rash . The cu r i ou s a n d the eage r we n t by

prefere n ce to gl ass t r i n ke ts, to br i l l i a n t obj ect s of wh i ch th ey cou ld make a perso n al

ado r n me n t . Dec i ded ly, ma n y c i v i l i sed be i n gs are n o t so far removed fromsavages as they th i n k !

PAU L LAFAGE.

SOUKS ALGERO T UN IS IENS .

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Wi tty sat i r i s ts make fu n somet imes of ou r pub l i c offic ia l s, a n d s t i l l moreof ou r pub l i c offices, in wh i ch, perhaps w i th too much show of formal i ty, are

e laborated ou r schemes a n d proj ects, ou r pol i ce regu l at i o n s, ru l es for the heal th

a n d safe ty of ou r c i t i ze n s, a n d al l the respo n s i b i l i t i es i n vo l ved by so ma n y

serv i ces : fi n e arts, educat i o n , hyg i e n e, t hep care of the st reets, mea n s ofcommu n i ca t i o n , co n t r i bu t i o n s, hosp i ta l s, re l i e f offices, publ i c parks a n d garde n s,l aborator i e s for t he tes t i n g of mater i a l s a n d the a n a lys i s of foods, protect i o n of

perso n s a n d property, suppress io nI

of murde r, t heft,i n ce n d iar i sm, a n d so for th .

The tru th i s, ou r c i t i ze n s do n o t fu l ly apprec i ate a l l t h e tal e n t a n d l abou r devoted

to the i r comforts . Wh ich of us th i n ks of th e mer i ts of MM . Lep i n e, Bou vard,Mesu reu r, Bédorez ,Ogi er, th e Be rt i l l o n s, Formigé, Colmet - Daage, M igu e l ? Yetthese h igh offic i al s employ the whol e of the i r ac t i v i ty a n d sk i l l a n d exper i e n ce

i n ou r se rv i ce . Ou r em i nen t P refec t of Pol i ce appears i n publ i c o n al l days ofpopu l ar effe rvesce n ce a n d pays w i th h i s ow n pe rso n to impose a respect for

pub l i c order upo n i rr i tab l e crowds ; bu t i n , secre t, day afte r day, he i s work i n g

at a l l hours to pro tec t u s aga i n s t crafty m i screa n ts .

Bouvard a n d Formigé embel l i s h Par i s w i th works of art a n d n ew prome n ades ;M igue l a n d Colmet- Daage watch w i th t i re l ess v ig i l a n ce over the qua l i ty of ou rd r i n k i n g water ; Mesu reu r prov i des t ru sty qu i e t guard i a n s for t he i n fi rm poor ;he exposes th e misappropriators of pub l i c re l i ef fu n ds, a n d br i n gs br ight n ess

a n d happ i n ess i n to th e dead ly l i fe of hosp i tal s . Bédorez co n t ro l s ou r pr i mary

a n d profess i o n al ed ucat i o n ; be n eath h i s l ofty d i rect i o n t hou sa n d s of profe ssors

are form i n g you th fu l b ra i n s, a n d teachers a re i n s t ru ct i n g ou r boys a n d gi r l s i n

t he arts of l i ve l i hood . We ca n see i n the Pav i l i o n of th e C i ty of Par i s, hats,dresses, art ific ia l flowers, po ttery made by ou r ch i l d re n of t he s t ree ts ; fu r n i tu re,bro n zes, carpe n t ry, scu l p tu re, i ro n - work, carv i n gs, b i n d i n gs, lit hographs, a n d

pr i n t i n g, t he work of appre n t i ces n ot ye t s i x tee n years of age . Eve n t he i n fa n t

c l asses se n d ev ide n ces t hat they are n o t “o n e - ha n ded . A l ready sk i l fu l a n dcl eve r, th ese fu tu re fa i r i es of the R u e de l a Pa ix ca n do embro i dery work a n d

des ig n s, ca n work tapes tr i e s a n d crochet, charm i n g n a i ve a ttempts l i k e t he fi rs t

ar t i s t i c efforts of a rude age . What pat i e n ce a n d i n ge n u i ty th e t eache rs mus t

possess to prod uce su ch resu l t s . The modest labou rs of ou r edu cators are a n

adm i rab l e th i ng. They are equ i pp i n g the ge n e rat io n s to come w i t h be t te r a n d

more art i s t i c weapo n s for the i r ow n protect i o n . The n ame of M . Bédorez wi l l

be for eve r co n n ected w i th th e great work carr i ed o n by the C i ty of Par i s

amo n gst ou r i n fa n t popu l at i o n , fo r i t i s to h i s i n i t i a t i ve a n d perseve ra n ce that

t h i s mag n ifice n t i n te l l ectual moveme n t a n d deve l opme n t of p rofess i o n a l a n d

commerc ial schoo l s owes its or ig i n , u n de r the patro n age of i l l u s tr i ous n ames

l i ke those of Ber n ard Pa l i ssy, Bou l l e, D i de rot, Doria n , and Est i e n n e a n d

Germa i n P i l o n .Though the sc i e n ce of the good i s we l l represe n ted i n t h e domai n of Par i s ia n

adm i n i s tra t io n , i t has n o t a mo n opol y of t he H ote l de V i l l e . V i ce, cr i me a n d

2 82

THE C I TY O F PAR I S PAV I L ION

ROGER Bou vmw. A rc/mm,

PAV I L ION OF THE C ITY OF PAR IS .

d i sho n es ty have al so to be t racked a n d pu n i shed, so ma n y mal efactors a re therei n a n i mperfect c i v i l i sa t i o n l i ke ou rs . To cou n teract th e schemes a n d aver t th e

v io l e n ce of rogues a n d vagabo n ds soc i ety has had to form var iou s p ro tect i ve

o rga n i sat i o n s ; th e l aboratory of tox i co logy u n d er t he d i s t i n gu i shed d i rect i o n o f

the chem i s t Ogier ; the a n th ropome tr i c se rv i ce i n s t i tu ted by M . A l pho n seBert i l l o n ; th e pol i ce forces, guard ia n s of th e peace, comm i ss i o n ers of mora l s,a n d th e l i ke . There are o n v i ew at t he Pavi l io n of t he C i ty of Par i s cr im i n a l

reco rd s cal cu l ated to g i ve a n apache a fi t of t he sh i ve rs a n d to reassu re ho n es tfo l k . These records show tha t a n impr i n t o n a w i n dow pa n e or o n a tab l e

c l o th are su ffic i e n t to i de n t i fy a n assass i n , a n d prove the i n fa l l i b i l i ty of measu re

me n ts i n th e detect i o n of cr im i n a l s desp i te d i sgu i ses a n d the l apse of years .

These p recau t ion s u n for tu n ate ly ca n n o t p reve n t c r ime, bu t th ey he l p to pu rsue

a n d to reach i t .

Bu t e n ough of th i s . A n ob l e l ady l i ke ou r c i ty does n o t care for t h e

assoc i at i o n s of such compa n y . She wou l d prefe r to sh u t herse l f u p i n he r palace

a n d study the mag n ifi ce n t records of her h i s tory . Her l i b rary, fu r n i shed w i thma n u scr i p ts a n d prec i ou s works, recou n ts t he h i s tory of Lu te t i a s i n ce h er b i r th, th eacts a n d deed s,glor i ou s or shamefu l, of the ge n e rat i o n s wh i ch have l i ved be n eaththe aegi s of her laws . The h i s tor i ca l researches of ou r great scho la rs reveal th e

l i fe of past t imes, d i st i n gu i s hed l i k e ou r ow n by t r i a l s ra th er tha n j oys .I t fi l l s u s w i th pr i de,a n d some t imes wi th sad n ess, to fi n ge r a n d re- read these

record s of th e past . I t wou l d be imposs i bl e eve n to e n umerate th e i mporta n t fam i ly

2 83

FRANCO - BR I T ISH EXH I B I T ION

papers accumu lated amo n gs t ou r arch i ves i n th e cou rse of ce n tu r i es . O f thosewh i ch photography has e n ab l ed to be reproduced at th e Fra n co - Br i t i sh Exh i b i t i o n ,we n ot i ce i n pass i n g a decree of Charl es V . co n cer n i n g th e payme n t of th e warr i ors

of D ugu esclin ; t he deed of sal e of the diamcmds a n d j ewe l s of Char l es Duke ofO r l ea n s to a c i t i ze n of Par i s the page of a regi s te r co n ta i n i n g th e w i l l of N i n o n del'

Enclos a perm i t to v i s i t Vo l ta i re i n th e Bast i l l e ; a dema n d by Marat for rebateof fi n es ; the proclamat io n of t he sal e of eff ects of Mar i e A n to i n e t te ; a l e t te rfrom the Prefec t of Pol i ce co n ce r n i n g the re tu r n of Pr i n ce Lou i s Napol eo n ; areques t fo r th e su ppress i o n or reco n st i t u t i o n of the Comm i ttee of Publ i c Safety

dur i n g the Commu n e i n 1 87 1 . I n the l i fe of a peopl e a l l hou rs are n o t equal ly

j oyou s . I f we ca n take n o te of a thou sa n d n ob l e deeds, we have al so to b l ush

for ma n y pages of ou r h is tory wh i ch are s ta i n ed w i th b l ood . Weal a n d woe, these,alas, are th e fixed al ter n a t i ves to wh i ch al l ge n erat i o n s of h uma n be i n gs are subj ec twherever they may be . Le t u s pu t as i de th e bad memor i es, a n d preserve o n ly, forou r dear Par i s, the reco l l ect i o n of ou r l ove for he r grace, her ge n e ros i ty of fee l in g,a n d her power of res i s ta n ce to al l the force s of oppress i o n .

