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Mritisu Fine-
Art Skction.
Alter the
F.iiffrtii'lng Ity
William Ward.
J.
lliiPI'NKR,
R.A.,
piiixii.
LIBRARY UNIVERSITY OF CALIFORKIA DAVIS
:i
i
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-6,JAN
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Digitized by the Internet Archive in
2007 with funding from IVIicrosoft
Corporation
http://www.archive.org/details/francobritishexhOOfranrich
Franco-British Exhibition ILLUSTRATED REVIEW
British 1-ine Art Section.
After the Engraving hy William Ward.
LONDON:
CHA'|;jp^^^ TTXTT^rirncT-rv nir
r s^
WINDUS rtrntJ^ff *
J.
Hoppner, R.A.,
pinxit.
Catalogue ^Post
t-<s>{
Free. KaK»
Pearls, Diamonds and all Precious Stones.
The
finest in the World.
HANCOCKS &
BRUTON Old
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Jewellery Purchased or
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r
^
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THANR5 To
the
many
Ladies
and the Continent
Great
of
many
for the
Belgium,
France,
Britain,
orders they placed for
.
.
Royal Worcester Kid ntting Corsets during
and
on
following
their
the
to
visit
Franco-British
Exhibition.
TRIUMPHS OF CORSET CRAFT. The Superb Nexv Royal Worcester Styles for the Directoire, Empire, and Grecian .
.
.
effects.
.
Of of
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exquisite creations of the genius designer of "
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none has added more
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new models
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is
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once again added to their
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Despite the antagonism of an ignorant section of the press, every lady admires the
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and many lament
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without any sacrifice of personal design of the
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the fashion
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and
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giving ample freedom
under the arm, and giving the long
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to
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when
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seated, fitting close
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Congratulations and thanks are pouring in from British tailors and
dressmakers and Continental modistes,
new charming new
Fine Coutille, 21/-
Send for
of
whom
are unanimous in
styles as the greatest contribution to the idealisation of
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that " Royal Worcesters " are
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all
regarding the
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beautifully
'
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effects.
universally regarded as triumphs of the corset craft
illustrated brochure,
Little
I
post free, to
Royal Worcester Trading '^
20,
wonder
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W.C.
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THi:
PICCADILLY HOTEL has the most beautiful
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management
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RAINELLI, .
Finest Grill
AFTERNOON TEA and also
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served
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and the
.
in
de Paris, Monte Carlo)
.
Room
in
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the Lounge adjoining the Restaurant
the Lounge adjoining the Grill Room.
A SELECT Performs
of the Hotel
in
the
ORCHESTRA
Lounges of Restaurant and
Grill
Room
during
LUNCHEON, AFTERNOON TEA. DINNER AND SUPPER. Telegrams:
" Piqudilio,
London."
Telephone: 160 Gerrard,
PIVER,
T.
L.
LONDON
I
Also
at
BRUSSELS
and
PARIS.
STRASSBURG.
THE MOST SUCCESSFUL OF FRENCH PERFUMERS. GRAND PRIX
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ESSENCES, FACE POWDERS, SACHETS,
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Obtained only from leading Chemists, Stores and
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Drapers throughout
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"United J(ingdom.
FULLY ILLUSTRATED CATALOGUE FROM LONDON DEPOT: 9
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10,
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J.
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C. VICKERY.
Jeweller, Silversmith,
The largest and most of ^Novelties
Regent St., London, W. beautiful
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London.
in
are Invited to
A.1I Visitors
SPECIALITIES: Fashionable Jewellery,
C. ViCKERY'S.
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Gold and
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Watches and Clocks, Beautiful Umbrella
C^«^JC^S^>3
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& Sunshade
Handles,
Glasses, Fans,
Toilet Sets,
Writing Table Sets, Leather Goods
fl $1)011) UNEQUALLED
Of IN
in
Charming Shades,
Dressing Cases, Suit Cases,
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Jewel Bags, Hand Bags, Tea and Luncheon Cases, Writing Cabinets, &c., &c.
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THOMAS &
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'^
Gusset Sleeve Fly Fishing Coat.\ AN IDEAL COAT FOR FISHING OR GOLFING Worn
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I
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letter fmin R. B. Makston, Esg. never previously knew what real comfort
sportsmen.
:
in a
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"Land and Water," all
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PatUrns, Prices and Instiuclions for Self-measurement will be sent on application
THOMAS & sporting
32,
suit,
Tailors
to
known
-
SONS, and Breeches
Makers,
BROOK STREET, GROSYENOR SQUARE, LONDOn! Telegrams:
"SPORTINGLY, LONDON.
Teleplione: 4352
GERRARD.
M.
P.
m ^^ GRUNWALDT,
furrier to the "Emperor of J^ussia,
RUE DE LA
6,
PAIX, PARIS.
tjr
FINEST FURS OF EVERY DESCRIPTION. Newest
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Fur Garments*
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Best Russian Sables
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Black Blue and Silver
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Muffs
FUR COATS.
GRUNWALDT,
RUE DE LA PAIX, PARIS.
A
t
Mme. LEOTY, 8; Place
de
Telephone No.
:
la
Madeleine, Telegrams:
229. 99.
PARIS.
"LEOTY, PARIS."
I
I
Mme.
LEOTYS STAND AT THE FRANCO-BRITISH EXHIBITION.
26, Dover Street, Telephone No.:
i^
LONDON, W.
GERRARD
1,424.
^L
B^I^^Ba^llElI^BEll^^glBI^]
I^=]Q^)^3EiaC9B[=iaC3B[=]i^^g|i=i[:
PERIOD FURNISHING. Persons of ta^e
who
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Period Styles plete
may
confidence
entru^ themselves with com-
to
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Decorators to
Warings in
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and
guidance
the
resources
are
work executed by them
the
German Emperor,
the
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==
of
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the
Sultan
Egypt,
the King.
conspicuously the
for
Prince
the
of
etc.,
Warings',
of
and
King
exemplified
and
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of
Queen, Wales,
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the
of
=
WARINGS' Waring
LONDON.
I^EE^=^ :
MONTREAL.
^^^^^=1 E1I HF^
I1E][
&
E
Gillow, Ltd.
PARIS.
MADRID.
X
7
BOIN-TABURET
HENRY FRERES SUCCESSEURS Hors Concours
— Membre
du Jury
GOLDSMITHS, SILVERSMITHS. AND
JEWELLERS
IM.n
Blue enamel with
Dealers
3,
in
Antiques
BONBONMHRi;,
g^okl
I.OIIS XVI.
ornaments, medallion painted on enamel, frame in brilliants.
— Works
Rue Pasquier
of
Art
— Pieces
(Madeleine),
de Collection
PARIS
THE
FRANCO-BRITISH
EXHIBITION
ILLUSTRATED REVIEW
THE
FRANCO-BRITISH EXHIBITION ILLUSTRATED REVIEW 1908 EDITED BY
F.
G.
DUMAS
LONDON: CHATTO & WINDUS
UXBRIDGE ROAD ENTRANXE.
INTRODUCTION. HE
sum up
time has come to
of 1908. day,
first
14th,
the public
From
has had a brilHant career.
It
when
wretched
opening- by the Prince and
May
the Franco-Exhibition
weather
marred
the the
Princess of Wales on
the Exhibition caug-ht the attention of
and held
it
through rain and shine.
It
has been the great feature, not only of the season, but of the year. events of the
It
Yet they were man)',
classes,
man,
from
his wife
their
Majesties,
and children.
all
other
so completely that
is
among who paid
has enjoyed great popularity, not
all
has overshadowed
some difficulty in remembering what they and some of them of world-wide importance.
there
were.
It
London summer
It
a section of the people, but it
repeated
visits,
to the
among
working
has excited unflagging interest, not for a day
or a week, but for nearly six months.
And
that
means a great
deal
;
for
in
London, with its multitudinous activities and distractions, one thing treads so upon the heels of another that some very exceptional qualities are needed
fast
EXHIBITION
FRANCO-BRITISH make anything even
to
a nine days' wonder.
the quaHties which have
won
It is
of interest to inquire what are
for the Exhibition the sustained appreciation of the
great public, gentle and simple, serious and frivolous, not from all parts of the country and across the water.
and foremost
First
of
many
The
sorts.
advertisement
in
the
it
in
London
only, but
possessed the great attraction of novelty, and novelty
was something new in this country. The daily it "the greatest exhibition ever held
size alone
newspapers called
It is the greatest ever held London," and that is even less than the truth. There have been larger ones in other countries, but we have these islands.
in in
anything on
never had
London was having
in
visited
this
scale
before.
The
great exhibition held
last
it
of the place and what was to be seen there.
It
down
could have been put
a corner of Shepherd's Bush, and there was no great throng of visitors
boys could wander about quite comfortably. real or lasting attraction it
in
I happen to be one of them, 1862, and few remember it. as a small boy, and having preserved a very distinct impression
;. it
is
But
doubt
I
mere
if
a thing to talk about and boast
of,
but
in
small
;
size
is
a
in practice
People wander about, lose their way and become fatigued, and fatigue
wearies.
damps appreciation you can enjoy nothing with tired senses. It is possible for a show to be too large, just as it is possible for a programme to be too long. People go away having "had enough of it," as the saying is, which means that ;
they do not want any more
Exhibition did not
inflict
to
presently mentioned, the
be
that they
is
Franco-British
the peculiarly irritating fatigue induced by losing one's
knowing where
or not
but the essence of a lasting attraction
For a reason
do want more.
way
;
to
go
;
and that was one of
its
chief merits.
It
was
not too large for enjoyment, though large enough to excite wonder and to contain
But
it
touched the economic
and might have done better commercially
if
it
an inexhaustible variety of sights and distractions. limit in size,
smaller.
None
successful,
and excessive
had been somewhat
of the great exhibitions in recent years have been financially size
seems
many The cost
to be the cause, for
have done very well and proved highly profitable.
less
ambitious efforts
of preparing a very
large area, draining, laying-out and erecting buildings, becomes disproportionate after a certain point
A
has been reached, and
is
not balanced by increased attractiveness.
second point of novelty has proved absolutely and brilliantly successful,
and that
the bi-national character of the enterprise.
is
This was, indeed,
its
most was
and the leading idea which led to its initiation. It intended to promote the entente cordialc between France and Britain, and it has done so. That adroit and charming phrase, the general adoption of which among
distinctive
us
is
a
feature,
delicate
expresses.
and all
It
interests
these
;
to the
French language,
suggests more than
stands for mutual appreciation and good-will, for it
senses
co-operation
compliment
common aims
covers sentiment, understanding and material relations it
of the
has
;
been conspicuously promoted by the exhibition.
French appealed
at
once to
British
it
sentiment,
and
and
in
The their
INTRODUCTION
/\«^.--.^V '*'\
^^tL'M^^jtttJmt^KK^Bit^^^^^^^^^^^
^
TIIK FRKNfll
RKSTAIRANT AT
^^
-jr-*v>^
NIliHT.
splendid response to the invitation added incalculably to the actual attractions
presented at Shepherd's Bush.
The realise
;
sentimental
element
much stronger on our
is
they have never been able quite to understand
side
than the French
We
it.
are supposed to
have no sentiment, and to care for nothing but material things and particularly That is a great mistake. We are not excitable, but we are our own advantage.
and the simple truth is that more sentimental than many excitable peoples we are really fond of France and the French. The}', who are the most popular It was a truly happy nation in the world, are nowhere more popular than here. for the It appealed by its novelty idea that inspired this co-operative enterprise. same thing has never been attempted before and it chimed with national sentiment the co-operation gave a flavour to the whole affair, and in the carrying
far
;
—
—
;
out
it
added an element which of
French are past masters
itself
in the art
was almost enough
to ensure success.
of organising exhibitions
;
The
they have a standing
and they threw themselves into the business with more We owe them not than cordiality, with the mastery that comes from experience. only a general influence, an atmosphere, but some of the best individual items on If a hundred persons men and women were asked to name the most the list. machinery
for the purpose,
—
—
interesting, complete
and attractive exhibit
in
the entire place,
it
is
safe to say
would answer "the French dress." Nothing to compare with it Dress fabrics and dress are the greatest of French has ever been seen before. industries, and they were displayed in bewildering profusion, and with that The French inimitable sense of effect of which they alone have the secret. restaurant represented another great national art, which is highly appreciated
that ninety-nine
here
;
the jewellery and decorative crafts set forth the distinctive national feeling
for elegance,
and the French colonies added a touch of the unusual and the
bizarre.
EXHIBITION
FRANCO-BRITISH The importance
of the bi-national character as the distuiguishing- feature of
was signaHsed
two very different ways, one from above and the was the state visit of the King and Oueen, the other was the popular name accompanied by M. le President on May 26th Many more or less silly attempts were made, as they adopted by the multitude. always are, to coin a short name for the Exhibition, but none of them took the the exhibition
other from
below.
The
in
first
;
fancy of the people,
who
settled the matter in their
own way,
as the\- usually do,
"the Franco." And the Franco it certainly was. Another feature which in my opinion greatly contributed to the popularity of the Exhibition was the planning and general lay-out of the ground. It is a great by calling
it
merit.
said
I
in fact,
above that
visitors
were not fatigued by losing their way
impossible to lose your way.
My
first
visit
;
it
was,
was paid nearly two months
when everything was in a state of chaotic unreadiness and confusion but the scheme was so broad, simple and intelligible that I never had occasion to look at a plan again, but always knew exactly where to find an)particular thing and how to get to it. For that signal merit the credit is due to before the opening, ;
Mr. Kiralfy. has been
my
He
has had to do with
many
fortune to note his creations
public shows on a large scale, and
and those of others from
time
it
to
There has always been some original idea, an showing a peculiar sense of effect about his work, and it was never more evident than in the scheme carried out at Shepherd's Bush. The main idea is a series of courts or open spaces, extending one after another in a straight line, with the buildings disposed about them. It is simplicity itself, and that is why the plan was so easy to grasp. The art lay in varying the shape and dimensions of each court and in maintaining harmonious proportions between open space and buildings. time
over a series of years.
individual touch
The series begins with the Court of Honour, which was the germ of the whole scheme from which the rest gradually developed. An admirably proportioned rectangular space of moderate size, with broad tiled walks enclosing a water basin the expanse of water spanned by an ornamental bridge and broken at intervals b)' minarets extending from the sides, with a cascade formed of glass steps at one end the buildings enclosing this area, high enough for dignit}- but not so high as to dwarf the open space, Indian in stj'le with a profusion of light tracery all in white. Such was the Court of Honour into which the visitor entered at once after passing through an entrance hall. It was charming by day, but at night, lighted by thousands of electric lamps, it was exquisite. How different the Court of Arts, which comes next. Also rectangular, but with the long axis placed cross-wise and occupying a far larger area, this Court lends the Exhibition the dignity of spaciousness and affords a coup ifooil which commands nearly the whole ground. The large open space was here left unbroken by buildings and laid out in flower beds and walks intersected by the canal which wound its way through a large part of the grounds and gave occasion ;
;
INTRODUCTION
I'REPARINC;
to the interposition of
many
THE CEMENT FOR THE
SOU..
bridg^es, their raised
little
surface agreeably, without spoiling the vista.
The numerous
various arts and crafts, built round the court were
many
in
number
;
arches breakino^ the level
all
halls,
devoted to
well set back
and not too
but while some of them were effective and appropriate, others
were neither interesting, nor pretty, nor dignified, but merely fantastic.
was some room
for
The Court
improvement
here.
of Arts opened on one side direct into the next section, which might
This was smaller again and of a different
have been called the Court of Dining.
shape
;
it
There
consisted of a central garden enclosed on three sides by restauraunt or
buildings devoted to the
same purpose.
Behind these lay on one
side the great
Stadium and on the other the machinery halls. All very pleasant, but here the fine space and background became somewhat broken up by buildings and in the sections beyond, devoted to amusements and colonial halls, it was lost altogether. The scheme was still quite clear, but the effect was spoilt by too many structures. The merits of the scheme thus briefly described seem to me to be the combination of simplicity with variety and the proportions of open space to effect of
;
The architecture is discussed by an expert in a separate lacked harmony and some of it was common, some bizarre
buildings.
doubt is
it
;
apt to involve monoton\-, and
as fantastic as
Some
it
it
is
but
harmony
the privilege of exhibition architecture to be
pleases.
other points remain to be noticed.
French dress, which was the most striking of British side the best
groups were the
the finest collection ever seen.
adequate, and
No
chapter.
in the textile hall
cotton and linen respectively.
fine arts
With regard all,
to the exhibits, the
has been mentioned.
On
the
and the ships models, which were
Education was also very well done;
steel
was
Manchester and Belfast did themselves justice
Machinery and engines were not
in
well represented.
FRANCO-BRITISH -EXHIBITION Many
manufacturers
British
principle,
and the depression
deliberately
keep
from
aloof
trade discouraged others.
in
on
exhibitions
Sufficient attention
was not paid to the educational section, which was very carefully organised and remarkably complete but comparatively few visitors to an exhibition go to spend time on such a heavy subject. Many found the Canadian Hall the most interesting- thing- in the place, and it was certainly g-ot up in an extremely effective way for displaying- the resources of the Dominion. Others were equally enthusiastic about the Australian courts. Our own Oriental dominions and the French African colonies formed a most striking- contrast to these young nations, and altogether the Colonial Avenue, as it was called, was in my opinion one of the most attractive features of the show. Behind it lay the Irish Village, which never lacked admirers, though the sixpence charged for admission brought it to the level of a "side-show." Turning to the lighter side we find again the note of novelty prevailing. The ;
Stadium and the Olympic Games, both The Stadium is truly a great structure, on the
principal features were, of course, the great entirely
new
heroic scale
to the British public. ;
too great, indeed, to serve the purpose of a single season only
The games
surely a permanent possession.
drew vast crowds. left
It is
a disagreeable taste
;
it is
excited the utmost popular interest and
unfortunate that they were the occasion of incidents, which in
the
mouth and
raised doubts whether international unity
promoted by such contests. It is certain that if competitors carry their them and cannot stand being beaten tjie result is more likely to be enmity. But the Exhibition was in no wise to blame for that. The other amusements formed a standing attraction which seemed to be appreciated to the is
really
own
rules about with
utmost.
They were
on the principle of being entirely new
to London. was the invention of Mr. Kiralfy, the inspiration of a happy moment, and was constructed for the occasion. After some initial difficulties it had a triumphant career. Not less the Scenic Railway and the Canadian toboggan. I confess to being a little hazy about these great devices, never having had time to take a turn on them m\'se]f, but whenever one passed near them they were always crowded with passengers, and the noise the}^ made was incessant and terrific.
One
selected
all
of them, the great
In this introductory public point of view.
doubt there were
Flip-Flap,
summary
I
is
it.
it
behind the scenes
and disappointments
public have been delighted with
;
have regarded the Exhibition solely from the
What went on
difficulties
new
absolutely
I
;
is
not
my
there always are.
have paid a great
many
affair.
No
But the
visits at different
of weather. What astonished me was that it seemed to make There was always the same throng and the same look of interest and enjoyment never a sign of dissatisfaction or satiet}-. Writing six weeks before the opening, I said " London has a surprise in store. It is going to be a
times and
no
in all sorts
difference.
;
great show."
That has proved
true.
And
it
has promoted the entente.
A.
SHADWELL.
THE COIRT OF HONOUR.
ARCHITECTURE. HE
exhibition architect to-day has a wide scope, for,
from
freed
conventional
the
ordinary architect of his imag-ination
and
disabilities
he can give
cities,
realise airy
the to
conceptions which
The
are not used in brick or stone.
of reig"n
ordinary canons
of criticism cannot be applied to such erections of
months indeed, since elaborate architectural beauty is what is sought for, there is less excuse for
a few
;
poorness of design
which time, place,
and the elements.
We
is
than there
bound by the
in
is
practical
architecture,
inconveniences
of
have not so much to do here, therefore, with
styles of architecture properly so-called as with general effect, since
mostly the aim
of the designers has not been to copy or modify any period, but rather to attain at
schemes of decoration which can onlv be referred
to as
belonging to the
"Exhibition period."
Two
architects have supervised the construction of
Exhibition.
Mr. John
Belcher,
all
the buildings of the
A.R.A., P. P. R. LB. A., was
architect-in-chief
of the Palace of Decorative Arts, also of the British Applied Arts and French
Applied Arts buildings, which were designed by Mr.
Detmar
respectively.
He
also supervised
the
J.
B. Fulton and Mr. L. G.
Education Building designed by
Mr. Charles Gascoyne, and a number of other designs
in
addition to those not
â&#x20AC;&#x201D; FRANCO-BRITISH
EXHIBITION.
Mr. Belcher
carried out.
also advised g-enerally on
acceptance of steel-
the
work contracts and other matters.
of
The architect-in-chief the pavilions is M.
Toudoire,
architect
the
of the P. L.
M. Railway
Company and of the new and imposing" station of company on the this Boulevard Diderot, Paris.
The
Administration
Buildings
by
are
THE WOOD LANE ENTRANCE.
Mr.
Fulton.
The
Exhibition
consists
of
two
parts,
each
of which
is
by a
reached
monumental entrance, both of these being" the work of a young" French architect, M. Rene Patouillard-Demoriane. The part extending" from Uxbridg"e Road to Wood Lane is simply a long" row of seven g"alleries over coal stores and railway company's depots. These g"a!leries end at Wood Lane, where is the entrance to the Exhibition,
or the
White is
as
City,
Starting" at
tecture
properly so-called it
Wood Lane
the
the Court of
the Exhibition
of Palaces and Pavilions,
has been denominated. entrance,
the
first
Honour, a very pleasant treatment of a Hindoo
The
eminently well suited to the purposes of an exhibition. Court,
as
indeed
M. Fournier de
of
St.
example of archi-
striking"
the
Exhibition
itself,
was
carried
out
first
idea of this
from a design of
Maur, the collaborator with M. Toudoire. in
idea,
M. Fournier
died
1906, and his desig"n,
which
included
an
Im-
Tower, desig"ned H. M. Joulie, was replaced b\- a Terrace, comperial b\'
prising"
a Pavilion with
a dome, which
was not
executed.
On
the two sides of
the formal piece of water in
the Court of
Honour
are blocks of building"s-
the I
ill,
Palaces
of
French
and British Industries
UUniSll AITLIED ARTS PALACE.
9
ARCHITECTURE. of uniform
by
heijjfht
broken
On
pavilions.
the
fourth side of this Court
Honour is the Congress Hall. The cascade from
of
the centre of this building
gives the finishing touch,
and the whole this Court and ings
is
effect its
ot
build-
extremely pleasing.
Leaving the Court of
Honour we
enter another
quadrangular space, and here the chief interest of THE CASCADE.
the Exhibition from the architectural point of view
the spectator's
left,
centred.
is
The
four buildings in each corner are
:
on
as he stands with his back to the Court of
Honour, the French
on
his right, the Palace
Applied Art Palace and the British Applied Art Palace of Music and the Palace of
Women's Work.
The most
;
striking of the four
British Applied Art Palace, designed by Mr. J. B. Foulton, which consider to be the finest piece of work in the entire Exhibition.
is
the
some architects The Palace of
French Applied Arts, from a design by Mr. Lionel Detmar, is also very pleasing, especially as regards the tower, which is beautifully proportioned. In comparison with this latter the Palace of Music, by Claude Martello, has a very " exhibitony " appearance, amounting rather to garishness, and the globe on tower gives
the top of the too,
style,
left,
has
Restaurant,
been
Of undiluted
Women's Work, by Maurice Lucet. buildings we have named in this Court are
the Palace of Decorative Arts,
The Fine Art Palace French
a truncated appearance.
the Palace of
is
and behind the four the
it
designed
is
On to be
exhibition either side
found
â&#x20AC;&#x201D; on
and on the right the Fine Art Palace.
from the architectural point of view not pleasing.
The
Paillards,
by
Alfred j
Levard, and kind
of
its
a
rich
;
a
is
the
The
effect.
XV.
good specimen archway gives Pavilion
work of Coste, the Grand Edouard Restaurant and Garden Club of Gaston Thorimbert, and the Louis
Ro\al Crevel.
the
is
Pavilion
The
of
lulouard
Restaurant
and
Popular Cafe on either side
ot
THE COL Kl
Ol-
AKIS AM)
I'Al.ACE Ol-
WOMEN
S
WORK.
I
EXHIBITION.
FRANCO-BRITISH
the
Decorative
are
the
work
Arts
Mr.
of
Now
Belcher.
Palace
John
passing-
throug^h the French Restaurant
Pavilion
we
find a hug^e rang^e
of g^alleries called the Machin-
Eugene space formed by the projecting" arms of these g^alieries we find a
ery Halls, desig^ned by
Duquesne.
THK GRAND RKSTAURAM In the Forcgroiim! Ihc Decorative Balustrade of the
in
In
the
g^randiloquently
g^arden, ;
Band Stand
oi the Elite
termed the Garden of Prog"ress,
Gardens.
which there are various pavilions.
The most important
of them, and in fact the only two that are really tasteful,
are the Pavilion of the City of Paris, the architect of which
and the
is
M. Rog-er Bouvard
;
drawn by M. Marius Toudoire. is a blend of well-known examples of Gothic and French Renaissance, refined and graceful in its details and g-iving- one the reposeful pleasure always attending the contemplation of a pure work of art. Collectivite Delieux,
The
Pavilion of the City of Paris
The end elevations are The rather florid decorations have
H. and A.
reproductions of the Porte St. Jean of the Hotel de Ville. Collectivite Delieux
been
carried out
is
in
the "art
nouveaux
" style;
the
by the talented young- decorators, Messrs.
Barberis.
Facing- the
left
entrance of the Machinery Halls
is
another building- worthy of
mention, the Pavilion of the Comptoir d'Escompte de Paris (architect Mr. Ambroise
M.
Poynter).
Behind the Grand Restaurant, which we have already mentioned, are a series of private pavilions, many of which are picturesque and interesting-. From here
we come
into a hug-e semi-circle,
which contains
all
the various Colonial Palaces
and Pavilions.
The dian
Great
Cana-
Pavilion,
which,
like its fellow, the
Pavilion
tralian
next the
larg-e left
Aus-
â&#x20AC;&#x201D; the
building
â&#x20AC;&#x201D; covers
on
some
60,000 square feet. The Canadian building is the more satisfactory of
the
some
two,
and
pretension
dignity.
"^Kff^lB^^^^^^^MP J^^K^iW;"u.^^^^B5'B
has to
Almost
>..u.,.
12
o.
m.s.c.
JH
— ARCHITECTURE. opposite to the a
much
is
buildinjjf,
New
the
Pavilion,
but
latter,
smaller
Zealand
surrounded
by
a pseudo-Ionic colonnade.
Common-
Passing-
wealth Avenue, we reach the gfroup devoted to the
French
Colonies
Alo'erian
and
the
Albert
one of the most
Ballu,
interestingits
•
Tunisian
M.
by
Pavilion
—
on account of
character
the French
;
bv
Indo-Chinese,
^ G. THOK1.m1!I-:rT. Archittct.
M.
GARDEN
CI.IB.
French Colonial Building, by Lefevre,
and the French East African. These are of smaller type than the British Colonial Building's, but some of them are quite striking, especially the Indo-Chinese and the East African, which has a SiflFert
;
central
striking-
doorway surrounded with
tiles
in
the
Moorish manner and a
g-raceful cupola.
Having- made the circuit of the hemisphere containing- the Colonial Buildings,
we come Elite
in the
Gardens
Of
Eastern Avenue to the Great Stadium,
to the
Elite Gardens, has a larg-e dining- hall
composed
doors and windows open directly on the g-ardens,
The
The
Exhibition
other club is
a
virg-in city
is
bathed
it
Garden Club, situated
entirely of g-lazed panels, in
the centre of which
is
in the
and
its
a sunken
the Imperial Sports Club, close to the Stadium.
"White City" indeed
shade, and under the ardent sun
a dream of a
the opposite side of the
Machinery Halls.
the two club houses in the Exhibition, the
concert arena.
o\\
!
Every building
is
white without
has looked like some brilliant Oriental fantasy
in lig^ht.
GUY MAUVE.
THE PALACE OF
I'lNE
ARTS.
MODELLING
IN
FIBROIS PLASTKR
IN
A PAVILION.
FIBROUS PLASTER. The Building Material of the White
City.
If the great Exhibition at Shepherd's Bush has done nothing- else, shown Londoners what can be accomplished in that strange material, plaster. is
It
clothed
is
in
On
everywhere.
The
it.
beautiful
about one-fifth
Honour,
dazzling-
minarets,
mouldings,
and
plaster.
may
claim
fibrous
The
of the
cost in
virgin
its
and
stately
more
tow,
material.
delighting
white,
great palaces, with
domes and columns
canvas,
solid
work and
lattice
fibrous
skeletons of steel and concrete, the whole city
appearance of stone are built of wood, the
has
it
delicate
all
their
that have
the
and plaster cement,
at
The
ot
the
traceries,
beautiful
with
eye is
Court
its
nothing-
appearance of stone-like
domes, but
lath
solidity,
of steel and concrete and no more all the rest is But this city is no weakling, it is weather-proof and strong, and with an occasional coat of paint should live for a
a
skeleton
;
plaster.
remarkably
quarter of a century at least.
The method of wood, is
work employed
of
over which
is
in
building
then placed over the canvas, followed
layers of plaster.
This
is
first
is,
stretched a layer of canvas
;
to
make
a framework
a layer of fibrous plaster
by more layers of canvas and more
continued until the dome,
column, or whatever
it
FIBROUS PLASTER. may
be,
ready for the
is
decorative
artist,
who forms
his
dehcate
traceries
from a composition
called
a
finer
form of fibrous
composed of
cement, glycerine, dextrine,
etc.,
with a basic material of
cotton wool.
plaster,
its
which
is
point of interest the use of fibrous plaster
In
exceeded by
"stafiF,"
The
decorative use.
in
plaster,
building-
is
far
noble statues and groups which have the
apparent solidity of marble, together with the delicate mouldings and entwining wreaths, represent the greatest skill
of the plasterer and
modeller.
In figure
PREPARING MOILDINGS.
work,
first-class
method
used as
is
In the beginning the
modellers only can be employed. in
building,
but
place
in
of
the
decorative
same
artist
with
"staff," the sculptor now appears, and he goes over the whole design with clay. When he has finished his modelling, a gelatine mould is taken and the plaster cast is made, at one-fifth of what would have been the cost had the figure been executed in stone.
coats
of shellac to
modeller's
building
This
it
waterproof,
art,
the
figure
in
plaster
of paris
Pacific
and
is
is
then
Railwa}-
in
dried,
it
ready to united also
receives several
with
may
its
fill
of
the
saved
by
that
be
allotted
on the wood and canvas framework.
group that adorns the pavilion of the For the four animals the Garden of Progress.
method was adopted with
Canadian
the cast
where a knowledge of carving is the expense of casting and time
cases
In
space.
make
When
the
FRANCO-BRITISH in
the Quadriga that adorns the
The
used.
of the plaster modeller's art,
Palace of French
the
standing with
A
height.
Palace of Decorative Arts but one cast was
Ouadrig^a took over three months in preparing, and
finest illustration
adorning
EXHIBITION.
uplifted
very
Applied Arts.
hand holding a
beautiful
if
of the
illustration
we except the monster figure The figure here referred to,
measures
torch,
perhaps the
is
over
twenty
modeller's
plaster
work
in
feet
the
is
Garden of Progress, facing the Pavilion of the CoUectivite Delieux. This sundial is one of the most graceful features of the Exhibition. Another instance of the plaster modeller's work is the great shield at the Uxbridge Road Main Entrance. This shield was ten weeks in the making. It is so large (it is about sixteen feet broad, and over sixteen feet in height) that it had to be made and placed in position in sections, the whole being afterwards pieced together with cement. Here, in addition to wood, canvas, and plaster, there is a generous admixcentral
of the
figure
ture
of clay,
which
the
base
the
employed reader
of in
is
that
buildings
range
in
hundred,
while
the
four figures.
sundial
and
As
an
in
the
monuments
height from heads,
Fibrous plaster
is
of
seven
to
White and
medallions,
feet,
CI I'OLA.
of
the
flowers
Gargantuan it
may
efforts
the
interest
adorning
the
and number over pieces,
at
etc.,
run
main two into
the Continent for decorative
it was White Palaces.
CONSTRICTINC: A
l6
City,
centre
largely used on
the birth of the City of
the
figures
thirty
purposes, but as a substitute for brick and stone
England before
formation
the
illustration
decorating
the
busts,
the
in
used
principally
shield.
building
learn
to
floral
practically
unknown
in
THE
ART
BRITISH
SECTION.
SPIELMANN.
By M. H.
BRITISH
PAINTING.
There seems
be
to
concensus
general
a
opinion that the clous,
and
greatest
the
most
Franco-British Exhibi-
striking successes of the
and the display
tion are the Fine Arts Section
We
of French jewellery and of French dresses.
knew beforehand
and
exquisite in taste
by British
able the
splendour
that
the
two would be wholly unapproach-
last
quality,
and
industry of the
of
manufacture, but
display in
Fine Art
the
Palace seems to have taken the public somewhat
For we have here a
by surprise.
collection such
as has never before been set before British eyes
on British
the result of the most strenuous
made by
efforts IIOPPNER, R.A. (1758-1810). Mrs. Williams, wife of Captain Williams.
soil,
the two committees, French and
J.
English,
acting
There
emulation.
friendly
in is
no
and
need
sympathetic
here
to
draw
comparisons, save the very obvious one that the British Retrospection Section carries it off over the corresponding French department, mainly because special made by the British representatives, while the effort in that direction was French, as the visiting nation, were at a practical and manifest disadvantage ;
that the French Section of Sculpture triumphs over
and on the other hand, our own, as everybody expected it would, transporting these ponderous and unwieldy it
behoves us to take
own
sculptors
are
But the sculpture
off
not will
rooms
exhibits.
the
To
enormous
difficulty of
this noble contribution
our hats, vet with a keen sense of satisfaction that our nearly so far behind as
be spoken of
paintings of the British school, the fourteen
despite
in
later
oil
on
;
we
feared
would be the
our present concern
is
case.
with the
and water colour, which are grouped
at the right-hand of the centre-line of the
in
Fine Arts Palace.
People familiar with the history of our art and with its principal achievements, while wondering at the comparative completeness of such a collection, may be surprised at the absence of a few painters of note, and of a
which might reasonabl\- be expected
to be
met with
in
number of
pictures
a display which clearly
EXHIBITION
FRANCO-BRITISH makes
a bid for thorough representativeness of character.
has taken part
in,
or
acquainted with, the work of promoting" exhibitions, even
is
much more modest than
those conceived and carried out in a scale
e rs
p
the
to
of
entreaties
How
tremendous task.
difficulties of the
the
realise
deaf
But everyone who
the
and
committee,
as
obstinately
uasion
from
this,
will
some owners, obdurately indifferent
to
sistance
or
higher
closer
or
quarters,
re-
fuse to lend
HI
response
to
repeated
works which
a p p tions
seem
things
essen-
1
a-
c
i
â&#x20AC;&#x201D; these are
comtial plete ness
not
known
to the
many,
how
others
even to some
promise and
of the critics
to
;
who know
very
the
at
moment refuse, when last
so
should better;
that
the
too late
marvel
is
to
attempt
that
to
replace
so
it
is
success n ea
r
\-
1
the treasures
complete
withdrawn;
should
how
been achiev-
certain
artists
from
ed
all.
told that the
to J.
render
at
When we are
one motive or another decline
have
CONSTAHLli, R.A. (177(1-1837).
four
Doclll.lin \"ak'.
as-
c
the Retrospective section are the result
oi
about
five
hundred
letters
rooms
o n ta n n i
i
i>'
and of an
insurance total of ;ÂŁ,"40o,ooo, some idea will be formed of the labour and enterprise involved
in
such an
undertaking
â&#x20AC;&#x201D; an
undertaking hurriedl\- carried out under
great pressure of time, and
under occasionally tr)ing conditions
necessarily divergent views
inherent
a
in
committee.
large
circumstances such as these, which every thinking criticism should not be too exacting.
man
In
such the
as face
the
of
can imagine for himself,
Even though Whistler (who,
at the last
great Exposition, preferred not to exhibit with the English) should be absent,
and
one
or
two
others
of
less
importance
should
also
be
unrepresented,
must be made. We prefer to recognise the presence, generally speaking, of the cream of the production of British and Irish art for many let us not be oi those who, years past, and not cavil at minor defects allowance
;
i8
G.
ROMNEV
(1734-1802).— " Lady
Hamilton as a Bacchante— With a Goat."
19
EXHIBITION
FRANCO-BRITISH constitutionally
aflflicted
with mental
cataract,
see
upon
nothing- but the spots
the sun. In the attempt to trace in the display the prog^ress of British art
timidity in
There
the initial step.
T.
GAIX.SHOROIC-.II, R.A.
Portrait of
contemporary and extraordinar\ rarity is
likely ;
naturally nothing- of
is
work of
find
some
Holbein's
1792).
Anno, Duchess of Cumberland.
enoug-h the pupil of Hilliard, for his pictures are of
but to William Dobson,
ascribed a beautiful portrait of a lad\
like the
(1727
we
Bettes,
the able painter to
in
whom 20
it
who approached
so near to
black holding- a lemon. is
Vand\
This
is
ck, less
attributed than that of one or other
T
SIR
'
.y
~^'^-"'.]r7^^
JOSHUA REYNOLDS,
.'^^^'*^'^ ''^~' *"
P.R.A.
21
"""^^ifcl^P*
(1723-1792).â&#x20AC;&#x201D; Lady Crosbic.
^
-
FRANCO-BRITISH Dutchmen who painted
of the able
EXHIBITION
England
in
the great Flemings arrived, and
till
a g-rcat measure turned the public taste of the day from the art of Holland to
in
Nor
that of Flanders.
is
there anything- of Jamesone,
Robert Walker,
and
Riley,
others
John
than
of
their
We
works.
rank,
thus arrive
who were
at Hog'arth,
clever with-
when
out being'
the first time the
their
p
-
c
r
m
e
-
British
and
n e n t,
m
so
i
i
g-
fo r
ht
h o o
s c
1
well
be
found
spared,
for
and
b c
his-
came
trul\'
in
the
tory of art their
names
a
more
i
r e
m port a n
n a
JAMKS HOLLAND, R.W.S.
1 ;
we
forward
(1800-1870).
Wooded Scene â&#x20AC;&#x201D; A Salmon Trap â&#x20AC;&#x201D; Glyii
Leddr, North Wales.
need
t
not
In regard to both quality and numbers representation
doubtless sometimes unequal, but even the worst
is ver\-
good indeed.
Ho-
In
ona
i
and thence-
trouble about omissions. is
t
itself
fe e
1 i
n g"
of
time
g-arth's por-
the
trait
condemned
of
his sister,
as "French-
"Miss Ho-
ified."
garth," we find
Miss g"
a
r
t
So
Hoh
is
that
bluff
represented
E
1
h
as a middle-
n
g-
s
i
temper, that
tempt g"race
Eng-
class
confo r
and
lish
gentle-
w w
m
o i
a n
h o u
t
,
t
cultivated
much
charm
on her part
which the political attractive,
of
to w. .KH.VUTH (,697-764).
and
with
what the modest
loves
to
call
of unvarnished
"
none
little
ni)
truth
at
all
Japanese
unimportant
on
lad\-,
her
we
face."
and of strong
.\
Card Party.
brother's
effort
make
herself look to
soften
the
asperities
are told, in a spirit of self-abneg^ation,
But
personalit}'
there
is
a
sturdy
and absolute
recognition
sincerity.
It
is
â&#x20AC;&#x201D;
.
THE BRITISH ART SECTION made
these qualities that
and
foundation
the
and graces were not indigenous
airs
from France, the land of their
birth,
with honest veracity devoid of
all flattery,
to be wholly sincere
and way of
seeing"
and
and
the
to the
until a
British
people
man
;
school,
daintiness
for
they were importations
arose to start afresh to paint
the art of the country could not be said
characteristic of the nation
was supposed
it
of
to reflect.
whose sentiment and emotion That man was the stalwart
H og-arth,
develop-
and
men
w
him
to
owe
e
15
r
i
of
t
nc p es 1
i
eternal
that
called
g^ratitude
into
being-
for
the
"Arts
his
robust,
and Crafts,"
life-
long-
pro-
all
protests
test.
Pro-
a
g-
a
tests of the
g
r
kind
regu-
convention-
larly
recur,
alism
as
o
n
i
w
i
s t
n
g-
and
the
dulled
irresistible
artistic
impulsepre-
sense.
a
cipitates
we
refusal
to
again
dandif\-
his
sitters
did
crisis
had
it
But Hog-arth's
:
the Pre-
in
Raphaelite
not
p
Brother-
vent
him,
hood, a
g i
o n
i
s
especially
in
in his earlier
t
i
}ears,
1).
in
up
(i.
ROSSETTi (1828-1882).
it
to us in
"A
little
Bovver Meadow.
he
Card Party"
saw
as it,
one of those "conversation pieces"
and costume he was soon to hold ridicule in merciless caricature. It is the same honest brush that painted the "Ranelagh," lent by Mr. Burdett-Coutts the famous gardens seen in the
which with unerring taste he to
society
â&#x20AC;&#x201D; Tire
the
and as he shows in
from
painting"
c
movement, as
e-
and
a in
the Impress
r
soft light of
reflects the life
â&#x20AC;&#x201D;
morning- when
all
the revellers
had
flitted.