PAUL LAFAGE.

SUND IAL, BY P IER R E ROC HE AN D A. BAR BER IE.

2 84

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FRANCO- BR IT I SH EXH I B IT ION

I n the fla n k i n g beds t here are apr i cot, p l um, peach, app l e, pear a n d cherry

trees i n var i ous shapes ; a n d as d i s t i n c t n ove l t i es i n t h i s cou n try there were s ta n dard

a n d hor i zo n ta l tra i n ed cu rra n ts a n d gooseberr i es . The umbre l la - t ra i n ed trees are

part i cu l ar ly st r i k i n g, hav i n g the appeara n ce of a n umbre l la tu r n ed in s i de ou t a n d

supported u po n a l o n g sta n dard . Exampl es of trees i n the var i ou s s tages of

tra i n i n g are show n , ma n y of them hav i n g the i r bra n ches secu red to l at hs a n d

spread i n g from the ma i n t ru n k w i t h geomet r i cal exact n ess . Pyram id trees a n d

doub l e cordo n s a re free ly exh i b i ted, a n d those t ra i n ed o n t he losange pr i n c i p l e are

worthy of part i cu l ar s tudy a n d at te n t io n . V i n es are al so show n flou r i sh i n g ou t of

doors, i n t he she l ter of the great wh i te bu i l d i n gs .

The beds i n th e ce n t re, be twee n the two l o n g arms of fru i t t ree s, are typ i cal ly

F re n ch, a n d were l a i d ou t u n der t he d i rect i o n of t he ch i e f garde n e r to the C i ty of

Par i s . Ma n y of th e beds are su n k, a n d the co l ou r - bl e n d i n g i s s imp ly charm i n g,the art i s t i c effec t be i n g i n var i ab ly he igh te n ed by subs i d i ary grass ba n ks t hat form,

as i t were, frames to th e gorgeou s carpe t bedd i n g, wh i l s t i n term i n gl i n g cu rves al so

play th e i r par t i n add i n g charm to what are rea l ly p i c tu res i n flowers a n d fo l i age .

Messrs . Carter are very stro n gly represe n ted i n severa l parts of the Exh i b i t i o n .

The i r bedd i n g i s su perb, wel l - k n ow n E n gl i sh flowers be i n g suppl eme n ted i n ma n y

of the beds w i th t rop i ca l palms a n d fer n s, wh i l s t th e i r show of the l i t t l e - k n ow n

Kaf lan scopar z'

a i s worth more tha n pass i n g me n t i o n . Th i s i n teres t i n g a n n ual

sh ru b, wi th i ts feathery compact fo l i age a n d pyram i d i ca l form, from a r i ch gree n

i n summer tu r n s a warm, glow i n g scarl e t i n au tum n , a n d from th i s i s some t imes

k n ow n as th e B ur n i n g B ush .

" The m i n i a tu re t r i a l grou n ds of th i s fi rm were a

br igh t i dea— a n d o n e wou l d n eve r i magi n e t here were so ma n y k i n d s of E n gl i sh

grasses as are show n i n t he smal l mu l t i - shaped beds . Sweet peas are here at t h e i r

best, a n d th e humbl e though effect i ve n as tu rt i um i s n o t over l ooked . The dwar fjapa n ese t rees are al so a s tr i k i n g featu re i n M essrs . Carte r

’s exh i b i t, a n d compr i se

su ch subj ects as thuya, osma n thu s (a k i n d of ho l ly ), j u n i per, azal ea, p i n u s,hor n beam, berber i s, Turkey oak, J apa n ese p l um, pomegra n ate, l arch a n d taxus, a

spec i es of yew . The patr iarch of th i s d i sp lay i s a n azal ea of 2 0 0 years, a

Methu sel ah amo n g t rees, eve n to the 98- year - o l d j u n i pe r . There i s o n e l arge

l eaved Tu rkey oak flou r i sh i n g i n a mass of t ufa rock, wi thou t so i l at a l l, bu t most

of these dwarfed t rees are pla n ted i n shal l ow pottery vesse l s w i t h very l i t t l e so i l .

There are garde n s eve rywhere . The typ i ca l co ttage garde n s i n the I r i s h

V i l l age, wi th the i r qua i n t odd cor n e rs a n d wal l edg i n gs that are o n ly fou n d i nI re l a n d a n d Cor n wal l, are as fa i thfu l ly l a i d ou t as th e garde n rou n d the Tudor

House, wi th i ts sto n e -flagged pathways, c l i pped yews a n d box, su n d ia l a n drosemary . Eve n i n the Au st ra l ia n a n d other Col o n ia l sect i o n s the re are exh i b i t sof fer n s, t rees, palms, a n d so o n , of both a n edu cat io n a l a n d a n art i s t i c va l ue .

I n a l l parts of the Exh ib i t i o n th e hort i cu l tu re i s represe n ted as thorough ly asi t poss i bl y cou l d be .

A . C . MAR SHALL,

2 86

SCENE I N THE IR ISH V I LLAGE.

BALLYMACLINTON,

THE WHITE C ITY’S PR I DE.

Through the caste l l a ted gateway of Ballymaclinton, wi th i ts s i x tee n th

ce n tu ry portcu l l i s, a n d you are i n a d iffe re n t pl ace al together . You are wi t h qu i e t

a n d peace .

You ca n n o t cal l t h e I r i s h V i l l age j u s t o n e of th e at t ract i o n s of th e Exh i b i t i o n ,fo r i t i s more tha n tha t by a very l o n g way . H ere you are free of the hu rdygurdy a i r that over l ays so much of th e O u ts i de C i ty . Here i s someth i n g al oof

a n d sombre (a l i t t l e ), a n d very swee t, l i ke t he I r i sh m i n d that you w i l l n e ve r

u n ders ta n d u n l ess you fi rs t have u n ders ta n d i n g i n you r hear t .

Typ i ca l I r i sh l i fe, t hat i s Ballymaclinton, i n t he l igh te r hearted hol i day v i ew .

Gay a n d p i c tu resque a n d whol ly i n terest i n g, sp i ck a n d spa n at e very tu r n a n dtw i s t, wide a n d wh i te a n d c l ea n . The col l ee n s wear red hooded cloaks, a n d boast

the dark eyes a n d ha i r of the i r race . The jau n t i n g car ru n s o n merry tr i ps . You

may buy I r i sh l aces a n d I r i sh l i n e n s a n d I r i sh carpets— I r i sh goods o n ly, so the

mot to ru n s he re .

Here i s t he sh r i n e of St. Patr i ck ’s Be l l . C l ose by are cop i es of the famous

Tara B rooch, a n d the a n c i e n t I r i sh d r i n k i n g cups, rou n d a t t he base, square a t t he

top, to hol d th e foam i n g a l es a n d meades of the merry aforet ime, whe n t here was

smal l ta l k of H ome R u l e, a n d tu rbu l e n t k i n gs came dow n i n the n ight (a n d th e

day, too, for that matter ) o n a n y n e ighbou rs who dared to be d i sco n te n ted wi t h

2 87

FRANCO - B R I T ISH EXH I B I T ION

th i n gs as th ey were . S ta n d by th i s R ou n d Tower of O l d K i l cu l l e n here head swere merr i ly brok e n a n d b l ood flowed r i ch ly arou n d i t i n 1 798.

The I r i sh craftsme n a n d craftswome n have bee n busy at th i n gs for t he Saxo n s

to see i n 1 9 0 8. The i r c raftcarr i es warm appeal . Flower bowl s, Ce l t i c fu r n i tu re,boxes i n copper, a n d e n amel l ed b rooches a n d p i n s, al l produ ced u n d er th e au sp i ces

of the I r i sh De corat i ve Art

‘

Association, wh i ch does i t s share i n th e fi n e i dea of

mak i n g I re lan d l i ve, robu st a n d st ro n g, by the work do n e o n he r i s l a n d al o n e .