There
is
love of nature
and the scene is set down without trifling and without " arrang-ement." The charm is in the colour and the actual painting, the qualities for which Hogarth is to be valued above his gift of satire or his talent for preaching- and here,
didacticism. 23
G. F.
WATTS,
O.M., R.A., (1817-1904).
Reproduced bv permission
oi'
â&#x20AC;&#x201D; Orlando
ihe Leicester Art Gallerv
24
Pursuing- the Fata Morgana.
Committee
riinl
Mrs. Watts.
j.
HOPPNER, The
R.A. (1758-1810). Sisters.
Marianne and Amelia, Daughters of
25
Sir T.
FraTiklaTul.
FRANCO-BRITISH From him
to
have a return
to
Reynolds
an easy step, althoug-h
is
and fancy,
g'race
Save that there
assimilated.
Royal Academy,
his art
is
EXHIBITION
now,
however,
and colour of the
painter's
pictures
which retain their full
glow
T
1806 became Sir John Morris),
in
for
it
one of the
is
length
,
of "Vis-
countess Crosbie,"
shown hastening to welcome
of -i
colour
y o u
without fadi ng.
Four
n
with
a
p o n taneity of s
>
e a r s
grace and
he
move-
later
ment and a charm
complet-
"^Whim,,.^^»r
his
e d
-
-^I|®*n*«h||(P
ofgesture
brilliant r
i
her park
'^W
change or
)•
albeit
truth,
we could hardly have "Mrs. Morris" (whose
^_
the
of
the way,
b)-
minority
President of the
dress,
chosen a better example than the well-known half-length husband,
first
For simplicity and
well represented.
hig"hly decorative in the richness
and
nationalised
entirely
no male portrait by the
is
we
the great Sir Joshua
in
1
T.
1
GAINSBOROUGH,
R.A. (1727-1792).
— Landscape
and
Cattle.
which the
whole displayed with a vivacity of execution " and a golden glow of colour that make it a worthy vis-a-vis to " The Blue Boy that hangs opposite to it. Twenty years before, Reynolds had painted the " Kitty master rarely,
ever, surpassed, the
if
Fisher," which has been lent by Lord Crewe, and the vigour
Lady Crosbie with the dreamy,
of the
charmer as she
sits
with her attendant doves
into the sweetest loveliness.
connection with the "Angels' little
interesting to
— a faded
Heads"
of
—a
picture,
picture,
1786
in
the
1836.
And
apparently,
of 1785,
painted
National Gallery
there
is
frail
which has faded
Frances Gordon at the age of seven,
spinster and died in that lonely state in
compare
beauty of the
quiety
Then we have "The Guardian Angels"
representing two angels protecting a babe
portrait of the lovely
is
it
who
in
— the
lived
a
"The Mob Cap,"
unmentioned by biographers and cataloguers, but undoubtedly from Sir Joshua's hand, and the study for the central figure in his " Infant Academy," painted in or before playful,
1783
as in
—a
humorous the other pictures we have delightfully
dreamilv demure. 26
invention.
Here,
then,
we have
the
the sentimental, the realistic, and the
THE BRITISH ART SECTION Gainsborout^h
here not
is
"various," as
less
The
explosive admiration, declared him to be. Buttall,
known
to
combination of adolescent diffnity and as the catalogue described masterful,
it
admirable alike
SIR
H.
"The
world as
the
all
g-race.
Reynolds,
it
moment
Blue
He
Boy,"
stands
is
in his
LANDSBKR,
pose,
character,
R.A. (1802-1873).
â&#x20AC;&#x201D; The
of
an extraordinary " Vandyck habit,"
at the time of its exhibition, self-possessed
in
was painted as a reply
a
noble portrait of Master Jonathan
and colour.
and even
The warmth
of this
Monarch of the Glen.
blue and the almost certain date of the picture g^ive the that
in
lie
to the challenge of Reynolds's
to the traditional story
" Eighth Discourse,"
for the simple
reason that discourse was delivered years after the picture was
exhibited, and,
moreover, dealt specifically with cold blue.
blue
more
Bate-Dudley Bate-Dudley,
(the wife
whom
discourse aforesaid) lady,
attired
in
His " Lady more daringfly than Gainsborougfh. of the handsome fighting parson, the Rev. Sir Henry
and
exquisitely "
Few have manag^ed
the artist painted at Bradwell seven years before Reynolds's is
a miracle of execution and handling- of the colour.
a flutter of azure
silk,
presents so delightful an appearance that 27
The
standing- at full length in a landscape,
we would not have her one whit
less
o
"I
X Xo
o 2;
o
28
^
ts
eg
CT^
00
o a.
u
O
u -
w
o fQ
X o Q < D O Di
29
3 T3
O u u
—" FRANCO-BRITISH plain than she
is
and the execution reveals the hig"h-water mark of Gains-
;
borough's achievement.
"Anne, Duchess
and
—a
It
is
And
a masterpiece.
yet not a few prefer
of Cumberland," executed in his pencilled manner, but
noble work
itself,
his
of
full
— lent
by Lord
and a reminder that Gainsborough preferred
to think
Besides these we have the fine cattle-piece
delicacy and dignity.
Jersey
EXHIBITION
speak
tributes
to
charm
ofhimselfas
the
a landscape
of
painter
woman-
rather than
hood.
British
The
asa "maker
"Lady
of faces."
Hamilton
A far smaller
as
man
otherwise
as
c
a
Bac-
a
h a n
,
t
e
painter, yet
"with
a
almost
Goat,"
re-
his
peer in ap-
minds
preciation
strongly of
female
of
one
the picture,
beauty and
the
under
same
title,
transplant-
b
Sir
ing
to
Joshua
is
Revnoldsin
George
the posses-
R o m n e y,
sion of the
whose two celebrated
Earl of Durham
portraits
the concep-
of the love-
and arrange-
in
power of it
canvas,
1
t
Lady
y
)'
i
on
H amilton
ment
are
are
much
the
pa
the n
i
t
SIR
E.
J.
Romney
MiLLAis, BART., p.R.A. (1829-1896).
Leaves.
same
;
bu
t
has caught the saucy witchery and pretty piquancy of the lady far more
man.
successfully than the greater (lent
— Autumn
Reproduced by permission of the Corporation of Manchester.
er's
by Lord
background,
is
Iveagh),
despite
the
"Lady Hamilton bituminous
at the
shadowed gets away from the cold
lumpiness
even more attractive in proportion as
it
Spinning Wheel" of
the
suggestion of classic mythology so often affected by fancy-portrait painters of the
day art,
— but
by
Gainsborough
but they represent
it
in
its
These two works represent Romney's most engaging and effective aspect for although
never.
;
30
THE BRITISH ART SECTION Romney was men,
also a painter of
somewhat effeminate
his
was happiest with women in gfeneral and with Lady Hamilton art
in particular.
A
although
ality,
less
more vigorous person-
a
of
John Hoppner
origfinality,
conquered
possessed
which,
position
from the beauty and breadth of by rights stand above that of Romney's. " The his work, should
which belongs to Sir
Sisters,"
Edward Tennant, most it
things
beautiful
period
British
in
was exhibited
Academy
in
Ladies,"
created
a
or
recognised,
that
Royal
under
the
two
of
naturally
it
and
furore,
recognised,
its
When
the
in
1795
young
of
art.
" Portraits
of
title
one of the
is
people
thought the
the}-
place
left
vacant by Sir Joshua Reynolds's death
three
now
likely
years to
before
was
honourably
be
This group of the daughters of Admiral Sir
filled.
Thomas Frankland, the greatgreat grandson of Oliver Cromwell,
was
doubtless
beautiful thing then
;
a
the years
that have passed have softened
the
already
quiet
colours and, for
all
scheme its
of
sparkle,
mellow softness that lends a charm to what must always have been a triumph added
for
a
the
Judith
Beresford "
Williams
"
are
"Miss and "Miss
His
painter.
both
examples of Hoppner's
excellent art,
SIR
E.
BURNE-JONES, BART. (1833-1896).â&#x20AC;&#x201D; The Goldeii Stairs.
but 31
Sir
henry RAEBURN, Portrait of Alicia,
R.A.,
R.S.A.
(1756-1822.)
Lady Steuart of Coltness.
32
T.
GAINSBOROUGH, Portrait of
R.A.
(1727-1792).
Lady Bate-Dudley.
33
"
FRANCO-BRITISH he touches his higfhest water-mark
in
the
EXHIBITION portrait
of
" Mrs.
Pearson
"
â&#x20AC;&#x201D; the
grandmother of its present owner, Captain Pearson. It is a masterpiece, superior in quahty (though of course simpler and easier as a composition) even to "The Sisters," for allied to dignity and charm of expression and unity ot colour it has a sense of atmosphere and "looseness of handling" as the painters call it, which place it higher in the scale. In the end, "quality" in paint always tells
;
fashion
pedestal,
as
may set for a time mere prettiness Romney is set up to-day, but sooner
w. COLLINS,
R.A. (1788-1847).
when revised judgment will place the niches. That will inevitably be Romney's
itself,
to their artistic senses
above
;
then
Romney, though
it
all
â&#x20AC;&#x201D; Cromer
or or
charm on the
higher
later quality will
assert
Sands.
favourites of to-day in lot
their
proper
one day, when collectors come
Hoppner
will
be recognised that
the
beauty of his numerous Lady Hamiltons be
at his best stands
cast into the scale.
Even Opie was stronger than his contemporary Romney, and often more painter-like, as we see in the engaging portrait of " Mrs. George Warde, " wife of It was executed in 1782, the year of the the younger general of that name. artist's first contribution to the Royal Academy, and so was the work of his youth, and remains, with its pretty arrangement of Leghorn hat, blue ribbons, and powdered hair, one of his most pleasant examples of portraiture. The year that saw the exhibition of Hoppner's " Misses Frankland witnessed also the production of Sir Henry Raeburn's "Lady Steuart of Coltness." The great Scottish artist painted two or three portraits exactly on this plan of not that it was his custom to repeat himself, or that he pose, chair and landscape ;
34
THE BRITISH ART SECTION lacked
one of the best specimens of his
It is in
its
At
but that the arrangement greatly
invention,
art,
opposite
Haddo That
it
take
it
"
— with
stands
pole
its
the
not by ZoflFany there can be
is
for
an
examination
will
proclaim
a beautiful
it
flesh,
little
Reynolds or an
early
it
soi-disant
smooth, highly-finished
him
of his
ZoflFany
;
unusually
Cotes,
fine
-f
a
the brilliant
draughtsman and
AA
second-rate
by the " Portrait
tjQ ^^^Bl ^^^^ ti
Mrs. in
the
^ w^m B ^5^
M 1
same It
of
to
Lawrence,
ed
one
When
Thomas
Sir
itisconfirm-
is
m
the Exhibition.
v^k K^g|/^ i \\^ ~ k
Gallery.
closer
we come
4 N|
of this; and
the
a
but
work by the Scotsman, Allan Ramsay,
fl^m
counterpart
Bruce"
you might
at first glance
'
^
i
of
of
pictures
Scottish Nat o nal is
Morrison
dress and cream lace.
blue
its
doubt
— "Mrs.
rr
wife in the
Gallery
and
reveals the hand of a master.
whose portrait
at the time.
especially in female portraiture,
excellence of treatment and presentation
the
pleased
1
most
LORD LEIGIITON,
P.R.A.
painter and
^^^^^|p^^ ^^^
colon
rist,
we
find
his
"Mrs.
Planta" and
(1830-1896).
— Summer
his
character-
Moon.
interesting
istic
"Lady
"
representative enough of his better work, but, compared with and Child They are standing what has gone before, artificial in grace and prettiness. engaging merits, their more that in a picture good draughtmanof proofs, in spite
ship
is
not everything, and, indeed, cannot stand beside fine colour and artistic
sympathy.
These are the chief portrait-painters during the latter half of the eighteenth century and the first quarter of the nineteenth, and some few years were still to elapse before a fresh set of ideals awoke our painters from the lethargy which overcame the successors of the group we have been considering. Even Northcote and Beechey, Hone and Cosway, Shee and Jackson, and Watson Gordon were of the smaller fry, their titles and position notwithstanding and perhaps it is as well that no room has been found for them in the restricted ;
space at the Exhibition.
When we
turn to landscape
we
find a
group of pictures
scarcely,
if
at
all,
less
worthy of admiration than the portraits. Wilson's magnificent "View on the Arno," lent by Mr. Harland-Peck, may owe something to Claude, but it has 35
E
O
4-*
c o
u (U
N 00 CO
W
z o
36
o E
< cs
U
CO ON 00
00
H X
< 03
Z o I
D pa
w
37
FRANCO-BRITISH
EXHIBITION
own, and g^lows from the wall with the full golden light Time has given Wilson his revenge, and the neglected
striking- individuality of its
of an Italian sunset. artist of
Gainsborough's day
is
He
the honoured master in this day of grace.
was the inspirer of Julius Caesar Ibbetson, whose "Welsh Landscape" is a fine and impressive work, curiously simple in its naivete of composition, yet touchingly sincere.
In
its
rendering of atmosphere there
greyness, like a muslin
veil,
that
companion George Morland.
p.
POOLK, R.A. (iSio-1879).
1'.
the last-named, has the
same
â&#x20AC;&#x201D; The
Sevoiitli
Day
achievements.
and the charm of the composition It
otherwise with
is
that
it
rather
obtrusive
of
tlie
Docamoroii.
peculiarity, as well as his seventeenth-century
conventional manner in the rendering of the trees for landscape
in
is
we often find also in the pictures of his boon"Morning; or, the Benevolent Sportsman," by
"The
Dutch
nevertheless, the fine sentiment
;
raise
Wreckers,"
it
to the front
lent
rank of his
bv Mr. Barnet Lewis.
This picture, representative of a large class of subjects of very similar design, not only by Morland, but by his
De
Loutherburg, and others, including Turner himself
in
younger days, scarcely bears the stamp of truth and sincerity, and the storm is "wreckers" are theatrical. In his day few painters enjoyed the popular appreciation which was lavished
as unstudied as the
on
Thomas Barker
of Bath,
whether
for
landscape or figure-painting, certain
examples of which are of vast size. The "Rocky Landscapeâ&#x20AC;&#x201D; a Scene in North Wales," belonging to Captain Huth, is the most powerful of his works the present writer has ever seen and the
almost unique, and in
most important,
may perhaps have
been seen hv James
the formation of his vigorous style.
pictorial strength, the
most
forceful
artistically
Indeed,
it
;
is,
it
Ward and himself.
in
fact,
guided him
challenges, on the
work of "Old" Crome 38
judged
ground of
THE BRITISH ART SECTION That this is saying a good deal will be confessed by all who compare with it Crome's noble "Moonlight," lent by Mr. Darell Brown. This is an unusual picture for the master,
unfinished, too,
nature even beyond what already mentioned, or a
have
find in
the trees
;
but
proclaims a love of
it
Gainsborough's "Landscape and Cattle"
Barker's hammer-blow at
Welsh
scenery.
grouped that of
the
inspiration
of
the
schools
of
his
the
such
is
work should be
better been
It
Crome's
that
picture
might
in
we
in
others
school
of of
:
Barbizon and Fontainebleau
George Vincent, whose admirable
than Constable's
" Driving
" Haywain
Flock, St. Mary,
of
"
the
â&#x20AC;&#x201D; com-
and might
Beverly
be taken for the
monly
direct forerunner
"The Jumping
Rousseau,
Sheep" â&#x20AC;&#x201D; is
1823,
of
as
just
turn
in
by
suggested by the finer moonlight
pieces
Van
Neer.
original
the
to
t
i
correctly
Peter)
Nasmyth, whose delightful art,
of
der
here represented
"Meeting
wholly
of
the
and true
and Severn,"
scene
inspired directly
is
to
on
of
by
depicts
open
;
But that
is
it
nature
Patrick (or more
been
Aart
called
inspired directly
its
appears
it
have
to
"
.
it
not ques-
SIR
With
J.
E.
MILI.AIS,
BAK
.
1.,
r.K.A.
(
1
MJg-I^'9t)).
,
Avon is
by
Hobbema
and
Ruvsdael
:
111.
of James Stark,
whose " Road throug-h the Wood " is inspired mainly by Nasmyth and of John Sell Cotman, whose stately oil-picture "St. Malo " is wholly inspired by his ;
own
watercolours.
When we come
to
Turner we
find three
moving canvases
representative,
roughly, of the master's three periods, the early, the middle, and the the
first,
"Fishing Boats on a Lee Shore,
"
last.
In
belonging to Lord Iveagh, we have
the passion for fact, and incidentally his love of the sea of which he had such
Here we are struck by the firmness of the drawing and the emphasis of the statement. In the second work, the celebrated " Mercury and Herse," lent by Lord Swa^thling, we have the passion for composition and the unrivalled knowledge.
39
"
FRANCO-BRITISH
EXHIBITION
pseudo-classic feeling in landscape which for so long a period possessed him.
we have
the third,
property of Mr.
Wave "
Great
vast
to feel as
This
light.
is
moving mass of water whose weight speeds toward the shore to break
a cloud of spray.
it
among
students of Turner as
in
voted as they
were to nature
glorious
that
In
" Ouilleboeuf, " the
"The and momentum
T. H. Miller, familiar
â&#x20AC;&#x201D; the
we are made Here we have
the passion for
colour and
colour,
ex-
and
quisite,
yet
more
me
restrained and
truth,
r
t
d i
c
i
a
1
1
a
)â&#x20AC;˘
full
of light,
opposed
that
marks the
their
outlook
and
artistic
beginning the
vision itwould
artist's
phase.
latest
three
If
of
tures
pic-
are
in
be
difficult
to
name.
Constable's
to
D
m
illustrate
"
Turner's
Vale," lent
career, it would be hard
Colonel
better
to
Neeld,
the
is
example his finest
for
b)-
Audley
Sir
selection, whether
d h a
e
an of
work
technical
and
study
period. It was painted
or
for
sheer delight.
A year after Turner
1828,
and
pleased
its
in
was
his finest
born Con-
painter vastly,
stable
as
first
saw the
light.
Two
men,
and J.
V.
Life
Letters
shows
In tlu' Boy'-. Caidcii. l.mvis, R.A., I'.R.W.S. (1805-1870). Reproduced by peniiission of the Preston Corporation.
"
his
;
and
the equally demajor part of his career he sadly lacked appreciation. His art, as he himself said, is "without either fal-de-lal or fiddle-de-dee; how can I therefore hope to be popular?" If he could now return and see the crowd that daily exclaims
in
his pictures life
rapture before in
Dedham
Vale," just as
e
t
fo r
stands enthralled before
it
the National Galler\-, the bitterness that tinged and tainted his
would be dissipated Bonington,
"
\-
born
in the
a
Turner than Constable,
warmth of
the acclamation.
quarter of a centur\-
and
his
" Fish 40
later,
Market
at
had greater
Boulogne
"
affinity
(Sir
with
Edward
THH BRITISH ART SECTION Tennant) mij^ht not unreasonably be compared with Turner's " Sun Risingthrough a Mist " in the National Gallery. It is one of his most important works,
and a
fine
exercise in
the representation of white sunlight as
moisture-drenched atmosphere on the sea-shore.
i:k\i:st (.'KOKTS, r. a.
his
love
of problem-solving
colouring of Venice, as
in
;
his
â&#x20AC;&#x201D;Charles
he aimed
l.'s
at
plays in the
James Holland had none
of
Execution.
rendering harmoniously
"Santa Maria
were, an " ulterior motive."
it
della Salute,"
the
gay
or at transcribing
But we have a complete surprise in "A Salmon Trap- Glyn Leddr, North Wales," wherein he has anticipated the "slick" pictorial manner of many a painter of a half-a-century later, and offered nature without, as
it
41
—
EXHIBITION
FRANCO-BRITISH
a puzzle to nearly ever)-
who
man
knew his work. Next we come to the brilliant "Chess Players" of he
thoug-ht
William
whose
Miiller,
alism
showed a
local
truth
to
orient-
sincerity,
a
and
a
fact,
broad independent vij^our of
and
vision
and G.
c.
HAITE,
R.>.,
painters of his time,
Then we
school.
when
in
Morocco.
^^,^
two of
his
brushwork i^;,^^
j,^
have
,..^,,1^
f,.^^,^^
^^f
conventionality and impersonality were the bane of our
more important canvases,
more recently and "The Twins" show the artist
"'
the former the better as to composition,
the latter the better as to painting-; both of
them rather
thin in technique
uninteresting- from the point of view of art, but both very fine
of animal
j,^^
which
have, exhibited together, a group of painters
Landseer's " Monarch of the Glen
deceased. in
K.B.A.-A Scene
of colour
virility
and
and able as studies
—
atom of true poetry of that exquisite feeling which fills the noble canvas of Lord Leig-hton's exquisitely delicate "Summer Moon," or Cecil Lawson's little "Dreary Road," and George Mason's "Crossingthe Moor," or Fred Walker's romantic sunset piece, "The Ploug-h " with its life.
In neither
is
there an
—
cleverly-managed discord of reds, and
strang-e,
with the swing of a Greek god. "
And we have
its
plough-boy striding along
Millais's realistic
"Over
the Hills
—
and Far Away a magnificent and hig-hly finished sketch of vast dimensions and his portrait of "Lord Beaconsfield," with Frank Holl's " Rt. Hon. Joseph Chamberlain " for pendant, and between them Charles Furse's small equestrian portrait of
"Lord Roberts"
—a
masterly
little
canvas.
These, with Holl's fine
character-study, strong alike in
colour and expression,
"The
known
as
Chelsea Pensioner," and
Robert Brough's " Lord Justice
Vaughan Williams," which
reveals
a
pathetic
canvas proof
of what the artist would have attained to but for the railwa\collision
his
brief
that
and
cruelly cut short brilliant
career,
',
comprise the greater number of the
works with which the main
li%*-
Retrospective section illustrates the history of painting in Great Britain.
GKORCiK MORl.ANl), 1763-1804.
42
— Morninif,
or
llic
Benevolent Sporlsnian
THE BRITISH ART SECTION Midway
in the
course of that development
in
the nineteenth century
epoch-marking- movement to which allusion has already been
i:.
J.
(".Ria;oRV,
p.r.i.
u..\.,
— Houller's
made
came the
— the
Pre-
Look.
Raphaelite Brotherhood, which the plan of this Essay has reserved for present and necessarilv detached consideration.
simple
— a protest whicli,
As has been
short-lived as
it
was a protest pure and was as an org-anised movement, led to a
43
said,
it
o
(/5
Q
3
O
-J
â&#x20AC;&#x201D;
^
be
^
o •a
c o
c
o
<
i
6
I-
<
o
—
X.
U T3
EXHIBITION
FRANCO-BRITISH
revulsion of feeling" ag'ainst the uninspired art of the day far beyond the borders of the circle and of the country with which
preached, and of
some of
and
their
the
Certain tenets Ruskin
identified.
is
it
Brotherhood practised, tenets which are
the phases of the Impressionist school, and which,
followers
adopted
still
the inspiration
when Monet, Manet,
them, were hailed as inventions,
or at
least
as
But as Ruskin himself declared, by many, he was by no means the originator,
innovations, of the revolted schools of France.
contradicting the view persisted in
but only the supporter, of the aims of the Pre-Raphaelites.
The
true fathers, or
VV. K. fALDKKON. — Market Day. KeproduceU by permission of the Corporation of Worcester.
Step-fathers rather, of the It
a late example of
is
Herbert at Bemerton
"
movement were William Dyce and Ford Madox Brown. Dyce we have here, but a very perfect one "George
—
—
which is painted on the plan advocated by the Brothergoing in all humilit} to nature, and painting exactly what the artist saw, accurately and laboriously, much as if, in the spirit of the thing, the work were
hood
:
the reverential exercise of a religious devotee. is
The
intense sincerity of the picture
a practical repudiation of tame conventionalitx' on the one hand and irresponsible
slap-dash and easily and cheaply-got effects on the other.
magnum bizarre
opus entitled (perhaps
"Work,"
because he
while not less sincere,
himself began
Ecole des Beaux Arts order of that period), "subjects," and
full
as
is full
is
Madox Brown,
in his
a thousand times
a conventional
painter
more
of
the
of anecdote, comprising a dozen
of strange drawing and of a riot of hot colour; and vet
spite of all impresses us with the powerful individuality of the artist
general expositor)- purport of his symbolical design veiled
in
and with the
in realism.
But these men, as has been said, were not themselves of the movement. It was Holman-Hunt, Millais, and Rossetti who formed their special coterie, and 46
— THE BRITISH ART SFXTION others, such as
own
John
Brett, J. F. Lewis,
and a number more, who became converts
Mr. Holman-Hunt, the one survivor of the band — (Mr. WiUiam Rossetti, though a " Brother," was not a painter)--is seen in nothing" of his early years but in his " Isabella and the in their
practice, but
were never elected into the body.
;
" Morning" Prayer
Pot of Basil " and
"
demonstrates his loyal g^eneral adherence to
principles which, in their narrower application, his associates threw
These remarkable works
years.
— equally display the two
different in the
up
few
after a
the one a larg^e canvas, the other but a miniature
-
tenacity of the artist
but the spirit animating him
;
is
Mr. Holman-Hunt trusts for his
cases, for in the former
very effect
to the poetr\
the
of the stor)
execution
and scarcelv
for
less
the
to
of
skill
we
little
care
for the
sumptuous-
rather
ness
mon
-
complace
colour and
young
per-
accessories,
s
o n
for
of
the
while in the
herself
latter,
still
is
it
and
less
for
solely
the
her common-
intense
re-
place
roundings.
ligious devo-
of
tion
interests
\v.
from
selves
in
the
come
us,
apart
first
When we
the
to Millais we find o u r-
that
girl
bean
Ic
Parents,"
had
and
Mii.i.Ki;
J.
so
while
archaistic
passed
dreadfully
re-asserting
(
i<Si
fit,
the
;-iS45).
1
lio
L hos^
I'lawrs.
movement. "Lorenzo of which "Christ
transitional
he expressed
as
and,
bullied;" his
—
P.-R.B.
of the
account of which,
on
"had been public,
milieu
and
primitive type,
sur-
principles,
in
1852,
with
it
to
in
He
had got over his
and the
the
was of His
Isabella"
House
present writer, he
he sought to conciliate the
"The Huguenot,"
his earliest
But the public declined to be conciliated or won over, eyes to the charming sentiment of the subject, to the sweet
picture here exhibited.
and closed
their
man — (the "one-legged lover," Roman Catholic badge which would
solicitude of the lovely face, to the dignity of the
thev called him)
who
refuses to
wear the
save him in the projected massacre merits of subject,
;
and
if
they were blind to these striking
usually unfailing in their appeal to the sentimentality of a
crowd, what hope was there that they would appreciate the richness and strength of the colour- (the visible protest against the mere "tinting" that the Brother-
—
hood denounced as one of the weaknesses of the British school) still less that they should recognise, much less appreciate, the world of care, and honesty, and 47
Sir
HUBERT
von
HERKOMKR,
48
C.V.O.,
R.A.â&#x20AC;&#x201D; The
Last Muster.
JOHN
S.
SARGENT,
R. A.
â&#x20AC;&#x201D; Portrait 49
of the Ladies Acheson.
FRANCO-BRITISH patient
EXHIBITION
labour devoted to the rendering of the wall,
accessories of the scene?
But time has had
its
of the
nature
and the
revenge, and Mr. Miller's treasured
possession had not long to wait for public acclamation of the mastery and breadth of sentiment and treatment which the
cause
of the
Brotherhood.
made this remarkable At this time Millais
little still
canvas eloquent
in
scorned the mere
adventitious aid of the beauty of his sitters and the extraneous allurements of fine tissues,
ornaments, and the like; and
SIR E.
LANDSEKR
(1802-1873).
â&#x20AC;&#x201D; Midsiimnier
in
this spirit
Night's
he produced,
in
1859,
Dream â&#x20AC;&#x201D; Titania and Bottom.
what is, taking it for all in all, the most remarkable of all his pictures. This was "Autumn Leaves," now the property of the City of Manchester, showing two little girls of "the house," assisted by the gardener's children, making a bonfire of the wood's sad harvest at the hour when the setting sun is still illuminating a Scottish twilight. For penetrating poetry and for beauty of effect this picture may well be held to vindicate Ruskin's prophecy that in time it would come to be regarded as one of the world's masterpieces and there can be no doubt that its fame will endure and receive yet wider recognition as it becomes As we pass from this to "The Black more familiar to the world at large. Brunswicker" from the appeal to our love of nature to the appeal to our love of domestic drama -we feel and almost resent the descent into the arena of anecdote. And yet the sentiment is very true and is very genuinely realised. This soldier of the skull-and-crossbones regiment taking leave of his beloved, who is loth to let him go, aflfords a very moving and pathetic subject, and we cannot but admire the thoroughness of it even though the deep strength of the ;
â&#x20AC;&#x201D;
50
THE BRITISH ART SECTION pure colour,
noble as
in
Js
it
somewhat shocks the more
character,
sensitive
With this picture Millais made his peace with the public he had developed, outgrown the tenets of the Brotherhood by which his art has so greatly benefited, and henceforward he was liable to the critical attack of his friend Ruskin and to the gentle reproaches of his friend Holman-Hunt. vision.
;
KUANK BRA.NGWYN, A.R.A.â&#x20AC;&#x201D; The Cider It
is
very well, but
art,
and the appeal
to
all
aristocratic,
was never the perfection,
Hunt,
intention,
As
supporters.
Douglas,
proportionately
is
a
of
became it
the
the
not democratic, but
appeal to the inferior.
This
programme, of the Brotherhood and
own
realism
mav
Madox-Brown, be
and
with
band.
We
increased,
once-despised
miracle
in
is
they aimed at improving their
so
Jones,
the
many
is
its
they strove to raise the character of the school in honesty of
and Fettes-Douglas, and joined
never
speaking,
intellectually
the
Press.
in
the
that it
openness
had John
rendering
â&#x20AC;&#x201D; and
plain
Holman-Hunt,
respect
the
the
status
Brett,
of valley
of the
with
Brown,
Burne-Jones
crowd which
for
them
adherents
whose Val d'Aosta" and mountain scenery, '
EXHIBITION
FRANCO-BRITISH marvellous
and execution, and not a it fails to become
truth
in
completeness with which the
than
the
practical
Concealment Millais
according to his
followed,
artist
—a
teachings of the
Discovered
popular
work,
Sir
of
'"
lig'hts,
William
which
ADRIAN STOKKS. —
in
its
in
I'rcili
li
owing'
the
the
in
fact that
Ruskin rather " had The Recusant's of
theories
We
Fettes-Douglas, is
than
to
stronger in
its
a
follower
of
dramatic than
L.ijidscapc.
and we had the pretty but too sentimental " Children Robert Gavin, whose sincerity in nature-study and of
pictural elements
Wood," by
the
the
Brotherhood.
Scotland,
in
marvellous
less
picture,
;
draughtmanship and delicacy of presentation just save
it
from the charg'e of
mawkishness.
The
other phase
been considering-,
is
of the
untouched by the pictures we
movement,
the passion for romantic
poetry,
of medijevalism,
have Italian
and English, which animated Rossetti and his own particular friends, BurneRossetti was the oldest of the band, and for a Jones and William Morris. time dominated his associates with his love of Italian poetry and romance, and caused Millais to paint "Lorenzo and Isabella," and Holman-Hunt " Rienzi." His Italian blood carried a stream of sensual poetry in his veins, which was really foreign to the Saxon sturdiness of Hunt and the British vigour of the sportsman
whether Italian or
own of
passionate it
in
British,
nature
"Mariana"
Millais.
To
Rossetti,
the
mystic was
and he coloured them with
down (1870)
to
the very
— the
end of
his
career.
Mariana of "Measure 52
irresistible,
the ardour of his
all
for
We
see
proofs
Measure";
in
THE BRITISH ART SECTION "The Bower Meadow,"
which was painted as to its Sevenoaks landscape in and as its to fig-iires of musicians and dancing figures in 1872, yet 1850 perfectly harmonised as to its two styles and periods and particularly in the ;
decadent "Blessed Damozel
Mr.
Lejland.
It
"
— the
interesting
is
1879 copy of the recognise
to
1877 picture painted for
work the with the" Morte
last-named
this
in
sumptuous arrangement and splendour of design, while recognising, too, as we must,
the
fa
i
1
i
n
d'Arthur" than with the "Vita
love
the is
in
it
wistful rather
than vo
g
powers of this amazing poet-
u p-
1
was the work, on and off, of nine
tuous.
artist.
We
— and
Nuova "
come
years
It
( i
868
and
—
into a less cloy-
1877),
ing atmosphere
refined strength
its
when we ap-
is
proach
Burne-
does not suffer
His
from the juxta-
)
position of
Jones. d e
1
i
c a
t
e
1
d'
it
"Autumn
powerful "Chant
such that
Am-
Leaves
and
"
English
"The Bower
rather than
Meadow."
our"
is
Italian —
that
it
has J.
more
J.
affinity
be
possible,
is
SHANNON,
the
A.R.A.
Purer
— I'oitrail
" Golden Stairs
KiUv
(1872
"
position of fair girlish forms descending the
still
in
SlKiiinon.
sentiment,
— 1880),
wondrous
exquisite as
staircase,
if
a com-
and lovely
in
its delicate harmony of ivory, gold, and pink— deriving its unquestioned force not from the strength of the painting but from the beautiful personality of the painter.
With him must be grouped William Morris, his college chum and life-long friend, This is whose single finished picture known to the public is here exhibited. "Queen Guinevere," the lady who was the heroine of his first published poem
"The
Defence of Guinevere."
It
sentiment redolent of the age, but
amateurish poet,
in
handling
— for the
it is
is
a
picture
of extraordinary
interest,
rather dirty in colour, and naturally a
in
little
technique of oil-painting irritated the impetuous
and he gave up the practice of
it
in disgust.
Beside this the works of G. F. Watts stand out with striking vividness and
The opulent grandeur
maitrise.
—alike
in
composition,
line,
of
"Orlando pursuing the Fata Morgana"
"pattern," hZ
colour,
and sentiment
—
is
extremely
—
FRANCO-BRITISH impressive
;
we
feel
we have here
EXHIBITION
modern Titian whose
the
voluptuousness compares nobly with the languorous sense of decoration
of " Bianca
"
is
surpassed by no exhibitor
and " Tennyson
the former for
its fine
dig"nity of character,
"'
yearnin_i>-
of character and
of Rossetti, and whose
His bust-pieces
in the g^alleries.
ways
are not less remarkable in their different
flesh-painting-
and both
virility
and
statel\-
grace, the latter for
nobility
its
The "
for their painter-like qualitw
and
Portrait of
Lord Leighton, P.R.A.," stands on a lower plane of execution and quality, but it is a ver\- vig^orous state portrait, intended to combine with the likeness of his friend
i-RANK DAUD,
an embodiment of his
K.
-
1.
g-reat position
-Bcor and Skiltlos.
President of the
as
Academy and
official
chieftain of British Art.
Otherwise
in
sympathy with the
ideals
of a school as
many
sided as a
chiliaedron are a g^roup of pictures in other respects representative of divergent
aims.
Here we have John F. Lewis's celebrated "
remorseless accuracy of
fig^ure
and sentiment, a masterpiece
and flower in its
painting",
In the Bej's Garden," with
and with
way, nevertheless
;
its
its
hardness of colour
and " The Coming- Storm
"
by John Linnell, with its exag^g^erated, rop}- clouds threatening^ appallingf disaster We have Landseer's one of several versions of this alarmingf harvest scene. " Midsummer Nig^ht's Dream," a unique excursus into fairy-poetry, and
—
remarkable alike for invention and execution of textures, and Sir Noel Paton's
"Fairy Raid," both pictures dainty and
fanciful illustrations of fairy lore, but not
to be reg^arded, strictly speaking", as serious pictorial efforts.
— and
carried
to
the furthermost
point of minuteness 54
Even more curious
and executive
skill
—
is
THE BRITISH ART SECTION " Portrait
Sandys'
Frederick
Van
imitation as a
Lewis,"
as
still life
still
and
in
its
in
the
characterised the Flemish master.
to the fig-ure that
Indeed, the most remarkable piece of
life is
the figure of Mrs. Lewis herself. "
and Sir John Gilbert's " Field of the Cloth of Gold
this,
accurate
Eycl<, but utterly lacl<ing- in the sense of breadth
subordination of the
With
Stephen
Mrs.
of
— a rich
realisation
—
painted by the skilful illustrator whose and amazinginvention memory permitted him to dispense with models and with Alfred Hunt's " Haunted Stream," a truly poetic canvas, but painted as though of the historic scene of ruinous display
;
the survey of this collection
with watercolour-
c.
I).
LESLIE, R.A.
ReproJiu-cd by permission of Messrs. Frost
— In
is
brought to a
close.
Time of War.
&
Reed, of Bristol and London, the Owners ot the Copyright and PubHshers ot the Enj^ravingf on the Subject.
Closely allied, however,
Pre-Raphaelitism, which
still
is
the small living school inspired by the tradition of
endures as a small though vigorous tendril clinging
Mr. G. A. Storey, who
tenaciously to the portals of the Palace of Art. us,
painted his
Leaves," and
"Bad News may
it
is
Academy
"
Mr.
B\am Shaw may be
faithful to the old regime, as
success
—a
picture conceived on purely decorative lines.
as disciples of the early Millais
we
find
"Border Minstrels)").
method. it
like
Yet
seems, so to
while
it
no one
his
else
in
Mr.
to
followers
Cayle_\-
Twa
Corbies"
Robinson has
— an
;
illustration
of
far greater originality,
his extraordinary asceticism of colour, type,
"Mother and Child"
.sa_\-,
As
Gloag while Mrs. Young Hunter ("Jo\- and the
Labourer") and Mr. Lindsa}- Smith ("The
and paints
with
"Autumn
belongs to the younger school, seen in " Rosemary "-his first
of his must be regarded Miss Fortescue-Brickdale and Miss Isobel
Scott's
is still
under the influence of
be said that he has never since reached so high a level
either in feeling or in paint.
but he
War
from the
and
challenges every beholder; the sight of
pop a spoonful of alum
into the
mouth o(
the spectator,
impresses him with the individuality of the artist as a thinker and a 55
—
FRANCO-BRITISH Mr.
worker.
M. Strudwick, on
J.
EXHIBITION
the other hand, has adopted the poetry and
the outlook of Burne-Jones, executing his subjects on a very small scale, colouring
and sometimes gilding them with loving
care,
he completes his precious
till
bibelots so that they almost look like painted ivories
wings
like the
for
some small
triptych in
the
rules
World,"
richly
a
little
decorated
there
chapel.
nothing
But
they
trifling
are
not
the artist's
is
on
decoration
part,
he
merely.
fe e 1 s
the
The
holy truth
artist
seeks
to
make
the
he p
i
de-
is
c
t
i
n
g
execution
like
worthy
mediaeval
the
monk, and
of t
hought.
the
In little
pic-
ture
here
like
the
monk
has
sh ed time and labour and a
1
shown,
WILLIAM ROTHiiNsTEl.v,
"Love
Back
N.E.A.i.-.— Carrviiij,'
the
a
Law.
vi
love on
working out and dignifying the thought with
The
command.
may
result
Raphaelite toy,"
but
the
to
be,
as
artist
has been
it
we do not recognise in it a picture must regard it with the respect we owe
skill
and
" an
called,
the ordinary
in
if
the
taste at his
to lofty motive
Pre-
exquisite
a serious and a precious affair
is
it
all
and
;
of the word,
sense
and earnest and
we
beautiful
craftsmanship.
But that
is
not to say that passionate striving after truth
of the latter-day
who
On
artist.
the contrary
men
to-day
of
are
not
truth at
which they aim.
their craft is
My
in
enough first
for
duty to
of the schools of nature
fullest
its
is
it
own
is
in
art
The ambition perfection
is
their
devotion
to
to learn
of
some
and widest
my
be the dictates
I
trade."
is
satisfied
(if
nature
another sort of truth, a broader,
the greatest technician.
my
may
preferences and convictions
earnest
less
Pre-Raphaelite group, only
"
aside the commercial painter
lays himself out to catch the favour of the public whatever
of his artistic conscience and of his
that
— setting
not the touchstone
is
if
any), the
than
not a higher
with the exercise of
capabilities possible to
them
remember Leighton saying
The
latter
the
-
to
and
me
:
development of certain
not the perfection of technique, but the inquiry into the problems
— of colour,
of light, of atmosphere and
its effects,
and the
like
— and the
THE BRITISH ART SECTION whatever the degree of their success
public,
the object which has claimed
anything worthy
yields
Exhibition
scarcely
;
all
effort,
are the
work
is
in
anything essential
is
absent.
this
all
the oldest to the youngest,
from
the
freshest individualism
attempt to
severest
â&#x20AC;&#x201D;
classify, for
practice, defy
if
they
all
are represented,
every direction which has been struck out identified,
and
;
their concentration
of the
Specimens of
content.