~

Do you n o t l i ke th i s woode n set tee ? i f you w i l l s tay a mome n t, t h e col l ee nwho hel ped to make i t w i l l te l l you of her work a n d of t h e Ce l t i c l ege n d e n sh r i n ed

i n t he decorat io n of i t . A harpe r pl ay i n g to a lady . That comes from

W . B . Yea ts, the myst i c I r i sh poe t, whose portra i t ha n gs i n t he I r i sh A r tGal l ery n ex t door . “I al so bear a be l l - bra n ch fu l l of ease says th e

harper . The tw i n so n s of Le r were tu r n ed i n to swa n s t i l l th e great bel l ofSt . Patr i ck

'

s shou l d r i n g i n Ch r i s t i a n i ty .

Ou t i n to th e w id e st ree ts aga i n . I n to th e qu i e t bu t buoya n t l i fe w i th (i f you

be proper ma n o r proper woma n ) a l ove fo r my I re l a n d that goes tuggi n g at you r

h ear t . Ou rs i s f/ze race, a n d th e more so fo r ou r h uma n fau l t s . Cathol i c we are,a n d we l ove al l me n a n d n at i o n s that mea n us well,. bu t n o t h i ng or n o n at i o n

shou l d take al l of t he Scept re from ou r ha n ds . “Ou rsel v es alone !”

The I r i sh v i l l age i s r i ch i n typ i ca l bu i l d i n gs, a few steps b r i n gi n g you to

th e Ga lway fisherman '

s co ttage, bu i l t o f cobb l es gathered o n th e shore, roofed

w i th thatch, hav i n g a rude ca n vas corac l e— t he tru e fisherman'

s boa t— ou ts i de t he

door . The hou s i n g quest i o n ? Th i s other mode l cot tage i s a repl i ca of those

bu i l t by M essrs . McClinton, th e soap ma n u factu re rs, fo r the i r workpeopl e a t

Do n aghmore, Tyro n e : a n d (fou r roomed ) i t i s l e t for two sh i l l i n gs a week ,together w i t h a hal f acre of garde n . A n d here i s t he ol d chu rch of Arrahmore

wi th i ts sto n e a l tar a n d i t s s i x th ce n tu ry St. Patr i ck’

s C ross .

Here i s th e famou s B l ar n ey S to n e of o l d ; what mat ters i f, as some cr i t i cs

say, i t i s n o t t he rea l ge n u i n e B lar n ey S to n e . Whe n ou ts i de the gateway,“sp i e l ers wi th th e gi fted to n gue te l l of i mposs i b l e d e l igh ts to be fou n d i n s i de

th e s ixpe n n y shows fo r wh i ch th ey are pa i d to loud ly “sp i e l , sha l l I re l a n d n o t

be a l l owed some lat i t ud e ? I f th i s i s “j u s t ou r B la r n ey, do we hu rt ma n or

beast ? Paddy'

s p ig i s h ere, i n a n I r i sh farmyard, that p ig wh i ch God gave u sas a ser i ou s i tem, m i n d you, n o t as a spec ia l com i c subj ec t for th e be n efi t of

fool i sh Saxo n papers . A n d i n the V i l l age H al l '

t i s I r i sh so n gs you may hear

a n d da i n ty I r i sh da n ces you may see .

Why, i t i s a t the gate aga i n we a re ! Come, Saxo n , a true word a n d n o

breath of a l i e . A re n o t you r hou rs i n Ballymaclinton here the bes t you havel i ved i n the Wh i te C i ty ? I s i t n o t t he merry place, the pl ace where the feet

t read l igh tly a n d the heart i s gay ?

H . S .

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FRANCO - BR IT ISH EXH I B IT ION

mathemat i ca l d i agrams, a n d the ev i l effects of th e u se of al coho l o n t he home

l i fe of a n at i o n .

Spec ime n s of work execu ted by the s t ude n t s of t he arts a n d crafts departme n ts

of Fre n ch school s comma n d a n d rece i ve warm adm i rat i o n — espec i a l l y the motor

car pu t toge the r by a ba n d of st ude n ts (work i n g e n t i re ly by th emse l ves ) to t hespec ificat i o n s of a famous fi rm . The soc ia l s i d e of the work of the two n at i o n s i s

i n deed wel l rep rese n ted here, wh i ch, tak i n g i t a l l rou n d, i s probablv the most

edu cat i ve sect i o n of t he whol e of t he great Exh i b i t i o n .

You ca n l ear n a l l abou t t h e adva n tages of garde n c i t i es a n d co- part n e rsh i p

schemes of hou s i n g ; t he Sal vat io n A rmy w i l l te l l you of the b ig work i t does .Stay to see th i s mode l room, a n d l ear n how, by us i n g a ge n e rator fo r pu re ozo n e,a i r ca n be d raw n i n to a bu i l d i n g, warmed, pu r ified, a n d m ixed w i th ozo n e to make

the i deal ve n t i l at i o n .

The n t h ere i s a sp l e n d i d Pasteu r exh i b i t, show i n g pret ty n ea rly eve ry stage

of the l i fe'

s work of that great be n efactor to h i s k i n d, a n d how a n t i - tox i n s are

p repared . Here are th e flask s by wh i ch Pasteu r came to h i s famous t ru th, that

l i fe i s n ecessary to bege t l i fe . Not far away i s a n ew a n d he l pfu l creat i o n of somebr igh t mode r n m i n d — an app l i a n ce to add to th e comfort of the home . We deal,you see,wi th a bew i l de r i n g var i e ty of th i n gs i n the E igh t Hal l s . Hammock, bed,cha i r, tab l e,you ca n make th i s n ew th i n g what you w i l l of t hese fou r l ove ly th i n gs .O n e s i n gl e app l ia n ce i t i s wh i ch ca n be co n verted i n to al l these .

B r i ta i n i s to t he fore i n th e hal l g i ve n u p to a l ime n tat io n . Mustard (t he

n obl e a n d worl d—renowed Co lma n , of cou rse ), food for cat t l e a n d food for i n fa n ts,foods for al l, ma n a n d beast— a n d for ma n

'

s woma n k i n d— choco la te, p i ck l es,cornflou r, j am a n d s tro n ger th i n gs tha n j am . For Messrs . Bucha n a n a n d

G ilbey (to these be th e pra i se of me n ) show of the i r good s, a n d th e best p i ctor ia l

sce n a i n the whol e of the gal l e ry i s the l at te r firm'

s tab l eau of t he Chateau

Loudenne, i n t he foregrou n d a cart o n t he v i n tage acres d raw n by a coup l e of

oxe n .

Var i e ty aga i n — fo r w i t h memor i e s of the year ' s great do i n gs i n t h e matte r ofmak i n g, or t ry i n g to make, a hor r i d vast Twope n n y Tube of th e beau t i fu l fi el d s

of a i r t hat st re tch be twee n ou r pu n y heads a n d the sky, ma n y fi n d ch i e f i n te res t i n

t he beau t i fu l mode l of a n a i rsh i p show n by the Soc i é té Francaise'

des Bal l o n s

D i r igeabl es a n d the A n to i n e t te motor that Farma n a n d De lagra n ge u sed i n t he i rsuccessfu l fl igh ts .

The o n ly th i n g abou t l ook i n g a t these i s that, by a p rocess of au tomat i c

ae ro n au t i cs of th e m i n d, th e spectato r th i n ks immed iate ly of h i s ow n ach i n g fee t,a n d persuades h imse l f that th ey are t i red er t ha n eve r . A n d wear i ly h e d rags themal o n g th e floor of th e Eigh t H al l s to th e ma i n ex i t o r th e begi n n i n g of the

grou n ds,wh ichever way h i s j ou r n ey l i es .

G I LBERT DOMECQ .

THE IND I AN ARENA— THE j l'

GG LER S .

COUNTLESS OTHER ATTRACTIONS.

THE S ID ESHows .

CouNTLEss NOVEL ATTR ACTIONS Th i s

i s how the l i s t of amuseme n ts was headed i n th e

regu l ar n ewspape r adve rt i seme n t of th e Fra n co

B r i t i sh bu t i t was hard ly as bad as that . They

were n o t qu i te cou n t l ess . There was a n e n d .

El se i n t ru th the v i s i to r who had s ideshowed

n o t w i se ly bu t too wel l wou l d have bee n made

pe rma n e n t ly deaf ; a n d eve n n ow I am pret ty

certa i n the re are me n who wake

from sl eep w i th a sudde n s tart,th i n k i n g wi l d ly that they st i l l

h ear the ratt l i n g of the Ca n ad i a n

Tobogga n .