From
research before the
results of their
placing" of the
all
is
academicism here
;
may
be
to
the
but there
is
such classification would,
arrangement.
The
visitor,
no in
therefore,
own conclusions but in this Paper the writer may at least give some indications which in some measure, however slight, may assist the inquirer. The must
classify
himself and draw his
for
;
Academicians and large
section
their adherents naturally
of
the
space,
for
in
the
occupy a
sum
of
British art they constitute the predominant partner W. LOGSDAIL.
;
but their adversaries are represented, too, and the
â&#x20AC;&#x201D; An Early Victorian.
movements championed by the New English Art Club, by the
and especially
International Society,
that phase of art practised by the Scottish school
may
easily
with
a completeness
be traced and studied
exhibition that
sort,
the
art as first
any
in
the position
revealed in an exhibition of this
natural
eliminate the foreign
home amongst
essentials
held.
when estimating
Fifty years ago,
of British
all
impossible
hitherto
was ever
in
would have
step
been to
who had made
artists
their
us and treated them apart as a group
But to-day the foreign influence, by themselves. mainly French and American, has so permeated the ranks of our artists, and has so deeply coloured and
identified
foreigners
itself
with
now form
practical classification,
their
part of the
practice,
mass.
that
A
the
more
were we called upon to make
one, would be on the basis of a cricket match. North V.
South, for the difference
is
at least as clear-cut
England and Scotland as it is between England and France. But there is no room to follow out this line, interesting as it would bo and between
;
57
j^^hn iavery, r.s.a.,
r.h.a.â&#x20AC;&#x201D; Poiymma.
FRANCO-BRITISH
DAVID MiRRAY,
R.A., A.R.s.A., A.R.w.s.
EXHIBITION
— The
Tees
— Snowball
••^w^^.
J.
FARQUHARSON,
A. R. A.
—Tlie Shortening Winter Day, Dra wing
Reach.
%• to
a Close.
THE BRITISH ART SECTION
Wll.I.lA.M OKI'KX,
KUSKINK NiLOL, A.K.A.
N.K.A.C-.
(1825-1904).
59
— The
\ allior-
— Praties
and Bootermilk.
FRANCO-BRITISH
^
EXHIBITION
^4« '^^
V.
imifflfiiifteiffgaa SIR
JOHN GILBERT,
K.A., P.R.W.s.
(
1
8
1
7-
1
897).
— The
Field of the Clolh of Gold.
--'
4^^>^-
W. HOLMAN-HLNT, O. M. and the Pot of Basil.
U. A. STllRKV, A.R.A.
Bad News from the War.
Isabella
60
T.
GAINSBOROUGH,
R.A. (i727-i792).~The Blue Boy. 6i
FRANCO-BRITISH
EXHIBITION the
must therefore more obvious
collection
be judgfed
in
its
sections of portraiture, history,
landscape, and so on.
Among- the great Italian it was a common-place
masters
that the is
main use of portraiture
the stepping-stone
it
afforded
to the painting of history.
Its
uses as a record of individualities, THE HON. DLFK TOLLEMACHE. â&#x20AC;&#x201D; The
but from
few
of
the
save
greatest,
practice
or
deigned
more.
In
this
of our greatest
men
of view
point
the
to seek
Lizard.
of course, were fully recognised,
was a
of art
it
Franz
Hals,
a
reputation
side
ever as
a
question,
confined
before they
it
masters to be an
end
in
itself,
threw themselves professionall)- into
themselves
and
portrait-painter
although at
Lucas, it
used
Luke to
portrait-painting.
have scarcely been known as at
And
all.
yet, for the public, portraiture is
most welcome of
the
sections of painting.
understand
to
;
it
the
all
It is eas\-
represents
persons whose humanity and character as
well
valuable of is,
all
they can judge as the
artist
record,
;
a
is
it
independent
considerations of art
;
it
besides, a vehicle of beauty
that
offers
solution and
no problems
makes no
for
special
know-
claim, like landscape, for
ledge of the secrets of nature
and
some measure,
in
too,
;
it
satisfies the vanity of the sitter
and of that to
his or her friends
is
artist
it
â&#x20AC;&#x201D;
and an element not wisely
be ignored.
to
and its
nothing
most the present day
doubt, like Sir George Reid,
figure-painters
were,
country the portrait has always been held sufficient by
like Millais, Herkomer, Alma-Tadema, Seymour Frank Holl, began by being history-painters (as
and
as
And
to
the
provides the constant
char.-ks sims, A.R.A.-The storm.
62
Fildes,
be called)
Some,
no
THE BRITISH ART SECTION interest of research
and the opportunity of
fresh
composition and arrangement, while offering' a path to success and fame beset by few of the
ever that
may
How-
attend the fig-ure-painter.
difficulties that
be, the
pre-eminence of the British
portraitist in the past
and
his
eminence
in
the
present are not to be gainsaid. All the same, the inclusion of a vast array
of portraits
an exhibition
in
is
apt to impart an
appearance of monotony, and for that reason,
may
be explained,
numbers have
their
been
A
severely restricted on the present occasion.
few
of
known have
best
the
mentioned,
but
there
attention and respect. portraits for
The
first.
set
the one
hand
of ;
R.A. (1758-1810). J. HOPPNER. Portrait of Miss Judith Beresford.
Let us take the female
division
qualities
insight,
claim
that
is
not unreasonable,
male and female portraits demand
different
been
already
others
are
it
in
the
for
painter
their
treatment a quite
successful
— delicacy,
and
refinement,
vigour, and character on the other
grace on
and sympathy and
;
understanding for both.
When known
as "
Sir
—
Hubert von Herkomer painted Miss Catherine Grant popularly " in White his picture was greeted with universal applause,
The Lady
—
for
not only had he rendered with
success a very charming and markedly intelligent
young
character and
had
lady,
gifted
individuality,
introduced
a
new
with
but he
motif by
placing the white-clad figure against a white background.
The
result
charming, novel, and striking,
was and and
same time refined, Herkomer's reputation as a painter of ladies was made. Something of the same success was achieved later on by Mr. Alfred S. Cope in his portrait of " Lady Hickman," whose
at
the
white hair helped the scheme, while a touch of blue was added to give colour and completeness to the whole.
Then Mr.
J.
S.
Sargent brought his
extraordinary genius to these shores D.
(,.
bv vvav of Paris, and
Rossicm (1828-1882).— Mariana.
63
electrified
the
FRANCO-BRITISH
EXHIBITION
a,
1^
oj
T3
c
°
o
W*
.2
s ^
^ «
64
THE BRITISH ART SECTION whole portrait-painting world, and, in spite of
a certain very obvious lack of sympathy,
im-
posed himself by sheer virtue of hisastonishing"
force
and all-conquerSir
William
Orchardson
might
ing
art.
delight
us
with
the
tender charm and subtle delicacy natural to him,
made evident in his EDWIN HAVES, R.H.A. — Grantor! Harbour. "Portrait of Mrs. Tullis " Sir Luke Fildes might be as vivacious and elegant as you please, as in his " Portrait of Lady Fildes " Sir Edward Poynter might bring all his realism into play, as in his accentuated " Portrait of Mrs. Murray Guthrie" Mr. Sargent ;
;
—
stalked over
them
all,
and, wholly indifferent,
it
would seem,
gracious
to the
womanhood
charm or the
of his fair
sitters,
would place them, not so much
living,
but galvanised into superconcentrated
upon canvases which have secured
life,
for these
not
if
embarrassed ladies an sympathetic
a
immortality.
The completest thing among exhibits, is
because
the
his " Portrait of Mrs.
with
its
and of fine
his three
most flawless, Wertheimer,"
perfect rendering of character life,
its
of arrangement,
and
artistic
tonality.
dignity its
and
felicity
brilliant painting
Of
course, the vast
group of " Lad)' Elcho, Lady Tennant, and Mrs. Adeane" is a greater triumph as
a
whole, but with
rendering of the arm of
the impossible the centre lady,
and the lack of repose of the whole, lays bare
its
defects as remorselessly as
the artist deals with his sitters.
other large
it
group of
" The
His
Ladies
Acheson," though not entirely correct is more in drawing and perspective, FRANK nicKSEE, R.A.— The
agreeable by reason of the pyramidal
Ideal.
6S
FRANCO-BRITISH composition
EXHIBITION and
;
sake of the colour and
for the
the gaiety of the whole
we
are willing" to forgive
the excessive height given to the ladies' figures.
At the same conscious as
time, criticise as
we gaze upon
we may, we
these pictures that
are
we
are standing before masterpieces which in future
times will be discussed as
Gainsborough to-day.
we
discuss Reynolds and
In their allnre we^ find
little
influence of Velasquez, save in certain passages of
But it may be noted that something of the Spanish masters inspiration may be traced in " La Cravate Noire" (Miss Helen Harrington's portrait) by Mr. Gerald Kelly, the young Irish painter of marked abilit\-, whose career will be watched with great interest. LIONEL P. SMYTllE, A.R.A., K.VV.S. Within Sound of the Sea. Mr. J.J. Shannon gives us a more graceful appreciation of female beauty in his portrait of his daughter, " Miss Kitty Shannon," one of his charming exercises in setting a graceful profile into its landscape background. Mr. Lavery, on the other hand, repudiating Mr. Shannon's subdued harmony of colour, makes his effect in " Polymina " by setting his tall brush-work.
lady, clad in black
and wearing a large black
hat, beside a black piano over
which
is of immense service to the Herkomer's " Lady in White ;"
she leans, a red rose providing a note of colour that composition. in
result
it
In arrangement
almost rivals
it
the curiously incisive group
it
in
is
the antithesis of
effectiveness
and charm.
of the " Daughters of
Besides these
we have
D. C. Guthrie, Esq.," by
Mrs. Swynnerton, which none would suspect to come from a woman's hand
James Guthrie's "Mrs. but Watson," good, hardly of his best
and
;
Mr. Wilson Steer's female head, entitled " Pansies," which
is
remarkable for
sobriety and distinction.
The male are perhaps
portraits
more numer-
ous and on the whole more striking.
Sir
William
Orchardson's life-size portrait d'apparat of "Sir David Stewart,
the
"
Provost of Aberdeen, a wonderful example
is
how
tkkkrk wh.liams, r.l- Pots and 66
l-ans.
;
Sir
THE BRITISH ART SECTION a very thin and delicate technique
and of
may
serve to produce a vast portrait
full
of
life
by sheer manag-ement and subtle handling. It is almost as forceful as Herkomer's "Duke of Devonshire," and yet there isn't a tithe of its strength in the whole of the larger canvas. In respect of dramatic quality the delicate colour
—
SOLOMON J. SOLOMON, R.A. The AUegfory. Reproduced by permission of the Corporation of Preston.
—
heads of both these canvases must }ield to Sir George Reid's Scottish savants "Professor Blackie " and "Professor Mitchell, D.D."— a revelation, both of them, of Scotch professorial character, and each of them a masterpiece. With them should be studied Mr. Shannon's "Mr. Phil May," cruelly veracious (yet never resented by the humorist himself) and masterly 67
in
its
virile
rendering of
FRANCO-BRITISH character and
humour
in
EXHIBITION
most pathetic
the saddest and
guise.
But
it
deal with other notable canvases in detail, for except the clever yet
bust-piece
of " Professor Mackay,
"
such as Mr. Ouless, Mr. Bramley, Mr.
Hugh
Doll's
its
tendency or
its
artistic
schools than other nations intellect, the artist
find
who
is
it
incomplete
HoUSe.
Riviere,
and others, they contain
no new or striking pronouncement and exercise no special attraction. Passing, according to the evolution maintained by the masters of
we
useless to
Mr. A. E. John, the able portraits by
by
WILLIAM ROTHENSTEIN, N.E.A.Câ&#x20AC;&#x201D; The
Portraiture to History,
is
easier to
significance.
less
from
to expatiate
on
aptness to run
in
welcome the work than
Our men have
Italy,
independence of character or bluntness of recognised as successful is generally he who has chosen ;
whether
it is
68
THE BRITISH ART SECTION to
" gang"
his ain
g'ait,"
and, unlike
many
foreign masters, resents,
instead of
own path. In this country we have no imitator who work of Sir L. Alma-Tadema. That the gfreat Frieslander is unapproachable and inimitable in his own line is nothing to the point, for no artist encourag-ing, followers in his
"counts" of
the
s.
MKLTON
KeproJiiccd
l>y
FISllHR.
â&#x20AC;&#x201D; Dreaiiis.
permission ot the
K. Dolce Dormin-.
Oldham Art Gallery Committee.
But who could rival, on their own plane, "The Dedication to Bacchus," lent by Baron Schroder, "A Hearty Welcome" (of 1879), "A Kiss" (1892), or "Under the Roof of Blue Ionian is
so great but that the small will copy him.
Weather" (1901)?
We
see here one side of the best of the artist's talent,
we
recognise the wonderful capacity, and are the more sorrowful that such an eye
and such a hand, guided by immense knowledge and controlled by extraordinary taste,
bow
should never have painted the scenes around him. willingly before his
skill in his pictures,
we
immense
and stand brilliant and
capacity,
care mainly for his
in
As
it
is,
while
we
amazement before the
instructive archaeological
reconstructions and for the technical triumphs that attend on everything he does. 69
FRANCO-BRITISH He and Sir
is
an archiEologist and naturalist
EXHIBITION
in paint,
an
artist of hig-h intellectual
power
Sympathy we do not expect in a great decoration such as Edward Poynter's vast monument of erudition, " Atalanta's Race," but it has historical learning.
that appropriateness which, in the circumstances, contents and satisfies the observer,
and leaves him without
Indeed, these " classicalities " need not always be
regrets.
E.
HORNEL.
A.
without sympathy or warmth.
Nymphs," which has been
lent
for
tlie
Temple.
For example, Mr. Waterhouse's "Hylas and the by Manchester, is so human and so full of charm
that the subject interests us almost as
or ourselves.
â&#x20AC;&#x201D; ['"lowers
if
the adventure had befallen our
These sweet, very human nymphs have such
forms that we find ourselves wondering
if
in
sorry for the fate of Hercules' unfortunate messenger. the
used and
harmony with
so
completely
in
feels
that
the
he
subject, is
in
we
artist's
that
relation
and
delicate
are really very
The forms
scheme of colour, the
the composition so pleasing,
Mr. Waterhouse's work quickly
wistful faces
the circumstances
own
are so good,
own, so happily the
student
of
presence of the painter's
THE BRITISH ART SECTION Cloud," by
Mr.
voluptuous is
for
storm she's
and
bined,"
" is
a tender-hearted
Mr. Brock. Dicksee's work, R.A.
— Green
Pastures and
Still
which
is
is
much as
figure
of
Even
Mr.
monumental Ideal," touches
belongs to a style of art
This, with a few of the others, are examples of
in the fashion.
England owes such
the nude, to the unpopularity of which prudish the British school
Millie as
a responsive chord, although
Waters.
it
no longer
"The
com-
woman
sculptured
the
LEADER,
this
nymph
all
Mr.
Dow's " Eve
\v.
-
of flesh and blood, while
"of grace
B.
Hacker,
sympathetic,
is
"The
Again,
masterpiece.
willing to admit. This being so,
it is
inferiority as
pleasant to meet a
work
so important as Mr. S. J. Solomon's "Allegory" as the loan of the public gallery As the subject is thought to be somewhat obscure (though it clearly of Preston.
—
Hebraism
two sections, Judaism and its child Christianity above triumphing over Hellenism below) the significance of it is missed by ninety-nine out of every hundred of those who behold it but all can represents the triumph of
in
its
—
;
appreciate
its
wealth
of
colour,
harmony of
its
line,
and
excellence
draughtsmanship and flesh painting, and congratulate themselves that
of
we have
man who can not only paint but think while handling a mighty canvas. The chief popular objection to history-painting is that it presupposes and
here a
demands some measure of historical knowledge in the spectator. Another is that while giving full and free scope to the artist's ingenuity and imagination, it presents the result, however well
it
may
be done, that
is
not convincing because
it
represents
what the painter conceives may probably have happened. This is a concession required by the finest painter who ever lived who devotes himself to the reconstruction of scenes and events he never saw, and not give us contemporaneous history, which he has witnessed with his own eyes. For this reason there will always be a value in Mr. Bacon's extraordinarily clever, though necessarily unpictorial, "City of London Imperial Volunteers' Return to London from South Africa, 1900," thanked by Lord Mayor Newton in the Guildhall, which cannot be claimed by such a masterpiece of art as Sir William not
how
the event actually happened, but
Orchardson's sat
much
"The
characteristically
evidence.
Borgia."
No
doubt the glowering noble murderer
like this at his table across
"
done
Whether
to death,
which
lies
the
body of
his guest
may have
whom
he has
but that, as Mr. Justice Stareleigh said, "is not
true or not,
we
are 71
satisfied
with
the
might-have-been.
FRANCO-BRITISH especially
when we
with
fine
the
the artist,
and
imagination of
dramatic
but the poetic beauty of the
colour and exquisite light
not only
faced
are
EXHIBITION
management
atmosphere. than
artistic qualities
has higher
It
we
of the
find in
Pettie's
"James II. and the Duke of Monmouth," wherein we are shown an illustration of how the unhappy
admirable
picture,
little
rebel, in a passion of
himself
at
the
unmanly
feet
of
The
triumphant king.
fear,
flung
scornfully
his
brilliancy of the
execution and of the handling
is
finely
representative of Pettie at his best, and will
to
do much collectors'
to
restore
favour an
public and
to
artist
who has
been undeservedly neglected, yet whose
work takes high rank among the things produced by the
finest
Scottish school
JOHN KULLEVLOVE,
R.I.
â&#x20AC;&#x201D; My
Garden, Hampslead.
of a quarter of a century ago.
Endowed with a somewhat similar artistic outlook, yet wholly English in his His picture called "The Setting Sun," showing genius, is Mr. Seymour Lucas. Cardinal Wolsey at Hampton Court, sniffed at by his courtiers, his sycophants in happier days, has much dramatic force, for it is rightly conceived and archaeologicall)' correct,
and
in
execution
last-named virtue that
its
is
it
thoroughly painter-like
claim to remembrance
hands of the art-historians and art-lovers.
is
;
but
it is
really
through
its
likely to be achieved at the
Mr. Abbey's " Hamlet" plane, for
it
is
on another
aims
at repro-
ducing for us a dramatic scene of pictorial
fiction,
and we do not ask "was this really
satisfied that ful
We
so?" it is
realisation,
are
a powera highly
and thoroughly performance, and
intelligent artistic
we
judge
should
applaud
it
much
as
and
we
should judge and applaud a noble representation on the Enw.^RD STOTT,
A.R.A.
â&#x20AC;&#x201D; The
Reaper and the Maid.
72
dO
stage.
WC aSK
Even
less
lOr
the
THE BRITISH ART SECTION work as Mr. A. T. Nowell's "Expulsion from Eden," and scarcely caring whether or not the very nature of the subject forbids it in style, academic though we appreciate its elements of originality in it be design, we regard it from the historical point of view no more exactingly than Even "The Roll Call" by we regard the tapestries in the Sistine Chapel. probabilities" in such a
;
w. HOLMAN-HLNT, O.M., R.w.s.
Lady
Butler,
nearer still
to
our
and
own
"The Thin Red day,
are pictures painted
— Morning
Line,
Prayer.
October,
1854,"
though
much
and founded on material within reach of the artists,
"on
evidence."
There
is
convincing realism
—
in
both of
—
them notably in the last-named work (much the better of the two) but the Crimean scenes that have most historical value are not there they are those which came from the pencil of William Simpson, the war correspondent. Compared with them, Mr. Crofts's " Execution of Charles I." is just an interesting painter's :
exercise,
of historical
value
antiquaries to fight about.
inasmuch as
it
has raised certain points for the
For a military nation we can hardly 73
feel
proud of our
FRANCO-BRITISH meagre display of
military
pictures
EXHIBITION
but the fact
;
is,
we
are not strong in our
paintings of battles and soldiering, and even our recent wars are celebrated here in
nothing more important than Mr. John Charlton's clever and vigorous picture, obviously based on actual fact: "Placing the guns
must not forget that courtesy required that
G.
the
h.
WATTS, O.M.,
R.A. (1817-1904).
all
— Halt!"
At
the
same
time,
we
pictures having for their subjects
— Portrait
of Lord Tennyson.
campaigns of Napoleon or Wellington or that of the Franco-Prussian war
should be held to be unavailable for exhibition.
— pictures which
Real historical pictures are not lacking our
life
record the scenes of
of to-day, whether they be of historical importance or merely represent our
and customs for the truthful information of generations to come. Such is Herkomer's noble picture of the Chelsea Hospital veterans in chapel "The Last Muster " (Sir Cuthbert Ouilter) which is as affecting and convincing to-day as it was in 1875, when its strong human sentiment, its tender sympathy, dignity, habits
—
—
and pathos touched a chord
in
the
national heart and immediately raised the 74
— THE BRITISH ART SECTION among
painter
the
famous
in the
land
—a success that very soon followed
France
in
aliens' East End and America. synagogue "Carrying Back the Law" a work excellent as to conception and execution, full of the gravity and humble dignity that belongs to such a ceremony. Similarly, Mr. E. J. Gregory's brilliant Thames scene of " Boulter's Lock " on a
Such, too,
—
is
Mr. Will Rothenstein's scene
crowd,
capital
in
groups,
its
an
—
crowded day, while a veritable tour de force, wonderful
its
in
in its
management of the and character,
drawing, and
so
and which
—
will
almost as much
of
that all
dealers
of
drawn from the
dealers
rank of society
up picture on sidling
is
suggest
to
and valuers are
Orpen
group
of
it
hardly fair of
" The Valuers,"
—
is
fully established.
it
full
life
value
its
their admiration.
wall
life
certain
is
picture
is
it
to
a
ing will awaken
—a
the
All the same,
render-
Mr.
able
and,
true
or
that
as the adroit and
by
among
all,
phase
them
be
in
above
would
not wish to miss,
brilliant
in
t
place;
be sure,
interest
so
that
most
the
things
which,
posterity
m us
reckoned
red), is a bit of
we may
and
it
of the prevailing
history
colour,
its
treatment,
too much
is
in
masterly
colour (save, that perhaps, there
quiet
which
to a
c.
a work humour
Stanhope Forbes cleverly bent
it
E.
PEKUGINI.— A Summer Shower.
put
these
forth
the
Give a turn
has
cunning and
Reproduced by permission ot the Hull Corporation Gallery.
vulgar fellows. to
the
and you have
kaleidoscope,
— an actual
to his needs.
scene as
But
in
we
are
made
this case,
it is
"The
to feel,
not so
Forge," by Mr.
although the
much
artist
has
the well-selected
glow of the forge contending with the daylight struggling in through the panes, and the attendant " mystery." Indeed, this problem of contrasted light and shadow, as figures
and
their
work
that interest us as the lighting of the place, with
well as the analysis of light
We
see
it
in
"The Dark
itself, is
Mr. George Clausen's Barn."
We
have
It
one of the chief delights of the
its
artist of to-day.
fine picture, small but vastly important, called in
delicate grey 75
and tender gold
in
Mr. John
FRANCO-BRITISH
SIR
L.
ALMA-TADEMA, O.M.,
R.A.,
EXHIBITION
R.w.s.
A Hearty Welcome.
Reproduced by permission ot the Berlin Photographic Co.,
Lorimer's
" Interior
holds her babe
in
13,^,
W.
Moonlight Evening"," showing a mother dancing as she her arms and we have it in perhaps the most truly tragic and ;
"The
Doll's
House," by Mr. Will Rothenstein.
MARCUS STONK,
R.A.
â&#x20AC;&#x201D; In
emphatically Ibsenish
is
one of
its
New Bond
Street,
it
W.
merits, that the figures of the
appalling interior are wonderfully characterised 76
That
Love.
Reproduced by permission ot the Berlin Photographic Co., 133,
in this
Street,
:
impressive picture here,
is
New Bond
is
man and woman
another
;
but the chief
THE BRITISH ART SECTION triumph
Here
way
is
the fine lighting- and in the gflorious black and subtle shadow.
in
lies
a picture,
may
it
and hoped, that
readily be believed
will
one day find
its
into our National Gallery of British Art.
One
marks of our
of the
latter-day school
is
the decorative note, the chief
credit of which belongs to the teaching of William Morris and, in a minor degree,
of Whistler and Albert Moore.
on than
insisted
this school,
seen
is
Mr.
others.
in
In
"The
in
some the formality of the treatment is more Frank Brangwyn, one of the leaders of
Cider
Press."
It
}i.
may
see in his dainty Ceylon picture, " Flowers for the
sense of decoration
subordinated to the
human
soberly sumptuous picture entitled "Delia,
and it,
too,
another phase
in
Melton
Mr.
distinction
Fisher's
"a work
and
;
painting
—
it
it is
will
we
Mr. Charles Shannon's
of real power and beauty;
We
see
what
it
both
dormire, "
dolce
lacked,
is
pictures
of
rare
a saving grace of the
and a due appreciation of
that
bring back that noblest of
all
qualities
in
the art of
— Style.
It is in
landscape-painting that we find the widest divergences of artistic view,
for here the painter is free to see nature as
every
years.
In others, the
the spirit of Watts.
This quality of decoration
precisely
is
what
in
it
Mr. Mouat Loudan's "Mirror on the Wall," and
"Dreams — e
and sweetness.
British school
nature
in
Temple."
interest, as in
Mr. Strang's " Suppertime," conceived
in
but
not less decorative, not less divorced from actuality, as
is
is
work,
fine fruit in recent
Mr.
A. Hornel
an early
is
contains the root of the matter which has borne such
fact
and
detail
microscopically seen
beautifully the view before
JOHN HASSALL,
R.I.
;
another
is
him recognisably and with
-Hnik! Haik
!
The Dosfs do Rark, The 77
One aims
he pleases.
at rendering
content with reproducing taste
Bejfj<:ars
;
a third gives merelv
are coming: to Town.
,
FRANCO-BRITISH the impression of the scene
upon him
in
that he cares Httle for the landscape for
means of which
to catch
and record the
EXHIBITION
bold broad masses itself,
but reg'ards
it
shows as an instrument by ;
yet another
lovely, or the strang-e, play of light that
flitted
!i
across
it
t
when
it
others
took f
his
a n c
)'
.
Another paints
a
u
t
e
r
to
h at
is
the
main,
the
only,
charm of landscape
it
worth
the sake of for
painting.
effects
We
atmos-
them
all
the
Ex-
of
p h e r e anotherfor
in
;
h b i
i
have
t
i
on
colour-
from the
scheme, without
patient transcriber
troubling
to the
its
himself
most impulsive
about
impres-
effects
sionist
of
—
light or at-
accord no-
mosphere,
to each extreme group's
i
insensible
to
the
emotional appeal
MUS. IIKLKN AI.LINGHA.M, R.W.S.
— Diving
definition
ClolllCS.
of
of
the
other, from the "old-fashioned" to the "new-fangled." sincerity
and reverence
Pastures and
Still
for the
If only for its obvious beauty of a simple scene, Mr. Leader's " Green
Waters" must
E.
be accepted
BUCKMAN, A.R.w.s. — Street
78
with
Cries.
respect,
in
spite
of
its
THE BRITISH ART SECTION and
popularity,
spite,
in
equally, of the limited interest
moods of nature that this charming and placid Academician invariably displays. At the other pole is the wild and whirring impres" The sionistic picture of in the
by
Storm,"
Mr.
William
McTaggart. Here at least we have the movement, the very whiz and sting and rush
of wind
and
blinding
rain,
of
flash
and
sunshine,
a very wonderful effect
as to
the
:
just
J.
you had been awakened the sunlit tempest by your
G.
LAiNt;.
R.s.w.
— St.
Nicholas, Amsterdam.
if
)'our eyes
to
face
being lashed by the cold spray, and had opened quickly closed them again
the scene for ten seconds and
in
the
excitement of the vision and by the breath of sharp air you had drawn into your astonished lungs. is
Here
is
the true open air
"
—
(to retain its effect
only an " impression
out of four people
who
here
!
it
is life
— the real
thing
could be nothing else)
But
!
—and
it
three
what it means, and laugh. It to you and me, but to the whole school of Scotland. picture, "Wet Sands," conceived in the same spirit, is not so well drawn. Beside him, Professor Brown and Mr. Wilson Steer, those fighters for the " new," become almost dull and certainly rather clumsy. Between Mr. Leader, with his infinitely careful and pass before
it
cannot
tell
means much, not only Mr. McTaggart's other
delicate rendering of
charming
typically
English scenery, and the
Mr. brush, ^^IPt^
swish
swift
of
McTaggart's life-like
all
suggestion,
there
is
group of moderate men, each a
a
whole
distinct individuality.
There East,
is
a
Mr. Alfred leader
in
decorative landscape, J.
M.
w. TLRNicR, R.A.
(
1
775- 1851 ).— Cobieiiz.
79
whose plctuTe
of
FRANCO-BRITISH
EXHIBITION 1
"
The Shepherd's Walk,
Windermere, with
"
is
through through
its
imbued
not
poetry,
only
sentiment, but
its
scheme
"pattern" — like charm added
—
its
the
to verse of
rhythm by pleasing rhyme. There is Mr. David Murray's "The Tees Snowball
fascinating
—
Reach,"
M.
J.
w. Ti RMiR,
R.A. (i775-iS5i)-
— Siiowdoii
:
Aftergflow.
and
Mr.
Hughes-Stanton's
" Les
Andeleys, Chateau
Gail-
lard,
"Sir James Guthrie's
"Orchard," and similar
we name them together we find they constitute a school in. themselves. There are the recently deceased David Farquharson, Buxton Knight, and James Charles, and their artistic sympathisers, Mr. Mark Fisher, Mr. James Henry, and Mr. Friedenson. There are Sir Ernest Waterlow, work,
noteworthy and important.
all
Mr. Campbell
There
are
Mitchell,
Mr.
Leslie
If
Bertram Priestman, and Mr. Arnold Priestman. Thomson, Mr. A. K. Brown, Mr. Robert Noble, Mr.
more or less fall into schools or sections with Then we have the men of special sentiment -such certain views in common. as Mr. Edward Stott, whose pictures of the twilight, with their lovcl\- brolcen Mr. Austen Brown.
are
colour,
poems
These
all
like
trilled
in
the darkening air
;
Mr.
Fred Hall, with his " Fading
Day,"
and
Albert
Goodwin
Mr.
with his pale blue
moonlight in "San Giorgio,
Venice,"
in
which the colour
is
made
to
sing
;
and Mr. Oliver Hall's masterly " Albi," a picture of singular beauty,
conveying a
lively
..u-rki, parsons, a.r.a.,
80
R.w..s.-Meg6ve. Savoy.
THE BRITISH ART SECTION Two
appreciation of the pictorial possibilities of old houses. lig-ht
and wet atmosphere stand out from the
rest
of hot sunshine struggling with the mist, called yet with
scarce a touch of white in
"Seed Time
in
it
in
;
;
the
first,
pictures of white
Mr. Foottet's picture
"The Bridge" — all
the other,
white,
and
Mr. George Houston's
Ayrshire," a veritable masterpiece, without trick or parti pris,
without thought of prism or science such as animated Mr. Foottet
SIR
JAMLS
country side under delicate haze
D.
LINTOX,
— simple,
K.I.
:
but just the
— Abandoned.
beautiful,
and convincing.
Many more
works which might be mentioned but these are enough to enable us to form an opinion on the character of the display, and through it of British art. It is strange that the landscapes should be so varied and the marines so few.
are the
;
a sea-girt people,
who
and nothing but the
sea,
We,
love the sea,
Since the death of Henry " A Perfect Day for a Cruise the
front
absolutely the
open
rather
rank first
sea.
rate
and whose
are producing
of security
is
the sea
few sea-painters of striking
abilitj-.
belt
Moore (whose very blue, but superbly rendered, is here) we have had but a single sea-painter of Mr. Napier Hemy. The others are specialists, but not at that J. C. Hook was a painter of the sea-board, not of '
—
Mr. Somerscales confines himself
wooden waters of
the Pacific Ocean.
to
the blue
and apparently
The Hon. DuflF Tollemache,
it
is
and Mr. Wyllie, Mr. Julius But Olsson, and Mr. Robert Allan have produced .some very fine sea-studies. towering above them all is Mr. Napier Hemy. It is not the poetry of the sea that moves him, but its vastness, the shape of its waves, the subtle drawing of
true,
has a talent for painting breakers
in fine style,
81
EXHIBITION
FRANCO-BRITISH
its
forms, and, above
movement of
the rush and
all,
whether
it,
many-facetted breakers, or
He
gurgling- eddies.
in
rolling,
in swift
and
has the eye of
and a hand unerring, and he has given us a whole series of the sea-naturalist,
— some cinematograph — of which
marvellous scenes
new Aft
DAVID ROBERTS,
R.A. (1796-1864).
— The
"
is
one of
the
strange
" Haul
more striking
examples. might have mentioned I " Granton Harbour," of the late Edwin RuillS of I.uxor
thoroughness of a
with the
!
like
Hayes, but although he knew the sea
he was wont to generalise
sailor,
it
in
an old-
fashioned way, and so lost half the value of his studies.
We
are
essentially
apt
an
to
claim,
English
art,
here in England,
and that
nations love water-colour as
we
— up
Perhaps
do.
leads us to treasure these intime it
to the point of
a noble and celebrate specimen.
little
it is
pictures,
and
in
the
It
from its
genre.
It
is
broad sketchiness and the
flat
tints
it
that were
colour painting"
where watercolon r drawing" to
We
that
this
develop-
aquarellists have
once had, and passed
"water-
think
and
deference to the national love of elaborate care the art has
an
may
to foster the art
numbers of our
produced
exist.
few foreign
paying thousands of pounds to get possession of And under this genial warmth of popular favour
has
used
is
the domesticity in our nature that
evolution that
that
true
is
considerably changed the mere topographical character the
of Water-colour
art
and so causes us
the art has doubtlessly developed greatly, the vastly swollen,
that
neither so widely practised nor so
is
understood beyond our borders.
sympathetically
encourage
it
k.
g.
cotman,
82
r.i.
— Moonllglit
Scene.
once thought to be
THE BRITISH ART SECTION ment
is
towards perfection
of our foreig-n
dence and
critics,
others, comprising-
;
may write it down decaThe fact remains that
deg-eneration.
our people are vastly pleased with the protest that
is
it
an
do,
appreciation in
but,
art.
much
the
which
the
lacking-
here
it
result,
and
The French
English
declare that they produce
so they
most
same abroad
measured
enjoys,
;
popular
the aquarelle
France takes a relatively subordinate place
in
the estimation of the public.
How — through
what stages -that development took place can be seen in the room devoted to Retrospective
Water-colour painting, from Girtin and Cozens onwards. In the fine series of four
drawings by Turner you can see his movement from sombre colour, sometimes almost monochro-
CARLTON SMITH,
R.I.
—The
Crystal.
matic, to the glory of red and gold that characterise his
"Coblenz."
Roberts, Miiller,
suggested
in
its
John Varley and Peter de Wint, Prout and David Cox, David and the rest all honoured masters you may see their history main outline in this one room. The Pre-Raphaelite movement
—
more richly shown, for the group of Rossetti, Millais, Burne-Jones, Simeon Solomon, William Hunt, Fred Walker, Houghton - were all working with a is
common
a
ideal,
common
denominator,
however
different
their
individual
outlook might be. In the three following
rooms we have spread out before us a very fair display it exists to-day. The number of sections into
of the English water-colour art as
which the school is
broken up
at
least
is
as
numerous and bewildering
as
those seen in the oil section.
In-
deed, the variety is
greater, for
on
hand we here and
the one
see there
a
more
complete acade-
ANDRKW
c.
t;o\v,
R.A.
The
Requisitionists.
8^
micism, little removed from the laborioUS
—
FRANCO-BRITISH
EXHIBITION
more debased form of miniature painting- on the other, the broadest treatment of subtle sketchiness and again, the border pushed further still, we have the pen drawing delicately tinted, until we wonder whether the work has not overIt would be useless to follow out this flowed from the section of black-and-white. stipple of the
;
;
CHARLES c.REGORY, R.w.s. — Luther'sAbstractiofi.
important demonstration the art, and reveals
its
in detail
many
;
enough
to say that
beauties to the visitor
beauties half of which are withheld from
truly representative of
it is
who
will
him who vouchsafes
study it
it
with care
but a casual glance
of semi-interest. It is
impossible
extent and
full
a nation's art
in a brief
review such as this to give any adequate idea of the
significance of this great display. is
the history of the nation's
life.
their merits not only of execution but of sentiment,
As Ruskin
said, the history of
In these examples, chosen for
we have
the national character
which has changed slowly with the march of time and the This attendant events that have moulded and controlled the national sentiment. a suggestion. For proper understanding of paper, therefore, is but an indication revealed, that character
—
the striking visitor to
go
phenomenon — for to the
such
it
must be considered
works themselves.
84
—
it
has been for the
—
"
GENKRAL VIEW
IN
THE BRITISH SCILPTLRE HALL— TRANSEPT.
BLACK-AND-WHITE. FOR
many
reasons termed,
loosely
a
g-ather arts
—
all
" Black-and-White, offers
harvest of the
the
little
vastest
arts of the printing-press.
intimate
art
of
communing with
It
of the
all,
the is
It
rather
is
which
covers
reduplicative
to
many
arts,
the
the art of the sketcher,
decorator.
wherein
it
from
field
masterpieces.
engraving- arts,
of the designer, and
as
"
the
It
is
the
draughtsman
is
most seen
and yet it yields to none in boldness of execution and display, and in patient deliberatePHIL MAY,
needle
—
R.I.
each with
ness.
own
its
The
himself;
pencil, the crayon, the graver, the scraper, the
virtues
and
its
own
technique
— have
poured forth a
multitude of leaves "Thick as autumnal leaves In
— nay, is
Vallombrosa
thicker far, for
—
they cover the
that strew the brooks
lands of five
a committee to bring together in a single
room a
continents.
How,
then,
collection that will accurately
achievement, past and present, of a nation pre-eminent in several of combined under the one generic title? And yet, thanks mainly to the energy of Mr. Frank Short, we have a very wonderful selection, the principal note of which, perhaps, sounds the triumphs of the line-engravers and mezzotinters of the past and the etchers and pen-men of to-day. It would be easy, in this reflect the
the arts
section as in others,
to
ask
why
so-and-so has been omitted
;
but the question
FRANCO-BRITISH
EXHIBITION would obvious
the
forth
call
retort
that,
in
make room for omissions, other
order to
the
thing's,
from of
not less desirable of view
point
the
would
completeness,
have had
to
be
out.
left
Let us, therefore, glance at the display as
whole,
a
is,
it
classifying"
as as
best
we may, and
taking-
the
retrospective
section
first.
Althoug^h dred and VALENTINE GREEN. -The Ladies Waldegrave.
a means of original
as
country. it
it
to
was not
its
q,^
years ag"o
been
em-
^^^ Continent
use in reproducing the
until
comparatively recent
one section or the other were fully appreciated in this For a long period the art of the line-engraver was paramount, and here its
capabilities in
rose to as high a level as elsewhere
the
opposed
as
drawn work of other men,
painted and
times that
expression,
pj^^^j
fifty
had
etching
two hun-
British graver, but that
indigenous to the
is
soil for three
expected to see here William
—some,
indeed, claim a higher standard for
a point arguable and undecided.
It
has been
hundred and sixty years, so that we might have Rogers's wonderful standing portrait of Queen
John Payne's " George Wither," or examples of George Glover and Robert White, more particularly of William Faithorne, who, by the way, had set etching by the side of engraving as an equal art. So, too, we might have had George Vertue and Hogarth but the collection begins, intelligibly enough, at the one-time Jacobite, Sir Robert Strange, that furious opponent of the Royal Academy, and William Woollett at the moment when British line-engraving was at the height of its perfection and its reputation. For Strange, complete master as he was of the graver and its capabilities, was acknowledged as second to none in Europe his plate after Titian's "Venus dissuading Adonis from the Chase " gives us a taste of his quality, while Woollett's two engravings after Wilson and Claude show his power in landscape, at the same time leaving untouched his splendid Elizabeth, or
;
—
;
capacity in figure subjects.
These others,
line-engravers
but their
The important of Mr.
W.
G.
own
series
confined
personality
themselves to translating
pictures
of
always delights the eye of the connoisseur.
of the plates displayed
Rawlinson
the
— illustrates
their
86
—
lent
from the famous collection
masterly
strength
and
delicacy.
THE BRITISH ART SECTION may
Their art
you
and
sculptors,
Academy's
why
these
but
;
men claimed
full
equality with painters,
and fumed with wrath and indignation at the Royal relegate them to the inferior class of "Associate-
architects,
decision
examine the plates of Miller, and William Sharp after Reynolds, and
Turner,
after
recognise at once
will
now
out of fashion
be
and Willmore,
Smith,
to
Engravers."
Meanwhile, the destined
conquer
to
splendour of
its
had been advancing to the front place, and soon to capture the world through the
art of mezzotint in
the
race,
The
achievements.
engraving had appealed
to
the
formal, almost scientific, brilliancy of line-
intellect
of
the public
;
the
warm, sensuous
its rich shadows and tender lights, appealed to their was a matter of head versus heart, and of course the heart gained the day. The enormous prices obtained at the sale room for the masterpieces of mezzotint are more than ten times what are fetched by the triumphs of the burin partly, no doubt, because mezzotint took its real rise just
richness of the mezzotint,
sensuous emotion.
It
â&#x20AC;&#x201D;
moment when the great portraitists were producing their presentments beautiful women and elegant, handsome men. The proof of the statement
at the
easy
David
:
Lucas's
superb
of
series
Mr. Theobald, K.C.) are scarcely
less
plates
after
Constable
(lent
of is
by
esteemed for their intrinsic excellence than
the plates after Reynolds and Gainsborough, yet the prices they fetch are but a fraction of the others.
Of
of these
all
examples
of Valentine
:
Raphael
J.
what
J.
pictures
Watts,
after
Green, John
McArdell, J. Watson and the rest,
by Reynolds
Charles
Turner.
;
Turner,
is
Earlom, Lupton,
work we
In their
la vianiere noire, or la
anglaise,
brilliant
Smith,
R. Houston, after
we have
see of
manibre
capable, for the prints are
selected with the utmost care.
cannot forget that the method
But we is
not
wholly suitable for large groups and similar
scenes,
richness
mezzotint it
may
for
in
and velvety
may
still
spite
of
blackness,
its
the
be lacking in force,
be without those "accents" of
vigour which are necessary in man\" subjects," kinds of and which
Samuel Cousins sought to supply by the introduction of the "mixed method," in
which
engraved
or
etched
lines,
joâ&#x20AC;&#x17E;n n,xoN.-The Misses Crewe.
87
FRANCO-BRITISH
EXHIBITION judiciously
and
unobtrusively
applied, reinforce the tones of the
"rocked" plate of the mezzotint. But the subterfuge, for such in reality
tory
not wholly satisfac-
is
it is,
the
to
sensitive
exacting taste
no doubt, has
â&#x20AC;&#x201D;
which reason, popular engraver
for
this
been
not
admitted
The
collection.
measured
to
and
eye
a
to the
who
masters
nicety the adapt-
of their art never required
abilit)-
the adventitious aid of the graver or
etching-needle,
the
" Ladies
Green's
so
that
Waldegrave,"
"
Duchess of Ancaster," Watson's "Mrs. Abington " (his sister Caroline was an engraver well-nigh as talented), and Fisher's " Garrick between Comedy and Tragedy" are masterpieces, flawless and beautiful. Again, Earlom's McARDELL. â&#x20AC;&#x201D; Duchess of Ancaster. exquisite rendering of Van Huysum's flower-piece and his vigorous translation of Wright of Derby's "The McArdell's
Blacksmith's
Shop"
display pretty accurately the range of the skilful mezzotinter.
Passing to the more modern phase of the engraver's art we find mezzotint displaced line-engraving, so was mezzotint ousted
that,
just as
turn by etching.
in
(Lithography, popular for a time, never really threatened any of the finer or more
Now-a-days
aristocratic methods).
extreme "
facileness, "
etching-needle
are
so
to
qualities
that
has been increasingly recognised that the
it
the perfect pliability and adaptability of the
say,
fit
reproduction of a high order has been in
Mr. Robert Macbeth's famous plate
Mason, and canvas
in
in
of
best
it
efi'ected
after
for
through
"original" work; yet
We
it.
have examples
"The Summer Moon" by George
Mr. William Hole's perfectly miraculous facsimiles of paint and
"The
Matthew Maris.
Sawyers,"
after J.
F.
Millet,
"He
and
In these, however, the play of the needle
necessity of copying the picture before the etcher. to think only
all
of his
own
creation
and
But
it is
rejoices in his
Coming,"
is
is
after
restrained by the
when
perfect
the artist needs liberty
that
we
of shown the full Samuel Palmer's "Early Ploughman," the brilliant light and shade and fat clean line of Charles Keene in the " Man in Doublet with Bagpipes," and the fine " Lady Reading a Book," and you see the brilliant efi^ect that is begotten by are
capacity
of
the
method.
See the
poetic
significance
THE BRITISH ART SECTION the
stimulating
sense
of
irresponsibility
served by an immediately responsive method. See,
exquisite
the
too,
Whistler,
the perfection
equalled
in
sensitive
beauty
etchings,
and the
paint
Legros and of
series
of plates by
of which he
never
more robust if less Sir Seymour Haden's
the
;
in
rare individuality of Professor
Mr. William Strang and Sir Charles Holroyd. Compare w'ith the almost brutal vigour of Mr. Frank followers,
his
Brangwyn's and Mr. Alfred East's
zinc-plate
severely controlled and finely work of Mr. D. Y. Cameron, Mr. Frank Short, Mr. Muirhead Bone, and
etchings,
the
imaginative
Mr. Oliver Hall, the delicate refinement of Mr. Wyllie's plates, and the richness of Mr. Mortimer Menpes" dry-point, and you appreciate at
once the extreme adaptability
But work of this kind necessarily appeals to the more refined taste of the few the crowd prefers the large of the needle's art.
;
effective architectural
plates of Mr.
J.
WATSON. — Mrs. Abington.
Axel Haig, wherein subtlety gives way to
forcibleness of statement.
But
due time the etching was driven out by the photogravure, until the public, being glutted with the mechanico-photographic apology for mezzotint, in
article, and to-day we see a revival of the beautiful John Raphael Smith and McArdell, and, headed by Mr. Frank Short, we see a group comprising among others Mr. Pratt, Mr. Norman Hirst, Mr. Bridgewater, Mr. Henderson, and their fellow-craftsmen, courageously climbing the heights to the summit of which their fore-runners gloriously attained. The path is steep, and it may perhaps be said that Mr. Short is the only one who has yet arrived at the apex but plates shown in the exhibition encourage us to hope that
turned again to the genuine
art of
;
others
may
figure
and landscape
in
due time approach him subjects.
in the qualities in
Among
which he shines, alike
the original mezzotints
— founded
in
on no
—
are the plates by Turner (one of them for the Liber Studiorum) and Mr. Joseph Knight in the present. Mezzotint, indeed, far more than water-colour, may be regarded as essentially an English art and it is an art in which, broadly speaking, the French cannot
previous picture in the past,
;
challenge us, just as our English etchers cannot touch their friends of France in certain qualities, as, for example, in the
still-life
etchings of Jacquemart.
Aquatint and lithography are represented but sparsely, and regarded
as truly reflecting the importance of British 89
work
in in
no sense can be these methods.
EXHIBITION
FRANCO-BRITISH There
but a single lithograph by Mr. Charles Shannon,
is
who knows
how
so well
to delight us with his tender
greys and, as the significant expression has
make
the
stone
And Mr. Harold
sing."
it,
how "to
Percival
is
scarcely less sensitive.
Line-engraving
with
is
us
practically a dead art.
While in France it is still flourishing, thanks mainly to the encouragement of the Government yet is no longer the line-engraving of a hundred years ago, being far more
—
conceived than
delicately
cannot now
there
engrave a picture
heretofore
be found a
in
we
it
is
Mr.
artist
W.
But
in
do the
they
who
Sherborn,
artist
In
can
one minor section
whose
book-plates
admiration and delight of every beholder,
decoration.
Britain
have a real and undoubted master.
still
C.
native
Great
such a manner as would pass muster
with even the less discerning. of
— in
his
every
in
line,
work he
best
in
This
are
the
revealing as
design,
affects,
and
in
mainly, the
armorial manner, and his mantlings, inspired apparently
by Durer's, are things ALBRKY BliARDSLEV. — I,;i Kemilie
Mr. George
W. Eve
uses the etching process to obtain a similar result, and his book-plates
Iiicompiise.
to rejoice in.
done
King
for the
composed and admirably
are very beautifully
etched.
methods of which I have been speaking are, of course, the reduplicating processes what the French would call the proccdcs de vulgarisation. The original, or, more properly speaking, the direct work by which is now meant work that dispenses with the intermediary of plate, stone, or printing-press for obtaining the design upon paper makes no pretence of presenting a survey of the school; indeed, a good drawing by Prout is the only example of eighteenth century execution here. The aim has manifestly been to show the work of the men of to-day and of the very recent past. There is some very beautiful pencil-work of Burne-Jones, Sir Edward Poynter, and Sir John Tenniel (in the last case, some admirable cartoons for Punch) there is chalk-work by Lord Leighton and Sir Edward Poynter there are wash-drawings by Mr. Alfred Parsons, Mr. Walter Hatherell, and Mr. Frank Craig all excellent of their kind and handsomelyAll the
—
—
—
;
;
;
representative of the rest in the section.
But
it is
to
pen and ink that we must turn
the general art feeling of to-day.
work
that
is
we would gather
we consider
the
the real trend of
enormous volume of such
turned out by this method every day of the week, and immediately
floods the land,
indeed the
whole world,
medium
of the printing-press,
and
and not brush and
ink,
If
if
we must
in
book and newspaper through the
realise that for the vast majority
paint, that bring art
90
home
to the public
it
is
nowadays.
pen It
THE BRITISH ART SECTION is
the pen and ink drawing that
is
with
filled
moment and people
the
of
life
the
that speaks to the
a language
in
Jl'ut i'lui' ixja,
I
that
ail
can understand, speaking clearly,
The work may
rapidly, simply.
be weird
and
mystic, such
as
Aubrey Beardsley's; poetic, such as Mr. Laurence Housman's decorative, as Mr. Walter Crane's
and Mr.
B}am
Shaw's; delicately
charming and graceful, as Mr. Abbey's and Mr. Parsons' quaintly and delightfully fanciful, as Mr. Arthur Rackham's it is ;
AKTHIR RACKHAM,
An Afternoon when
the Kensing^ton
A.K.W.S.
Gardens were White with Snow.
:
all
welcome,
all
acclaimed,
the combination of the
The
extolled.
all
delicate
line
may
public
not consciously appreciate
and the vigorous "spot"
Beardsley's
in
drawings, or the gossamer pen-point of Mr. Abbey, or the firm reed-pen line of
Mr. Crane, and so on but same, and that is a test, as
the\'
;
of the
man
is
it
respond to the
the reward, of a fine
the great group of
in the street
summons
Punch
of the artist
artist.
all
the
In this education
have taken a leading
artists
Here we have the fine sense of style in the cartoons of Mr. Linley Sambourne the elegant social pictures of George du Maurier, with his tender
share.
;
irony and charming wit
and impeccable drawing of Phil May, with his rich humour, his captivating insight, and monumental simplicity of technique the breezy freedom and Keene-like character-drawing of Mr. Raven-Hill the intense vividness of Mr. Bernard Partridge's portraiture and figures, and the excellence of his more formal political compositions the quality of Mr. Shepperson's light and shade, and the brilliancy of Mr. Townsend's pen-strokes. These men may be taken as typical leaders of our school. We have no one here to match with Forain, with Leandre, with Willette, even with ;
the wonderful firmness of line
;
;
;
Sem — our
think differently,
artists
expression.
But
close to
heart
the
their
and
hands are firm and
oi the
people.
It
is
accordingly seek different their voices clear
a
—and
long stride from
modes of
they are very
the
complicated
engraving of old-time Woollett to the comic sketch of Mr. C. E. Brock, but the term " Black-and-White " ropes them together into one fold; and if we deplore the passing of the nobility of workmanship of the days gone by nobility of life
and
his energies in
proving
to
be
"sublime"
he and his compeers spoke to hundreds, the their
little
—that
which Sir Robert Strange had so high a sense, and which he spent his
message taking but a few hours
occupy many months.
It is
— we
men
must
realise that
whereas
of to-day address millions
to deliver,
while Strange's would
the sign of the times, this passion for speed and
EXHIBITION
FRANCO-BRITISH But
facility.
art
is
independent alike of time and space, and the half hour
pen-sketch
may
matter
wrapped up
lies
when
live
the two-year engravino-
in the
question
—
is
may
be forgotten
;
the whole
the thing done finely inspired or
is
it
merely laboriously elaborated ? It is safe to say that in many a little frame in the " Black-and-White section there is more real genius than is to be found in half '"
same time, in genius and conscientious, and long-
the large canvases exhibited in the country during the year
many
a deliberate engraving here, there
drawn-out labour as as
goes,
it
well.
We
is
have the right to be
as those visitors will confirm
;
at the
proud of
who have been
this
display as far
able to withstand the
superior allurement of the colour of the pictures and the forms of the sculpture,
and have withdrawn from them
to pass half-an-hour in the patient
examination
of the section of Black-and-White.
M. H.
C.F.ORC.K ni'
S.
MAiRiER. —Hardlv Consislcnt.
HARDLY COXSISTKNT. Brown his lips,
and
(to
Smith)
:
"
L^s^h
!
g-rovelling at his feet,
There jcoes Jones, as usual, with a oiowd of adoring- Ducliesses lianging- on How disg-usting- it is to see a man and following- him all over the room
of genius toadying- the aristocracy like that!!!" (Reproduced
liy
!
— George
dii
Maurler,
permission of Meyer A. Spielmann, Esq., and Messrs. Kradbury.
Agnew &
Co., Proprietors of P:t/tr/i.)
VIEW OK BRITISH AND l-RKNCU SftUrrURE HALL — TOWARDS
BRITISH
Tllli
NAVK TROM THE TRANSEPT.
SCULPTURE.
As we examine the product of the last few years, shown in the Fine Art Palace, we may well be surprised at the bound which the British school has made. As M, Mercie declared, that school has not only effected extraordinary progress, but through
its
loyalty to the greater qualities inherent in sculpture
style, ideal poetry,
and dignified treatment
—
it
— nobility,
has successfully avoided so far the
which so many of the ablest of the younger French school have unhappily fallen. That there is a certain timidity among our sculptors with a few notable exceptions a restraint, almost a shyness of letting themselves go, pitfalls
into
—
—
rather than a control of natural energy, the school as a whole
is
is
obvious enough.
not yet quite sure of
itself,
That
signifies that
not quite confident of
its
own
and in the meantime we must acknowledge the fine taste which has already formed a Looking at the school tradition from which our sculptors seldom depart. individually we find several sculptors against whom no criticism of weakness holds good they may be judged by the standard by which are measured the most attainments and of
its
power.
This confidence
will
soon come,
:
distinguished their
works
in
the order, as far as
public, as the justest
manner
may
be,
of their
felt
form
in
first
appearance before the
of judging of the whole.
G. F. Watts, who makes such a noble show
who
Let us glance at a few of
of their fellows beyond their borders.
equal degree to colour,
is
93
in
the painting section, and
here represented onl\' by his great bust
M
FRANCO-BRITISH of "Clytie."
It
did
show us
not need his colossal groups to
we have
his style, for here
EXHIBITION
it
— classic
human
in feeling, yet intensely
a mastery that carries the spectator along with
The
understood by a "professional" sculptor.
the bigness of
— displaying
But Watts was not what is of them within our purview
it.
first
—
the late Sir J. E. Boehm, whose head of Carlyle a study for the seated proves that in spite of the evidence of the cold and correct Wellington statue is
—
Group
at
uncom-
wit h
Hyde Park
mon
delibera-
Corner,
tion
rearing
he
could achieve a
noble
very
performance in
head above
its
the
hoarding
by
Bucking-
ham
character
Palace.
modelling. Then appear-
But we have his ideal
ed Mr. Brock.
statue
We have none
"Eve,"
of
his
dram-
p o
a
n a n
t
piece of poetry
perform-
atic
g
i
of
ances here, and only one great compo-
and
pathos
and
his statue
of
"Gains-
sition, and that
borough,"
a
mode
and
elegant
1
;
the rich, har-
melancholy as
monious, and
the
well-balanced
was, executed
Memorial
in
Oueen toria,
to
VicJ. "
FRAMFTON,
R.A.
— Mother
sculpture.
how
the
— in
And
a tour dc force
short,
the
ideal
female heads
sculptor kept abreast of the
and how he
led
borough's
Mr.
Hamo
Thornycroft began
independent enough
in himself,
living protest.
With
the
limits
he been
with
allowable
to
less
left
behind.
a
strong
across England,
sensitive,
feeling
for
flexible,
the
and
classic,
but troubled by the lengths to which his }'outhful
contemporaries were disposed to his
within
marble, suave and dignified, prove
movement which swept
had
where he might,
well in
supple, have been forced to follow, or else be
is
g e s t Gains-
and Son.
slowly and
own technique
such a man-
ner as to sug-
which GEORt^F.
is
painter
<go
along the path of
the fine invention of the
revolt.
His "Artemis"
dog crossed over
to
the
further side, and the goddess's triply-caught-up chiton, with her graceful pose and
exquisite modelling,
the
work
is
a real masterpiece, 94
for
there
is
here no hint
THE BRITISH ART SECTION classicism for
of cold
from that to the
look
bronze
all
that there
" Bishop
larg-e
Paul's Cathedral
in St.
may
—a
very
human
and gracesand muses du
11
mm
of
it
"
Greek
— the
inspiration.
thing-,
we
see
from the
same
dummy
how
for the
den
of
longed
a
arv with these
the studios of a
threatened to grow up among
has produced the
most energetic, vigorous, and powerful work the
the incapable in
thiscountry. His colossal
side -Sir Charles
Lawes-Wit t ewronge — better
and complicated
things
his
to
group,
"The Death of Dirce," is one ot the most daring
British
known
which
tendency
is
who
the sculptor
grateful country-
attempted
men
country.
as
plain
" Lawes,"
who
It
course, '
, '
for dishonesty in
/ '
is
fl
the
on
classic
group
employment
orf
but
Dirce,
departs
of "assistants"
which
work of he was
every
detail,
do
ever in this
founded, of
denounced the " plainer " Belt
to
pro-
action-
at-law, cleansed
Contempor-
the
by
and
bearing the bur-
mould.
on
we
far
able,
}•
sisters
model
plaster
If
we have seventy years ago, with its nymphs and himself incap-
goddesses,
—a
in
Creighton
from the sculpture of sixty or
travelled
be
w.
and
reveals
K.
a
COLTON,
A. R. A.
sculptural
-The Crown erudition
from
of Love.
and
it
in
almost felicitous
control
of
and complex presentation of form and composition that make of this an epoch-marking group. There is, moreover, an original touch in the line
presentation confusion,
of
the
it,
inasmuch
sculptor
ground, with excellent
No
has
as,
in
artificially
order
to
prevent
complexity
greyed the body of the
bull,
becoming and the
effect.
greater contrast with him could be found than the equally energetic but
infinitely poetic
and sensitively graceful Albert Gilbert.
enlarge on this master-genius and his work statuettes
— serve
;
This
is
not the place to
but while his few exhibits
a few
to justify his position as the leading sculptor-goldsmith-artificer 95
FRANCO-BRITISH
EXHIBITION
of the age, they serve also to remind us that with Dalou, Alfred Gilbert did more to influence the British school
and
to inflame
students with the love and right
man save, in another and more official way. Professor was Gilbert who delighted the public year by year with his
appreciation of art than any
But
Lanteri.
of
richness
it
less
in-
and
vention
but equall)- well
considered, "Comedy and
creation, his in-
exhaustible gift
of
Traged)-."
decoration
and
ever
-
impressive,
A
new
man
lesser
conceptions, and
than he, though
so interested the
a personality of
whole world of
equal charm, was his friend
art
the pro-
in
gress
of
sculpture.
our
the late
We
Ford.
have here,
was
among
1
others,
Onslow
There
sometimes
a c k
g
n
i
i
n
Ford's work the
the
smaller " Icarus," perin its fe c t lines the " St.
we want
virility
sculp-
to feel in
and there
ture,
;
George," which
was
was intended as the "working
a love of decora-
model
"
for
statuette
what
on
called
fault
This hardly
is
visible
the
in
way
for
work here shown his d a n t }• " Echo," as ex-
of
line
pressive
unsur-
figure passable
beauty
of
ornamen-
tation.
—
and
Rusk in
the
the
own
or rather
tion
tomb of Duke of the C larence a
great
too
in
—
its
idea as
invention
parts
i
and sym-
fined
of the it
is
re-
treat-
in
was while Ford was bolism and the making his first timid steps in the exhibition rooms ot the Royal Academy that Leighton burst in with his earliest work, which achieved an immediate, a tremendous success "An Athlete struggling with a Python" a work which was instantly delicate
ment.
THOMAS HROfK,
R.A.,
p.s. U.S.
— Tlioiiias
It
Gaiiisborousf li, R.A.
;
—
recognised as a masterpiece coming from one 96
who was
not
known
to
be even
THE BRITISH ART SECTION yet
a
student
in
sculpture,
except
by those who always declared that
his
him a sculptor who by some misapprehension was using- brushes It is one of the few reproaches to and colours instead of the chisel and the clay. be levelled ag-ainst the Sculpture Committee that no work of Leighton's appears
pictures proved
SIR CHARLES.
LAWES-WITTF.WRONGE, BART.
to testify to his existence as a great
painters
whom we
— The
plastic artist
Death of Diice.
— as
one of the group of noble
regard as having been also our greatest sculptors
Stevens, Watts, and Leighton. 97
:
Alfred
FRANCO-BRITISH
EXHIBITION
Mr. Havard Thomas, meanwhile, and Mr. were working
freely
on
Lee that diverged from Academicism
lines
;
the former producingf " The Slave
there
an anti-classic disposition
is
same
disposition
Girl
— and
—a
statue in which
some of
the ugliness
"Lycidas,"
One
evident.
is still
'"
to retain
and poverty of the human model the
Stirling-
which
in
of them was produced
the beginning and the other towards the end of his
towards
The
career.
archaistic
style
the latter
in
very agreeable
is
although the awkwardness of the whole shut
out from the
it
Mr. Lee empyrean into which its admirers would raise it. is far more correct, and in his relief for the St. George's Hall,
"The Childhood
Liverpool,
Along with
"Homer"
of Justice," he touches a very high
beauty and displays striking individuality.
level of poetic
this relief
I
name two
would
others
Bates — "A blind
the
:
old Man and Harry " and Science," of Mr. Hodge. The poor, sweetest he sings," design, full of pathos and of life, instinct with former is a fine
of the late
—
derived from the
feeling
the
work of a
tectonic
it
and
understood,
The
latter
entirely archi-
is
ignores beautiful forms as ordinarilj'
subordinates
completely
which
architecture
wholly acclimatised as
yet
British sculptor.
character,
in
Greeks,
it
is
to decorate
itself
;
forms appear exaggerated to close inspection they may " tell " properly in the open. R.A., P.S.B.S.
curious, and
Eve.
relief
(whereby the work rarel}', if ever,
Animal
is
of very high interest.
the force
The whole is
extremely
art of the
low-
England the science of it of a high relief when in its place) has
has often been practised
may have
The
its
order that
in
technique of this self-sacrificing sort of work THOMAS BROCK,
the
to
reason
for this
in
;
been so incisively demonstrated before.
sculpture, which
is
so brilliantly exemplified
in
the French section,
is
But in Mr. J. M. Swan we have an acknowledged leader, and his famous " Puma and Macaw " of 1901 justifies his position. No one knows better the forms, construction, and habits of the felidcc, no one can render better the crawl of the mighty cats or the sinuosity of their bodies less
keenly followed
and the texture of
in
own.
our
their fur.
Mr. Swan
his vigour or his love of violence,
the greater man.
animals, dealing
his
Mr. Swan
is
work
as
in his
is
clearly a follower of Barye, without all
and also without the occasional exaggeration of
not
a.
fotignciix, but he
much with
is
a very brilliant sculptor of
science as with art.
Mr. Frampton, one of the most original of our artists, is ill-represented with bust group " Mother and Son " and a bronze relief. Neither of these reveals
adequately his fancy and invention, and his power of handling large masses and
miportant conceptions,
and
decorating them 98
with
the
multitude
of
oriafinal
THE BRITISH ART SECTION which
details,
remain sculpture,
always constructionally correct. "
Son is
—
the
when he has only himself
"And
expressive group in
have his
beard
were
they
afraid"
a
is
but why Adam, contrary
;
accordance
with
sculptural
close
is
cropped
the ordinary spectator, though for the ethnographical or
Mr. Walker's
it
ideal
noteworthy and to all likelihood,
may perchance
is
works
should
tradition,
matter inexplicable to
a
Biblical
of grace and charm, and all
to
perhaps more completely represented than any other
although
of
— there
1884, which first introduced Mr. Frampton brought forward also Mr. A. G. Walker,
public,
sculptor.
full
"Mother and
The year
please.
is
and
of quaintness and individuality which
the sculptor loves to introduce
who
his
in
Still,
delicate,
Mrs. and Master Frampton
really representing
evident that touch
to
and
refined
offer material
"The Thorn"
critic.
is
iV**^
perhaps the most successful in its
elegance of pose and
tenderness of modelling.
This
pure
is
when we come
"A
to
This
Stephens.
we ^o over the border line Ro\al Game," by Mr. Reynolds-
sculpture
is
;
an immensely clever group
—a
plastic
and symbolical rendering of Queen Elizabeth and Philip of Spain playing the chess-game of politics with ships for chess-men,
elaborated
The
details.
great
ALFRED DRURY, A.R.A.— Circe.
with a number of playful allegorical
Armada
episode
is
thus handled with great
felicity
;
but
it
is
too pictorial, too wholly anecdotal in conception and treatment, to be accepted in the category of quite serious sculpture.
Then
comes
group of highly gifted sculptors Mr. Drury, with his popular little "Age of Innocence" and his big and rather realistic "Circe;" Mr. Pomeroy, with "The Spearman" and "Perseus" the latter too manifestly founded on Benevenuto Cellini's, yet cleverly modernised Mr. Albert Toft, whose "Mother and Child" has a bigness of style and composition which raises it above the level of his other contribution Professor Lanteri, whose "Pax," a nude figure distinguished by elegance and repose, belongs to the higher plane of classic and Mr. Goscombe John, whose versatility is seen a
:
—
;
;
;
in
"St. John the Baptist,"
the ascetic
and
Elf,"
Boer
the vigorous,
War Memorial
With
who
in
is
rise in
to
may
colossal
in
the eerie bronze
"Drummer-Boy,
"
nude
"The
which forms part of the
at Liverpool.
be grouped Mr.
Mackennal and Mr. Colton. be regarded as the strongest of the younger men, and who these
called
due course to the front rank,
if
The will
former,
assuredly
not to the headship, of British sculptors, has
not sent in his best work. The colossal winged "Fame" for the Russell memorial has been surpassed by him more than once, and his gigantic bronze bust 99
EXHIBITION
FRANCO-BRITISH of
"War"
brilliant
comes
into collision with a similar
" Circe
still.
"
work on the French
belongs to his earlier triumphs
greater power and finer sculptural imagination, so little
" Madonna and
Christ,"
which
is
in
more
side
he has since advanced to
we must be content with
excellent
alike
curious
It is
Mr. C.
that
its
the
and
feeliny
in
and
realisation,
pretty
Child
;
J.
has
symbolical pose.
Allen
Mr.
assumed higher
Colton's
imagination
rank
is
appears
high
cupy
relief,
The Crown
he
than
well seen in the
"
not
oc-
to
— perhaps
of
because he has
Love," a tender
too closely iden-
but complicated
tified
and
work,
"The
himself
with
in
Image
sorial
profes-
work
at
Finder," a work
Liverpool.
of real interest,
bronze group, " Rescued," is
in
how-
which,
ever,
there
touch
of
excellent
in
treatment,
that
modelling,
and
Col ton
sentiment,
that
sometimes vates
so
a
which
ugliness
Mr.
is
His
culti-
from
it
possesses verj'
high merit and
the
wider
point of view of
deserves
quaintness.
recognition than
Nevertheless, it must be ac-
it
has achieved.
Derwent ood aga n exhibits an Mr.
cepted as a fine
W.
HAMO THORNYCROFT,
R.A.
W
— Artemis.
thing.
i
" Abundance," a happy combination ot vigour and great refinement of tjpe, such as should advance him greatly in the school. Besides these are four younger men of high promise, whose work adds to the success of the Exhibition and to the honour of the British display. Mr. R. Sheppard's half-length ideal group, "The Music of Death," is a fine conception,
well
carried
out,
perhaps
with
a
little
too
much
realism
in
the
female Death who sings into the ear of the drowning man she holds in her embrace but it proves that much that is admirable is still to come from that ;
quarter.
Mr. Garbe,
whom
the world
has
known
for
ten
years,
displays
a
more vigorous temperament, with a healthy love of dealing with the grim, even with the ugl)-. His realisation of "The Egoist" in the attitude beloved of
—
lOO
THK BRITISH ART SECTION M. Agache — brutal and
forceful,
is
a
Mr. Parker's
considerable achievement.
great success this spring" lends additional interest
"Narcissus"
his
to
—
(young Australians are making a great
mark
school
!)
— and
Clemens's " Eurydice BASIL c.OTTS.
— Brother
Riifiiiio.
a fine
in
our
Mr.
sculpture
Benjamin
"Andromeda" and "
taste
give
evidence
of
and an exactingl}' ^^'*^'*''"
perceptive eye and touch.
These, after
all,
dresslrr.- Bacchante.
are but a few in a collection which, numericalh- considered,
most important ever brought together on these shores, and that under better conditions than sculptors have hitherto enjoyed. This Exhibition, whatever may be the impression it makes on our French friends, will assuredly
is
the largest and
exercise a powerful effect on the artists themselves.
They have
seen their
own
work and their friends" for the first time in satisfactory conditions that is good. They have been able to measure themselves with the great French school and fix ;
their
own standard
;
that
is
better.
And
that they will be encouraged
is
certain,
them the force of a young movement. The momentum is gathering, and the coming years will see the fulfilment of the impulse in a splendid for there
is
in
development.
M.
GENERAL VIEW
IN
THE BRITISH SCULPTURE HALL.
lot
H.
S.
HARRV BATES,
â&#x20AC;&#x201D; Homer.
ARCHITECTURE.
BRITISH It
A.R.A.
has been said that the most "
orig-inal " architect is
he
who most
success-
That is to say, that originality in new combinations, not in new inventions, and that details always remain essentially the same. Whether this be true or not, the fact remains,
fully hides the sources
of his borrowing's.
architecture consists in
as
is
patent to every inhabitant
rapidly chang^ed, and that very
absolutely
new
in
effect,
if
in this isle,
much
not
in
that the face of the townscape
;
adaptations of previous well-known styles
being"
Certain building's strike us as
for the better. detail
is
others proclaim themselves charming-
â&#x20AC;&#x201D; mainly
of the Dutch
Renaissance
;
while others, again, are but pure and scholarly revivals, touched with just that
refinement and actuality which saves them from being mere repetitions. Although there is only one room devoted to architecture, the drawings and photographs hung in it are extraordinarily significant, for we have concentrated
spirit of
there the gist of the
Shaw
(aided by Nesfield)
We
fruition.
artist-architect will
movement
that has been gathering force since Mr.
sowed the seed of the great
see that nothing ;
is
too great or too
revival little
and saw
it
Norman grow
to
conscientious
for the
with equal delight and with almost equal success (on paper) he
plan you a city or design you a door handle, a palace or an electric light
and
stud,
which
A
is
in all
the
of them he will introduce his individual taste and the elegance
mark
We
of the present day.
have examples of
very remarkable instance of town-planning
Mr. T. E. Colcutt,
for
may
all in this
be seen
the suppression of Charing Cross
in
Section.
the design bv
railway
station
and
the conversion of the bridge into a great thoroughfare with houses on both sides, like a glorified
London Bridge of
old.
This involves the addition of other
street
bridges (whose rents would pa}- the cost), and a vast, logical, symmetrical reconstruction
of
the whole district
constitute a real, this
north and south of the Thames,
much-needed, and grandiose " improvement."
transforming of London
into
an
ImperiaL City
in
which would
For the
appearance as
it
rest, is
in
THE BRITISH ART SECTION name
is
at best reserved for the delight (and the taxation) of a future generation
;
and the whole is but a dream, affording pleasant proof that our architects can dream nowadays to good purpose. It is a sign of the age that whereas there are the drawings for a dozen great
Town
design by
Halls,
there
detail,
in
it
is
This
here but a single Cathedral.
Liverpool
Professor Beresford Pite for the
design by Mr. Scott fine
is
Cathedral
the premiated
— the
Impressive, and noble
not on exhibition.
makes us almost
is
in
winning
mass and
regret that our cathedral-building days are
But with the growth of our municipalities the demand for civic palaces has arisen, and into these minsters of local government our architects are throwing the full force of their talent. Nowadays, the classic style such as we see in the Portsmouth Town Hall and in other reminiscences of the Washington Capitol has rather happily fallen into disfavour. There is an exception in Sir Brumwell Thomas's over except for the spasmodic efforts of Liverpool and Truro.
—
—
" Belfast City Hall," which suggested
obtrusive.
respect to this feature
"Cardiff City
Hall
and
is
to be
On
Mr.
Hall
"
found
Messrs.
in
Law Courts" — a
—
"
New County
Hall
of
Lanchester and Rickards's
that justifies the high which, besides, their " Deptford to
building
also bears witness, consistently too in
Knott's
In this case the defect
the other hand, one of the few successes
reputation for taste of these clever architects
Town
towers seems to be
corner
and which strikingly reveals the weakness
Paul's Cathedral,
more than commonly
in
mass, dome, and
attendant on the addition of a carriage-porch.
usuall}is
St.
b)-
in
London
"
its
ornament.
looks
plain
to
Beside these, point
the
of
austerity, almost of ineffectiveness.
Among Mr.
the public buildings few are so interesting and so entirely refined
Champneys's "John Rylands Library, Manchester," at once splendid, scholarh', and restrained. The Law Courts in London and the Town Hall in Manchester seem happih- to have killed the Gothic style for public utilitarian buildings but for so noble a purpose as a library the Order is well adapted, and Mr. Champne\'s in his remarkable structure has created a work of ver\- great beauty, recalling one or two of the great college libraries. As the reign of Gothic was cut short by the rise of the Palladian and the Italianate style, and that again by the so-called "Queen Anne and "Free Classic," as
Basil
;
"
public taste has harked back in
many
special instances to the
French Louis
styles,
more ornate style of which delights it with the elegant decorative character of its details and the pleasing occasional curvature of line. The extreme refinement to which this type attains in the hands of an artist may be seen in Mr. Reginald Blomfield's " United University Club " and, applied to shops, we recognise the felicitous use of it in Mr. Flockhart's "Premises for the Messrs. Duveen" in Bond Street. There are, besides, many instances here of the happy use of modernised Queen Anne and F"ree Classic, notabh' in Mr. Horace Field's drawing of the new London offices of the North Eastern Railway. but for It is a fine building the
;
;
103
EXHIBITION
FRANCO-BRITISH
imposing" design, harmonious and decorative,
we may
prefer the beautiful pile of
buildings at York, erected for the same company.
The
classes of building that remain to be illustrated are the
With us
domestic architecture, town and rural. distinct
in
;
difference
is
the larger and
France, especially
in
far less noticeable
—at
least to
two sections of
these two sections are entirely more pretentious buildings, the
English eyes
— and
apparenth", indeed,
change that has come over our town architecture has brought into being many novelties and curiosities which the A noteworthy example is "No. 8, Addison Road, purists cannot stomach. less
acknowledged.
It
is
that the
true
Kensington," by Mr. Halsey Ricardo Ricardo has been
contending
free to
— colour
— designed
for
Mr. Debenham.
indulge his love of colour for which for years he has been
and cleanliness
;
we have a
so that here
with considerable taste and ingenuity of arrangement, with blue.
The
beauty
;
used
in
result
is
but those the
peculiar and,
who
we
are
bound
Whether
naturally it
is
throw up
or not,
it
is
tiles
structure covered,
green, white, and
to admit, not without considerable
exact that decorative effect must
construction,
Architecture?"
Herein Mr.
grow out
of the material
hands and ask
their
"
Is
this
a fresh note in the street, and has
advantages obvious enough to justify the experiment.
more unconventional is Mr. C. F. A. Voysey. The character of his country work in its suggestion of primitiveness is too well known to need explanation. A good type of his work is the country house Pyrford Common, Woking," in which we have the lean-to called " Vodin, or slanting buttresses and the large, deep sloping roof, and the whitened roughIt is picturesque and very " arts-andcast walls we expect to find in his work. crafty " but we are bound to inquire of ourselves why so small a building, if and if they are not needed, properly constructed, needs any buttresses at all why are they there? "Ouaintness" is responsible for much. Mr. A. N. Prentice's " Chapelwood Manor, Sussex," is far more typical of good English country work - the well-balanced, if rather rambling building, half-timbered, and Elizabethan to the point of there being overhanging storeys in three stages very charming to look upon and very happily designed. for it is in this quiet, There are many others, all worthy of study picturesque work, harmonising beautifully with the landscape, and marked by elegance and comfort in the internal planning and arrangements, that English work is pre-eminent. A few years ago I met here a member of the German Commission which had been travelling in Europe and America to study the They had left Great Britain to the last, he told present position of architecture. me, in the belief that there was little to be learned in this country; what, then, was their surprise when they discovered (in his own words) that " England is Equally original and
still
;
;
;
miles ahead of any other nation
in
domestic architecture."
M. 104
H.
S.
J.
)).
COROT
(1796-1875)
â&#x20AC;&#x201D; L'Etang'
de Ville d'Avray.
TH&I FRENCH FINE ART SECTION. It
is
an important event
in
the history
EngHsh two on EngHsh
of the relations of French and Art, this meeting- of the
under the glass roof of a
soil,
Exhibition of
the
common
"Palace," at the beginning
twentieth
century,
just
when
the manifold influences of the two schools
upon each other have furnished conclusive evidence of the extent to which each
is
capable of affecting the destinies of the other,
and when a
speak, has
profit
balance,
so to
been struck of their mutual
commerce. Nothing would be more delightful, it seems to me, than to try and define the exact
terms of
this
which has lasted now a half, that
is
reciprocal
action,
for a century
and
to say, since the very origin
would be a task of infinite difficulty, and I shall KnoiARD DiBUFE 1819-1883)â&#x20AC;&#x201D; Clarisse Harlowe. not attempt it here, although up to a certain point one must do so if our account of the French and British Art Sections is to be anything more than a mere enumeration from the catalogue or a census of the works exhibited. English painting dates its birth from Hogarth, at the beginning of the eighteenth century, and at once came under French influence through Gravelot, of the British school.
But
it
(
10$ '4
FRANCO-BRITISH who had
EXHIBITION
London, and incidentally under Flemish as well. On the other hand, a century later, it was Constable and the English landscape painters who settled in
enabled the French school of 1830 to enlarge the bounds of their experience and to
more quickly the fetters of false classicism and "academism." Later was at the feet of Turner that the French impressionists learnt the subtlest
throw
still it
off
And
secrets of their art.
to-day, finally, do not
El'GENE DELACROIX (1799-1863).
â&#x20AC;&#x201D; Mirabeau
et le
we
France see the best of our
in
Marquis de Dreux-Br^zt5.
drawing inspiration from the prolific and magnificent sources of masters of portraiture, from Gainsborough, Reynolds, Romne\-,
portrait painters
the
English
Hoppner and Raeburn to Lawrence? Through the French impressionists, per redeems
its
debt toward the art of England, and
contra^
many
the
art
of our
country
are the painters across the
water who have profited by what they have learnt from a Manet, a Sisley, a Monet, and a Renoir. The laws of imitation are inexorable. England, the land of traditions, to recognise
is
also the land of progress, and impressionism (which
now
that
a purely traditional
its
art.
revolutionary appearance official
we
are
coming
masterpieces have begun to acquire the prestige of age) It
in
has only assumed, or contrast
to the
is
should say been given, a
hidebound conventionalism of the
schools, from the very principles of which 106
I
it
revolted at the start.
THK FRHNCH FINE ART SPXTION Self evident as these preliminaries
may
be to the well informed, they are not
likely to strike the majority of visitors at the Franco-British Exhibition. fact
a
difficult matter,
It is in
among- such a mass of contemporary productions, to separate
the tares from the wheat, and to escape the seduction of certain artists' names, and
works forced upon the attention by other concerning- which posterity will probably express a certain
qualities than their true value, far less favourable judg-ment.
^gjg^^^g—
^
y
*
^K 4n
\
^^mS\^^ f
B..JHH
odit-
'^iM
\
mM-
':
-J^ «N
A
jP^
il^Ki
^^xj Ni^.^m
^^
\
/
L^ f^^ ^
^^^^^^._
^^
'
A\
fi
™
"-^a^i^-
itii«i 1
I
r^^ •
1
1
]
(
V.
V 1 ^^^ \
I
4BiH
.r^. ^-1»
1
A
S
lb
\
I'RAN'vois liONViN (i8i 7-1887).
One must
^
i
'
\ s.
1 ^
— La
recogfnise at once that the
Sections g-enerally are organised
in
Servaiite apprt-taiil la tabk-.
manner
in
which these Exhibition Art
every country practicall\- ensures the omission
ground that they represent tendencies which are hostile to academic authority and officialdom. Why, for example to turn to the French Section at Shepherd's Bush why are painters like of man\- works of the hig^hest merit, on the
MM.