ON TI I I-t scnxicR Fl i p - Fl ap a n d the Sce n i c

R a i lway must take fi rs t pl ace i n

popu l ar i ty . I deal w i th Sir Fl i p - Flap fi rst, that mo n ste r - boomed

th i n g, because i t has ach i eved the crow n i n g B r i t i sh ho n ou r Of

hav i n g a part i cu l a rly i n a n e mus i c hal l so n g wr i t te n rou n d it“Take me o n th e F l i p - Flap, do, dear, do . Sir Fl i p - Flap ' s fee

AN EXH I B IT ION

FRANCO- BR I T I SH EXH I B IT ION

I’

I I E FLOOD AND SCEN IC RA I LWAY .

was a sh i l l i n g at the

fi rst, i n accorda n ce w i th

th e ge n e ra l ' exh i b i t i o n

l aw,“Thou shal t n ot

keep thy ha n d i n thy

pocke t for l o n g, bu t

l i k e a w i se k n igh t, he

came dow n to S i xpe n ce,a n d so o n e ba n k ho l i dayce n su s test ifies that h e

swu n g c l ose o n

peop l e i n the a i r, a n d

took £640 i n so do i n g.

A 1 0 0 horse power motor

moved those two gi a n t arms, 1 5 0 fee t l o n g, to a he igh t Of 1 76 fee t, carry i n g

96 peopl e i n i ts tw i n cars .

I ts t r i p was two a n d a hal f m i n u tes of se n sat i o n .

th e great arms w i th a beau t i fu l s tead i n ess, t i l l th e

watche r o n th e Cou rt Of Ho n ou r Bal co n y saw o n e

arm exact ly cove r the othe r . A n d for the passe n ge r, th e th r i l l Of see i n g the othe r car pass i n

the w i de a i r— those fe l l ow adve n tu re rs across the

deep gu l f of space, mere dots beh i n d the gri l l e

remai n s above al l e l se . The re was a n ar t i n F l i p

F lapp i n g i n k n ow i n g j u st whe n to l ook at the

d i s ta n t v i ew, i n a n effort to l ocate the Crysta l

Pal ace beyo n d the fou r shafts that marked Che l sea,j us t whe n to t ra n sfe r th e gaze (i f you dared ) a t

the wo n der of the Wh i te C i ty far

be n eath wi th i t s crawl i n g specks .

For th e j ou r n ey was n o n e too l o n g

fo r the t rue a i r- voyager, so that you r

eyes had to hu rry to get the fu l l

measu re of impress i o n . Ma n y

wome n flip-flapped wi th sh u t eyesa n d t igh te n ed ha n ds, see i n g n oth i n g

bu t m i n d - images of fear . For th em

was o n ly the brave j oy of say i n g th ey

had bee n o n th e F l i p - Flap .

“O fcou rse we were n ’t go i n g to m i ss f/zaz‘ .

The Gol d Book w i th i t s fool i shcert ificate that the possessor had

2 9 2

A s teady worke r, i t l i fted

SENEGALESE C I I I LD R EN .

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FRANCO - BR I T I SH EXH I B IT ION

o n ‘ h i s- brakes, a n d the l o n g car, seem i n gly by the

sk i n of i ts whee l s, swep t rou n d a n imposs i b l e

cor n e r a n d dow n i n to th e d i p aga i n .

To i l somely a n oth er h i l l, a n d a flee t i n g

gl impse of thel

Exhibition, a de l i c i ou s breast i n gof th e a i r i n a n ecstacy Of sw i ft mot io n , th i s

t ime i n fu l l v i ew of th e o n l ook i n g crowd s a n dthe hu n gry wa i t i n g l i n es ~ — at th i s d i p, always,the cries a n d screams a n d Ohs ! of the wome n

were th e mos t l oud . F i n al l y i n to a tu n n e l,where

crude sce n es of l ady bathe rs, mo n st rou s head s,a n d th e l i k e su i ted the easy

'

holiday humou r a n d

d rew fu rther “Ohs — the n back to th e start i n g

p latform a n d to l e t a fresh crowd o n . N igh t o nthe Sce n i c added a kee n e r t h r i l l to th e r i de as

WW W " FOR THE FL I P- PH P you swu n g by the co lou red l igh ts a n d caugh t

fresh v i ews of the glitterIng c i ty i n seco n ds o n the mou n ta i n tops before o n ce

m o r e y o u t o o k t h e

pl u n ge .

Whe n you grew wi se

you stopped o n t he car

for th e n ex t t ime rou n d,mak i n g a rush for e i the r

the fro n t or t he l as t seat,wh i ch doubl ed the fu n .

For mos t peopl e, o n ce

o n th e Sce n i c was n o t

e n ough,a n d they retu r n ed m e ELEPHANT R IDE,d u r i n g t h e d a y . I t

dese rved i ts su ccess, for where several Of the s i deshows were poor a n d sorry“catchpe n n y

”

th i n gs, t he r i d e was

the bes t val ue for th e s ixpe n n y fee .

The Ca n ad i a n Tobogga n was

sw i tchback ord i n a i re, a n d the Sp i ra l

R a i l way was Of th e same fam i ly,t hough i n th i s l at te r th e s t ru ctu re

i tse l f, i n part, mov ed‘ with th e swi ft

car for greate r se n sat i o n . The

Sce n i c was k i n g of al l . A ba n khol i day ce n su s showed r i de rs

a n d tak i n gs £6 2 5 .

I n t h e C e y l o n V i l l ag e y o u WA IT ING THE I R T U RN FOR THE SCEN IC RAI LWAY .

2 94

COUNTLESS OTHER ATTRACT IONS

w a l k e d i n t o a b u sy

Cey l o n st reet, whe re th e

j uggl e r a n d th e s n ak e

charmer, th e wrest l e r a n d

th e ast rol oge r, pl ayed

the i r parts, a n d n at i ve

craftsme n we n t bu s i ly at

the i r work for Eu ropea n

eyes to see . A dwarf

Tam i l woma n , n o more

tha n fou r fee t h igh, had

fou r l a n guages at h er

comma n d to e n te rtai n

th e cosmopol i ta n v i s i tors

NAT IVE MANG L ING C LOTHES .

a n d Cey l o n ese Ch i l d re n

showed sheer tal e n t i n

beggi n g for coppers—f an obj ec t i o n ab l e featu re both i n t h i s a n d the Se n egal

V i l l age . The I n d i a n A re n a gave a somewhat d reary show u n de r the h igh

sou n d i n g t i t l es of th e programme . Nau tch gi r l s cha n ted mo n o to n ous ly i n fro n tof a th i rd - rate R aj ah ; n a t i ves bal a n ced o n bamboo pol es— the most at t rac t i ve

featu re Of th e pe rforma n ce— a n d the gra n d fi n al e was a much adver t i sed el epha n t

hu n t. Me n gal l oped rou n d o n horses, shou t i n g a n d mak i n g o n ly a passab l e

at tempt a t real n ess a n d v i vac i ty ; a n d the n , afte r th ree real gu n - shots, a coup l e

of e l epha n ts appeared at the top of a chute a n d s l i d dow n i n to t h e wate r at th e

foot . Some sa i d th ey were pu shed dow n , a n d there was d i scu ss i o n as to wheth e r

crue l ty was prac t i sed o n the beasts . Cru e l ty or n o cru e l ty, i t was n o t a

t reme n dou s ly i n sp i r i t i n g spectacl e, though i t may

have bee n “gra n d, as b i l l ed .

O l d Lo n do n i n the fi ftee n th a n d s i x tee n th

ce n t u r i e s was i n te res t i n gly perso n ated by a ser i es

Of carefu l mode l s— Lo n do n as i t appeared j us t beforethe G reat F i re . Ge n e ral ly speak i n g, i t was a mosti n te rest i n g exh i b i t, th i s tou r back i n th e dead years

to see O l d Lo n do n B r i dge, Cheaps i de, S t. Pau l'

s,Parl i ame n t H ouse a n d th e Abbey as they wereth e n . The most popu l ar featu re of O l d Lo n do nwas th e ma n i n cost ume ou ts i de th e bu i l d i n g,who passed dol efu l days w i th h i s fee t fixed i n

s tocks, to cal l atte n t i o n to th e show . He, too,sol d postcard s — a featu re Of ma n y of the s i de

shows was the pedd l i n g Of postcards i n co n n ect i o n

wi t h th em .TH“PHOTOSCOPE

2 9 5

FRANCO- BR I T ISH EXH I B I T ION

T h e J o h n s t o w nF l ood ga v e a n actual

represe n tat i o n of the

eve n i n g i n 1 889, whe n

a r e s e r v o i r . i n t h e

A l l eghe n y Mou n ta i n s

ov erflowed ow i n g to

ra i n s torms, a n d the

m i l l i o n s of tons of wate r

th us l e t l oose swept

dow n to ove rwhel m

joh n s tow n a n d dest roy

peop l e . Not a

cheerfu l s ubj ect fo r a

hol i day crowd to w i t n ess, a n d t he re w i l l be few to defe n d the gl arin g bad tas te

i n reprod uc i n g such a te rr i b l e d i saste r for the pu rposes of profi t .

More p l easa n t was the mode l of a Work i n g Col l i e ry, exh i b i ted by two brothers

Of Ke i r H ard i e, M . P. Here s i x mode l e n gi n es hau l ed t rucks of coal a lo n g the

ways to the shafts ; an’

engine pumped wate r ou t of the m i n e, a n d a t i n y l ocomot i ve

d ragged th e l ade n t rucks to the wa i t i n g steamer . S tereomatos was a Fre n ch

n ove l ty, proj ect i n g a n y so l i d su bsta n ce wi t h fu l l s te reoscop i c effect on to a sei' een,

e n l arged to a n y s i ze a n d i n i ts n atu ra l co l ou rs . Pharaoh ’s Daugh ter was a ni l l u s i o n , wh ich presented the spectac l e of that l ady s l owl y cha n gi n g from her

mummy state to warm l i fe, a n d sl owly re tu r n i n g to the tomb agai n . Amo n gothe r at t ract i o n s were th e Tudor H ou se a n d the Sp i de r 's Web . I n the l atter,peop l e pa i d to ge t mazed a n d l os t (the exh i b i t i o n v i s i tor does n o t dema n d too

much i n h i s e n te rta i n me n ts ), a n d wal ked rou n d a n d rou n d wal l ed p l aces to fi n d n o

exi t, orflou ndered path et i cal l y o n dev i l i sh s ta i rcases that s l i pped a n d bumped .

With a few excep t i o n s, t he shows of th e Wh i te C i ty were n o t br i l l i a n t (a n d

rare ly n ove l ), a l though they appeared to be rare good mo n ey co i n e rs .

1 HE FL I P - FLAP.

D . H. Q .

YOUT H F U L SENECALESE.2 96

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OUTSIDE.

ALBER T, j oh n a n d D i ck (“su ch a n i ce l ad, a n d so ge n t l ema n ly take the i r

au n ts or the i r gi rl s or th e i r cou s i n s up from the cou n t ry to th e Wh i te C i ty, a n d

spe n d lav i sh ly a n d comport themse l ves gorgeou s ly, i n t he ma n n e r of th e you n g

ma n from Toot i n g who i s cu t t i n g a caval i er dash. Bu t l e t A l be r t, J oh n , or D i ckfare n ever so wel l a n d spe n d n ever so much (yea, though he wi n d u p i n the

l as t br i l l ia n t hou r wi th prese n ts of m i l k chocola te to tak e home ) a n d he does

n o t arra n ge for th e go i n g home so tha t th ere i s n o fre tfu l wa i t i n g for bu s or t ram,

he shal l ge t the col d ha n d a n d the froze n eye from the femal es he escorts, a n d

the i r esteem of h i s prowess as a caval i e r shal l go dow n w i th a m igh ty thud .

The Tube : i f that i s you r way, you are, to speak vu lgar ly, o n a w i n n e r .

Bu t th e Tube serves n o t everywhere . B r ixto n , are you ? A l ber t, i t i s go i n g tobe a hard j ob, i f you have smal l w i sdom, a n d your cor tege i s ge tt i n g more fre tfu l

a n d bad tempered a n d scor n i n g eve ry t ime tha t th e cl i n g i n g dots ha n g i n va i n ,d raggi n g to th e ra i l Of tha t Wormwood Scrubbs a n d H er n e H i l l bu s .

Oh, that crowd i n g u n de r the fierce l igh ts of th e Tube e n t ra n ce, that su rgi n g

wh i ch b l ocks the road A l l t h e wo n de rs of th e C i ty see n — al l th e j ou r n eys of theC i ty do n e— a n d the whol e C i ty forgot te n i n that fearfu l a n d despera te des i re for

the doors of home aga i n , a n d th e d raggi n g t i red m i l es i n packed s tuffy

veh i cl es that i n te rve n e be twee n th e crowd s a n d the i r des i re . As by a m i racl e, al lthese you see here, as you s ta n d a n d watch, wi l l i n two hou rs or so have forced

the i r t i red se l ves i n to d iff ere n t par ts Of vague a n d fr igh tfu l Lo n do n .

What d i scomfort, t hat ho t t ravel l i n g, wedged i n be twee n ch i l d re n a n d s tou t

wome n , whom to s i t n ex t to i s a pu rgatory, at l eas t for me A n d i n e ve ry heartthe u n spoke n though t “I w i sh, almost, I had n o t come .

” I have travel l ed that

way, I have cha n ged from tube to tra i n , I have cha n ged from bus to D i s t r i c t, Ihave wa i ted s i ck ly o n d reary platforms Of the U n dergrou n d . I have fo l l owed

the progress homeward Of a fam i ly, tempers of ma n a n d woma n grow i n g th i n

a n d s n appy, I have see n th e poor ch i l d re n t i red to death of Exh i b i t io n a n d of

be i n g ac i d ly to l d t hat I ’ l l n eve r br i n g you ou t a n y more, that'

s o n e th i n g,” d rop

to troub l ed s l eep eve n i n th e crowded n o i sy carr i age, th e t reasu red p i c tu re book

Of Ca n ada fal l i n g from the i r l im p ha n ds .

I t i s a te rr i b l e figh t i n g, that s t ruggl e wh i ch begi n s ou ts i de th e Wood La n ee n t ra n ce, a n d i s co n t i n ued fo r ma n y m i l es beyo n d the ke n of Wood La n e . I t

i s more terr i b l e o n Satu rday n igh t, whe n hal f- a- m i l l i o n peopl e, abou t th e hou r of

n i n e or te n , sudde n ly remember tha t they have homes .

Do you n o t i ce t hat ma n cl ose by ? D O you see that h i s face i s ca lm a n d

u n troubl ed, that h e walks l ight ly a n d w i thou t care, whe n al l arou n d h im peopl e

appear to be i n a k i n d of fever of a n x i e ty a n d fear ? He al o n e i s master of

h imse l f i n th i s figh t i n g t ime . He l i ves at Shepherd'

s B ush, th e bes t pl ace i n al l

the worl d to l i ve i n a t th i s hou r .H . S .

2 98

IN CHAR IOTS AND CARS.

WH ITE C ITv jou RNEv sB v EAR TH AN D A IR AND WATER .

IT i s poss i b l e that ma n y v i s i to rs came away

w i thou t l ear n i n g th e rea l secre t of the Exh i b i t i o n .

Wherefo re that secre t i s h ere l a i d bare .

The Fra n co - B r i t i sh was, ch i efly, a huge a n d

a Catho l i c r i d i n g schoo l . Catho l i c, becau se i t

m m ,” M N .

gave to i ts eage r pup i l s r i d i n g l esso n s for n o o n e

a n imal or n o o n e th i n g, a n d you l ear n t how to

r i de i n n early twe n ty ways, o n t he earth , i n a i r, or o n wate r, o n l eve l s o r u p

t roub lou s steeps— a n d e ve n o n a mat .

Start r igh t away o n you r walk less tou r i n th e Wood La n e Gal l ery : here,for a pe n n y, a mov i n g sta i rcase saves you th e t roub l e of wal k i n g dow n th e

steps at th e e n d . The n th rough the crowded hal l t ha t l ead s o n to th e Cou rt of

H o n ou r a n d n ow you n eed wal k n o more . S tep i n to a swa n boat, d r i ve n

by o n e - ma n power, a n d o n that exp l ore t he waterways .

O r you ca n do the same voyage i n a l au n ch . Not a good sa i l or ? I n that

case,th e po l i te cha i rme n wa i t . The cha i r tou r soo n became o n e of th e big

featu res of the grou n ds .

The Exh i b i t i o n cha i rs are spec i al s, a n d th e prope l l e rs are smart a n d pol i te

me n,a n d the war n i n g b i cyc l e be l l t hey r i n g to c l ear th e path i s i n i t se l f

suffi c i e n t n ove l ty . You n g a n d Old are gl ad of th e cha i rs, a n d th e best a n d most

l e i su re ly su rvey of the whol e grou n ds is ob ta i n ed by th e i r u se .