Vuillard,
Guerin,
Roussel, Vallotton
unrepresented?
masters like Gaug-uin and Toulouse-Lautrec figure there?
by contrast, seems to of dead ones.
me
to be
more complete, both
In the case of the latter, at least,
splendid collection got together
it is
b\- the zeal of Sir
107
Why The
do not
real
British Section,
in respect of living artists
and
impossible not to admire the Isidore Spielmann,
and pay
FRANCO-BRITISH
JLLES DLPRE (i8i
M.
ROSA BOXHELR
1-1889).
(1822-1899).
EXHIBITION
— Bords
de Riviere
— Moutoiis
108
le
soir.
daiib les Pyrenees.
LEON BONNAT. â&#x20AC;&#x201D; Saint
Vincent
cle
Paul prend
ies fers
d'un Galciien au Bajjne de Marseille.
109 '5
FRANCO-BRITISH tribute to the
manner
in
EXHIBITION
which he has accompHshed
his
arduous task.
In the
three galleries dedicated to past art he has succeeded in gathering- nothing but
masterpieces, and that Section.
To
is
begin with,
more than one can say of the corresponding French I consider that MM. Dubufe and Dawant have com-
mitted an error in not following Sir Isidore's example, and, instead of grouping
EDOUARD MANET
(
1832-1883).
â&#x20AC;&#x201D; Le
Liseur.
the dead painters together, in scattering
them all over the galleries mixed in with works of living artists. It hardly affords the curious visitor a chance of forming any concrete impression of the older French school to find Delacroix's " Mirabeau " in juxta-position to M. Gueldry's "Dragoons Watering," or Puvis de Chavanne's "John the Baptist" next to some puerility by a M. Brispot or a the
M. Etcheverry.
Such confusion would be deplorable enough
in
an exhibition
THE FRENCH FINE ART SECTION organised within the borders of France, but is
less
the
first,
informed and consequently
less
in a foreign
able
second, or inferior orders, especially
to
country, where everyone
discriminate
among
between works of
the greater public which
mostly attaches no importance except to the subject of a picture,
Only the lower
class works,
which have no place
b}-
it is
inexcusable.
rights in such an exhibition,
can benefit by such an arrangement.
TIIKODORK (.IIASSHRIAU (1819-1856).
Further than 82
this,
â&#x20AC;&#x201D; V'enus
the proportion of past to
Aiiadyomiiic.
present
work
is
corresponding British Section has
canvases to 390, whilst the I hope to show presently that oil paintings alone.
reckoning
it
inadequate, 107 to 317,
would have been
an easy matter to give greater importance to our retrospective section, by the inclusion of great artists whom one is astonished not to find there, without in any
way
depreciating the real interest of the modern section, where
pluming themselves by a lower grade
in
in the first
rank
who
at
home would
an exhibition of such restricted
limits.
we
find
artists
be sufficiently honoured
FRANCO-BRITISH
PLVIS DE CHAVANNES (1824-1898).
— Lu
EXHIBITION
D^colliitioM
tie
Saint Jean Baptiste.
^^1 ^^^1 ^^I^H
V^iKSkS
^^^^^5?^^^^B -
T^^H
J
>
9|y| J.
J.
1 r ^ ^1 J -.
K^jjCr^T"*
KEN.NER (1831-1905).
-.•
— Biblis.
v^^^j^^^jl^BBH
^Hf
THE FRENCH FINE ART SECTION What was Gericault, to
Guedy; of
the object, for instance, of leavings out Charlet, Chintreuil, Boilly,
make room
omitting-
for
men
like
MM.
Aublet, Zwiller, Ulmann, Saubes, and
Theodore Rousseau, Diaz, Tassaert, Eugene Lami, Fromentin,
CHARLKS CHAPLIN
MM.
(
18J5-1891
).
â&#x20AC;&#x201D; Lcs
BuIIes
tie
Savon.
Bompard, Cauchois, Buland, Jacquier, Larteau, etc., might be invited? Why is Daumier unrepresented as a painter, and by only one single work as a lithographer ? Albert Lebourg, and Francais,
in
order
M. Degas, one
that
Enders,
Gelhay,
of the indisputable masters of French 113
art,
why
are they missing?
FRANCO-BRITISH It
is
true that
we have
by Fantin-Latour and Cazin
There
is
EXHIBITION
three Corots, three Manets, and three pictures each ;
but unfortunately there are also three by Gervex.
only one Ingres, but there are three Albert Maignans and three Gabriel
Ferriers,
three
Jules
Lefebvres and
three
and no
Roybets,
Dubufes (reckoning Claude-Marie, Edouard, and Guillaume).
JULES
liLIE
DELAUNAY
(1828-1891).
â&#x20AC;&#x201D; La
less
There
than is
seven
only one
Peste.
Puvis de Chavannes, one Millet, one Daubigny, one Troyon, one Gustave Moreau,
and one Courbet treatment,
MM.
;
whilst
among
living artists of the
first
rank
who
deserve better
Aman-Jean, Lucien Simon, Lobre, Cottet, and La Gandara have
each only been allowed to exhibit a single picture.
Is
it
not a pity that so valuable
an occasion for offering to the British public a complete review of French painting during the last hundred years should be, to a certain extent, frustrated in this way, or at least that
more firmness was not shown
temporary works, and more freedom
in
exhibit should represent properly the
most
most famous of our established painters It
may
be objected, possibly, that
in
limiting the selection of con-
the admission of older ones, so that the characteristic,
and as
far as possible the
? it
was too much to expect that a private would receive such favourable notice
enterprise like the Franco-British Exhibition 114
THE FRENCH FINE ART SECTION from the British public, or would prove such a
brilliant success as
it
has done, and
that the orijanisers consequently had difficulty in obtaining- the requisite
confidence from French and foreign collectors
nineteenth century
art.
In this connection
JILES BASTIEN-LEPAGE
the
exhibits
in
the
museums, or from but
in
retrospective
(
who own the masterpieces of French it may be remarked that the bulk of
1848-1884).
section
amount of
â&#x20AC;&#x201D; Les
Foins.
come from
national
dealers' collections, sources sufficiently prolific
and
provincial
beyond a doubt,
such a case insufficiently representative.
In spite of these reservations,
it is
beyond question that the French Section of
the Palace of Fine Arts at Shepherd's
Bush does credit to the French school. For the wider public it contains a sufficiency of works of a sensational and popular kind, whilst artists and connoisseurs will find for their appreciation enough works
FRANCO-BRITISH
EXHIBITION
rank to diminish their regret at the deplorable gaps which I have just mentioned, and the inadequacies which I have pointed out. That great painter, of the
first
Eugene Delacroix, a genius
if
ever there
was one,
is
well
represented by two
canvases, the sketch for the ceiling of the Apollo gallery, from the Vitta collection,
and
his
"Mirabeau and the Marquis de Dreux-Breze," from the Brame
CHARLES COTTET. â&#x20AC;&#x201D; Soir nu Pavs de
the latter of which
is
a pure masterpiece.
What
what exactness of touch; what nobility, and, at conception express
all
of the historic
the tragic beauty of this
of society, of two regimes. gesture,
scene.
nobody
in
There
the picture
is
How
la
Mer.
power it exhibits the same time, what an intimate sobriety and
;
admirably Delacroix has contrived to
moment which marks is
collection
the rupture of
two
states
nothing of foolish declamation or emphatic
posed;
but everything
is
true to
life
and so
becomes grand, and ennobled, and dramatic, quite simply. It is
posture.
a pity that opposite to Delacroix, Ingres should figure in such an inferior
His portrait of the sculptor Bartoloni
genius, and one cannot sufficiently regret that
is
far
from giving any idea of his
M. Bonnat,
the President of the
Fine Art Committee of the French Section, has not been able to bring himself to part for a time with one of the masterpieces by Ingres that he holds, so as to do ii6
THE FRENCH FINE ART SECTION
IIKNRY FANTIN-l.ATOUR.â&#x20AC;&#x201D; Venus
ALliKKT DAWAXr.-
Dans
l;i
i'7
et les
Amours.
Mort Sebaslopol,
1S54.
FRANCO-BRITISH honour
an
to
artist
whom
EXHIBITION
he so genuinely and deeply admires.
It is
true that in
the g-allery of sketches there are six studies by Ingres, prodig^iously fine ones too,
M. Bonnat, and a finished study of miraculous "Apotheosis of Homer," which belongfs to the Vitta
of the "Odalisque," belong-ing- to delicacy and precision of the
^^^^^^^^^^^r^
^^^^^^^l^^^^^^^^^^^^^^^^^^l
^^B Hr]^*e \^^^^^| ^^H B^uv ^^RH^H ^^^H ^^Mi^^y^w^lH ^^^^^^^^F^ /
^^^^1 ^^^^^^^^^^^^^^^^^^^E
JPPH
d
^^8
IvPi-
t;
m
/
^4 Bm^ftr mPP^^^^^
\ r^''*li(Uila-
/
H|||^^v4,g^^H^H LKON liONNAT.
collection
was the
;
but only experts visit these
to be exhibited,
museum
it
deserves better treatment than
with
" of the
and
one picture only
b\-
passionate
Aix-en-Provcnce museum.
Ing-res
admiration
"The Goatherd"
Ing-res
this.
at
by
school,
artists
Shepherd's Bush,
which ever\one knows
and connoisseurs
"The Lake
by M. Tempelaere), the portrait of Daumier
Paris), still
If
Mme. de Senones, in Mme. Panckoucke in the Panckoucke
be said of the Barbizon
Granted that the three Corots (lent
Roiiaii.
should have been the portrait of
"Jupiter and Thetis
The same mav
do M.
g'alleries.
of Nantes, or the portrait of
collection, or the
reg"arded
â&#x20AC;&#x201D; Portriiit
is
in
Eng"land.
at Ville
d'Avra}"
(belong-ino-
to the
Cit\-
of
(from the Revillon collection) are excellent Corots,
one cannot help thinking- of those
in
n8
the Rouart, Gallimard,
Ernest Ma)-,
THE FRENCH FINE ART SECTION
Aii'.isri:
KKNOiR. — Pecheiises
( ISTAVE . MORK Al-
(
1
826- 1 889. )
cle
ERNEST m'EZ
Moiilo'
— Saiiit-Goorges.
J.
119
K.
(1843-1896).
BLANCHE.
— Ulvsse
— Auguste
Butin.
Roclin.
n
o
Q
H
a J O Q
1
20
121 i6
FRANCO-BRITISH Sarlin,
EXHIBITION
Albert Cahen, and Dollfus collections, only to
name a
three Corots which ought to be exhibited, but nine or ten,
incomparable master
this
in
few.
It
is
not
order to reveal
in all the different aspects of his genius.
F.DOIARD MANET (1832-1S33).â&#x20AC;&#x201D; Lo Piintemps. It is
the
same with
one picture only,
two sketches of Cremetti.
who
is
represented in the section of painting by
"The Harrow,"
first-class
from the Rouart
M.
Millet,
from the Rueff collection, and elsewhere by " merit, The Wood-cutters" and "Phoebus and Boreas,"
collection,
Why
"The Harrow"?
The
effect
in
defiance of custom,
would have been
studies are often finer than his finished pictures classification artist in
of this sort?
simply because one
charcoal,
crayon,
or
It is
and a pastel belonging
besides a water-colour
could not these,
seems puerile
executed
silverpoint.
in
oil,
As
it
;
far
more
to
be grouped round striking.
and besides, what
is
Millet's
the use of
works of a great water-colour, and others
to separate the
another is
in
divided
up,
the
representation
Millet is poor grouped differently it would have been more satisfactory and had greater importance. I have mentioned that Theodore Rousseau is omitted. Why was this ? I can
of
;
scarcely believe that he
was not considered worthy
to figure in the
Franco-British
THE FRENCH FINE ART SECTION
LOUIS ERNEST MEISSONIER
12^
(1815-1891).â&#x20AC;&#x201D; Le Dejeuner.
FRANCO-BRITISH EXHIBITION Exhibition.
MM.
Theodore Rousseau
a master, and
is
I
will
not
wrong
his collectors,
Vasnier, Peytel, Gallimard, Gillibert, and L. Mante, by supposing- that they
would have refused
to lend to the
Committee some of the masterpieces by him
GLSTAVE coLRBET. â&#x20AC;&#x201D; La
And what
which they possess.
I
Sieste.
have said of Theodore Rousseau
cases of Diaz and Monticelli, being unable to guess at the reasons
I
repeat in the
why
they have
been overlooked. Jules
everyone,
which
is
Dupre I
is
As
decently represented, and no more.
feel sure,
owned by
would have been glad the City of Paris,
to see
added
some of those
for
Gustave Courbet,
to his forcible
"Siesta,"
austerer efforts such as the
"Forest of the Jura," in the Rouart collection, or the admirable "Wave," in the Cahen. But the "Siesta" is a masterpiece which gives a fairly good idea of the genius of the painter of "A Burial at Ornans." As for Daubigny, who for reasons which I cannot fathom has fallen off in
collection of Albert
reputation these last few years, and
who
deserves to be regarded as one of the
most original landscape artists of the nineteenth century, his " Oise et Pontoise " does not represent him worthil)- enough. I recall to mind the striking "Winter," in the Gillibert collection, the "Marshes of Optevoz" in that of Sarlin, and the 124
THE FRENCH FINE ART SECTION
EMILE ADAN.
— Le
JEAN PAIL LAIRENS.— Les
Fille
du Passeur.
Hommes
"5
du Saint
Office.
FRANCO-BRITISH EXHIBITION sensational examples in the Mesdag- gfallery at the Hag^ue, and
would be a bare
act of justice to
Daubigny
him a
to give
consider that
I
larg-er space.
it
His
vigorous, poetic outlook bears a strong affinity, in any case, to that which certain
^^E^^^-^.
R^^L
"^
HBF^Ik -
'ii^^J
-J
*
jHllltmbe--Jfl£*'
^
-w T^^j^
'1
"^F-y-
jmM^^liL
/P»>^^^j|w
f^^^B
^jJ^ H^^^H^^^MUfe
Hub
LEON LHERMITTE — La Mort
English landscape painters of to-day
et le
'
.^^^^
i^^^^^^^^^^^^^^^^^^H
Buchoron.
—and those by no means the
least
bring to
their interpretation of nature.
On the other hand, the " Pieta, " b\' Bouguereau, Mme. Paton " and " Roman Muse," of Cabanel, the " Portrait
" Portrait
the
of
of Lord DufiFerin," by Benjamin-Constant, a work which has improved with age, and in which we detect the beneficial influence ot the English nineteenth century portrait-painters,
and Watts, upon the superficial and artificial creator of "Theodora" and " The Sherifas " two pictures by Rosa Bonheur, one by Jules Breton, " Evening ;" one Chaplin, "Soap-bubbles;" three Meissoniers, and the admirable "Flock" from the Havre Museum, by Troyon, suffice to do justice to these various leaders Millais
;
of such unequal merit.
There remain the "Pasha's Departure," by Henri Regnault 126
;
Alphonse de
THE FRENCH FINE ART SECTION
L.
Ei'ckN'K IsABF.v.
— Monsoijjneur
de
Hi:xui
Iielzuiice
l.K
donnant
SiDANKR.
127
— La
la
Communion
Si^renado.
aiix pestift^-t^s
de Marseille.
FRANCO-BRITISH Neuville's "Prisoners;" three
still-lite
EXHIBITION
studies by Vollon
"Sappers;" "The Samaritan," by Theodule Ribot three
quality;
Museum
;
Henners,
including;
the
delightful
;
Guillaume Regamey's two Lepines of excellent ;
"Biblis,"
two Isabeys, of wonderful charm and richness
Fantin-Latour, his "Portrait," " Flowers," and
;
from
the
Dijon
and three pictures by
"Venus and
the Loves," which
Constant Troyon. â&#x20AC;&#x201D; Le Troupean.
enable one to appreciate him
and so
select,
in
the three phases ot his talent, so penetrating
so nobly and so individually conventional.
Plague," by Elie Delaunay, whose tantalising portraits of to
find
represented
;
three
Boudins,
all
128
There remain
women one
"The
regrets not
charming, and well chosen from his
THE FRENCH FINE ART SECTION numerous but, let us admit, rather monotonous performances two fine pictures by Bonvin three by Bastien-Lepage (and sufficient at that) three by Cazin, ;
;
including-
"The
;
Evening- of the Festival," belong-ing- to the City of Paris,
which are combined to perfection
J.
c.
the
of
gifts
a
;
and two bv
J. L.
Brown,
and a
CAZIN.â&#x20AC;&#x201D; Soir de Fete.
sympathetic student of nature, possessed by this great painter)
a decorator,
poet,
in
all
to see only a single Chasseriau, the
of which
is
as
it
artist (greater artist
should be.
"Venus Anadyomene," good
But as
it is
it
is,
than
a pity
from
Moreau, the "St. George," from These are two masters whose works disclose such
the Beurdele}- collection, and a single Gustave the
Baillehache gallerw
powerful
imagination and fancy, such deep and learned research, that they are
particularly calculated to interest the British public. 129
How
I
should have liked to
EXHIBITION
FRANCO-BRITISH see at Shepherd's
Bush
Desdemona
the "Toilette of
"
"The Two
and
Sisters,"
from the collection of Arthur Chasseriau, as well as some of those sumptuous mythical subjects represented,
such
b\-
the creator of
as
the
"Salome,"
" Hercules
"
in
in
the
which he
Mante
is
most mag^nificently
gallery,
or
a
series
of
miraculous water-colours from the collection of Anton^â&#x20AC;˘ Roux.
HENRI c.FRVKX.
Finally (Mile.
we come
Marsy),
"La
to
â&#x20AC;&#x201D; Lcs
CommiiTiiaiitcs.
Manet and Berthe Morisot
Brioche,"
b)-
the first-named,
:
all
"The
Reader," "Spring-"
belonging- to
M. Durand-
Ruel, examples of fine charm, strong and wholesome, forcibly expressive
;
"The
Embroidery," "Mandoline," and "Chrysanthemums" by the second, belonging to M. and Mme. Rouart, pictures in which the delicac)- of insight and tender 130
THE FRENCH FINE ART SECTION luminosity,
all
Doubtless
if
the qualities,
M.
Bergeres
Folies
representation of
Pellerin
'"
or
his
in
had not
a word, of this charming
consented less
to loan
celebrated
artist,
famous
his
" Lunch
the
in
Manet would have been more convincing and
are combined.
" Ball
at
the
Studio,"
the
brilliant.
Manet
is
hi:nry (.aro-dklvailli;. â&#x20AC;&#x201D; La Daine k I'Hortensia.
on the way
which
Two
it
to
has
become a
fitl}'
taken
classic, the its
admission of his "Olympia" to the Louvre,
place, being
in
by general consent a definite canonisation.
more canvases by Manet, in place of some F"riant, Debat-Ponsan, or Gustave Courtois, would have been beyond doubt an advantage to everybody, and no one would have missed the others. or three
Puvis de Chavannes, too 1 know that his easel pictures are not numerous, but the " Beheading of John the Baptist" is not one of his best, and one could !
easily
have found
in
some
of the special collections, that of
M.
Lerolle, for instance,
FRANCO-BRITISH
EXHIBITION
JOHN LEWIS BROWN. — Lo vaiiiqueur
LUciEN SIMON.
— Jour
132
d'ete.
tie
Berny.
ALBERT BESNARD.â&#x20AC;&#x201D; Portraits
de
133
Mme. Mante
et
de ses enfants.
FRANCO-BRITISH
EXHIBITION
some canvas more representative of his genius, the " Prodi g-al Son" amongst others. The Luxembourg, on which contributions have been so often levied, would probably not have refused to lend on this occasion its celebrated and littleunderstood " Poor Fisherman." In default of this, a good collection of his admirable studies would not have been difficult to procure in order to do honour to one of the most glorious creators of beauty in the nineteenth century. And Carriere of whose work I saw nothing at Shepherd's Bush but the portrait of a "Woman and Child," owned by the City of Paris. M. Henri Lerolle or
â&#x20AC;&#x201D;
A.
the sculptor Devillez,
who were
P.
ROI.L.â&#x20AC;&#x201D; En Et^.
Carriere's intimate friends,
and are fondly attached
memory, could so easily have produced four or five pictures worthy both him and of the Exhibition. No one will be able to understand why a painter to his
such importance does not
command
for
the
retrospective
*
*
*
portion
of the
remains to deal with the contemporary section, that living
artists.
of
a better place here,
*
So much
of
F"rench is
Section.
to say, with the
It
now
work
of
Here, also, we are obliged to point out regrettable gaps and
inadequacies that are perhaps more regrettable cases that an artist should be entirely
left
still,
for
it
were better
in
many
out than that he should be represented
number of works or by works which fail to do him justice. The high position of M. Albert Besnard, and his forcible originality, would
by an
insufficient
134
THE FRENCH FINE ART SECTION entitle
him, one might have thought, to better treatment
each are allowed to
Maignan, footing,
if
MM.
Ferrier,
J.
Laurens, and Albert
might seem natural that he should have been placed on a similar no more. It is true that M, Besnard is not a member of the Institute which,
officially
HivBERT.
â&#x20AC;&#x201D; Portrait
public require better reasons, and there were not
I
at
least,
de Mine,
la
is
who justlv Some surprise
sufficient
Comtesse
explanation
but the
;
Pastr<5.
have heard several people express regret that
more examples bv Albert Besnard
acquaintance with the work, so artist
and when three canvases
it
as the others are,
an
;
Lefebvre, Jean-Paul
to enable
them
to
form a closer
so varied, and so rich in every way, of
prolific,
passes for one of the masters of the modern French school. will
perhaps be
treated the pretensions of certain
felt
at the categorical
way
in
which
French painters whose reputation .'35
is
I
have
so solidly
FRANCO-BRITISH
EXHIBITION
HENRI HARPIGNIES.— Alpes Maritimes.
GEORGE JEANNIOT. — Le^s 136
X'agaboiids.
CAROLUS-DURAN. â&#x20AC;&#x201D; Portrait
'37
de Mnie. Feydeau.
EXHIBITION
FRANCO-BRITISH
established in the eyes of the public at large,
but,
frankly,
consider them as of more than secondary importance.
methods of the French
the aims and superficial
and
artificial
official
They
aspect.
impossible to
is
it
They stand merely
school of painting,
most
their
in
for
are the propagandists of that false style,
once factitious and redundant, to which we owe so many historical, allegorical and " anecdotical" canvases, lacking equally in life and in fancy, as devoid of at
â&#x20AC;&#x201D; mere formulae of a â&#x20AC;&#x201D; formulas learnt within a few
productive always of docile pupils
on wrong
hybrid species of art based
poetry as of truth traditions
years in the governmental studios and
who
follow
all
their life in the footsteps of
without ever asking whether there be anything else for them in Pictures of this kind ought never to be exhibited outside France,
their teachers
the world. for they in
have their counterpart everywhere,
Belgium no
of foreigners
less
than
Italy
in
to render a
is
;
in
poor service to the
and the cultured classes of a country
artists
work of a very Ferrier,
different character.
Maignan and
Albert
England no
less
The
fair
Germany,
in
fame of French
The
art.
Great Britain look to us for
like
MM. Jules Lefebvre, Gabriel MM. Dubufe et Davant have
pictures by
which
their like,
They
transported across the channel, are of quite mediocre merit.
whatever, happily for us, to the artistic
thousand canvases of
than
to display such productions betore the eyes
movement
in
no index
offer
the France of to-day.
this calibre are exhibited every year in
A
Paris, at the Salon
of the Societe des Artistes Francais and at the Salon of the Societe Nationale
des Beaux Arts
the artists responsible for
;
many commissions
yet attained to as
or as
them are not yet as famous, have not
many
decorations, as
MM.
Lefebvre,
Ferrier and Maignan, and they are of less importance therefore in the eyes of
the public,
but they are just as insignificant
kind of distinction.
It
has become the
places in Art Exhibitions to these gentry
Thus
in
rule,
â&#x20AC;&#x201D; they
reality,
just as lacking in
however, to allot
seem
to claim
it
the
all
any best
as their right.
comes about that a charming work by M. Maurice Denis, a rising artist, in whose future one is most justified in placing hope and who has already given us numerous proofs of his talents, has been relegated to a room which is little visited and in which it is bound to remain unnoticed, simply and solely
it
because he has not the ear of the influential
referred
and because
at their theory
and
in
whom
his writings as in his paintings he has run
I
have
a-tilt
alike
their practice.
M. Carolus Duran, on
the other hand,
is
admirably represented
"The Lady
of the best performances he has signed:
Luxembourg;
people to
b\-
three
with a Glove," from the
Museum; and the long way back, and
the portrait of ]\Ime. Feydeau, from the Lille
equestrian portrait of Mile. Croizette.
All three date from a
enable us to judge what
M. Carolus Duran might have
he could have occupied
in
of turning aside
in
only one, alas, of
whom
French
art, if
achieved, and the position
he had persevered
in this
quest of cheap and meretricious successes. the
same might be 138
said.
path instead
He
is
not the
THE FRENCH FINE ART SECTION
LECOMTE DU NOUY.— La
.AsroN
i,A
TOL'CHE.
— Le
tristesse
de Pharaon.
Bassin de Bacchus
(V'ersailles).
»39 i8
FRANCO-BRITISH
EXHIBITION many
mention
could
I
who,
artists
other
only they had
if
had
the
strength of mind to withstand
the
fascinations
of
sudden
a
exag-gferated success, mio^ht
held
in
be
rising-
being
of
instead
g^eneration
now
esteem by the
hig^h
and
dis-
reg^arded or forgotten.
One
of
the
successes
of
the
might have been anticipated, the enormous canvas of exhibition
M.
as
is,
Duty."
The
"Victims
called
Detaille,
of
British public, like the
French public
crowds and
earlier,
jostles in front of
it.
I
surprised to hear the
should not be
" Marseillaise
"
played some day before this melo-
dramatic piece of realism, which KMiLF. I'RIANT.
— Portrait
to painting
de M. G. Dubufe.
to music.
what the gramophone
Of M.
is is
course, every one in
Detaille whenever he England knows that King- Edward the Seventh visits comes to Paris, which is quite enough to constitute him in the eyes of the "Vive L'Entente Cordiale," British populace the greatest of French painters. pass on. and let us No, let us pause for a moment and enquire into the reasons alike of the mediocrity and the popularity of M. Edouard Detaille.
Thej' are the
same
both
M.
in
Detaille
is
a pupil of
There
Meissonier.
one
cases.
among
the
no
of the greatest painters of
nineteenth
and
there
crowd
in
IT
f
4.
V
;M
'
It,
century,
always
is
•^
not
regard Meissonier as one
the
'ItJ^
general
who does
public
is
a
1
front of the three
pictures of his which are
hung
in
British
as
there
the
Franco-
Exhibition, is
in
just
front
of
jlles adler.— La Soupe des Pauvres.
140
^^
'
THE FRENCH FINE ART SECTION M.
Ddtaille's
Duty. in
What
"
London,
add,
"Victims
of
happening-
is
must hasten to only what happened
is
earlier
in
graphy
is
I
Paris,
what
photo-
for
really appeals
everywhere to the crowd and even
to
flatter
many
who
people
themselves
they
that
know something about art. The art of Meissonier and M. Detaille is photog^raphic art.
Accuracy, precision,
attention to
detail,
these are
the things that always convey the
illusion
of truth
majority of people.
to
To
HENRI ROVER.â&#x20AC;&#x201D; Le Depart des barques.
the
be able
one by one the leaves upon
one of Meissonier's minute canvases to count the head or on the lip of all the ten individuals in
therein included, to be able
note
to
every single
that
object represented in
in
it
right place, well
its
truly executed
is
and
these are the
;
things that matter to them.
M.
Detaille
higher aims or, at
seemed bigger
much
had
least,
has
have them simply
to
he
because
has
has
painted
pictures,
too big.
pictures
Meissonier's
pictures have the merit least
of
being
at
extremely
small M. Detaille's become a veritable encumbrance. But although on ;
such different scales, their
processes are identical. M. Detaille, indeed, would seem to have some imagination,
and
suggestion JULES UL'I'KK.
Join
de Koret.
there
seems
a
of composition
in his pictures.
He
affects
FRANCO-BRITISH
EXHIBITION
the heroic, the warlike military
;
there
swagger about
his
is
a certain
from
style
which the public gets the kind of sensation
thev experience
regiment of soldiers
He
martial music.
"Victims of Duty that.
a
In
qualities,
or
when they see a go tramping by to
is
melodramatic
;
his
" is
ample evidence of word he possesses all the rather the
defects,
that
a
painter should be free from in order to
be an
artist.
at large,
M.
That
is
Detaille
why,
to the world
seems
the head of his profession
to stand at
—why crowned
heads on their way through Paris esteem it
an honour to pay him a
said to be a
man
of
visit.
charm and
indeed,
said
is
German and
Italian readers, passes for
the greatest literary g-enius of France.
M.
Detaille
to
is
Georges Ohnet of
The
some extent
the
pictorial art.
attention of experts will
be
expended on works of deeper and more delicate
qualities,
g^enuinely
felt,
as
more is
sincerely
but just, for
expert opinion alone which counts. is
and it
is
It
bow down to officialism, who treat art merely as a
not likely to
or to those
and lucrative profession, but
brilliant
to those
who
see for themselves and
seek to create the means of personal expression.
of
The French School numbers many these conscientious painters who
devote thought and study to their work
and who attain
to originality as
result of serious observation of
nature of
and
their
art.
is
That may well be, it does not prevent him CJRANIK.— Paysjiniie. from being a very bad painter. As much, of M. Georg-es Ohnet who, in the eyes of millions of English, of courteous and gallant bearing.
JOSEPH
He
distinction,
of
profound In
spite
the
and knowledge
of
life
marked
EUGENE CARRIERE. — Materilite. 142
THE FRENCH FINE ART SECTION diflferences
in
French
the
individualism
and
temperaments
School
of
â&#x20AC;&#x201D;there
is
has
to-day
tendencies
its
foundations
in
between
resemblance
family
a
â&#x20AC;&#x201D; for
in
them which is unmistakable to the practical eye. In them all may be observed a passionate love of truth, a scrupulous attention to technique, and an acute sensibility
The
to the poetry of thing^s.
or rather
realism,
the naturalism of the Bastien-Lepage order of painter, instance,
for
influence
has fallen into
upon these
They
their fortieth year.
accuracy, their chief aim their vision
and of
most of
artists,
and
disuse
whom
have passed
attach less importance to mere to display the
is
their sensations.
subjective than objective.
no
has had
What
They
freshness of are
they seek in
more
all life
and
harmony with their temperament, something- that will enable them to express their own individuality. In this way they map out certain special provinces for themselves, each of them in
nature
a motifs
is
a theme,
in
A.
DE LA GANDARA.
Mme.
Portrait de
Ricciardi.
endeavouring' to invent a languag^e of his own, a style peculiar to attain to
himself.
more or
less
Some
of
them achieve
complete success, for
more or less speedily, and they become affected inevitably by the this
influences of their environment.
Many known
of
them
are
quite
to British lovers of art,
well
thanks
to the Exhibitions of the International
Society,
presided
over
by
formerly
now by our own Rodin. These are the men who stand for what is best in French art. It is to them that artists all over the world Whistler,
look for guidance, that
it is
students turn
to their
works
eyes
when
their
seeking to learn
how
France.
midst of the
In
the
art stands
fusion which characterises the
ment that has
its
in
con-
move-
centre in the Salon
des Independants (a purelv anarchical
movement
it
is),
and
in
the midst of
the decadence of the official instruction in the Ecole des Beaux Arts, which has entirely lost its prestige
given
K.
ama.\-ji;a.\.-
in
roriiait do Miss Ella Cannichaei.
the cycs of
all artists
wofthy of the
â&#x20AC;˘43 "9
EXHIBITION
FRANCO-BRITISH name, they form a powerful cohort traditions of that school
the best
which they owe their
Among
maintenance of
all
of
French
his
two " Memories of Venice," which have so
art
nineteenth century to
the
in
orig^in.
M. Sidaner, with
these,
support and
the
for
engaging a charm, so intoxicating an atmosphere; Charles Cottet with, alas, but only one of his dramatic Breton landscapes; Lucien Simon, whose "Summer Day" unfortunately enables us to appreciate him in only one of the aspects of his vibrating talent; Jacque-Emile Blanche, well represented by his portrait of Rodin
and one of the portraits of the Thaulow family; Henry Martin, always and original; Maurice Lobre, a is
allied
master
faultless
in
whom
brilliant
the feeling for perfection
with a most acute and living sensibility; Ernest Laurent, one of the most
delicate delineators of
women
at the present day, as well as
one of the most tender
and comprehensive; Gaston La Touche, with that voluptuous imagination which adorns everything that he touches with the prestige of a poetic fancy; Auguste
incomparable engraver both on copper and wood, and a painter
Lepere,
an
of taste
and
modernism claim
his
combined with
is
possessed of
be
a
"Adoration of the
who has much as by
man Magi"
Dinet,
revived
as
his
Rene
;
and the most
an
the graces and
all
to
represented
Georges Desvallieres,
originalit)';
obsession
(why
relegated to feeling
the
insight
poetic
for
whom
the
a passionate love of
Maurice
classic;
Denis,
the naivete of a primitive without forfeiting
all
to-day
of
in
and
delightful
expressive
Etienne
a corner of the exhibition?);
East
the
for
accuracy
by his truthful
Clementine
Mile.
;
his
is
inadequately
Dufau,
Prinet, a conscientious observer, possessed of subtle intimacy
technique
skilful
Duhem and Mme.
Henri
;
emotional interpreters of the silent poetry of ancient
cities,
Duhem,
Marie
of secluded gardens,
and peaceful interiors Rafifaelli, seen to advantage in his charming portrait of " My Daughter," and the "Commemoration of Victor Hugo;" Aman-Jean, ;
of whose great I
decorative canvases or those female fancies in which he excels
regret to find here
no example
iconographer, precise and perfect free,
are expressed in his
by his
;
Quost, a radiant painter of flowers
;
Willette, all of
"Farce Domine
portrait of " Mme. Ricciardi
fine
;"
whose
Jeanniot
;
gifts,
of
notice
Auburtin,
British
artistic
Adler,
Lomont,
circles
Duvent,
Mesle,
Hanicotte,
Griveau,
Fougerat,
and
to
;
showier manifestations of
Laurens,
F.
etc., etc.,
and
Chigot,
Eliot,
not
fail
to
art,
MM.
Humbert, Gervex, will
Andre
I
Caro-Delvaille,
Dauchez,
H.
Zo,
W.
Dawant,
make
to the
which the subject
Joseph
Laparra,
Hoffbauer,
Bellerey-Desfontaines,
Billotte,
more susceptible
in
represented
imagine, will attract
Jean-Pierre and Paul-Albert Laurens,
whilst the wider public,
throng before the works of
so precious and so
La Gandara,
Saint-Germier,
Morisset,
Devambez, as examples
MM.
:
Granie,
and Alfred Agache.
;"
Others, too, on different grounds, but less irresistibly the
;
is
power of names
all
important, will
Dagnan-Bouveret, Jean Paul Roybet, Maignan, Baschet, Beraud, Bail,
a stand of conscious recognition before the
44
EDOUARD DETAILLE.â&#x20AC;&#x201D; Les
Victimes du Devoir.
FRANCO-BRITISH
EXHIBITION
works of two older masters, Harpignies and Hebert, still conscientiously in the breach, with zeal unimpaired by age. *
The
impressionist school,
among
Pissarro,
the dead,
*
*
including
and
fighting- bravely
*
Manet and Bertha Morisot,
Sisley and
only account, alas, for 17 pictures, an insignificant
what
allowa n ce
for
w hen one
e ff e c t
considers the sum total ex-
two Pissarros,
hibited,
three Sis-
some 472
leys,
three
Mone
in
R
as well
all,
can
e
t
s
three
n o
i
r s
torical
and
make when dispersed
artistic
im-
throughout
portance of
the eleven
the movement both
the
as the his-
in
galleries of
The initiated
France
tion.
and outside its
fron-
tiers.
them
At
h o
7
find
grouped
w
t
o
them,
greedy FKRNAND SABATTK. â&#x20AC;&#x201D; Le PauVro.
together. and
out
and know
might have been I
seek
will
these
least
exhibi-
to
study them
them by without notice, and, unless they knew to the contrary, would believe and sa\- that the impressionist school plays but an insignificant part in the French school, judging from the taste
small
their
place
novel beauty
allotted
to
it
;
the rest will pass
here.
Personally
I
am
far
from professing blind
admiration for the productions of impressionism taken as a whole, but that painters like Sisley,
who have had
Pissarro,
Renoir, and Claude
Monet
I
recognise
are artists of the
But there, what does it matter if they have produced admirable works which French art must always respect ? MM. Dawant and Dubufe ought to have regarded it as a duty on their part, whatever their personal predilections, to reserve one gallery for these undoubted masters. They should have shown them on a big scale, be they what they may. first
rank,
It is infinitely to
For the
role
their weaknesses.
be regretted that this has not been done.
adopted and
the influence exerted by the
are of the greatest importance in the history of 146
modern
art,
impressionist school
and not only
in
France
THE FRENCH FINE ART SECTION itself
Rightly or wrong^ly, wrong-ly
but abroad.
others,
the
theories
accordance with
in
to
all,
Renoir (who
our eighteenth century
is
new
Manet,
this
many
movement
force to the painter's art,
in his later
the most classical of
which
them
works, Pissarro, Sisley, and,
all,
and
lives again, refreshing the vision of
have rendered the most signal services to living painter of real worth
who
F.
It will
cases, rightly in
from undue obedience to the formulae of the methods of
suffer
instruction supplied by the State.
above
many
which the leaders of
executed their works are held to have lent
had begun
in
art.
It
would be
in
whom
the soul of
our painters of to-day), difficult to
name a
single
has not derived some profit from their example.
ziEM.
â&#x20AC;&#x201D; Grand
Canal, Venice.
be objected, and not without reason, that the principles of impressionism
have been responsible for much of the scamped, scrappy, freakish work of which our modern exhibitions are to
which too many
full,
and that the kind of records of momentary
and
effects
themselves cannot be regarded, even when the
artists confine
works of art from their very nature they exclude composition and allow no time for thought and study. This shortcoming, this weakness, is discernible in the great works even of the masters of impressionism themselves. It must be admitted, moreover, that with the exception of Renoir, who has done some charming pictures of women, nude result is pleasing
effective, as real pictures, real
studies that are at once exquisite
and
full
of feeling, delicate, yet strong,
impressionists have been too apt to neglect the
primarily landscapists. for
allotting, in
But that
is
;
human
our
form, and that they are
beside the question and furnishes no excuse
an exhibition of such great importance, so meagre a place to a
school of painting whose standing
is
fully recognised, as
the whole of Europe. '47
it
deserves, throughout
EXHIBITION
FRANCO-BRITISH
In order
that
this review of
the French section of the Gallery
of Fine Arts in the Franco-British
Exhibition
may
be as nearly com-
plete as possible
numerous
— fortunately
which ac-
illustrations
company
the text will
fill
involuntary omissions on
—
it
me now
remains for
with
up any
my
part
to
deal
sub -sections
various
the
the
devoted to drawings, water-colours, Mii.i.KT
F.
J.
Its
14- 1^75).
— Les
order adopted
incoherent
is
least
drawings by Ingres
catalogue,
— six
—which are
is
apt to
its
chief glory.
It is
to
the
the arts, the
in
any
all
they are at once so firm, so precise, yet so
mean a mere
cold,
laboured
dry,
a draughtsman so
directed towards the expression of truth,
of correctness of drawing to
free
by
incomparable
from
all his
who
mere
It
of
life.
and these
could not see formulae
and
endeavours have been
and that he has not allowed mere questions
hamper him
this.
in
full
faultlessness, critics
in his efforts to seize the characteristics
of a personality, to bring out the individuality of a face or of a hand. truth,
art
impossible to imagine anything more
conventional restrictions as he, that on the contrary
in
the
must be given of course to the seven of them belonging to M. Leon Bonnat and the seventh to
never been
has
there
follow
which thus relegates
defects have often been placed to the charge of Ingres
that
eng^ravings,
to
section, a place apart
perfect in their way,
Perfection
in the official
sculpture,
finally
trammelled by compromises and conventions.
In the drawing
Baron Vitta
miniatures,
pastels,
and
d'art,"
perhaps the noblest and completest of
is
case which
Miiletiors.
"objets
designs,
architectural
end what
(^
is
impossible
to
conceive
Ingres
is,
any stronger
combination of boldness and assurance of touch together with accurate observation Nothing is missed, and attention to detail than may be found in his work. everything
taken
is
expressed
with
yet
a
after
nothing
amazing
about
skill,
has
that
fashion
trivial
and
in
nothing
it,
fussy or finicking.
What
a lesson he provides
and
for the artists of to-day
art-loving
public
They have but
to study
the
learn
what
really
is,
from
the
the art
for
also
him
!
to
of drawing
to distinguish the true false,
the
artificial
j.
148
f.
millet (i8i4-i875).—Les Bucheions.
THE FRENCH FINE ART SECTION from the sincere. unique and apart
These seven small frames should have been g"iven a place the Exhibition. Alas they have to be sought out, but
in
!
when you have found them,
all else
pales and fades into nothingness.
•/
»'
^
.'i.
I '/n/
T"^
f-K«'-
U^il |ai^'''1Jr&.
.,>
1^ f
J.
The
A.
D.
V
4.
INGRES (1780-1867). — La famiUe Stamaty.
architectural section,
if
one excludes works by members of the Institute
That of the applied
richer, and But the method They are piled up inside glass cases or on the tables, and of display is pitiable. the dust gives them a generally neglected appearance which does not tend to Here also some most regrettable absences are to be noted. enhance their value.
and restorations,
is
not less insignificant.
arts
is
the best habitual exhibitors at the two salons are represented.
M. Rene
Lalique, for instance,
is
not represented '49
in
it.
Why
not
?
Doubtless
FRANCO-BRITISH because he
is
regarded as a manufacturer, and debarred for this reason from
ranking as an la
artist
des
Societe
;
but
Artistes
Or
is it
M. Lalique sends which
Fran^iais,
A.
J.
members.
EXHIBITION
that,
D.
movement, and
it
M. Lalique is
the
â&#x20AC;&#x201D; Mme,
its
Leblanc.
to lack of space, those responsible for the section
could not reserve a case for his sole use that outside France
Salon de
proud to number him among
is
INURES (1783-1867).
owing
his jewels every year to the
is
?
However
it
may
be,
I
am
convinced
the most conspicuous figure in our applied arts
greatest
pity
that
he should
find
no place
in
this
Exhibition.
There remains interest.
Amongst
finally the section of sculpture,
those
who
which appeared
are dead, Carpeaux,
to
me
of great
Rude, Dalou, Paul Dubois,
THE FRENCH FINE ART SECTION Barrias,
C.
Chapu, and Carries
Aujifuste Cain,
Alexandre
Rodin,
Charpentier,
Lefevre,
Peter,
Alfred
A.
D.
the living,
Fremiet,
Bartholome,
Desbois,
Nercie,
and give,
in
the
INGRES (1780-1867).â&#x20AC;&#x201D; M. Leblanc.
expression of their different temperaments, a
But
amongst
Lenoir, and Gardet, are well represented,
J.
statuary.
;
Boucher,
here, too, the selection could
fair
general impression of French
and ought
have been more severe, and there are many names, as well as many works, which I will not enumerate, that it would have been preferable in my opinion to include. In spite of this, the prestige of French sculpture that has produced within
to
comes out of the ordeal undiminished.
A
school
a hundred years modellers such as David d'Augers,
Rude, Barye, Carpeaux, Dalou and Rodin, can claim to be marvellously
vital
and
FRANCO-BRITISH
DENVS PLECH.
— La
EXHIBITION
Seine (haul
relief).
beyond dispute. The best proof of it may be found in the influence it has exercised and is still exercising- everywhere, thanks to one of the greatest modern masters of the art, M. Auguste Rodin. The superiority of vig-orous
that
;
is
French over English sculpture front rank alongside those
make
bold to assert,
is
whom
I
have named
that
;
beauty
first
be placed
anyone can point
;
in
it
I
the
would
I
was by
and bore
flowered
throughout the world.
afterwards to spread
Jf^Jj*
who can
the genius of sculpture,
indigenous to the shores of the Mediterranean
these shores that the feeling for plastic
^
England has produced
particularly manifest.
is
great painters, but she has brought forth no sculptor
fruit,
do not believe
to a single great creator of plastic
beauty
of northern birth. I
have referred to Rodin
two works.
he
;
is
represented here by only
True, these are of wonderful beauty and feeling,
one of them especially, the famous bust from the Luxembourg, one of his
innumerable
masterpieces
;
but
an
works might have been shown have a strange way great men.
to
fifty
of his
public.
We
France of doing honour to our
in
Rodin,
English
the
room
entire
should have been offered to Rodin, so that at least
if
I
am
rightly informed,
asked
the organisers of the French Section to reserve a '
for him,
and,
I
believe,
responsibility for
all
transport and
setting
its
in
he was prepared to
arrangement, place
room assume
including the
But
of his works.
the sacro-sanct principle of equality on which
we
are
by way of taking our stand made this impossible. The other sculptors, indeed, would not have tolerated
What
it.
AUGtSTE RODIN.— Mnie.
„
.
„,
kliseiefT.
right
has Rodin to an entire room,
they
would have exclaimed, while we are allowed to exhibit only two works each ? That is how things ° are done. •'
«52
THE FRENXH FINE ART SECTION Five works
bronze by Barye,
"Theseus and
the famous
admirable sculptor
the
so
in
What powers work
the
who has had
so great and art.
of characterisation are to be seen in
We
!
the Minotaur," represent
an influence upon contemporary
beneficial
his
among them
must
counterpart
g"o
of this
back to antiquity to find sovereign
simplicity,
this
restrained strength.
Carpeaux is there also, represented by a terracotta, " Ugolin and his son," one of his most powerful works, and two of his most exquisite achievements,
"Flora" and "La Jeune
the bas-relief,
Fille
a
la
coquille."
who
Dalou, too,
good an
exercised so
influence
upon English sculpture; his monument to Delacroix and his Bacchante, together with a series of his so
statuettes,
lissom,
so
full
of
life,
wrought, show the two aspects of his ceptible at once to
and
tradition j.
LiciEN TISNE.
â&#x20AC;&#x201D;
Tout en
temporary
fleurs.
so
tenderly
talent,
sus-
the con-
to
feeling
for
truth.
The "Misere"
a single block of wood,
hewn out of
Desbois,
of Jules
another really
is
fine
piece
of work, daring and vigorous, reminiscent of the old
Desbois
French carvers.
Rodin has
;
he
is
a pupil
is
a craftsman of the very
knowledge
a profound
of
of Dalou first
and
resources of
the
all
and
order,
his art.
Here, too,
moving
that
is
Lachaise, and whose delicate
"Jeune
fille
created
Pere-
at
se coiffant
'
is
so
and expressive a piece of work.
we
Elsewhere Charpentier,
Eugene
who
Bartholome, the sculptor
"Monument aux Morts "
Halou,
Lagare,
Dampt
all
Louis
and
testimony all,
Lefevre, Alexandre
Fix-Masseau,
Dejean,
Roche,
Pierre
bearing
French sculpture,
Camille
find
while
Victor to
the
Peter,
Jean
vitality
remaining
of
faithful
to the purest traditions of their art, yet seeking expres-
sion
in
ways personal
to
inspiration in the forms of in his
own
themselves, life
searching
for
surrounding them, each J.
style
;
one trusting to direct observation. Âť53
n.
CARPKAIX
Jeime
fille
k
(1827-1875).
la coquille.
EXHIBITION
FRANCO-BRITISH
iMATHURI.N iMOREAL.
â&#x20AC;&#x201D; Le
Sommeil.
another bringing gifts of fancy and imagination into play, one observed by the desire to recapture the lost
of feeling for decorative
charms and graces of the
past, another
In one fashion or another, they
effect.
under the sway
combine
all
to
display the dominant characteristics of an amazingly flourishing school, with a certain
unity
in
all
its
There
diversity.
is
discernible in them,
in
that
fact,
family resemblance due, according to Taine, to those three primordial elements of a
work of
surroundings,
art,
the
artist's
origin,
racial
the
time he
lives
say nothing of the influences of temperaments,
to
and
in,
his
heredity and
individual gifts.
*
^
Such then British
The
is
TT
TT
the French Section of the Palace of Fine Arts at the Franco-
Exhibition as taken as a whole, and as studied
criticisms that
I
have passed upon
exhibition of this kind organised in
In reality
circumstances.
the
To
same
facts
be otherwise,
will it
in
some of
its
details.
would doubtless be applicable accordance with the same principles. it
always repeat themselves given
would be necessary â&#x20AC;˘54
the
to
any
same
for the organisers of these
AM'ONIN MKRCIK. Le Deparl du X'illao^e
r.rsT.wK MiLiiiu..- La I'enseo.
'.ICi
FRANCO-BRITISH art exhibitions to be not only
men
EXHIBITION
of sound taste and a clear critical judgment,
but heroes, endowed with the courage of their opinions, and capable of assuming So long as this is left to comentire responsibility tor the selection of works. mittees, the
same
instinctive preferences, the
same
class interests, will
come
into
But let us beware of The task laid upon MM. Dawant and Dubufe was not an easy captiousness. Taking one by any means. They were not wholly masters of the situation. French section in the Palace it all round, whatever its shortcomings may be, the and cannot fail to increase the sympathy respectable one, Arts is a perfectly Fine of Is one, after all, justified in of artists and of the British public for French art. play to the detriment of the higher interests of
art.
expecting more than this?
GABRIEL MOUREY.
J.
B.
CARPEALX (1827-1875).â&#x20AC;&#x201D; Flore (Bas
156
rerief).
PORCH AND PRINCIPAL ENTRANCE TO THE PAVILION.
MODERN DECORATIVE
ARTS.
LA COLLECTIVITE ANDRE DELIEUX. I
M ON GST
the
it
white
h
Exhibition,
palaces
the
in
"
of
porch,
with
its its
surfaces
blinding"
heart
the Pavilion
Delieux its
monotonous
of
" De
flowered
la
of the
Franco- British
Collectivite
frieze,
and
smart
the
the
rich,
g'enerally
Andre colours
attractive
appearance, strikes an original note of pretty fantastic freedom, a note of elegance, of characteristic modernity. I
it
have purposely
may
seem,
decorative
art,
modernity
and
The
word,
respect art
is
for,
of
strange as
architecture,
sadly
to
seek at
general aspect of the Franco-
Exhibition produces a deceptive feeling of things one has seen before, chiefly
is
novelty.
in
and applied
Shepherd's Bush. British
this
italicised
â&#x20AC;˘ ,
remarkable
The explanation
incontestable.
There
is
in
this
respect
for
an
almost
absence
total
of this would take too long to discuss
;
the fact
of is
a distinct absence of English architectural and decorative '57
—
— FRANCO-BRITISH
EXHIBITION
work of modern tendencies, and but for the "generous initiative of M. Andre Delieux one would be forced to admit the same fact concerning- the French architects and decorative artists who have been strugg-lingf so hard and so courag-eously for 20 years past to revive what Ruskin justly called the Arts of Life. That they not to succeed, have not yet that is merely succeeded
in
sense,
definite
a
secondary, but to
if
produce, to have
means
anything- can
be
the
termed definite
in
showing-
of
world
no
of his
order
this
thing-s,
proof
is
of the
work brain and the
his hands.
they
that
to
the
That is why, without any risk
contrary, the only
of being accused
fruitful efforts are
of
not succeed
will
On
in time.
one
flattery,
m ay
which are
those
praise
sincere and con-
highly
— the more
and
hig-hly
on account
scientious, the
joy
true
of their rarity
of
men who by
every
artist
the
worthy
of
their
the
name should
courag-e,
be
is
their
disinterestedness
the sense, surely,
that he
and
zeal
and
work-
their g-ener-
labour
ing for the future.
osity,
One
hasten the victory
is
forget
too apt to
PORTRAIT OF
that the function
of a creator
He
is
M.
is
one of those who believe with
pressing,
when
far in
enough
every
field,
in
sufficient reason that words,
these days,
economic,
when
social,
which count.
By
artistic, ;
furnishingf to the decorative artists of
prove their existence
in
British Exhibition (for
of this number.
however eloquent,
the exigencies of
struggle becomes continually more and more severe
scientific,
but that
it
this succeeds
it
so the
deeds alone
first
bound to be followed by to art, and to French art in feeling- the
representation of French decorative art at the
are
France the opportunity to
is
Andre Delieux has done a valuable service It was at the commencement of 1907 that,
life
literary,
is
circumstances so favourable as those of the if
ideal.
M. Andre Delieux
ANDRE DELIEUX, BY FELIX CAMBON.
is
do not carry us
an
of
nowadays
to
London
Franco-
others),
M.
particular.
importance of a worthy exhibition,
M. Delieux
conceived his idea of g-rouping- the artists and craftsmen best qualified to give
58
IS9
FRANCO-BRITISH
CENTRAL
effect to this
many
EXHIBITION
c;alli:i;\
Ail, unfortunately, did not
high mission.
respond to his appeal, and
doubtless are regretting- their abstention in face of the
welcome which the who bravely and
public and critics on this side of the Channel have given to those
whole-heartedly ranged themselves under his banner.
"We
are going,
convincing proofs,
I
M. Delieux, "to gather together a
sirs,"
said
hope,
of your creative
power of beauty.
It
series
will
of
be an
endeavour to affirm that movement for the renovation of the applied arts, which tends to harmonise the forms of things with the aspirations and the needs of our
new
time, bringing into play artist.
I
believe,
sirs,
materials placed by industry at the disposal of the
that one does
wrong
to think, as
is
the case in certain
and art have said their last word, and that Everywhere the the proper course for us is to copy the works of our predecessors. and ought you, like impotent beings, to reduce rule of life is progress, evolution
conventional
circles,
that
science
;
yourselves to the level of copyists history, to give the
"
A
lie
?
proverb which we
less true to affirm that every
all
that would be to falsify which govern the schemes of humanity.
Certainly not, sirs
to the very laws
know
;
says that each age has
its tastes.
age ought to possess the art which expresses i6o
It is
no
its life.
< a X
z 6 X < s a a X
i6:
.
EXHIBITION
FRANCO-BRITISH Therefore,
lective
study,
hibit"
la-
bour,
p
r
odu
Exwas
and
formed.
c e
It
on
1
\-
The imme-
remained
diate future
to
is
prepare
the w a )â&#x20AC;˘ s and means
the
to
bold and hardy inno-
calculated
vators.'"
to ensure a
M. Delieux
successful
conclude d his d scourse by
launching upon the
(
i
world.
pledging
The
ad-
himself
m
that all the
tion of the
responsi-
Collective
the
Exhibit
bility,
n
i
i
st ra-
trouble,
fell,
and the ex-
fortune,
penses
by good the
inci-
to
upon
of
carrying
L
out his pro-
whose
dent
ject
be fully
a f a
g
e
,
clear
would
intelligence
cheer-
and finecul-
borne
ture did not
by himself. The "Col-
fail
PORCELAIN VASE, MODELLED
IN
POLYCHRO.M K
the delicate difficulties of his mission,
and
lot
M. Paul
in the
thousand and one
details of
in
API'I.Ion;,
i;v
TAXILE DOAT.
the negotiations which
to find
pleasure in it
called for,
an undertaking so complex as a decorative
comprising no fewer than 500 exhibitors and 700 works. The construction of the Pavilion was entrusted to M. Marius Toudoire, chief
art exhibit
Compagnie des Chemins de Fer de Paris-Lyon-Mediterranee its Barberis Freres, whose vivid imagination and live fancy were whilst for the four statues intended to adorn the two to find so happy an outlet principal fa9ades, models were commissioned from MM. Andre, Armand, Bloch, architect to the
decoration to
;
MM.
;
Legastelois, and Laurent.
A
commission
personalities of the
Jourdain,
Charles
and a
jury
movement Plumet,
were
itself:
Pierre
constituted
MM.
Selmersheim, 162
from
amongst
Taxile Doat (ceramic Gaillard,
prominent
artist),
Bigaux,
FrantzPicard,
LA COLLECTIVITIi ANDRl^
WALNUT LIBRARY TABLE, BY SALVAGE AND The
Furniture by Messrs.
Damon &
Colin (formerly Krii^jfer). Regfius & Ruffin.
DliLIEUX
SARAZIN, ARCHITECTS.
Wroug-ht Iron and Copper
Work
by
Sauvage (architects), Andre, Bloch, Grandig'naux Rene Rozet (sculptors or modellers), Cesbron and Edme Couty all members or delegates of artistic societies, representing the most
Constant-Bernard, Guimard, Legastelois, (painters),
important sections of French decorative
To-day we can appreciate the outcome of the great
So, the\- set to work. ideas which
rather
presided at the birth of this collective grouping,
the term
of which,
I
feel
is
attractive because of the traditions
sure,
their value, are proud.
close
art.
collaboration
all
which
those artists and craftsmen
We
it
this
corporation
recalls, traditions
who know by
experience
can judge the result of this method of working, this
of diverse
talents
and 163
diflferent
temperaments,
all
equally
EXHIBITION
FRANCO-BRITISH
must
by
animated
be
ad-
mitted that
a lively faith
if
sional conflict
some architect more sincerely attached to the new ideas
more apparent
had been ap-
than real be-
proached (I name no one,
in the
triumph
of their ideal,
occa-
despite
tween
their
methods
two or three names are on the but
of
expressi on. It
merits un-
point
stinted praise. It discloses
a
my
as
pen), an effect
so
could
whole
much
of
true
have
been obtained
more
disarm
criti-
spontaneous, more
cism
and
expressive
flatter}-
of the lead-
worth
render
as
to
superfluous. *
ini^"
*
From
features
of an
modern
b^-cnch archi-
architectural
tecture
point of view, r DECOR ATIVE OVER-MANTEL PANEL first of all, it '
IN
seeing-
THE SALON OF ART, BY EDME COUTY.
there
intention of decorating" and
furnishing the
entire suites in the current taste,
it
;
and that
was the
interior with
might well be thought
that the interest of the Delieux collection would have been
enhanced
like the interior,
the exterior,
if
had borne the
aspect of an inhabited dwelling",
not of an It
would,
exhibition I
building-.
given
have
feel,
a more complete demonstration of the branches actually covered b)-
French decorative
complete, as object be.
and
art
more
lessons
more
striking-,
are
one
F'urthermore,
;
wont
to
cannot
help reg-retting- the absence of a
modern "salon," BRASS VASE, " SEAWEED, BY LUCIEN BONVALET.
the
decoration
to
and 164
show how furnishing-
comb, by henri miaii.t.
tes 21
EXHIBITION
FRANCO-BRITISH
of an apartment tially
so essen-
French are understood
bv the decorative
artists of
to-day, and by the limited
too
public,
alas
limited,
!
which has courage enoug^h to
make
ments to
in
decoration suited
own
their
experi-
orig"inal
and
tastes
actual requirements, instead of leaving- the matter in the
hands of the
professional
who
upholsterer
idea of worth servile
has
no
be\ond
his
antique
copies
of
matter;
let
styles.
No
us cross
the threshold of the Delieux pavilion.
central at
Around a
terminating-
g-aller)-,
one
g-allery
end
long-
second
a
in
occupying-
the
breadth of the building-, are rang-ed
" YOLTH," PLASTER GROUP BV AARY-MAX.
apartments
seven
three dining- rooms,
"art salon," a "bureau of art" (hateful word!), a bedroom, and a which really is no more than a showroom because there is a bed in it.
Of
the
M. Louis
my
dining rooms,
three Big-aux,
preference.
and the
M.
ow't
third by
Galleray's
is
sideboard,
and
table,
is
When eig-ht
log-ically
Gallera\
Certainly the
first
does not exceed
total
Fr.
practical
cost
1400,
it
Such
our warmest encouragement.
M. Croix-Marie and
has
and sanely constructed,
one considers that the
chairs
salon
another by
,
easy to realise that he has solved successfully a very thorny problem.
efforts merit
form
is
equally a student of simplicity, but his efforts lack elegance
â&#x20AC;&#x201D; two grave
faults.
His
appearance, and yet on examination one is
M. Mathieu
M. Croix-Marie.
furniture
without mannerisms or superfluities. of his buffet,
b\-
is
little
one
furniture,
I
must
feels that the artist
confess,
who has
is
heavy
conceived
in it
capable, with certain modifications, and after a serious study of the uses to
which fact, is
it is
same
to a happier effect.
M. Croix-Marie,
in
not far off the proper path.
The dart,"
destined, of bringing the
is
third dining
room, as well as the decoration and furniture of the "salon
by M. Louis Bigaux,
who
has displayed 166
in
both the resources of his
EXHIBITION
FRANCO-BRITISH
versatile
and supple
talent.
He
exhibits
the
materials which
make up
mastery of
full
go to decorative
a
scheme, and ingenuity in
prolific
a
pleasant details
devising and unex-
pected effects, I
no
can award
without
less,
to the
my
praise
reserve,
bedroom designed by
M. Maurice Dufrene, and question whether any person
CLOISONNb: ENAMELS ON
tiOLI),
HV
K.
of
taste
sufficient
to appreciate the
charm of
correct proportion
and har-
mony, however wedded by
TOIRRETTE. *
custom,
fashion,
etc.,
to
the traditional st}les, could refuse to inhabit an apartment furnished and decorated
as this one It
precise,
is
and above
all
has nothing pretentious, or clashing, or excessive about
It
is.
without being it
not meant for
show or
simple and severe without looking bare
;
M. Maurice Dufrene
comfortable.
is
decorators, at the present day, is
stilted
who
for formal parade, but
shall not stint
I
of
MM.
The
my
severely practical
;
live
with and
and
praise either in the case
original
table,
such as one can
His furniture
for ?
Sauvage and Sarazin's study
writing
is
;
one of those very rare
without
being anything but pleasing to the eye;
what more than that can one ask
is
possess a sense of homeliness.
the primary objects of furniture,
use,
it.
in
furniture.
design
and
the bookcase, a real one, not
one of those hybrid pieces of furniture which usurp the name, but are intended for something totally
different;
armchair,
the
the
and the table are large and fine in
electric light fitting,
bronze, refined
all
and precious
luxury worthy of a an\'
way
surprised
in
man
detail.
the
their
forms,
Here we have
of taste.
at the
sofa,
lights of gilt
result
am
I
not
in
obtained by
MM.
Sauvage and Sarazin, who are reckoned amongst the architects and decorators held in highest esteem b\ competent judges. i68
SMALL WROUGHT IRON GRILL, BV
E.
ROBERT.
i6y 32
EXHIBITION
FRANCO-BRITISH The
mahogany
Lambert,
produced
the best
and
recent
who
scrupulous artist
point
is
with
inlaid
in
copper,
Lambert
nothing"
to
How much
harm hao been done
to
who
He
is
chance.
studied and combined with knowledge, and
not contented with the " very near."
is
is
M.
years.
leaves
M. Theodore certainly some of
exhibited bv
furniture in the Httle salon
a minute Ever\-
M. Lambert
has g^ood reason, too
French decorative
art
!
by those
much of general culture as of skill in their own vocation ? I have known M. Lambert's work for a long time I know that at times he has made mistakes, like so many others, but I know also that it has never been from ignorance or want of depth in his subject. And when he succeeds, as often happens, his success is complete. Take for example his hasty and ignorant producers
lack as
;
brass bedstead, so harmonious in proportion, so ingenious, and so
precious in respect of
ornamental details
its
;
mean
to sav in which the construction and ornament are so intimately blended that it is impossible to say which controls and which subserves the other. I
the
^
From a
seen,
best
of view of a collective
the point
exhibit, the
â&#x20AC;˘??
-Jl-
-Tt-
Delieux collection
distinct
is,
as
we have
and shows
success,
in
the
and most peremptory fashion the diversity and talent possessed by the But it would have
of imagination
French decorative school. been
incomplete
regrettably
been missing " objets d'art
from "
in
it
the
if
those
had
there
representative
production of which
PKDKSTAI.,
BY HKCTOR ClIMARl). MARBI.K AND IVORV
our
decorative
unrivalled, or
STATUKTTi:,
BY ZEIBIO.
less care
One may furnished
these
of certain
I
only too glad
wall
of the
to
craftsmen
are
these had been selected with
examining these pleasantly and glass cases,
decorations
whose names and works are
artists
that of the organisers
and
taste.
But whose
widely recognised.
been
if
when
deplore,
rooms,
the absence
and
artists
fault
is
exhibition,
gather them
Certainly not
this ?
in.
who would have It
is
the
fault,
imagine, of circumstances independent possibly of the will
of the artists themselves
who knows, some which, now that
â&#x20AC;&#x201D; some wounded feelings perhaps,
distrust of it
has
or,
an enterprise, the success of
surpassed
the
most
sang"uine
MAHOOANY CABiNKT WITH MARyUKTRY PANEL, BY MAIRICE ALET.
LA
D^LIEUX
COLLECTIVITE ANDRIi
DINING-ROOM
IN
OAK, BV LOl
expectations, will prove to
them
IS BIC.Al :X ,
;
LKADEB GLASS, BY GEORGES BOl'RGEOT.
their error.
But
let
that the absent do not always suffer injury, because
us pass on, after premising
we
think of them.
Among-st those who are represented, M. Bonvallet and M. Taxile Doat deserve our most enthusiastic recognition. The metal work of M. Lucien Bonvalet, from the point of view of composition as well as execution, consists of pieces of the very
first
England or Holland.
rank, such as,
They
and chased brass, appear power.
to
I
Germany, of hammered
believe, could not be equalled in
are perfect.
me simply
These vases and exquisite, of rare
bottles,
refinement, and great
Their forms are extremely simple and harmonious, and the ornament
so logical and so reserved that
it
seems 171
to spring naturallv out of
them.
is
The
FRANCO-BRITISH
EXHIBITION
called
bottle
" Discordia," another called
"
Trefoils,""
the vases with
shel
1
-
work, and
seaweed, euca1
} p tus
possess NECK-BICKLE, "CLOIDS," BY TH. LAMBERT.
a
sober richness
PKNIIANT OK c;OLD, ENAMEL, AND PEARLS, BY TIL LAMBERT.
and yet simwhich ought to appeal
plicit}-
from the delicate
less pleasure
knows
how
so well
to
all
little
people of taste.
marvels
in potter)-
Nor will the latter derive of M. Taxile Doat, who
to unite in his creations the finest comprehension of ancient
art with a lively sense of the
modern.
At
the centre of a tray or basin, on the
body of a vase, on the handles of a porcelain urn, or on some precious serpentine The fine head of a goddess, a frowning or glass dish, he applies a cameo. smiling mask, the proud profile of a hero, set in that field of simple enamel, " Love sporting see variegated perhaps with the mask of with the colour - play of
the
material,
sembles a rare flower in its effect. I
tall
Why have
the
tall
these pieces
;
porcelain vase
poem
spring,
;
we
from the
veritable
of nature
egg-shaped,
or
which
flat,
so finely French
with an applique of polychrome a
and
show such grace of form and charm of colour. They are all so prettily,
decorated glass,
those vases,
;
.square
not space to describe
some of
"
Thalia
re-
soil
once,
of
our
These
best traditions.
the
the\-
;
fee! at
"Meadows,"'
precious works, so pure
"Grotto,"
in taste, yield as
the "Echo," the "Sower," the "Woods,"' and that
the imperishable
Roman
bowl of marbled porcesky blue with
effects,
of
M.
on
PEAR-WOOn CLOCK, CARVED WITH ORAPES, HY NOWAK.
Next, too,
two exquisite
is
French Renaissance.
The stoneware (.f/'r)
we
Bigot, close by, has a captivating rustic .savour.
like ripe fruits, or
rough
like bark.
The
I
feel
material he uses
is
that
it is
soft to
M.
E. Becker
one carved with chrysanthemums, the other with 172
touch
strong and beautiful.
a charming case containing wood-carvings by
clocks,
flowers which
scent the garden of our
crjstalline
which
were frag-
rance of the Greek and
lain
and brown
it
roses
;
;
173
FRANCO-BRITISH
EXHIBITION
ENAMKI.S, BY Ll'CIEN HIRTZ.
boxes inlaid with mother-o"-pearl or ivory, of perfect workmanship, and a case of
which
eig"hteen medals, each of
is
a precious jewel.
M. G. Bastard exhibits objects of pierced mother-o'-pearl, combs and fans, one of which, composed of peacock feathers in which the e3es are replaced by tiny female figfures, is truly one of the most exquisite thino^s I know. The appropriateness of the ornament to the material the fundamental principle on which
all
is
decorative art should be based,
with pleasure in the leather work of Mile. Germain.
I
effects,
but
all
One cannot
the
same
I
am
I
find also
doubt whether pieces of
such delicate colour and workmanship would appeal to those ornate
This rare quality,
perfect.
who
love strong'
and
sure that they are true works of art for every
must be seen. There are plain leather purses, card cases, girdles, and a trinket box which cannot fail to enchant a delicate taste by the manner in which the leather is handled. To turn to work of another order we must admire the fender of wrought iron by M. E. Robert, one of the French iron-workers who combines most closely the feeling of modernism with a sense of the glories and traditions of his art nor can we fail to take pleasure in the works of MM. Regius and Ruffin the electric heater, a luminous screen, in copper and the large iron and copper grill, day use.
describe them, they
;
â&#x20AC;&#x201D;
;
pieces of the finest execution. I
cannot,
objects which
I fill
regret, study in detail each of the
thousand delicate or powerful
the Pavilion of the Delieux collection.
at length of the really
remarkable embroideries of
Mme.
I
would
like to
Pauline Riviere
decorative fabrics of fine design and rich execution of Mile. Gabrielle Rault
speak the
;
;
the
and baskets in metal work of M. Scheidecker the incomparable enamels of M. Feuillatre, who understands so well how to combine sound knowledge of his vocation with the finest gifts of fancy. Nor must I forget the trays,
dishes,
;
174
LA COLLECTIVITit ANDR^
D^LIEUX
enamels of M. Hirtz, one of the most widely appreciated enamellers of the day, or those of M. Tourrette, Mile.
Ponsard, Mile. Puizoye, and M. Henry Cazalis.
wish
say
to
good that was possible
the
all
the decorative compositions in embroidery of
Robin,
which can never be
exquisite
pieces
enamel,
translucent
exhibited by
effect,
of of
of
white so
M.
china
C.
Naudot
"reserves"
of
so
spontaneous
in
;
the small furniture
;
;
Maurice and
Edmond
of
M. Paul Mezzara.
by
Mme. Fernande and
prettiest
subject in all,
is
most
Alet
There
is
;
the exquisite lace
also a cotton tapestry
Mailland, which things
pleasing-
strongly treated,
is
know
I
the colours
a jewel of workmanship.
Mile.
one of the ;
children,
decorative,
Marc Mangin
a
child's
costume comprising
an
before which not only mothers but artists exhibits of jewelwork by
will
lose
M. Theodore Lambert,
their
of
hearts.
whom
I
Here also have already
spoken, rings, necklets, pen-
waist -buckles
brooches, ;
of
in collaboration
and
origin-
sincere
_^;r-ware by
M. Lachenal
with
Frumerie, which
Mme.
de
would be
it
out of place to praise, so widely is
it
appreciated
interesting
;
work by M. Giot; charming medals,
silversmith's
some
liqueur glasses in silver
sumptuous
crystal,
a
entitled
"Gallia,"
of
and cup,
gold,
chased silver and stones, b\
M. Henri Rapin point lace designed and executed b\ Mme. Andree d'Heureux, ;
its
articles
silver
in
charming and enamel
kind
excellent of
;
by M. A. Jacquin,
em-
a hat of repousse leather, braces and shoes of the same,
broidered velvet frock,
ality
the
exhibits seven embroidered silk and velvet caps for
MIXIATIRI-; t'LlUK, " ROSKS, BY E. BlitKKR.
dants,
the
;
with
and
novel
about
Mme. Ory-
esteemed
sufficiently
could
M. Nowack the models for trays, crumb-scoops, etc., M. Moreau-Sauve the small inlaid furniture of
MM.
are
I
in
wood
CLSI'EI) UISIl
Âť7S
OF PLATKI) lOlM'KR, IMKKCKI) AND HAMMERED, BY FRANK SCHEIDECKER
FRANCO-BRITISH
EXHIBITION
and leather by Melle. de Felice; furnishingstufifs and curtains by M. Coudyser bindings original of composition and fine execution by that most orig^inal artist, M. Paul Follot ;
;
bronze inkstands,
coffers,
cane handles, and
g-lass ware,
by M. Hector Guimard,
prove
that
M.
learn,
and the remarkable
bv
Mme. Of
but
Guimard has
*^//^
to
left
exhibited
stuffs
Louise Grenaut. stained
and
and
that
little,
M. Labouret has a showing- a called
little
which
g-lass
of the
finest
there
is
quality.
fragfment of a skylight
of wild ducks, and a panel
flig-ht
"The
painted
Torrent," of which one
in
is
doubt whether to admire most the composi-
M. Bourgeot has a larg-e panel, sober and restrained, filling the window of the "Salon d'Art," through which a tion or the ingenuity.
pleasant broken
into the dining--
lig^ht filters
room of M. Big-aux. M. Mette exhibits landscapes
i
American
n
.
effect
an
of
glass,
Cl'l" AND SAICKR, OF TORCKLAIN with TRANSLICKNT ENAMF.LS, UV t'AMILLE NALDOT.
"MIMOSA rii;RCi;i)
.
origmal
M. Laumonerie, one
;
masters of the
art,
of the most accomplished a decorative panel " Le Champagne,"
and three landscapes of admirable handling-. M. Abel Landry is represented in all the aspects of his versatile talent his fire-irons, Limoges china teaservice, tray \\\ pdte-de-verre, waist-buckles, etc., show his ;
mastery
over a wide
range of
materials
and
original
handling- of different subjects. TP
The Delieux if it
A
sculpture.
represented
"Grief,"
its
doors to a few specimens of
young-
by a group
and a
^
-TV
Collection would have been incomplete
had not opened
and
â&#x20AC;˘??
bust
of
Mme. Aary Max,
artist,
entitled
M.
"Youth," a
Delieux
M. H. Bouchard
statue
characterised
valuable gifts of expression and truthfulness. statuettes of
painting*-
illustrative of
is
of
by
The bronze
Roman
peasants
are charming- in themselves, and offer a pleasing contrast to the delicate little ivor)- figures of LKADKD
FIRK SfRHl^N, BY c;kor(;i;s boi riieot. C;i.ASS
carry
minuteness of execution 176
to
M. A. Caron, which its
furthest
leg-itimate
COLLECTIVITK ANDRE
LA
DKLIEUX
The statuettes in M. Bigfot's gre flamme by M. Halou, his " Breton Women," his "Bather," "The Gleaner," "The Old Woman Washing a Vessel," will be as much appreciated, feel sure, in London as they are with us. They possess a vigfour, a sincerity, limits.
I
charm which are
and a picturesque
much
enhanced material
the
by
nature
the
which
in
they
of are
Some Breton dancers in pottery by Quimper, "The
wroug-ht.
Reader" Mask,"
by in
Ouillivic, to the
"The
Fouesnant,
gr^ fiamm^, are
similar
M.
by
style
in
work of M. Halou, and
are
There yet remains a Reaper and an Italian Peasant,
excellent.
CHILD
S
in
FROCK OF VELVET APPLigil-; AND EMBROIDERY, BY MLLE. MARC MANGIN.
bronze,
by
the
process, belong-ing to
circ
M.
perdue
Terroire,
and a statue by M. Guenot, representing- the Modern Inventor, which deserve special mention by themselves. Decorative painting-
is
author of the
the
overmantel
represented by
"Autumn,"
exhibits a large panel,
who
is
in
M.
M. Rapin, who
panel
M. Hubert de
la
Rochefoucauld,
of very pleasant colour; by adorning-
Big-aux's "salon d'art,"
who
M. Edme Couty,
the
and by
exhibits a sketch for the decoration
must also mention the portraits of the Delieux family, executed by M. Felix Cambon, a young- painter of promise, and the of a cathedral.
clairc toilc of
"Afternoon
in
I
Mme.
Chauchet-Guillere
entitled
a gfarden."
Such are the particulars of reflects the g-reatest honour on
this
Exhibition which
who have
those
so
courageously borne the burden of
Even
if it
of the crowds which throng to Shepherd's Bush,
g-aze it
It
it and the expense. had offered fewer objects of real value to the
would
still
shows,
in
have deserved a quite exceptional mention. effect,
victoriously,
plished by individual initiative
and disinterested -IM 1
he
belief in
â&#x20AC;˘iirr. united ciiorts
an r
what can be accom-
when supported by
ideal.
iil
or a small
ir oi
band
'//
i
sincere
volunteers,
GALLIA CIP IN SILVKR, COLD, AND jewels, hv henri rapin.
EXHIBITION
FRANCO-BRITISH however brave and has
talented,
proved
not
sufficient
to bring- about the
triumph
of
particular
this
ideal
which we are
whose
dis-
one
the
cussing-,
vitality
shown
by
is
the
present exhibition.
A
sculptor can
his
all
or
painter
work
life
COTTON TAPESTRY, " THE GOOD HOUND," BY FERNANDE MAILLAND.
in
without troubling- about the approbation of the public so
heroically,
solitude,
means of subsistence are assured apart from his productions but an architect, a decorator, a maker of furniture or articles of common use, what is he to do if the public refuse to come to him? He cannot even work by himself, but must have collaborators. The artistic problem is complicated by The scheme of a bed, of an electric lig"ht fitting", of table ware, the economic. long" as
his
;
does not properly exist until
of a carpet,
Then,
materials.
to enforce itself,
any
for a style to is
it
and forms and little by
with the
lines
created
bv
I
say
realised in
become formed and that
it
the form of definite
established, to prosper
styles
Familiarity
of ornament which belong" to
it
is
little
cannot
taste
be rushed nowadajs in
these
matters,
when everyone more or
pretends
less
know
to
something"
about them.
Another is
point
that the revival of
industrial
art
to
which so m a n excellent
)â&#x20AC;˘
architects
and
decorative
artists
nave CieVOteU
CISHION ok
and
should spread through the masses, or at
because
little
public
is
a sufficienth- large section of the upper classes.
rate throug^h
little.
necessar\
it
I.ACE
and I:MHR0IDERKI>
BATISTIC, HY I'AII.
MKZZARA.
thus
LA COLLliCTIVITK ANDRK D1-:LIEUX themselves coincides exactly with a sort of craze for the styles of the eighteenth
century
on
which
most necessary
The
is
very class
of the
part
the
to its existence.
leading manufacturers of ornamental
bronzes, stuffs
and furnishing
pottery,
plate,
have hastened to
and pander
flatter
1^^
to this craze, so that designers in quest
new forms and colours, instead of finding the welcome they had a right of
to
regarded by these very
are
expect,
manufacturers as enemies. In fears
the
and
cliang'e,
the
of
spite for
F"ashions
one
this
we can banish
this
all
future.
go out
will
Possibly the time
rest.
ever like
not so
is
one might imagine when people
far off as
1S30" MlMATLKli
amongst these no doubt seductive but anachronistic styles. Those who will but have courage to
will tire of living
resist
men who their
enchantment
the
will
work of
better
have
of
architects,
;
who
those
artists,
and patience
the force
regeneration,
IVORY BIST,
BV
end
will
copy
only
A.
CAROX.
and
crafts-
to
pursue
by getting the the
styles
and
b)gone days, or, what is worse still, who debase them in order to bring them within reach
ornament
VICLVKT PORilKRIi,
BY (JABRIELLH RAL LT.
of
of slender purses.
What
the faithful few need, in order to establish themselves definitely and to
triumph, above solid bod\-.
in
all
France,
Their education
to concentrate themselves,
is is
complete
a personality and a means of expression
;
;
the)' possess,
they
know what
organise and assist each other, as has been done here
them become collaborators.
Singly,
I
repeat,
;
to unite,
most of them they mean.
do everything.
fashion for for
For the fashion
form a
at least,
Let them
instead of being rivals
let
they can effect next to nothing
against the power of the great industrial purveyors of decorative art
can
to
for antique
modern ones, then the public which
styles
let
;
them
united, they
substitute a
against them will soon be
is
them.
This collection.
is
moral which radiates,
tlie It
would be regrettable
not profit from
it
if
equally with those
and both the former and the
latter
in
m\-
the artists
who
are.
view,
who
are not represented there did
But an example has been
have only to follow '79
from the Andre Delieux
it.
It
is
set,
time that a great
EXHIBITION
FRANCO-BRITISH collective effort
was
set
on foot
amonj,>-st
us,
with daring", and, above
all,
with
method, so that the public should be made aware of the results of a movement which, despite the obstacles and shortcoming's that have g'iven
impression that so
much
g^ood effort had
come
many
to naught, will not
fail
people an in
the end
to succeed.
The Jury has unanimously awarded
a
Grand Prize
to
M. Andre Delieux
the brilliant conception of this artistic union.
GABRIEL MOUREY.
RETICULE OF STAMPED LEATHER, BY MLLE. L. D. GERMAIN.
1
80
for
CKNTRAL HALL OV FRKNCH DECORATIVE ART.
FRENCH DECORATIVE ART HE
Central Hall to the
EXHIBITS.
and right of you as you enter the
left
Palace of Decorative Art
is
devoted to the display of the
modern specimens of French cabinet work and its With that dexterous skill which attendant industries. choicest
characterises our neighbours across the Channel, a systematic
whole
within
of exhibits close
one
bv,
left
there
architectural
to is
individual
naming and
such as we find
taste,
here a series of uniform
and
effect,
exterior
well-ordered minds,
whom
scheme of arrangement has been designed which brings the neatly ordered plan. Instead of a haphazard grouping
is
arranged
decoration. carried out to
on This
pattern
section
British
the
stands constructed
uniform
a
in
as
with
an
regards
airv their
uniformity, so dear to our neighbours"
its fullest
extent by the exhibitors themselves
American story of a Texan innkeeper who, when a stranger, misled by the gorgeousness of the menu, asked for plovers' eggs and asparagus, whipped a pistol to his head and remarked: " You'll take hash!" One wonders what would have happened if one of the to
exhibitors
these stands are allotted.
here
mother-o'-pearl, at all.
had or a
There
show,
must
believe, there all
an
walnut
furniture
with
desired
to
suite
satinwood, or something that was not furniture
in
Would he have been compelled
firms
is
happened
say,
to forego his desire?
to be a round dozen
inlaid
Fortunately, as
or so of eminent
we
French
willing and able to put forward a representative collection of classical
furniture of the
same
style and, to casual
observation,
of the
same high order
i8i 23
EXHIBITION
FRANCO-BRITISH of
so
execution,
minor differences
from
apart
that
seems
there
And
there
is
between the holders of these
stalls
which sug-gests community of
choose between them.
a camaraderie, an interchange of services,
were members of a fraternity governed by mutual in
but the illusion
reality,
competition, and in
generalising on
humour
shall
I
its
is
interest.