O f eve n i n gs they su i t we l l my l ady o n h er way to the Garde n C l u b o r

Pa i l l ard'

s to d i n e . The cha i r removes he r from the press i n g crowds that

merely wal k, beh i n d her

t he be l l o n the ha n d l e

r i n gs, a n d the ord i n ary

peopl e gi ve he r r igh t of

way . I t i s as i t shou l d

be : sh e i s d i ffe re n t to

th em .

Le t h er pass 0 11 to

her d i n n e r u n der soft ly

shaded l amps . You ca n

l eave you r cha i r, a n d,wi t h a wal k of n o t more

tha n t h ree fee t, embark

o n the de l igh tfu l adv en

tu re of a tr i p i n a r i ck

shaw, pu l l ed by a brow n A SWAN no” ,

2 99

FRANCO- BR I T I SH EXH I B I T ION

cl o th ed n at i ve at soo n . For them,a l o p i n g t r o t . too, are the r i d es

H e needs no bell o n e l e p h a n t,to make stra igh t camel a n d do n

h i s p a t h — h e key, bu t all these

s t ay s n o t n o r exper i e n ced, i t i s

swerves,shou t i n g cer ta i n t ha t they

a j argo n of Eng wou ld award the

l i sh a n d h i s ow n G ra n d Pr i x Of

to n gue . t he whol e Ex

The de l igh t hibition to t he

of l i t t l e ch i l d re n r i ckshaw r ides .

a t t h i s n o v e l Y o u r r i c k

j ou r n ey i n g i s the shaw r i d e fin

p r e t t i e s t t h i n g. ished, t he R e n ard

They s i t back i n t ra i n wa i t s . Far

the light rick shaw h e a v i e r l o c o

w i t h d a n g l i n g mot io n , for the

l egs, u n afra i d of c a r s c a r r y a

a n y r i c k s h aw we igh t of fou r

speed,a n d bubb l e to five to n s each .

wi th l augh te r o n N e i the r be l l n o ra l l t h e w o r l d . shou t does the

The sad th i n g i s R e n a r d n e e d ,t hat i t e n d s too o

" mHELTER ‘ SKE LTER ' for i t l umbers

crush i n gly o n i ts way, a n d i ts n o i se i s a cu rse to peop l e a n ywhere n ear i t .

You r a i r j ou r n ey i s, of cou rse, o n th e F l i p - Flap, a n d you r mou n ta i n j ou r n ey

i s the Sce n i c R a i lway, t hat crawl ed you to th e tops a n d flu n g you i n to t he val l eys .

N ear cous i n s of th e F l i p - F lap, i f n o t so popu lar, are the Sp i ral R a i lway a n d th eTobogga n , a n d o n these t he r id i n g l esso n s are breath l ess a n d severe . I n

Ballymaclinton you ca n swerve a n d j ol t o n a n I r i sh j au n t i n g- car . Fi n al l y, you r

veh i c l e i s j u s t a mat .i

Bear i n g you r p rec i ou s mat, you l i ft o n a mov i n g sta i rcase

to th e top of a sl i ppery w i n d i n g way . A n d o n you r mat you sl i d e from top tobot tom as best you ca n . I t i s n o t th e p roper u se for mats, bu t th e hu n ter of a n ew

se n sat i o n defies co n ve n t i o n .

The n you r r i d i n g l esso n s are finished— t i l l th e l u s t comes o n you for repeat

doses . A n d w i th a s tra n ge j umbl e of mot io n - memor i es i n you r bra i n , a n d a we i rd

l ass i tu de i n you r l egs, you se t ou t o n a brave at temp t to d i scover i f you have

forgot te n how to wal k .

H . S .

30 0

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FRANCO - BR I T ISH EXH I B I T ION

V IEW IN THE STAD I UM D U R ING THE MARATHON R ACE .

These th i n gs se t dow n above I have see n , a n d w i th my brother watchers

I have pa i d homage . For these I g i ve fu l l tha n kfu l n e ss . These memor i es make

my sou ve n i r Of th e S tad i um, a n d w i pe ou t from the m i n d al l th e u n p l easa n t th i n gs

that are l i n ked w i th th e S tad i um'

s n ame . I forge t there were Ofte n empty seats

arou n d the t rack of th e figh t i n g me n . I forge t tha t there were o n ce ugly mark i n gs

o n the ru n n i n g grou n d, a n d t hat asto n i shed j udges, aghast at ill th i n gs do n e,broke the tape a n d cal l ed “No race A n d I forget, wi l l i n gly, th eirr i tat i n g wav i n g a n d parad i n g of do l l - l i ke flags that we re st rew n w i th stars .

I t occu rs to me that th i s was to be a n ar t i c l e o n the S tad i um, a n d that you

who read th i s, a n d were n o t as l u cky as I that you who d i d n o t see a n y of

these spl e n d i d th i n gs do n e, wi l l be j u st ly a n gry at th ese my babbl i n gs . What

ca n I do ? I who trade words for co i n make to you my very s i n cere apolog i es .

I t i s somet imes perm i tted to u s poor scr i bb l e rs (by you r grace alo n e, I gra n t

you ) that ou r ow n m i n ds creep i n to the pe n s we ply .

H . S .

30 2

CONTENTS.

INTRODUCT IONAR CHITECTUR EF I BROUS PLASTERBR IT ISH F INE ARTFR ENCH F INE ARTCOLLECT IV ITE D ELIEUXFR ENCH D ECOR AT IVE ART EXH IB ITSBR IT ISH D ECOR AT IVE ART EXH I B ITSBR IT ISH APPL I ED AR TSFR ENCH APPL IE D ARTSMOR R IS COMPANYPI LK INGTON 'S T I LES AND POTTER YFASH ION EXH I B ITBEAUTY AN D FUR SSA I NT- ET I ENNE COLLECT IV ITEPALACE OF WOMEN ’S WOR KMOET CHANDON 'SLOAN COLLECT IONMACH INER Y HALLSBR IT I SH TEXT ILES AND CHEM ICALSIND IAN PAV I L IONAUSTR AL IAN PAV I L IONNEW Z EALANDCANAD IAN PAV I L IONFR ENCH COLON I ESC ITY O F PAR IS PAV I L IONTHE G AR DENS OF Two NAT IONSBALLYMACL INTON

L IST OF ILLUSTRATIONS

GALLER I ES, Uxbridge R oad to VVOOd

COUNTLESS OTHER ATTR ACT IONSGOLD HUMBUG BOOKOUTS I DEIN CHAR IOTS ANDSTAD IUMCONTENTSLI ST OF I LLUSTR AT IONS

LIST

PAGEUxbridge R oad Entrance 3

French R estau rant at night 5

Preparing Cementfor the Soil 7

Cou rt of Honou r 9

Wood Lane Entrance I OB ritish AppliedArts Palace I OCascade 1 1

Cou rt of A rts andPalace of IVomen’

s Work 1 1

Grand R estau rant 1 2

Hall of M usicGarden Clu bPalace 0/F ine Arts

M odelling in Fibrou s PlasterPreparing ll/ou ldingsConstru cting a CupolaB ritish Scu lptu re HallB r itish Fine Ar t Section .

ALL INGHAM , M R S . H. D rying Clothes 78

ALMA - TADEMA, S I R L . , C .M . , R .A.

A D edication to B acchusA Hearty Welcome

BATES,HAR R Y,A. R .A. Homer

BEAR DSLEY, AUBR EY . La Femme 1 a

cornprz’

se 90

BONN INGTON,R . P. The F ish M'

arket 2 8

B R ANGWYN, FR ANK, A. R .A . The Cider

Press 5 1

BR OCK,THOMAS, R .A. , 98

Thomas Gainsborough, R .A 9 6

BROWN,FOR D MADox . LVork 2 9

BUCKMAN, E., Street Crzes 78

BUR NE - JON ES,S I R E. , BAR T . Le Chantd

’

Amou r

The Golden Stairs

30 4

PAGEILLUSTRATIONS.

B ritish F ine A rt Section (continued) .CALDERON,W . F. M arket D ayCOLL I NS,W . , R .A. Cromer Sands

CONSTABLE,J . , R .A. D edham ValeCOLTON,W . R .,A.R .A. The Crown

COTMAN, F. G . , R . I . M oonlight SceneCROFTS, ER NEST, R .A. Charles 1 .