It is
effort,
as
if all
not so, probably,
these days of fierce commercial
in
so far as to treat the exhibit as a united whole
it
mission.
conveys an impression that British furniture-making
If the British section
dead, what
a pleasant one
is
to
little
minds of the French one
the effect on our
is
Here we have cabinet
?
work and upholstery of such
lavish magnificence (you can spend from ;^i,ooo to
;^3,ooo on a single piece
some
alive indeed.
The
of these stands) that
must be very much
it
F"rench craftsmen of to-day are the equals in technical skill
who worked under Louis XV. and
of the very finest artists
Not a
in
secret, not a touch,
has been
But
lost.
â&#x20AC;&#x201D; and
we commissioning new
not a touch has been added or altered either.
buying up old things instead of
his great predecessor.
this is the sad part of
If
England are
in
the best workers in
ones,
France are making copies of old things instead of designing new ones.
go no
art could
further in one direction than
which enriched
Versailles,
world with
the
overlaid with splendid metal work.
Louvre.
Its glories are
it
we have
affectation to pretend that
is
comparison with such
longer for
sumptuous days of
did in those
specimens of
priceless
But Versailles
is
Do
amongst them?
part in the genuine
simplified our lives together with our dress
modern
tailoring
life
It is
Why What
am
aware that ;
that
to the
at
common
â&#x20AC;&#x201D;-well,
what is there then In both it is to the present day?
they have
if
needs of
life.
this exhibit represents but a part of the decorative activity
elsewhere,
in
the Delieux Collectivite
specimens of modern design and workmanship.
"new
do the becomes of
then
hard to believe that they can have any
of the people, and
some extent a sham, unrelated I
;
and millinery equip us any
backgrounds.
splendid
between English and French taste
of France
like the
the newly enriched swell out their starched shirt fronts and indulge
their vulgar cackle
to choose
marquetr\-
museum now,
a
French go on making these costly replicas and variants?
them?
Possibly
ticketed or dispersed, partly into the Wallace collection.
All over the civilised world
and
it
it
intent on
for
But there
art" which does not suit our national atmosphere.
is
instance,
there are
something about the It
is
probably quite
modern tendencies on the two sides of the Channel should take different directions suited to different temperaments but in common honesty I am bound to confess that, of the two, I am more inclined to admire the splendid workmanship right that
;
exhibited by these copies of the antique than the striving after original effects exhibited by the
new
school.
*
On
*
*
*
hand as you enter the hall, in the first stand, is a little collectivite of furniture by different hands. M. Georges Rey exhibits carved and gilt furniture the right
182
o n
Li
01
18-,
EXHIBITION
FRANCO-BRITISH
together with a highly ornate writing-table in carved
of semi-classical desig-n,
walnut, the decoration of which rises up at one end and along the back
mountainous forms with
of
profusion
naturalistic
beautifully carved nude figures
Soubrier exhibits
fly
at a tangent
off"
upholstered furniture
gilt
icicles,
whilst
The
firm of
legs.
Darras some chairs of
A.
plain,
embossed and figured leather, together with MM. Mioland and Lelogeais an archaic leather
almost English design, upholstered a high carved episcopal throne
;
waves and from the
a
in
;
in
chair with heavy studding.
Next
who
decorators,
handsome stand of
the
is
the next page.
H. Remon, one of
The
decoration of this
room
consists of
ornamentation
naturally arranged, includes
some
in
carved and gilded
Two
ship.
old
on
in
a
The
grey touched with gold.
excellent specimens of the period,
Remon from
own and The original of the chimney-piece is in the Louvre. The furniture is upholstered with hand embroidery of fine workmanpictures on
M. Remon showed
reproductions of
in
Germany.
some elaborate work
done by
firm
his
the
for
1764."
carried out in
In the Machinery Section are
panelling
the
his
" Roslin,
the wall are signed and dated,
the writer photographs of
France, America and
and
period, illustrated
wood panelling painted
mostly reproductions of antique pieces selected by M. other collections.
the leadinsj Parisian
XV.
exhibits part of a boudoir of the Louis
delicate green colour, with applied furniture,
P.
some views Ritz-Carlton
Restaurant and Winter-Garden on board the liners "Amerika" and "Kaiserin Augusta Victoria." M. Remon has been elected Chairman of the Jur\ for the French Decorative Art Section. The firm of R. & L. Hamot, next door, are manufacturers of Aubusson tapestry of the type that tapestry
weaving
is
is
fashionable in connection with the classic styles.
done
on
the
low-warp,
or
and
looms,
copyists"
This is
a
mechanical matter nearer akin to carpet-making than to the work of the Gobelin or
high-warp looms.
factories that are at
It
seems
demand judging from
work turning out flowered patterns and
chair and sofa seats, portieres,
show
to be in great
wall decorations,
Messrs. Hamot's productions, a suite
off
and the
L'Hoste & Bernel. A remarkably handsome exhibit which follows
is
is
Museum (now on
up above
it,
loan at Bethnal Green).
The
like.
the
work
better to
exhibited,
is
of Messrs.
that of E. Poteau, containing
a reproduction of the great state-bed of Marie Antoinette
Albert
manv
figure subjects for
of gilt furniture
which, together with a handsome ormolu-mounted table,
the
A
in
the Victoria and
blue silk canop)-
is
gathered
covered with embroidery of contemporary design from the documents
of Philippe de Lassalle, such as the established at Trianon.
Queen
herself had
The more important
worked
in
the factory she
pieces of furniture in the
room
are
copies of masterpieces in the Wallace Collection, as for instance the gorgeous
commode, designed by Dubois by Carlin
;
to hold the
Queen's laces
;
the
little
a toilet table and writing table combined, after the original 184
made by Oeben
secretaire
â&#x20AC;¢85
EXHIBITION
FRANCO-BRITISH
A large and and a marquetry commode, also after Riesener. comfortable armchair is an attempt to combine eighteenth-century style with and Riesener
;
present day notions of luxury
found
in
Carefully toned
Louvre.
the
the other chairs are counterparts of originals to be
;
COMMODE AFTKR RIKSKNER
by ribbons,
supported portraits
luxurious court of
The
stand of
WHITE AND
together with
of the unfortunate
ensemble which closely
;
recalls
Europe
CiOI-I)
pastel
and candle-brackets
decorations
wall
rEDKSTAL BY
copies
of
POTEAf.
E.
Mme. Vigee
Queen and her two children, go what a bedroom must have looked
to
make up an
like in the
most
at that period.
M. Nelson
is
also decorated in the style of Louis
painted panels and delicate carved mouldings and ornaments.
"what-not" of elaborate design, -which
In
recalls a similar piece at
of the kind which was fitted with a
little
XVI., with is
it
a sort of
Hertford House,
an armchair covered with a rich brocade, and a writing table of Louis at
Lebrun's
XVI.
period,
bookcase or nest of drawers standing up
one end. Messrs.
A. Tardif
section in plain
wood
&
finely
Cie exhibit a small
and
richly carved.
decorated
The
a marble-top table with exquisite quartered veneering 1
86
corner
room, with a
style of the mantelpiece is
Louis
XV.
in
and
style, or
FRENCH DECORATIVE ART EXHIBITS more probably suggests the Regence which preceded it. The same might be of the gilt furniture upholstered in cut velvet which completes the room.
Coming down on
the left-hand side of the hall, the
M. Victor Boudet, which
first
exhibit
an elaborate copv of
that of
includes an exquisite bureau of marquetry and ormolu,
Here
also
at Fontainebleau,
and
not unlike the one used by Marie Antoinette, but said to be original. is
is
said
Caffieri's
well-known mantelpiece
the great standard ormolu clock at Versailles by the large pedestal clock of inlaid
purple wood,
same
This and a
artist.
covered with very massive chased
ornament of the Louis XVI. period, of which the original is at the Louvre, are exhibition pieces of no mean order. The same may be said of a vast glass-fronted cabinet with gilt ornament which stands at the back of the room. Quieter and more lovable is the little writing table, copied from that of Marie Antoinette, with its surface inlaid with figures representing astrononi}-, and the wonderful mechanical devices of drawers and hinged flaps in which the artists of her court excelled.
Messrs. Jemont, next, period, with a rich carved
a
exhibit
and
room decorated
gilt cornice,
in
same
the style of the
a painted lunette over a doorway, and
moulding of wreathed ba}- leaves. A square-legged mahogany table, and large cabinet and wall-piece also in mahogany, with ormolu mountings to match the room, are the principal features of the furniture. Their neighbours, Messrs. Bracquenie & Cie, are makers of Aubusson delicate architrave
On
tapestry, plentifully displayed in a rose pink suite of striking character.
the
Wagrez and Boucher, in bright and rather copy of the portrait of Rubens is an ingenious
walls are large tapestry panels after florid
A
colouring.
tapestry
example of the length
One needs lady
b\-
to touch
Fragonard
to
which tapestry can be carried
the surface to be sure that
is
scarcely less deceptive.
it is
The
in the imitation of pictures.
A
not painting.
carpet
is
a
copy of a
handsome example
of the firm's work in the same rather gaudy classical style.
Of
the cabinet
work exhibited
there
is
none
to excel,
and
little
to equal, that
two or three exhibition pieces all the fine craftsmanship and ingenuity of which French hands are capable. Using as a basis the two woods which seem most in vogue throughout the French exhibits, satine, which resembles a pale species of disphued by the firm of Linke, which seems
to
mahogany, and the strong grained kingwood as a
have put into
foil
to
untold expense to the reproduction on an exact scale and
wonderful bureau of Louis marquetried
desk
flap,
roll
XV. now
all
modern
this firm
in
at the Louvre, designed
top (the prototype of
secret drawers
it,
all its
nymphs
has devoted
details of the
by Riesener, with
office furniture), its
reclining at the
two
its
double-hinged
and mechanical devices of the subtlest kind
wherewith a lightly-minded monarch might amuse himself chased bronze
its
â&#x20AC;&#x201D;a
for hours.
desk
Finely
sides hold candles for his Majesty;
and
and under all runs a profusion of gilt bronze wreath work and conventional ornament of the most sumptuous kind. It is said that this bureau
over, round,
187
FRANCO-BRITISH represents the quintessence of
may
all
that stands for the style of Louis
be acquired for a paltry ;^i,6oo.
the course of a
on a
finely
mountain torrent from
marquetried frame,
is
EXHIBITION
neighbour, a
Its its
costlier
tall
XV.
â&#x20AC;&#x201D; and
it
cabinet representing-
source to the ocean, carried out in ormolu It
still.
has a wonderful interior of secret
drawers and cupboards, and was the design of M. Messager, one of the firm's
SAVONNERIE CARPET AFTER A FAMOUS EXAMPLE
EXECUTED BY
artists.
a figure dial,
IN J.
THE LOUVRE.
DESKINED BV
E.
POTEAU,
SCHENCK.
One hardly has space to do more than mention the tall clock, of Time in bronze surmounting the great blue enamel globe which
so complex and so elaborate
is
its
construction.
An
apple
tree,
with is
the
golden
throughout, and not merely bearing golden apples like that of the Hesperides, climbs from the base upwards, bearing on of the dawn.
Such
is
regardless of expense.
and
gilt
A
tall
mounted and
cupboard decorated with
cabinet for china
in
branches a Gallic cock, the herald
the
is
lavished,
This clock, some may remember, was exhibited
Paris Exhibition of 1900.
a bow-fronted
its
the sort of fanciful conceit on which French art
same
inlaid
the
music stand of ovoid form,
"coquillage" ornament, and a glass
costly style as the rest, with
upholstered furniture, complete this exhibit. i88
at
some smaller
pieces
FRENCH DECORATIVE ART EXHIBITS Last Paris is
in the
for
a
set
the stand of Messrs. Mercier, one of the larg-est firms in
is
expensive
this
of
row
three
with exquisitely
desig^ned
mahojjfany writing" table.
bronze work,
the
The main
of work.
class
a
pieces,
bookcase with
larf>-e
on
interior
two
A
;
a
secretaire
principle
and a
;
handsomely mounted with chased
gilt
by a large central ornament
characterised
being-
first
panels
miniature temple
the
All of these are
representing a lion's head and skin.
feature of their exhibit
inlaid
suite of stuffed furniture consisting of a
XV.
Aubusson tapestry of the firm's own manufacture, a reproduction of antique work in the Boucher manner representing the Triumph of Amphitrite. In the centre of the hall are two exhibits, one by A. Delmas, the most noted chair maker to the trade in Paris, who exhibits some fine examples of carving and furniture in the Louis XV. style. Along with this is a piano by Pleyel, which is and four
settee
chairs,
in
Louis
late
worth noting for the high
and delicacy of
finish
effective diapered pattern in stained
some choice
other exhibit contains
Poteau, which could not be included
Near the door on
panels,
trays,
the
in
covered
its
in delicate
inlaid case, covered with
sycamore, tulip wood, and mahogany.
an
The
and cabinet-making by Marie Antoinette room.
of furniture
pieces in their
a marvellous exhibit of marquetry designs by M. Chevrel,
is
and the
like
some of which, notably a design of a stag
;
pursued by wolves, and a wild-duck with limits
style, is
of
direction
naturalistic
its
brood, carry the art to
effect
by
means
of
stains
its
extreme
and
skilful
disposition of strongs figured grain. aisle on the right, we come upon a and other plain woods, ceimbining with simple hygienic qualities a touch of new art design. This is the exhibit of
Leaving the central small exhibit of their
L.
hall
"camp"
Rigaut, whose work
Beyond,
in
by the furthest
furniture, in ash
is
especially patronised by the
Touring Club of
Paris.
the aisle proper, are two exhibits backing on to each other of French
That of Messrs. Legrand consists of printed fabrics, velvets, woven designs. The other is that of Messrs. Cornille Fr., makers of cut velvets, brocades, and soierie of every sort The designs exhibited do not aim at any special artistic merit. Close by M. J. Schenk is showing a large and handsome pile carpet, designed by M. Poteau
textile
manufactures.
silks, serges,
on the
etc.,
the effect being that of
lines of the great
Louis XIV. carpet
M. Pruneau, an Aubusson panel, representing
"The
in the
Louvre, woven by the Gobelins.
tapestry weaver, exhibits a moderate-sized religious
Resurrection," and
in
somewhat incongruous proximity
a suite of classical furniture covers concerning which there
is
nothing special
to be said.
The
central aisle contains a further series of
scale than those in the Central
Decorateurs,
many
whom
of
Hall.
There
room is
exhibits on a less grandiose
a small collectivite of Artiste-
figure also in the Delieux collectivite.
M. Bigaux
exhibits here an art iiouveau cabinet and a decidedly insipid design for tapestry called
" Le Lac."
M.
Tarrit exhibits modelled cats;
M. Vernon, bronzes;
189 *4
FRANCO-BRITISH
EXHIBITION
MM.
Vallombreux and Lachenal other forms of pottery. A glass case contains bronzes, needlework, and clever modelled figures of ballet dancers. Two cases in the centre of the room supplement this exhibit with specimens of M. Becker's and M. Jallot's wood-carving, M. Lachenal's pottery, M. Bonvallet's fine hammered and modelled brass vases, and painted relief glass work by M. Dammouse. Here also are specimens of enamel by members of the Salon des Artistes Franjais, little metal and ivory statuettes by M. Levasseur, some pieces of pate de verre by M. Decorchemont, a beautiful necklet of beaten gold leaves by M. Ch. Rigaud, enamelled jewelry by M. Ch. Boutet de Monvel, and a gold pendant with emeralds and pearls by M. Jacquin. M. Bourgeot and M. Emile Decoeur show specimens of grcs JIamme, a kind of stoneware with
M.
Bigfot,
grcs ware
;
touches of colour or stain. In a
and chairs of light oak, carved with " coquillage
Queen Anne
probably, of our
carving
MM.
room panelled with carved woodwork,
filtered
style,
"
Turck show a dining
table
ornament, collateral descendants,
and a large side cupboard with Louis XV.
through some Belgian influence.
MM.
Mansard and Houry show lacquered furniture of the period of Louis XV., together with some clever reproductions of Worcester and similar ware. Next to them is a small Louis XV. salon by the omnipresent M. Bigaux, furnished with a suite of chairs covered in Aubusson tapestry with very pink female figures after Boucher and animals after Aubry. A special feature of the room is a beautiful piece of wrought iron work, with ormolu applique, in the form of a console table surmounted
by
a
is
by
This
mirror.
noteworthy
a copy-
of one of the great
M. G. Vinant.
On
is
ceilings in the
Louvre
reproduced for
a screen near
a
by are some remark-
Devonshire
able
and a panel from the
of
reproductions
work
antique
painted
wood
carving,
work,
Chauvet.
"Singe" salon at Chateau de the
ceilings,
by a clever such
â&#x20AC;&#x201D;
Chantilly,
etc.,
artist
in
M.
L.
house,
original
after
the
designs
Huet.
H. C. M.
Specially
SECRKTAIRE-TOILET TABLE, BV ED. POTEAU. .After the original
by Oeben and Riesener
190
in
the Wallace Collection.
b}-
ORKilNAL DESIGN BV JOHN HKIXHKK, ESg.,
FOR
A.R.A.,
ART
BRITISH DECORATIVE I
FEAR that one's
first
and most obvious
Art would be
of the land are ye come.
Of two broad
Loan
Collection,
ART PAVILION.
EXHIBITS.
reflection after going"
allotted to British Decorative "
TllK nEC'ORATIVE
round the space
" Nay, but to spy out the nakedness
:
aisles
which remain over from the
one and a half are devoted to such
useful,
but on the whole
undecorative, objects as cooking ranges, safes, patent furniture, garden seats, and plate glass, from amidst which there well-finished steel grates
nothing to catch the
is
by the Carron Iron Company.
with a small piece at the end of the centre
aisle,
exhibits of decorative art which have been thought
eye but some
artistic
In the remaining half,
are easily concentrated fit
to be represented.
all
these are by wall paper firms, the only class exhibiting as a body, and of these are compelled
to
add that
in
two cases
at
nature of "latest novelties" rather than
filling
art.
Messrs. Arthur Sanderson
and narrow borders of
on Japanese grass cloth.
artificial
Sons
In the
Some
wreath designs.
floral or
same category may be
of these are printed
classed a
more
costly
paper on a velvety ground, which reproduces in tones of dull blue an
Of new papers
antique lace design. is
&
Georgian and
rooms decorated in the which are fashionable just now -papers with a striped or powdered
styles,
silk flock
we
least the attractions claimed are in the
exhibit papers for treating panelled
Adam
the
Four of
the showiest at least that they are offering
a large pattern of peacocks and chrysanthemums
white ground.
Canvas-like patterns
in
in
bold chintz colours on a
various self colours are a speciality of
this firm.
Messrs.
Knowles
are mainly interested in papers of the panel order, light
ribbon or festoon designs arranged as crown and border on a plain or striped
ground.
Of new papers they show a
and an imitation tapestry, of which
shows a return
to
the worst
large vine pattern with clusters of grapes, I
can honestly say nothing except that
traditions
of the
craft,
a return
which
is
it
fully
encouraged b\ the so-called decorators of to-day. Messrs. John Lines
&
Co. have
made what
is
at least
an interesting innovation
in taking up the study of painted mural decoration, for which purpose they have engaged the services of a clever artist, who has alroad\- done work in this direction
191
EXHIBITION
FRANCO-BRITISH for various restaurants
and public rooms, Mr.
W.
J.
Neatby.
Their well-desig^ned
two large landscape panels, two figure subjects: "My Love is like a red red rose," and " My Love is like a melody," painted in oil on canvas with raised gold ornament, and a lunette over the fireplace in the same style. The colour of these is pleasant, if a little bright, and the faces are pretty, with a soft exhibit contains
Florentine feeling about the costumes and decoration.
on
In their note to the public
Line deplore the wrong done by wall papers to generations
this subject, Messrs.
of Gozzolis and Carpaccios,
who might have
painted glorious frescoes
had not been forced by custom upon their patrons. Gozzoli or a Carpaccio, but he
is
Mr. Neatby
is
a well meaning and a deserving
if
cheapness
not exactly a
with a
artist,
most of the men in his line of business, and, given The wall papers chosen proper conditions, could produce some interesting work. They also have a for exhibition by Messrs. Line are not particularly remarkable. "filling and border" pattern for panels, with the not unknown motive of daisy sprays powdered on a white ground, a paper called " Elizabeth's garden," of dull greens and large red flowers on a blue ground; a large Indian tile pattern in blues, called Delhi; and a fifteenth century cut velvet design in flock, which I consider their most successful effort. The firm of Jeffrey & Co. is one held in special repute amongst paper stainers better sense of decoration than
for their
and
long association with the best
their refusal to join in the
"Macaw
has designed for them since 1876. 18
who
design for this class of work,
blocks
are
To
employed.
design by Mr. Frederick Vigers, which
wool flock ground.
In the recess
gilding, the motif of which
of the recess,
is
is
is
their exhibit,
a fine example of hand block printing, the right of this
is
is
an original
an example of printing
in
damask
silk flock
upon a
an example of colour printing enriched with
a Portuguese embroidery.
The
pilaster, or return
covered with an embossed leather paper which has
The
is
by Mr. Walter Crane, who
this Exhibition
It is
The
infests this country.
and Peach Tree" design, which occupies the centre of
one done specially for the purposes of
which
artists
"wall paper ring" which
shown
all
the quality
same material, but is of higher relief. These are but a few of Messrs. It is from a design by Mr. F. S. Murray. Jeffrey's papers, which include some of the best and most artistic designs that are of a Spanish leather.
at present
On
frieze
is
in the
being produced.
the opposite side to Messrs. Jeffrey
damasks, and stamped mostly of a French or
a glass case exhibit of silk brocades,
by Messrs. Warner
velvet,
Adam
is
style,
&
Sons.
are
without particular distinction, and except
regard to their weaving hardly do credit to this well-known firm.
French weavers also are not showing anything good.
in
Fortunately the
In the centre of Messrs.
a remarkable tapestry specially designed by Mr. Walter Crane to
Warner's case
is
celebrate
Entente Cordiale,
the
The designs
a
"Peaceful Conflict," represented by
tilting-
knights, trumpeters, and angels of peace, on a blue ground varied with a scroll
design in green, amidst which are seen the red roses of England and the 192
lilies
of
DECORATIVE ART EXHIBITS
BRITISH France. of this
and flying doves with olive branches complete the symbolism wonderful conception, which would make a bold if somewhat "voyant" Cocks,
lions,
medium for decoration. The Royal Worcester blue
"
Works
Porcelain
exhibit reproductions of old
Worcester ware and Chamberlain green, together with
rather like pierced
ivory in effect,
and a
perforated
milky-coloured
sort of
"scale
ware
pottery called
" Sabrina."
The
Pilkington Company's exhibit of
pottery and lustre ware
tiles,
the completest and most decorative in the building,
and
is
one of
is
described elsewhere at
length.
A
large exhibit of cut glass by
the extent to which such
under the head of
At the
&
Sons, of Stourbridge, shows
comes
carried in a fine material, but hardly
art.
end of the centre
far
Thomas Webb
work can be aisle,
beyond the Loan Collection of Furniture, are
three or four exhibits that call for mention.
Godfrey, Giles
Messrs.
&
Co., a
showing a little room simply and inexpensively fitted up, with white painted walls and fitments, and touches of coloured ornament on the frieze and panels. This firm makes a speciality of ingenious furniture, amongst which may be noted a settee which comes apart in the middle and forms two firm of decorators, are
corner chairs of comfortable dimensions, a
little
writing bureau
fitted
with book-
shelves below the flap and with a shelf and paper rack behind, and armchairs
embodying various luxurious arrangements, cushion, which
is
including
a revival of an old idea cleverly carried out.
The Bromsgrove Guild
take advantage of a recent hobby to exhibit specimens
The wide range
of lead figures and lead cisterns for the garden.
takings
further
is
"Mollis" form of
the
illustrated
by several
finely
modelled
of their under-
bronzes which
have
figured as decorations on the Lusitania, the Royal Naval College at Dartmouth,
Buckingham Palace, and elsewhere. Also a The Guild has supplied modelled plaster
the gates of
Italian walnut.
well-carved mirror in ceilings to certain of
the buildings in the grounds.
On one
the opposite side Messrs.
fitted
up
of furniture
;
Georgian and the other
in the
important as an effort of
Hampton
style for in
artistic
Adam
showing a pair of small rooms, the reception of a "Chippendale" suite are
style
for a
workmanship
is
suite
in
satinwood.
More
the Elizabethan hall, copied on
a two-thirds scale from the end of the hall at Hatfield, which serves as a receptacle for the old
oak specimens of the Loan Collection.
H.
â&#x20AC;˘93
C.
MARILLIER.
VIEW OF THE BRITISH AND FRENCH APPLIED AND. DECORATIVE ARTS PAVILIONS.
tiENKRAI.
APPLIED ARTS.
BRITISH
HAVE always held strongly that the taste of the man in the street is a slandered thing; and nothing" has borne out my case more clearly and forcibly than the I
astounding advance
Give me, said
years.
I
years ago, eleven
fifteen
wish (and
stake prefer
my my
of the for
I
soul
undertake that that
more-
man
in
him, and
it
shall cost as
It
was
let
me
ordinary
his
own
the appalling
and
I
will
woman
will
of the artistic sense
this earnest conviction
for ever excuses
of late
furnish the twelfth as
man and
the street being superior to that of the
who
in
as the others),
little
the much-abused ordinary
artistic flat.
out
flats tricked
hideousness of the ordinary house-furnisher, and I
home
the general taste displayed in the Elnglish
in
tradesman who caters
vulgarity by setting up
his
own
vulgar standard as the standard of taste of the communit)- (and to a somewhat lesser degree the
me
to take
pandering of the manufacturer
up the pen of
And
criticism.
man had had them because he could get them. the old days the ordinary
To
I
founded
beautiful
it
upon
Reigate, Waring,
vulgarities
this fact
things about him,
their eternal credit, certain merchant-houses, such as
â&#x20AC;&#x201D; that
in
and that he
Hampton,
Gill
and
Mallett of Rath, and Gillow, in furniture, and the houses of
Sanderson, Jeffrey, Knowles, Line and the like the
to the tradesman), that first led
through
evil
days,
until
in
wall decorations, have fought
to-day they can
pride
themselves on
having transformed the English home into a beautiful place. There is nowadays no slightest excuse for a man, even with a scant purse, having an ugly home. The committee seem to have failed to attract the modern craftsmen and their ;
absence
is
remarkable.
The
very small effort
to represent the fine craftsmen of our day,
and
in is
one sad best
little
room cannot be
left severel\-
said
alone.
It was therefore a happy thought that inspired the loan of a collection of famous pieces of old furniture in the Large Hall of the Decorative Arts at
194
— APPLIED ARTS
BRITISH Shepherd's
But
Bush.
Tudor House
orijj-inal
furnished,
up
set
by Messrs.
most satisfactory
perhaps the
for
this
who have
lesson to thousands
the grounds hard by,
and Reigate
Gill
results
in
visited
home
The
that
as
taste.
had not been
it
may
It
built ;
certainly
as
exhibition
for
is
that
must have had
has been an the
to
excellent
of
beauties
a
a thousand pities that Messrs.
and furnished it
won by an
been
and most appropriately
artistic eflFort it
the
during which the show- has been open the charming
— an
firm,
house decorated and furnished with
Hampton's cottage near
has
success
j^reatest
is
earlier in the period
also a remarkable
proof of
be built and furnished at fairly moderate cost.
requests for famous pieces
English furniture were generously-
of old
Here are pedigree-pieces such as the famous Council-table from Blenheim
met.
an Elizabethan oaken draw-table such as Shakespeare saw about him houses of the great. Here is. Lord de L'Isle's oak gaming table. Here
the
in
may
be
seen the historic Jacobean upholstered rose-coloured chair in which
James I. sat for his portrait when being painted by Mytens. Here are two very handsome specimens of the very rare chair known as the William and Mary cabriole that
tall-backed walnut dining-chair
with carved
used
splat
by the very
rich,
having the early form of the cabriole leg with the hoof that was to create the form of the chair of Queen Anne and Georgian years for half a century after-
No
wards.
collection
two examples from the those clocks that discuss
the
of antique furniture would be complete without one or set of the celebrated collector of clocks,
we now
call
Mr. Wetherfield
by the name of "grandfather."
ovolo frieze that topped
the
cabinet in Charles
Here we may
II.'s
day, or
the
hooded top that marked the fashions in the cabinets when 1700 struck its first hour. Here also are many evidences of the great change that the Frenchwoman Louise de Oueroualle brought into the English
home
in
1675
— the marquetry,
the
Here and key-plate, and such like. we see examples of the smooth serpentine stretcher, the Spanish foot, the Spanish back, and other influences that Dutch William brought into England. And so through Oueen Anne's years with their introduction of the smooth cabriole leg flat stretcher,
to
the
lacquer, the brass drop-handle
walnut chairs,
On
throughout the world.
developed the
that
Chippendale mahogany chair famed
room hang the Gobelin tapestries looms, made for the High Admiral
the walls of another
wrought when Audran was director of the of France, Alexandre de Bourbon, uncle to Louis Quatorze, as proved by the initials in their corners, the royal arms of France, and the anchor beneath them. Here, too, are Mr. Cyril Butler's historical set of loop-backed chairs and settee
made is
b\'
Chippendale
and afterwards owned by Marie Antoinette.
Adam
Henry Hoare's painted drawing-room settee, Rarely have we seen -Sheraton also, and Hepplewhite.
represented by the loan of Sir
amongst other so
in 1735,
many
pieces
celebrated pieces as were gathered
together
in
the
Hall of Decorative
Arts at the Franco-British Exhibition of 1908.
HALDANE MACFALL. 195
:r
tl
m
^3
MM. BOICHERONS EXHIBIT OK OBJECTS OF ART.
FRENCH APPLIED ARTS. The French Arts at
Section of the Applied
Shepherd's
Bush
con-
is
spicuous for the technical excellence to be
noted
the construction of
in
the exhibits.
In the
of
the
most
Nor
is
Jeweller)- in
work
Maison
The
establishment
M. Henri Vever's book on French
of jeweller\- the
Boucheron is the interestingand important. there any cause for surprise
in this.
DIAMOND AND PLATINUM LACK BROOCH.
show
the
history of this
may
Nineteenth
be
famous
found
Century.
in
He
depicts for us Frederic Boucheron, the founder of the firm, beginnings
life as a bov apprentice to Jules Chaise, then as an employe at the shop of Tixier-Deschamps at the Palais Royal, the locality in which he set up on his own account somewhat
later.
He began
business on a very small scale
in the arcade, but his skill and him a measure of success which first became manifest in the Exhibition of 1867. Fortune favoured him in man)' wavs, and his premises were repeatedly enlarged, and by the time the Palais Ro)'al had fallen into decay he was in a position to inaugurate the present well-knowii building in the Place Vendome.
energ)' scon brought
196
FRENCH APPLIED ARTS
DIAMOND NECKLACE WITH LARGE PEAR-SHAPED DIAMOND PENDANT.
Atthe Philadelphia Exhibition of
1875, and at the Paris Exhibitions of 1878,
i88g and 1900, the Maison Boucheron carried off the highest awards.
Boucheron, who from
all
accounts was a
contrived to secure the co-operation of in his trade
:
Jules Debut,
man
all
Frederic
of most sympathetic personality, had
the cleverest and
most original workers
Basset, Chalvet, Cronzet, Tissot, Rault,
Menu, Paul
Legrand and the great Peureux whilst among his more recent collaborators have been MM. Alexandre Caron, Edmond Becker, Hirtz and Bugniot and it maybe safely asserted that almost all the methods and processes that have come into use in the jewellery trade in particular, the employment of translucid enamels were first " resorted to by the Maison Boucheron. For thirty-six years," M. Vever tells us, "he was a member of the Jewellers' Trades Committee, and for seventeen years ;
;
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
he acted as
its
Vice-President or President."
personal qualities, his frank and kindly character,
In
this
capacity, also,
won him
rare
his
the sympathies of
all.
Seeking out every opportunity of doing good and of promoting the welfare and union of his fellow-workers, Boucheron strove unceasingly for the promotion of
all
the benevolent projects of the corporation. 197 '5
;
FRANCO-BRITISH
EXHIBITION
4
M
I^^H^^'^^^tv
•^ii^r"
• ® * ^ ^ 2
i% <^'
<Ss €»l
^t%%t ^ m z m ^ ^
^ ^ -
f 1? -. ^ ^ S £ v?>
1?
1 ^
-
A- 0^ ^^
,%
**
\Z
1 1 S 1
^|Si <p|
1
A^ #'
£?^
i3
1?
FINE EMERALD AND DIAMOND STOMACHER WITH PEAR-SHAPED DROPS.
Among
the most elaborate pieces of jewellery, notable at once for perfection
of workmanship and for the richness of the materials employed, by which the
Maison Boucheron is represented in the Exhibition may be mentioned a large "devant de corsage," composed of two cornucopias, issuing from which is a flood of brilliants, the horns beings bound together by an enormous tallow-topped 198
FRENCH APPLIED ARTS emerald of great beauty in
which
five large
;
and another
pear-shaped pearls
depend from a very ingeniously contrived setting of pearls and brilliants.
A
large diadem
composed of seven huge pear-shaped diamonds supported by a volutes of
brilliants presented
good
example
while
a frontlet,
flowers
cut
the
classic
made out
style,
of large
platinum
and
precious stones,
pro-
out
with
sprinkled
of
a
of
duced an astonishing
effect
of
charm
and beauty.
As DIAMOND AND PLATINUM LACE BROOCH, WITH CENTRE BRILLIANT RING.
regards the necklaces exhibited
by the Maison Boucheron, suppleness
seemed
Among
to
be
the
dominating
note.
most remarkable were a closely-fitting one composed entirely of and one made of brilliants and rubies these, and several others,
the
brilliants,
;
attracted the eye equally by their
richness and by their novelty and
ingenuity of design.
Among
other novelties
may
be mentioned a number of brooches
and diadems constructed out of oxydised platinum decorated fanciwith
fully
The
brilliants.
sparkling
the brilliants thus in
black
at
is
and charming
striking
A
in
liants,
set
once
artistic
en-
frontlet, tirely
of
eff"ect
bril-
repre-
senting
a
flight of three s
wall
o
should
be
ws
,
also SILVER-GILT TOILET SET, LOCIS XIV. STYLE,
included
BY MM. BOUCHERON.
the novelties,
and the
as well as one in which mulberry-leaves were represented by brilliants
fruit
by
little
tallow-topped rubies. 199
EXHIBITION
FRANCO-BRITISH
EXHIBIT OF MM. BOIN-TABLRET (Henry frires, successors,
work
In the matter of g-oldsmiths'
A
represented.
mag-nificent Louis
eyes by reason alike of
boldness of execution. style,
its
Rue Pasquier,
the
XIV.
Paris) AT
THE PALACE OF APPLIED ARTS.
Maison Boucheron was not
less well
toilet service in silver-gilt attracted all
richness, the purity of
its
Several large vegetable dishes
were also conspicuous for their
To sum
3,
artistic
and
style of composition, in silver,
wrought
its
in classic
workmanship.
up, the exhibits of the Maison Boucheron
may
be said to have been
notable in almost equal degrees for their originality and good taste combined with
workmanship and the generous use of rich material. They stand is best and most artistic in the field of French jewellery. Another exhibit worthy of special mention is that of Messrs. Vever.
perfect
that
know
alike in
It
is
â&#x20AC;&#x201D;
contemporary taste and very good taste, I hasten to add, for we what extremes the propagators of the "modern style" are carried France and abroad. Messrs. Vever have shown due restraint, and have
indicative of all
for all
to
contrived to
make
their
jewel-work modern without excess, without extravagance,
without incoherence, and without absurdity.
An immense French
the
reason,
are
French
taste.
more
to
success has been obtained at the Palace of Applied Arts by
goldsmiths" lost
note
in
work
admiration
section, in
face
and
the
of
such
British
a
public,
brilliant
not
without
manifestation
of
Connoisseurs and professional people too are able here once the wealth of invention possessed by our artists, artisans,
and chasers, as well as the ease with which they as it were weld together again the chain of broken traditions and recreate a style and handiwork of former times in the work of the present day. designers,
modellers,
The
exhibition of Messrs. Boin-Taburet is from this point of view one most attractive in the whole display. It is because the items here shown have an incomparable grace and splendour, and are in very truth the
of the
200
1
FRENCH APPLIED ARTS
TABLE CENTRE, STYLE RteENCE, SILVER GILT, MOSS GREEN MARBLE. Presented by the Greek Colony
perfect
once
expression
and
attractive
executed with
of
a care
in
Paris to Prince
that
all
George
of
Greece on
his
marriage to Princess Marie Bonaparte.
French genius can conceive, that
the
Needless
svmiptuous.
to
add
these
that
is
it
articles
and conscientiousness without which such works of
at
are art
were well-nigh impossible. Here, style,
when
by a
freer
example,
for
a large
is
table-centre,
in
three
pieces,
XIV. were flourishing, The mouldings, garlands,
the architectural forms of Louis
and more voluptuous ornamentation.
fine balustrades,
as the central
and the groups of cupids that crown the end
piece,
in
silver-gilt,
show up
pair of large Louis
garlands, horns
of plenty,
XVI.
with
its
as well
is
composed.
decorative vases, after Duplessis, Avith laurel
and rams' heads, are of the same quality.
are rich without being too elaborate,
What
pieces,
the
perfection the fine tones of the
to
mossy-green marble of which the major portion of the work
A
Regence emphasised
of
powerful
in
They
their simple grace.
a contrast do the above present with this Louis
XIV. soup
tureen
and daring masks of men's heads placed on a
flamboyant shields,
broad plateau with sumptuous
ornamental border
â&#x20AC;&#x201D;a
pous and commanding in
pomstyle
which natural shapes play
only a
subsidiary
effaced
role.
In
and the
half-
gold-
work vase, on the other hand, which is taken from the original of the Germains, and belongs TABLE SIDE ORNAMENT, REGENCE.
leaves of celery are
to
the
Royal family,
shown
in
Portuguese TABLE SIDE ORNAMENT, REGENCE.
branches and
combination, and developed with so harmonious
forms a piece of decorative work
a sense of the character of the plant that
it
of broad and
may
supple character which one 20
say
is
entirely
modern.
The
â&#x20AC;&#x201D; EXHIBITION
FRANCO-BRITISH
mounted by the house of Boin-Taburet, is admirable than the above. On the steps and around the columns of
table centre in old Capo-di-Monte,
not less the
temple, surrounding the deity that resides therein, there riots a perfect
little
floral
luxuriance
flowers
;
ornaments
delicate
twist
round,
developed
are
â&#x20AC;&#x201D; the
bend or spread out,
leaves
light
whole forming
a
delightful
and
piece
of
mannerism, the graceful mannerism of the eighteenth century which has made so
many
exquisite things of this kind.
MM.
Christofle et Cie., Cardeilhac,
goldsmiths, and
we may
feel
workmanship none of the
The
and Rissler
et
Carre are also accomplished
quite sure that from the point of view of technical
objects bearing their
names
are open to criticism.
French founders are represented by the Maisons Barbedienne, Fumiere and Susse their wares are perfect in their way, but lack variety great
:
they seem to have undergone no change for years
and years.
New
models
are few and far between, and such as there are do not point to very careful or
judicious methods of selection.
Of in
the clocks and watches, imitation jewellery, and minor goldsmiths'
general,
there
is
supreme, especially
The only thing
little
in
or nothing to be said.
is,
that
seems necessary to record
it
of articles de
Itixe.
taking place again, both
work, and work
in
in
bronze.
of every day use, while tasteful
field
fashion reigns
regard to the imitation jewellery and goldsmiths' work.
of our craftsmen over the English in this that
In this
work
What
field
took
the undeniable superiority
is
of industry, in the manufacture,
place
in
the eighteenth
century
regard to furniture, cabinet-making and goldsmiths'
The English
we take
the
first
excel in the manufacture of objects
place in the matter
work.
of delicate and
GABRIEL MOUREY.
TABLE CENTRE
IN
is
OLD CAPO-DI-MONTE PATE TENDRE, SILVER BOIN-TABURET.
202
GILT, BY
DECORATKI) INTERIOR AND FURNITURE EXHIBITED BV MORRIS
&
COMPANY.