’

s

Execu tionD ADD, FR ANK, R . I . B eer and SkittlesD I CKSEE, FR ANK, R .A. The [dealD IXON, joHN . The M isses Crewe

D R ESSLER , CONR AD . B acchanteD R UR Y,ALFR ED,A.R .A. CirceD U MAUR IER , GEOR GE . Hardly Con

sistent

FARQUHAR SON,J.,A.R .A. The ShorteningWinter ’

s D ay drawing to a closeF I SHER , S . M ELTON . D reams

FR AM PTON, GEOR GE j ., R .A. M otherand Son

FR ITH, W. P. , R .A. D erby

FULLEVLOVE, JOHN, R . I . My Garden,Hampstead

GA INSBOROUGH, T. , R .A. Landscapeand Cattle

Portrait of Anne, D u chess ofCumberland

Portrait of Lady B ate D udleyThe B lue B oy

G I LBER T, SI R JOHN, R . A. P. R .W. S. ,

The Field of the Cloth of GoldGOTTO, BAS I L . B rother R ufino

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L IST OF ILLUSTRATIONS

PAGE PAGEB ritish Fine A rt Section (continued) .TOLLEMACHE, THE HON . D U FF. The

Liz ard

TUR NER , J . M . R .A. CoblentzSnowdon Afterglow

WATER HOUSE,J. W. , R . A. Hy las andthe Nymphs

WATSON ,J. M rs. AbingtonWATTS, G . F. , O. M . , R .A. Orlando

pu rsu ing the Fata M organa

Portrait of Lord Tenn i'son

W I L L IAMS,TER R ICK,R . I . Pots andPans

French Fine Ar t Section .

AD AN, EM I LE . La Fille da Passeu rAD LER , J ULES . La Soupe a

'

es Pau vresALLOUAR D , HENR I . R ichelieu a la

R ochelleAMAN - J EAN,EDMOND . Portrait de Al iss

.E lla CarmichaelBAST I EN LE PAGE, J U LES . Les Foins

B ESNAR D , ALBER T. Portraits de Mme.

M ante et de ses Enf ants

B LANCHE,J. E. A ugu ste R odin

BONHEUR ,M . ROSA . l ll'

ou tons dans les

Py renees

BONNAT, LEON . Saint Vincent de Pau lprend les f ears d

’

u n Galerienan B agu e de I l l arseil le

Portrait de l l] . R enan

BONV IN, FR ANCOI S . La Servanteappretant to table

BROWN, J OH N LEW IS . Le Vainq ueu r

de B er/wCARO- D ELVAI LLE, HENR Y . La D anze a

l’Hortensia

CAR PEAUX, T. B . F loref eu ne Fille ala Coq u i lle

CAR R IER E,EUGENE . zll atem ite’

CA Z IN,J. C . Soir de Fete

CHAP L IN,CHAR LES . Les B u ttes de SavonCHASSER IAU, THEODOR E . Venu s Ana

domene

CHAVANNES, PUVIS DE . La Decollationde Saint j ean B aptiste

M ICHEL,GUS I‘AVE. La Pensee

COROT,J. B . L’Ftang de Ville d’

Av rayM I LLET, J . F. Les B zicherons

COTTET, CHAR LES . Soir an Pay s de laL “

titer M OR EAU, GUSTAVE . Saint Georges

COUR BET , GUSTAVE . La Sieste M OR EAU,M ATHUR IN . Le SommeilD AWANT, ALBER T. D ans la M

'

ort NOUY, LECOMTE DU . La Tristesse de

Sebastopol

3 0 6

F rench F ine A rt Section (continued) .D ELACROIX, EUGENE . M irabeau et te

l ll argu is de D reux - B réee'

D ELAUNAY, JULEs EL I E . La Peste

D ETAI LLE , EDOUAR D . Les Victimes duD evoir

D UBUFE, EDOUAR D . Clarisse HarloweD UEz , ER NES T . Ulysse B u tin

D UPRE, J U LES . B ords de R iviere te soir

Coin de Foret

D UR AN, EM I LE A. CAROLUS . Portrait

de Mme. Feydeau

FANT I N - LATOUR, HENR Y. Venu s et les

A/nou rsFR IANT, EM I LE . Portrait de M G .

D u buf e

GANDAR A, A. D E LA. Portrait de zrtme.

R icciardi

GER VEX , HENR I . Les Conmzuniantes

G R AN IE, J OSE P H . Pay sanne

HAR PIGNES , HENR I . A lpes l il ar ztimesHEBER T. Portrait de zltme. la -C onztesse

Pastre'

HENNE R , J. J. s tis

HEXAM ER , F. Gaz ou illisI SABE Y , L. EUGENE . ’ flionsezgneu r de

B elz u nce donnant la Communion

aux Pestiférés de JI/arseille

INGR Es, J . A. D . Lafamil le StamatyM me. LeblancM

’

. L eblancJE \NN IOT, G EOR GE . Les VagabondsLAUR ENS , J EAN PAUL. Les Hommes da

Saint Ofice

LH ER M ITTE, LEON . La M ort et te

t heronM AN ET, ED OUA R D . Le L iseu r

L e Printenzps

M E I SSON I ER , LOU IS ER NEST. Le D e’

jeu ner

L’

Oficier d’

Etat- zll ajor

M ERC I E, ANTON IN . Le D e’

part da

L IST OF ILLUSTRATIONS

PAGE PAGEF renclt Fine A rt Section (continued) .PEUCH, D ENYS . La Seine

R ENOIR ,AUGUSTE . Pee/lenses de/Vou lesR OD I N,AUGUSTE . [Mme E/iseiefir

ROLL, A . P. En Ete'

ROYER ,HENR I . Le D epart des B arques

SABATTE, FER NAND . Le Pau v re

SIDANER ,HENR I LE . La Se'

re’

nade

S IMON, LUC I EN . j onr d’Ete

’

T I SNE,J EAN LUC IEN . Tou t enfleu rsTOUC H, GASTON LA . L e B assin de

B acc/zusTROYON, CONSTANT . L e Troupeau

W I LLETTE, ADOLPHE . Parce D onzine

Z I EM , F . Grand Canal, VeniceB ritis/z and F rench Scu lptu re [fal lB ritish and F rench -Scu lptu reCol lectiv ité AndreDélieux.

Porch and Principal EntrancePortrait of ill . Andre

’

D él ieux

Principal F acade

Central GallerySalon of Pol ls/zed”fa/1 05 7 1 1 1 1}Porcelaine Vase in Polyc/zrome Apptzq u e

'

IV a/nu t L ibrary T ableD ecorative Ov ernzantelB rass Vase, Seaweed

Comb, by Henry lP/iau ltl l/l odern SalonPlaster Group, I

'

ou t/iB edroom in lValnu t

C loisonne'

Enamels on GoldlVroug/zt I ron Gril'lD ininér R oom in N atu ral Oakfil arble and I vory Statuette and Pedestall ll a/zogany Cabinet wit/1 ill nrau etry Panel 2 1 I

D ining R oom in Oak

N eck - bu ckle, CloudsPendant of Gold, Enamel and PearlsPearwood Clock, car ved wit/z GrapesD ining R oom Su ite of Carved OakEnamelsM iniatu re Clock, R oses

Cusped D is/1 of Plated CopperW/z'nzosa Cup and Sau cer

Leaded Glass Fire ScreenC/zi/d’

s F rock of Velvet Appl iq ue' B all D ress

Gallia Cup in Silver, Gold, andj ewels D c‘col/ete’e Toilette

3 0 7

Collectivité Andre'

D élieux (continued) .Cotton Tapestry , Tb e GoodHou nd

Cu shion of Lace andEmbroidered B alis/eVelvet Portiere1 83 0 l

'

niatu re I vory B ust

Rett'

cu le of Stamped LeatherCentralHall of French D ecorative A rt

F u r nitu re of Queen M'

arie Antoinette

Lou is X V. B oudoir

Conzmode af ter R iesener

Savonnerie CarpetSecretaire Toilet TableOriginal D esign for D ecorative Art

PavilionApplied and D ecorative A rts Pavi lionsFrench Applied Ar ts .

Objects of A rt by ill/ll . B ou cheronD iamond and Platinum Lace B roochD iamond A’

eck lace

Emerald and D iamond Stomac/zerD iamond and Platinum Lace B rooclz

Silver-

gilt Toilet SetExhibit of ill/ll . B oin Tabu ret

Table Centre and Side Ornaments

Silver- Gilt T able Centre

D ecorated I nterior and F u rnitu re

[nlaid Cabinet of f/(dian IValnu t

Secretaire Cabinet of I talian IValanttl/[ alzogany [alaid CommodePr imavera, A rras Tapestfgv

[alaid fil ahogany Ch ina CabinetFilk ingian .

Perspective Vzew of ExhibitI nterior of ExhibitF ront and I nterior

Tiles with Floral D esigns

Painted Vases

Plate and B owlB owl and VasesT/1 ree-/1andled Cup

Fash ion Exh ibits .

Satin Eveningr D ress

Satin Soie Gown

Evening Gown

L IST OF ILLUSTRATIONS

PAGEFashion Exhibits (continu ed) .

ToiletteOu tdoor GownP€7f u 772€ 7j l Exhibit by L . T. Piv er

Cascade and E lectric Lau nch 2 2 2

The King and President at P. M Gr u n

waldt ’s ExhibitLadies visitingP. M Grunwaldt ’s Stand

View of St. Etienne ExhibitHats, 1 79 0 to 1 83 0

Costumes, 1 82 2 - 1 83 3

Hat, 1 9 0 8

M oet 6 ‘ Chandon .

The Entrance [fallPlan of Establishment at EpernayD om Per ignon tasting the Grapes

Page of M IVoet'

s j ou rnalFacsimile of Address exhibitedWholesale W’

ine M erchant 's L icenceGathe ring Grapes

Cellars containing N ew l/Vine

Cellar with M il lions of B ot/lesShaking of the B ottlesSignatu re of HM [fa Edward

B ottling“

, Corking and CarryingChampagne B ottles, 1 741 to 1 9 0 0

Loan Col lection

Queen Anne R oom

l nlaid Wardrobe CabinetGaming Table of 1 5 3 0

Georgian A rmchair

Chippendale Tablej acobean A rmchair

j acobean B ufietWilliam and .Mary Chair

Adam and Ev e ChairChippendale R oom

Carved M ahogany Shaped Chippendale

3 0 8

PAGELoan Collection (continu ed) .Eliz abethan Cou ncil TableGeorgian R oom

IWl iam and diary R oom

Eliz abethan Cou rt CupboardLacq uer Cabinet on Charles I I . Stand

Caqu eteu se and Oak Chest, 1 5 3 5Commode decorated with paintedPanels

Corner of the M achineiy HallPilley and Aston

’

s ExhibitView of the I ndian PavilionCorner of I ndian PalaceCarved Wood TrophyCarved Wood Screen

E lephant Carved in WoodI nterior of Canadian PavilionB earPit ou tside Canadian PavilionA lgerian PalaceCorner in the F rench ColoniesA lger ian A ttendants

Sou ks Algero Tu n zsiensD ecorative Fou ntain ou tside Ville de ParisC ity of Paris PavilionSu ndial in M achinery Gardens

I ndian A rena Thej ugglersOn the ScenicR izi l 'zem'

An Exhibition ShowmanThej ohnstown F loodSenegalese Ch ildrenScenic R ailwayI/Vaztingfor the F lip- F lapElephant R idel Vaiting their tu rn for the Scenic R ailwayN ative M angling ClothesThe PhotoscopeThe F lip—F lapYou thf ul SenegaleseR ickshawM en

A Swan B oat

The Helter SkelterView in the Stadium

2 5 1

2 5 3

2 5 5

2 5 6

2 5 7

2 5 7

2 5 8

2 5 9

2 6 3

2 66

2 6 7

2 68

2 69

2 6 9

2 7 0

2 74

2 7 7

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GROUP Xl l lA— C LAS S 88.

(FRENCH SECT ION ) .

(LOI R E)

omite’

e anois .

LIST OF EXHIB ITORS .

Balav (G . ) C ie. , 5 , rue de l a R épu bl i que,R uba n s ve lou rs,ru ba n -s et t i ss

B rossy, Balou z et C ie . , I 3 , rue des Jard i n s, R uba n s et v e lou rs h’aute n ou veau té .

Cha i ze F reres, 4, chem i n clu G u izay, R uba n s i mpr imés .

Chenou f Bessy, 5 , place M are n go, R uba n s, écharpes,galo n s,

Colcombet (F . ) Cie. , 1 9 , ru e de l a Bou rse, R uba n s e n tOu s ge n res .

Dav i d (J . 1 6 , rue de l a Bou rse, R uba n s vel ou rs .

B escou rs (He n r i ), 1 5 , p lace de l'HOtel - de - V i l l e, R u ba n s ve lou rs .

Dev i l l e (J . I4, rue de l a R épubl i qu e, R uba n s, éc-harpes,galoxnsiD ev nlle (N i co las ), 4, rue Forissier, R uba n s, ve l ou rs,Epitalon Freres, 2 2 , ru e de ‘ l a Bou rse, R u ba n s u n i s et faco n nes .Forest (J. ) Cie. , 1 4, ru e Bu i sso n , R uba n s et ve lours unis e t faco n nes .

Fra i sse M erley 85 Me n u, 5 , pl ace M are n go, R ubans

G i ro n Freres . 4, rue R ichelandi‘

ere, R'uban s vel ours unis et faco n nes, ve lou rs étoffe .

G u inard (J. ) Dav i e r, 6 , ru e de l a Bou rse, R u bans et so i er i es n ouveau té .

Lou i son (V . ) 8L Cie. , 9 , pl ace M i - C R ubans, xelou rs gazes .

Marcoux - Chateaunef Ge las, 1 3, rue de l a R epu b l lq u e,R u ba n s faco n nes ct ve lou rs .

Staron (R ), j eu n e 81; fils, 7 , place Jacquard, R uba n s et galo n s n ou veau té .

V i n so n (Ho n oré ), 2 81, rue des ‘

M ou lihiers, Gal o n s de tou s ge n res .

illes d'

Or. Grands Prix

Membrcdu Jury, M IIan, 190 5 . Londres, 1908

Edouard

TAPlSSlER -EBEN ISTEAmeublements,

Decoration d’

appartements

Hotels et C hateaux

M ONTE CARLO

E MOST LUXUR IOUS HOTEL IN THE

Every Room Faces Sou th. Healthiest Situation in Monte

ElectricRailway from Casino Gardens.

N ICE - C IM IEZ .

BATH ED IN SU NSH I NE. 9 6 +

+ 9 6 BRAC I NG MOU NTAI N

CHARM I NG PARK AND GARDENS .

“6 International Sleepm r mpany,

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Highest Award, GRAND PRIX, Franco- British Exhibi tion,. l908.

The leading and largest firm Of

PHOTO- EN G RAVERSin the World.

SPECIALISTS IN ALL THAT PERTAINS TO PHOTO- PROCESSREPRODUCTION AND ARTISTIC PUBLIC ITY.

The HENTSCHEL- COLOURTYPE and MEISENBACH PROCESSES are our SPECIALITIE-S.

Head Oflices : 1 82 , 1 83 1 84, FLEET STREET,

And at WEST NORWOOD and PAR IS. LONDON E.C.

To see a Country, and that is to tour per Motor Car. The Railway is theIev eller ofmankind it carries with it lhat fictitithe whole of the permanentway andways, andpractically their liv es, uponand the influence is 10 51 , and there theThe difference ' in cost of the two methods ol trav elling, i. e. , by Rail or Motor.

reckoninga party of four, is hardly worth considering,while there can b‘

e n'

o q uestion

as to which is most enjoyable.

THE MOTOR HOUSE hav e a stock of about 300 Cars foi’ f

sale, andmoét

of these can be hiredfor periods of one day and upwards.Foreign Tours are planned, and driv ers speakingC ontinental languages can be

supplied.

D AUTO OBILES, LTD . .

EUST ROAD, LONDONTe l egrams

AFORCAR, LONDON.

S ou th’

Eastern C h ath am R ailway

in 6 hou rs 5 0 minu tes,Via Dov er—Calais and Via Folkestone- Boulogne .

Great Accelerations and Improv ements Mail Express Serv ices Shortest Sea Passages5 Trains per day each way

For Particu lars see the S. E. C . R . Continental Time Table

FromLondon : CharingCross,Cannon Street,9 a.m CharingCross, 1 0 e.m. Holborn,St Paul’s andVictoria,ixCross , p.m. CharingCross and Cannon S treet, 9 p.m.

— Frorn Paris,Gare da Nord : 9 5 0 am , 1 2 noon 4‘

and 9 p. rn.

0

SERV ICES RAPIDES ENTR E : LONDRES, PAR IS .

LA BELG IQUE, LA HOLLANDE. L'

ALLEMAGNE, LA

LE DANEMARK, LA SUEDE ET LA NORVE’

GE

TRA INS DE LUXE Nord- Express. Peninsulaire Express. Calais-Marseille- Bombay- Express. CalaisMéditerranée - Express.

“ Train rapide q uotidlen, entre Paris- Nord p m ) , Nice et Vintimille.

Simplon- Express.

— Engadine- Express.

~ — Voyages Circu laires a Prix Réduits en France et a l'

Etranger.

emmsPAR IS A LOND

int -Laz are

SERVICES R

TOUS LES JOU (D com

toutes les gares situées sur le parcours.

nu bu lletin specialde Rome, Paris.

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