MORRIS & COMPANY. HE
Exhibit
Morris
of
forms
Building,
part
& of
furniture and decoration.
wide by 16 great
before
high,
the
everything
principal object in the
the It
room
the
Decorative
Collection
consists of an open
of
Arts
British
room 25
ft.
deep, decorated in a simple manner, but with
work of a
else is
in
Loan
attention to the general colour
feature in
who was
ft.
Compaii)-,
the
efifect,
always a leading
firm founded by William
master of colour
and
Morris,
harmony.
The
an Arras Tapestry, 12 ft. 6 in. wide by 8 ft. 6 in. " Primavera " picture by Botticelli. The
representing the well-known
weaving of Arras Tapestry is one of the arts which William Morris revived. Formerly the noblest of all the arts, and certainly one of the oldest, it rose to its zenith in France, Belgium, and the Netherlands during the fifteenth and sixteenth centuries, when the finest tapestries in the world were made. It was introduced into England by Charles I., and throve for a time at Mortlake, but became extinct again during the reign of James II. Under the taste and guidance of Morris and Burne-Jones, it has recovered much of its lost brilliance, if
and the tapestries woven since
anything, to
be desired,
even
in
1880 at
Merton Abbey leave
little,
comparison with the best productions of 203
EXHIBITION
FRANCO-BRITISH Flanders. art, for at
work
They
is
in
fact,
virtually
the
only living representatives of the
the Gobelins and elsewhere, where the high-warp
itself is
tapestry
are,
but a
lifeless
imitation
of the
older style.
loom survives, the This "Botticelli"
Merton Abbey workers have copied
the only instance in which the
INLAID CABINET OF ITALIAN WALNt'T IN THK ^JUEEN ANNE STYLE. DESIGNED BY M. E. M.\CARTNEY, ESg. MADE BY MORRIS & COMPANY. ;
a
picture,
all
the
specially designed
and other
On
other
examples of
their
work being done from
cartoon,
by Sir Edward Burne-Jones, Mr. Walter Crane, Mr. Morris,
artists.
much admired for the beauty and richness of its colour, is shown a hand-made "Hammersmith" carpet, woven somewhat in the same way and on a somewhat similar loom as the tapestry. The rapid degeneration of Persian the floor, and
and Turkish carpet weaving under Western influence turned Morris to the subject many years ago, and after long experiments in dyeing and weaving, he succeeded in producing heavy pile carpets which preserved all the beauty, without copying the spirit,
of the
Oriental
work.
These magnificent specimens of English 204
MORRIS & COMPANY
now
in
the world
durability
of colour
rivals
for
no
have
craftsmanship
and texture, and although they
are
instance,
first
in
the
they
will
costly
remain as heirlooms for
many generations
to
come, possibly when the factory
which
them
forgotten.
is
The
hung
walls are
one
with
produced
of
best
the
known, and one of the oldest, of Morris's designs
paper,
wall
for
"Fruit" (commonly called " The Pomegranthe
on
ate"),
a
ground. Mackail,
refers
a
Professor in
his
William
of
to
blue
dull
this
culmination,
" Life
Morris," design as SECRETAIRE CABINET OF ITALIAN WALNUT INLAID WITH VARIOUS WOODS. DESIGNED BY W. A. S. BENSON, ESQ. MADE BY MORRIS & COMPANY.
beyond
;
which the
art of decorat-
A
ing a surface by this method could not go.
triumphant proof of the success
attained by Morris as a designer of wall papers and other forms of wall hangings
may be found in the fact that his designs never seem to grow stale or To this day the most widely popular of all his papers is the one which first,
out of date.
he produced
about 40 years ago, and which, together with certain early chintzes, has
been finding favour year after year as tastes" existed. exhibited
It
is
of interest
was completely
lost for
no such things as competition or "season's
if
know that the particular colouring here many years, and was lately recovered in all to
Eton College, where it had stood exposed to light for over 35 years. The white embossed frieze of Acanthus design, above the wall paper, is one of a series which Messrs. Morris & Company have introduced. its
virgin freshness from a wall at
The cabinet-work and
upholstered
furniture,
which form the more solid
portion of the Morris exhibit, are worthy of special mention as being, at in the decorative section, the
All
the
antique.
other furniture
in
Messrs. Morris
events
only specimens shown of living British creative
art.
antique, or frankly copied from
the
the section
&
all
is
Company have
been fortunate
in
having
at
their
205 26
EXHIBITION
FRANCO-BRITISH
two or three architects who were real A masters of style, notably Mr. Philip Webb and his pupil, Mr. George Jack. with ornate china cabinet satinwood inlay shows characteristic the large mahogany Opposite to it is a severer but not less fine example touch introduced by them. service from earliest times
MAHOGANY
the designs of
COMMODE, WITH BRASS MOl NTIXGS, AND RICH SLABS Ol' VKRDK ANTigi desu;ned by w. a. s. Benson, Esg. made by morris & cc'Mpany.
INI.AII)
K.
;
of style designed by Mr. of an " is in
Exemplar"
Italian
Mervyn Macartney,
a well-known purist and the author
of architectural details which
is in
great request.
walnut of picked grain, very richly used, and
based upon the Queen
Anne
period.
The mountings
original and striking effect third,
is
general form
a square-shaped escritoire,
The remaining
settee,
room
three
A. S. Benson, in two of which an
ornament on rich inlay and workmanship in these cabinets The standard of depends
for
its
as perfect as anything turned out by Sheraton or Chippendale.
furniture in the
is
obtained by means of metal enrichments, whilst the
quarter veneering of burr walnut. is
W.
its
are of solid silver, taken
from an ancient casket of Dutch East Indian workmanship. wall-pieces are examples of design by Mr.
in
This cabinet
The
other
consists of a solid round carved rosewood table, a carved
an example of the well-known Morris "adjustable-back" chair, which has 2oG
jo;
FRANCO-BRITISH given
name
its
to a
whole class of armchairs
EXHIBITION. in
America, and two
little
rush-seated
D. G. Rossetti, who, with Morris, Sussex Burne-Jones, and Ford Madox-Brown, was one of the first founders of the firm. chairs called
after
INLAID
in.
sponsor,
MAHOGANY CHINA CABINET, BY MORRIS & COMPANY.
and green, after a fashion hat the Oxford group The exhibit is completed by portieres of a well-known embossed
These are painted delighted
their
in
red
I
and by front curtains of one of the hand-woven tapestries made at Merton Abbey, the colours being two shades of indigo blue, and the design one taken from a beautiful specimen of early sixteenth century work preserved in South Kensington Museum. velvet of rich Italian design that William Morris discovered,
208
PliRSl'ECTlVE
VIEW OF
AND POTTERY
I'lLKINCJTON S TILE
CO. S EXHIBIT.
PILKINGTON'S TILES & POTTERY. HE
Stand of the
and
Pilkint^ton Tile
Company,
Pottery
of Clifton Junction, near Manchester, has been designed by
Wood
Messrs. Edgar
to
made by range
J.
who have planned
architects,
display
and
the
of
The
for
two Manchester
such a manner as to
the
exterior
designed
tiles
Sellars, in
it
advantage
best
the firm.
H.
is
treated with a special
outside
use
many
hitherto
executed
carried
have
out
been
clay, the results, even have not been generally satisfactory.
deteriorated
large towns.
under
the
Messrs.
on
based
from
in
influence
Many
of
years, but as
the
the
outlines
weather
or
Pilkington have during the
one that
is
most of the schemes of stone
architectural
of the
buildings.
in
This application of glazed ceramic material has been before English architects for
products
of
variety
construction
point
of
view,
older materials also rapidly the last
atmosphere few years put
of
our
on
the
209 27
EXHIBITION
FRANCO-BRITISH
VIKVV
market what they
call
OF INTKRIOU OF
FXIlIUir.
Parian faience, which they guarantee to stand exposure to
the weather in our country, and which
is
by the sulphuric acid vapours
air,
in
the
so highly vitrified as to be unattackable
and impermeable
to soot or dust.
The
problem confronting^ the architects was
to
how a brick or ferro-concrete structure made in this material, and yet rid as
could be coated with fired slabs of pottery
tectural
details
lodgment
produce an
far as possible of moulding-s or other archi-
proper to stone which offer
to dust
and
dirt.
The
artistic elevation representing-
difficulties
exterior in question
manufacture or afford
in is
treated with a chevron
pattern in white and sage green, while bands of blue and white and black unglazed
pottery are used for
The most
relief.
striking feature of the interior
the central part of the stand, which tiles relieved
by narrow bands of
is
silver lustre.
on either side are decorated with painted inspired by the beautiful
enough
in detail,
turquoise,
work of
tile
but the colour schemes,
fifteenth
a flattened B)zantine
tiles
The
and sixteenth
dome over
walls of the compartments
designed by Lew-is F. Day, and
decoration of Persia.
and Rhodian red are similar the
is
incrusted with a mosaic of turquoise blue
The
patterns are
of rich cobalt blue, to
those employed in the best Oriental
centuries. 2IO
English
sage green, bright
The
fireplace,
constructed
in
PILKINGTON'S TILES AND
POTTERY
VIKW OK FRONT AND INTERIOR.
Specially selected marbles inlaid with lustre
Wood,
as
was
the
tiles,
was
also designed by Mr.
black and white ceramic mosaic floor.
In addition to the
richly painted or lustre tiles, the lower part of the interior walls
dado of
cool
mottled green
tiles
without pattern.
Edgar
is
lined with a
â&#x20AC;&#x201D; EXHIBITION
FRANCO-BRITISH
Messrs.
well-known
makers of two of pottery, which are
Pilkini^i'ton are
kinds
exhibited
plentifully
showcases at
the
in
the front and back of their stand.
Lancastrian
pottery
simply-desig^ned greens,
^â&#x20AC;˘ood
including
a
pieces
blues,
reds,
new
and
or
very
bold,
colour
plain
in
Their
of
consists
yellows, interesting
varied by some very handsome mottled and opalescent effects,
orange-vermilion,
and a
rich
known
bronze-dust
as "fiery crystalline."
and most notable production
the DESIGNED BV
L. F.
DAV.
PAINTKD BV W.
S.
glaze
of
which
Their
a
highh- perfected
MVCOCK.
" Lancastrian Lustre," upon which Mr. William the
far
William years.
artistic
by
director,
most learned potter in England since De Morgan, has been engaged for some The importance of this lustre-ware, which
has varied and added to the gorgeous effects of
Hispano-Moresque and Italian work in the same field, was revealed to the world in a paper read before the Society of Arts last year by Mr. Burton,
and
from
illustrated with every kind of lustre-ware
earliest to the latest times. If
we compare
ton's cases with
commonly
the exhibits in Messrs. Pilking-
any of the old English
lustres,
so called (with those, for instance, from
the collection of
Mr. William Ward,
Collection close by),
we
in
the
Loan
shall see at once that thej'
are of a wholly different character.
In the latter a
heavy smooth metallic deposit has been got, which
makes
the
earthenware utensils on which
employed
glisten, as they
copper or
silver ware.
is,
it
were intended to do,
is
like
Metallic quality of surface
however, only one feature of real lustres, and
neither the most important nor the most beautiful
work of old Persian or Italian or Spanish potters, we shall find that the decoration, however strong and
one.
If
metallic
we examine specimens
it
may
of the lustre
I'LORAL DESK;X BY
be in certain lights,
is
softened and
latest
achievement has been
ware called Burton, their technical and
is
PAINTKD BY
T. F.
DAY. EVANS.
L. K.
PILKINGTON'S TILES
AND POTTERY
beautified by a wonderful
copper are those common-
play of iridescent colours,
ly used,
similar to those of a soap-
to a vase or
bubble
form
a
or
the
pearl
of
inside
These
shell.
presence
by the
very
thin
much
thin-
of
metallic films,
ner than those
in
of
their
mixed with
metallic
lustre-
the
thin
method
as
use of easily oxydisable
sounds,
in
metals
one of the most
o-l
.
,
or platmum.
bilver
i^old ' 1
and
potter has to encounter.
and
Italian
forgotten.
\'A*"'
nESIGXKl)
That
is
AND
I'AINTKI) 1!Y R. JUVCE.
and
this
practice
uncertain
it
is
difficult
the
that
probably why, after the great days of Spanish
masterpieces, the art dropped out and became absolutely extinct and It
was
By draw-
lotter)-.
re-discovered about 1
in
required.
film
Simple
of
and
state
spread over the surface
ware, and are due to the
instead
their
gases, the metals regain
the old
coarse
Eng^lish
one
of
the
in
some oily or resinous medium, and fired in the presence of reducing
scientific-
caused
are
ally,
bowl
compounds,
"interference" colours, as
they are called
and when applied
ing out
860.
pieces
trial
from time to time
Mr. has added
and
Burton much to
them, the course of
the range of effects
obtained
events furnace
the
b\-
examining
and
inside
the
can
be
by his more imme-
roughly watched and timed but
diate
predecessors,
almost every batch
greatest
might be reckoned
older
but
potters
the
advance of
the
in
which
to
made has
has
he
been
all
;
relation
firing
the
production
of
a
kiln
full
has been
rather
a
In this re-
piece.
of
spect
of
of
lustre-painted vases
ap-
occasional
superb and perfect
lustreware. Hitherto
b}-
pearance of
furnaces suitable for the
its failures,
redeemed
only
to
and the
construction
have
'
liON
AfCORD
DESIONEn BY WALTER CRANE. PAINTED BY R. JOYCE.
VASE.
a scientific
chances
lustre-firing
might be said
to
resemble
of
a
Mr. Burton, however, by the introduction of more
the
pearl
those
fishery.
methods, has been
able to eliminate the element of chance from his furnaces almost entirely, 213
and
.
FRANCO-BRITISH is
now
able
EXHIBITION
to produce batch after batch of practically uniform perfection even
without the use of
pieces at
trial
all.
Mr. Burton, since he
has collected a school of artists under him
industry,
bring- to their
work the
artistic
who
started this
first
are endeavouring to
value called for by such perfection of technical
as he has obtained.
skill
The
chief of these
undoubtedly Mr. Gordon M. Forsyth, formerly a pupil
is
Gerald Moira at South Kensington,
of Mr.
who
excels in
designs,
heraldic
combined
attention
figure
or five larg"e pieces
with work and
bands of
four
to
decorated
by Mr.
Others worthy of
Forsyth,
which,
individual mention
in
lettering.
Mr.
are
Joyce, specialty
Richard
colour and execu-
whose
tion,
the
is
Mycock, tional si
gn
s
finest is a tall vase
of rich cobalt blue,
-
flawless in surface,
conven-
C
;
and painted with
de-
floral .
E
Miss
Ride of the Val-
G.
k
}'
r
e s
i
The
.
adaptation of the
design to the form
Jones.
Mr.
in
silver lustre of the
Rogers, and Miss J.
design
bold
a
Cundall, Miss D.
Dacre,
The
of the firm.
of birds,
animals, a n d fishes; W. S.
among
are
masterpieces
the
painting of lustre
designs
of
perfection
Walter
of
the
vase,
the
Crane has designed
master!}- drawing-,
some characteristic
and
pieces for the firm,
transparency of
which are also among their best. Of the speci-
the
mens imder
must
glass,
lustre,
can
absolutely
one
out
this piece a
museum
make
rig-ht,
than a private collection.
remarkScarcely
another large blue vase painted with a scene of Orpheus and the beasts,
next to which
is
which
guarantee to come PLATE AND BOWL DESIGNED AND PAINTED BY GORDON M. FORSYTH.
special
is
across the back.
and
lustre,
never
able specimen worthier of a national less fine is
peculiar
experience
exhibited call
the
a very dark green one decorated with an early ship and a motto
The
effect of the lustre
against this sombre ground
is
very
fine,
repeated in another large specimen divided into panels by vertical ribs of
and decorated with
floral scrolls.
PILKINGTONS- TILES AND POTTERY
LANCASTRIAN POTTERY.
VASE DESIGNED AND PAINTED BY W. S. MVCOCK.
LANCASTRIAN POTTERY.
HOWL DESIGNED HY WALTER CRANE. PAINTED BY
R.
VASE DESIGNED AND PAINTED BY R.
JOYCE.
VASE DESIGNED AND PAINTED BY W. S. MYCOCK.
JOYCE.
215
EXHIBITION
FRANCO-BRITISH The
largfest
trying" colour
vase in the collection
perhaps
in
is
one of a splendid scarlet
a decorative scheme, which
an ^schylean scene of the three Eumenides,
rounded curves of the ground.
to the
in
is
mag^nificently painted with
g"olden lustre perfectly adapted
This competes
mastery with a no
for
less
of pale blue body decorated with a raised and
imposing specimen, 24 inches
hig"h,
modelled representation of
Georg^e and the Drag^on.
St.
red, rather a
By
a happy accident of
the firing the golden lustre on the armour of the Saint, and incidentally his'face as
glow
well,
like
burnished
whilst
brass,
the
Dragon's wings
reflect
a myriad
iridescent rays.
Other pieces calling
for special
mention out of the wide assortment of well-
designed and well-painted vases, bowls, bottles, and lidded boxes of every a
Chinese oval vase with cap,
tall
in
(a
are
golden lustre on a yellow ground, representing
boys stealing grapes, the vines running round the body
Greek vase of mottled grey-blue
size,
two broad bands; a squat colour much fancied by Mr. Biu'ton and never in
previously obtained) covered with Signs of the Zodiac arranged in a silver scroll-
work
;
another St. George and the Dragon
ground
;
one of
silver ships
and
trees
in
in
strong red on a grey-blue mottled
a conventional band form upon a light
two pieces in gold lustre upon yellow bearing the easily recognised designs of Mr. Walter Crane. The Pilkington Tile and Pottery Company was founded in 1892, and has progressed into the front rank of potteries since. Under the influence of Mr. cobalt
Burton,
body,
who
trades, their
and
is
an expert authority upon health-saving devices
in the
dangerous
workshops have an enviable reputation as being amongst the most
perfectly constructed in the world,
and of safeguarding the
lives
both from the point of view of manufacture
and health of the workers.
H. C.
CUP DESIGNED AND I'AINTED HY CORDON
216
M.
FORSYTH.
MARILLIER.
FASHION EXHIBITS. NE
of the most popular sections of the Exhibi-
tion
is
model gowns on
that in which
The union
figures are exhibited.
important been
dressmakers
full size
of the most
Paris has always
in
a very great attraction wherever they
have exhibited, as at the Paris Exhibition in 1900, and since then at Liege and Milan. Even greater was the effect produced at the Franco-British Exhibition by the half-hundred beautiful
gowns shown by
these firms, which
to represent the highest skill in the
may
be assumed
world of chiffons.
In their salons they were lit up morning, afternoon, and evening alike by electricity, and the crowds that waited round the door for the moment of lighting were sufficient
proof of the enormous attraction of this exhibit.
The
^^^^^
^B^||^^
^
gown, from
^P
-j^
models full
every variety of
included
evening dress to shooting
costumes. In addition to a pretty pink satin
gown by Beer there was a lace dress that won many suffrages, and also an embroidered tulle gown evening
f
^
^
"~--*r^
i<K^
h
mM jH^^k m^
«•
l^^^^B
dtj^
^
Very charm-
over a yellow underdress.
'"^ were those by other firms instance, a very
embroidered nf 01
side blue
blue,
•
skirt SKiri,
muslin
on annthpr anOinei
flowers
anU ^inrl
•
a
silk
i summer-mght^ tone 1
for
one AiNE-MoNTAiLLi.-Gractful Gown in old-blue trimmed with a handsome embroidery in reh'el" in the same colour as the cloth, r
silk SIIK
satin soie.
or
a dreamy and delightful colour
;
also a poetic
gown,
blue veiled with transparent grey and embroidered
pastel in
in silver
thp inC
m
!•
muslm
handsome
;
tones of sepia, brown and softest mauve.
In the
same
salon was a very attractive black dress embroidered in shaded
and made with one of the pointed trains that have come up again this season. For some reason the cloudy blue,
blues and soft greys showed up better in the electric light
than more pronounced colours, such as salmon, old rose,
A gown Bker.— Pink
>atln
embroidered
EveninK Urcss in silver.
gown violet
etc.
was always singled out for praise. So were a pale blue crepe-dc-chine and a magnificent Court
velvet, together with
in
grey
filet
in flesh-coloured silk,
a
another lovely Court
charming white dress and blue
gown
in
A
velvet sash.
29
EXHIBITION
FRANCO-BRITISH
by Reverdot was always
straw-coloured evening dress
admired, also a gold-coloured satin over a white
To
we have
illustrate this article
twenty-four exhibitors
in
&
skirt.
selected
the collectivite those
from the
gowns we
These are signed Aine-Montaille,
considered most tasteful.
Reverdot, Perdoux
much
Ney
Cie.,
Soeurs, Detrois, Dceuillet,
Caroline, Beer, and Paul Poiret.
would not be surprising
It
from
now
Exhibition,
that the Press has spread
The beauty and
made
any
in
England
such
postures been seen
show
to
all
in
variety
of
figures
dresses,
beautiful
lingerie,
again,
far
and
made
These are calculated to the best advantage the rich
of wax.
and
a in
fame
wax figures alone who saw them. Never
held
exhibition
had
its
novelty of the
among
a great sensation
before
applications were received
parts of the world for this admirable Collectivite
all
wide.
if
corsets,
the
furs,
coats,
Then,
displayed.
idea of disposing
these
figures in groups in salons furnished ,,
â&#x20AC;&#x17E;
.
like
.
embroidered with
The
exhibition.
rooms, had
pheuomcnal
silver,
share
its
succcss
in the
thc
of
natural poses, the cleverly constructed
shapes so different from those usually associated with
wax-work, and the
combined
lighting,
skilful
to form
^
a very fascinating ensemble.
What make on
among
an immense sensation the
who have such excellent money to indulge
the American ladies,
Then
in the
would
tour through the United States, for instance,
taste in dress it.
collectivite
and usually
there
is
sufficient
Australia,
the
"coming country"
and furthermore South wakening wishes for all the luxury and
matter of millionaires
Africa, with its
;
refinement of wealth and highest civilisation.
would be a
list
of triumphant successes
Here
initially
due
to the Franco-British Exhibition.
In addition exhibits, all of
to the collectivite
them
were
many
private H. Dktkois. â&#x20AC;&#x201D; Evening Dress in pciuTockblue meteor with moonlight emhroidcry.
interesting.
Purely sensational were some of the exaggerated Directoire
and
Incroyable gowns, with
their skin-tight sleeves
their
eel-tight
and long, narrow pointed :iS
trains.
clinging to
the figure,
For the crowd these
.
FASHION EXHIBITS had a
dc
sticrcs
figures
and so
Yet there was
n'rc,
tig'htly
g-reat
were the ^owns.
these
in
some of
specimen was a yellow and
terrible
horizontal stripes, suggestive
in
of the
silhouette
Eg'vptian blue and a Nile ^reen very
But a
subtly combined.
over
strained
the
beauty of material and colour
these, for instance a dull
black g'own
curious was
so
of a
and
wasp,
outre in form as well as colour.
On were
in
the other hand, the majority of the dresses excellent
embroidered
taste,
tulle,
might be expected, one
as
another
crepe-de-chine
red
in
^
shown in
with %
f
palest gold stitchery.
With English
every desire to find good firms,
one has
colour and
memory in
and
satin,
grey
pelisse
draping.
One's
the
lovely
Beer,
veiled
to
by
a
chiffon,
graceful
caught together
handsomely
in
grey
of
poppies
exquisite silk
in
reverts
yellow
^#^
^
acknowledge the superior beauty of French exhibits, both to
in
'
the exhibits of
in
Egyptian
to
in
blue,
similar
with tints
very deftly over '
a
most
diaphanous
two
in
design
a
in
or
gown
muslin
scarf in
embroidered
pearls ;
in front
tones a
of
long!
arranged
one shoulder
and falhng low on the skirt ends embroidered in peacock
D<EtlLi.ET.-PrcttyBall Dress in cherry-coloureJ mlle embroidered with silver and draped a la Grecque.
in tints, the real
plumage introduced with greatest
eyes of the
the embroidered
skill in
fringe.
Taking was not
into consideration
difficult to
all
these lovely things
it
account for the popularity of this part
of the Exhibition.
Nev
Then there were the furs, among which Grunwaldt's show was supreme, the contents eliciting cries of admiraJ ^.-^^^fc^^^fc tion from the mass of gazers who filed past. There was also Jungmann's attractive exhibit, and Revillon's, straw-coloiired StEi'RS.—DecoIlctee Toilette O «^.*^ ^1--^ Ul. .^,. Ml A\^^^^^^ ^C C « KeviHous dioraoia ot turs rcuiarkably stc. was bead embroidered the same colour. interesting, showing the whole of the processes connected with peltry. First there were the trappers at work in the snows of Then the Hudson, the little furrv animals still in possession ol their skins. in
tulle,
in
^-.,,
-...-.
'--
,,
.
-^
->
EXHIBITION
FRANCO-BRITISH came
the
cleaning-
This
furs,
Among"
the
wearingf
ladies
beyond
spectators
the
shown by
lovely furs
end of
opera house beyond them.
illuminated
fascinated
exhibit
the
at the other
was an opera box occupied by
the diorama beautiful
and preparing, and
measure.
the collectivite
it
would
which were most admired, the long coats of Russian sable and sealskin, an equally long mantle of emerald satin with a dark sable collar, an entire g"own in be
difficult
to say
royal ermine opening" over a front of gracefully draped lace
;
a long" chinchilla coat arranged in stripes of dark and pale, or a coat and skirt completely
Nor find
made
of broadtail.
did the French perfumery
admirers.
In
fact
it
in
fail
was with
any way
to
one
difficulty that
found room for a good look at some of the cases, especially that of L. T. Piver, so admirably disposed
and lighted, and so very conveniently placed in full view of those who passed outside the salon, and who enjoyed the delicious perfumes emanating from such exhibits as Trefle Incarnat, the Coryopsis of Japan, etc.
The beauty
was
boxes
of the
another cause of admiration, to say nothing of their exquisitely
jerfumed contents, whether soap,
powder or other preparation le
The
toilette.
bottles
which
in
for
cut-glass &
Perdoux CiE.â&#x20AC;&#x201D; Toilette in red cloth trimmed with raised embroidery, same shade : bodice filled in with points of thedoiible smoke-grre\' embroidered muslin
various
the
;
lelicious littered
Much
perfumes were enclosed like
diamonds
in
the
skirt
rays
end
in lar^je t.^ssels.
of the electric light.
was due to the tasteful and skilful arrangement of this much-admired exhibit. French gloves are too well appreciated in England to admit of anyone passing with indifference the cases in ih\ch they were shown, and the same holds true of the specimens of fine and beautifully shaped underwear for of the excellent effect
which Paris of
,
Poikkt.- Outdoor Gown in striped red and uhiteiinon With dark blue scar..
Pai'I.
The much
is
so justly famous.
corsets, for a similar reason, received the flattery
attention,
especially those of
Leoty, with the
accompanying profusion of luxurious underwear. The figures in this exhibit were so lifelike and so pleasing o l
^^
^^^
^^^^
^^
The former were very and finished in a manner that
^j^^
attractioii
of the
corsets
aiicl
the
g'arments shown.
beautifully shaped, as mio*ht have been
expected,
mio*ht be a lesson to
some of
the other
Fashion
exhibits
Amidst the profusion of tempting' articles were blouses, lace-trimmed petticoats, calecons, cache-corsets, and a very graceful dressing" gown shown on one of the figures. And what can one say of the beauty of the corsetieres in the world.
I..
lace exhibited ? it
T.
PUER
S
PKRFIMERY EXHIBIT.
This exquisite material
â&#x20AC;&#x201D;
always appeals to feminine humanity.
if
a word so hardy
may
The specimens shown
were of great beauty and were not confined to lace of French including lovely examples of Alencon, Malines, Chantilly, >vhich
these were displayed added to their effect, and
was,
etc.
be applied to
in
the Pavilion
make, thougfh
The
indeed,
taste with
conspicuous
EXHIBITION
FRANCO-BRITISH
Embroidery, a kindred
throug^hout the whole of the section.
maintained the
lace-making-,
to
art
and was immensely admired
exhibits,
hij^h
of
level
for the
other
beauty of the
designs and the fineness of the stitchery; also for the admirable adaptation of the various patterns to articles of dress.
Those who had not the good fortune Exhibition can scarcely imagine of plan
completeness,
its
Dress
breadth
its
nor can they conceive of the tremendous attraction
;
constituted for
the enormous crowds who
must not forget
I
to see this
mention
to
it
visited the Exhibition.
the dioramas of flowers
and feathers exhibited by the Collectivite of the Industries of Most ingeniously and the Artificial Flowers of Paris. arranged was the beautiful scene
effectively
with
Chamber
Hats
Manufacturers of
of
in
Tokyo,
The Syndicate
profusion of chrysanthemums.
its
had
Ladies
for
another picturesque exhibit of flowers showing the celebrated garden of Marie Antoinette at the Petit Trianon at
supplied by exhibit
the
Then
Versailles.
the
Principal
showed a scene
sacred
the
bird,
was whose Upper Egypt with ruins and a
again,
in
further
attraction
Importers of Birds,
rose
ibis
;
also
a scene
the
in
mountains with birds of prey.
The
cleverness with which these pictorial scenes were
arranged was well appreciated by enthusiastic spectators.
French
art,
acknowledged opportunities
taste
and of
and
ingenuity
admired
observing
in
their
have
always
been
and
these
England, results
RevkrPOT.â&#x20AC;&#x201D; A
red cloth Toilette with hiack sash, the ends falling: at the side.
have enhanced the
superiority of our neighbours.
jyjj.^
m:^ THK CASC.\DE AND EI.ECTRR' LAIXCH. Z22
already
brilliant
HUMPHRY.
p.
M.
GRUNWALDT RHCEIVING
H.M.
THE KING AND PRICSIDENT
BEAUTY AND OME
people say
the
handsome woman never
diaphanous draperies,
But
batistes.
estimate
FURS.
There are those who prefer her its
beauty
of
deg"rees
poet
the ?
AT HIS STAND.
looks so
Others think she looks her best
a riding- habit.
as in dress.
with
a
that
FALLIl'.RES
and
â&#x20AC;&#x201D; find
its
the
in the lig^ht g^arb
in
evenings
of
summer
semi-transparent
linens
â&#x20AC;&#x201D;and
can
artist
something-
beyond
who all
these
contrast afforded by furs to the delicacy of complexion, the slimness of
too,
there
is
a certain distinction
A
most elegant of women. attracts
admiring
g^aze
coat of breitschwanz. stalls of a theatre in
collar
;
or in a cape
in
little
lady,
who
sav,
in
the
fig"ure,
mig^ht otherwise pass as insig^nificant,
a sensation
is
chinchilla,
created v.hen
or a close-fitting
someone
sails into the
trimming the chinchilla or ermine, composed with alternate bands
an ample coat of some beautiful of,
better
imparted by rich furs to even the
a set of sables, ermine,
What
and
woman.
the gentle femininity of a pretty
Then,
well
fur, fine laces
of lace.
autumn, winter or early spring, whom do the women-journalists single out for special mention in their various papers? Of course it is the guests who are most sumptuously garbed in richest furs. There Again,
at a
smart wedding"
in
EXHIBITION
FRANCO-BRITISH more
nothing-
is
designed
even
not
telling'
jewels
a
in
than
toilette
well-
fine,
furs.
Queen Alexandra looks
One
lovely in furs.
Her Majesty wore a
winter
sunny brightness of her hair. Last year she wore ermine, and it is difficult indeed to say which suited her best. Her Majesty accompanied King Edward on the occasion of the visit of President Fallieres to the Franco Exhibition and was so much struck by the beauty of the furs shown by Monsieur Grunwaldt that he congratulated sable stole which enhanced to a marvel her clear pallor and the
The Oueen commanded
him.
woman would
Every
Palace.
Buckingham know which were chosen by our Queen
a selection
like to
be
to
sent
her at
to
;
whether one of t^e iong coats in sable or
seal that give such elegance of tournure
to the wearer, together with such perfect protection against the cold
two of the admirably designed
which nestle so closely
stoles
to the waist at the is
some
softly as silk
which the short waist of the Empire gowns finishes
Thence they cross
back.
of Grunwaldt's
exhibit
this
be otherwise
it
The suppleness in broadtail
fit
of
it.
of the furs
â&#x20AC;&#x201D; Admiring is
brought
and show
like gloves
Then
One
coquetry.
shade and chinchilla
Franco-British
the
at
its
off"
softness,
there are the
of these
is
The
to a fine art.
is
always
How-
'well ?
closely-fitting coats
Ermine, too,
and the
daintiest possible of short coats are
with their supplementary ruffles of lace,
little ties,
at
back or the
the
a sable, ruffled with brown tulle
side,
and about the neck
inner one of white tulle.
rises a ruffle of silver-grey satin
The whole
is
epitomes of
in a delicious
with a knot of golden-brown satin ribbon to match.
tied
with two short coquettish
golden
Another
and beneath
is in it
an
fastened by a knot of silver-grey ribbon
Could anything be more
ends of unequal length.
becoming? More coquettish ? Another lovely commingling of white satin ribbon and snowy in
Exhibition
Perhaps envious as
?
at the
Small wonder
a pretty figure to perfection.
of ribbon, and their fastenings
of net,
high
in
?
equally sumptuous in
made
gown.
the shoulders, falling over the
surrounded by admiring crowds
is
Very new
crossing at the back and hanging in graceful ends
or velvet,
silk to the point at
could
front.
inches wide, which folds round the figure as
fifteen
Others, in alternate rows of lace and ermine, are caught in by folds of
front.
that
of these stole-
which they protect the lungs, reaching
in
back and covering the shoulders back and
a four-yard stole,
or one or
their wonderful
Some
silky suppleness to the figure as not to conceal its grace.
capes are beyond praise for the manner
in
;
in
ermine with a deft
little
tie
tulle
ruche about the neck, rising
is
the ears.
The
fur toque seen
on a pretty head has a charm
all its
never seen to better advantage than nowadays, when so
devoted to
it,
is
enhanced
in
brilliancy of gloss
own.
much
Beautiful hair
skill
and care are
and excellence of colour by the
proximity of the rich note of dark Russian sable, the deep, sombre darkness of sealskin, or the
golden-brown of mink.
The 224
additions that Grunwaldt
knows so
225 *9^i
EXHIBITION
FRANCO-BRITISH how
perfectly
make add
to
whether they consist of a spray of
to the effect,
metallised leaves or blossoms, a bunch of violets or camellias, or an arrangement of lace that looks as thoug-h fairy fing-ers had achieved
One
it.
of these toques, in
darkest sable, has a rather high crown, and the only trimming is a bunch of wax This is an instance of what white blossoms with a few glossy green leaves. Ruskin always advocated, the moderation of any effort at decoration conducing to its
success.
One
is the pointed silver fox. The real new mode of pointing otherwise silvering black which makes it so like the real fur as scarcely to be detected
of the smartest furs of the season
silver fox
fox has been invented,
There
except by a real expert.
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
very costly, but a
is
is
something incomparably
rich
about this
fur.
It
adds dignity and distinction to the simplest of tailor-made winter costumes, and to a toilette of ceremony
gives the last touch of grdce and elegance, equal
it
With
superior to that lent by sable. velvets,
for instance,
it is
are to be seen
gown
is still
among
the
Grunwaldt
all
in
other neutral tints
is
in
not
if
one of the new wine-coloured
a matter of choice which looks better, a set of silver fox
Both are hard to beat. very modish, and some
or one of dark sable.
Chinchilla
a
exhibits.
fine
examples of
The
coat, stole
and
tie
prevalent fanc\^ for greys and
A
favour of chinchilla.
long chinchilla coat with
most becoming garment, especially when lined with a brocade, of which the ground is grey, scattered over with flowers in jewel-like tints, such as turquoise, lapis-lazuli, sapphire, and other shades seen in sea and sky, in river and lake, in distant mist, or even in a not too insistent its
thousand
tints of
London fog For Grunwaldt
grey
is
a
!
is
a artist
Some are
in linings as in all else.
tones of grey-blue, grey-green, heliotrope, sulphur colour.
which change
in
tint as the light falls here
are striped silks and satins, and, for
many
silks in the softest
Others are brocades
upon them, now there
years the preferred of
;
all,
white satin, so well adapted for the protection of the light evening
which
fur coats are
expressed by
its
so often worn.
lining, as
Much
of the
again, there plain, rich,
gown
over
character of a garment
no one knows better than the
is
artist in question.
Mr. P. M. Grunwaldt has justly obtained a Grand Prix, the highest award obtainable, tor his exhibit in the
Fur Section.
Mrs.
HUMPHRY (of Truth).
226
view of thk exhibit.
i;knkr.\l
THE SAINT-ETIENNE COLLECTIVITE. THE RIBBON WEAVERS'
EXHIBIT.
"\oi/s avons des nibaiis pour enlncer
This
line of a local
suits best the
poet
is
les belles."
the motto which
town of Saint-Etienne,
cele-
brated throughout the whole world for the
beauty and
of
variety
The coquetry
of
its
women,
pretty
trifles.
cleverly aroused
by the makers of the modes, employs a working- population of almost 100,000 souls
Saint-Etienne
in the
In the face of
reg"ion.
happy results, utility of whims
such
no one deny the
let
!
In the fifteenth century appeared the first
ribbon makers
Lyons. of the trade
It
g-arland the
shop windows
was not
sixteenth
began
Saint-Etienne and Saint-Chamond. the\-
in
to
Paris,
the
until
century
spread
As soon
that in
the
last
the
years
ribbon
reg^ion
o^
as these dainty frivolities beg-an to
became an enormous 227
Rouen and
success.
Lords and ladies
1
EXHIBITION
FRANCO-BRITISH adopted
1
these
enthusiastically
pretty
sumptuous toilettes. Mignons, HI. the
additions to their
Under
Henri
Lous XIII. the
under
Musqueteers,
under Louis XIV. the Courtiers, and
man
even Alceste, "the
with the g"reen
ribbons," decked themselves with bows, rosettes,
and
loops
ornaments that certainly
shoulder
were
by our morose age, at masculine dress
days
men wear
and even in
disdained so far as
least
In our
concerned.
is
ribbon only on the hat,
this
is
and plain
often dark
But there remains
colour.
but
eflfeminate
though
graceful,
knots,
to the
who
ribbon-makers of Saint-Etienne,
are not to be pitied, the vast field of
women, day and evening
fashionable
mantles, and above
which ribbon
is
all
'^^.Ai^
underwear, on
associated with lace,
We
a chef-d'oeuvre of ornament.
are
no longer of the age when such costly fashions attracted the thunders of the
MM|HMHmr ^»BK/v m ^Bi!^^^J<gMvml^^ ^^^^^pWwflJ^/Jfcffyy \ .V|i££i^'^fl
authorities
not
now
;
our ribbon-weavers have
to fear that a
Mazarin should
launch an edict against the "gallants
" ^^^^^^^V'
or wearers of ribbons, against
"fatal
^^^^ ^B^^^^^^^HECW
and ruinous passementerie."
The Chamber Saint
-
Etienne,
furnishes
of
Commerce
created
in
at
1855,
Br
exact statistics which prove
^L
the increasing prosperity of the Saint-
Etienne ribbon trade.
From an
inquiry-
confided to the justices of the peace of
two cantons of Saint-Etienne under the Second Republic it is established the
that in the bad year, 1848, 47 million francs'
worth of ribbon, velvet and em-
broidery were sold in the department.
What an advance To-day the
in forty
years
figures have risen to
!
1 1
millions of sales, of which 42^ millions 228
""
TT'
ir^f*<(::-% Sw-
^^^^H
^^ ^^HBrndC^B; -jM^jT
N
TB^'^liH
THE SAINT-ETIENNE COLLECTIVITE
Hats 1790 .229
to
1S30.
n
EXHIBITION
FRANCO-BRITISH exports
are I
!
nternational
E X h Ki t o n s have coni
i
tributed 1
a
e
r g"
to
y
1
ex-
in
this,
tendi ng-
the
fame
the
w ell
ot
know
-
Saint-Etienne
works. the
Since of
first
these interna-
mani-
tional
festations
in
Paris in 1855
ribbonmakers of
the
Saint-Etienne 1«22.
are At
nounced vmrivalled.
time
that
and
employed
looms (3,000 velvet
15,000
in
were
there
(350 manufacturers), at
1832.
pro-
arrondissement
the
total
at
work
workmen
were
establishments
alone
looms and
The
Saint-Etienne, 3,000 in the country).
123
30,000
looms
g,ooo ribbon
at
number of ribbon-workers was
50,000; production oscillated between 90 and 100 millions. The ascending- scale of production has been continued since then, notwith-
The
standing- the caprice
of fashion, with
some
-3
decrease during- wars
'
or other troubles. It is to
for the
of
that
which
.^^^^^^^^^K^^^^^^^^m i.
be hoped
the
industries
^^^HIN^v "v^^^
j^B^
^g
many
.^^^^^U
^^
Saint-Etienne
productions
into
countries will
r
'^
"'*^
'
V
jm^
WhIm '^^^
yL
Exhibition,
British at
which the Saint-
Works
Etienne
from
obtained
the
Committee the creation of a French
special class,
proves
triumphantly ^^^^'
^^
"^"^^^
—
it
without
exag-geration
— the
importance and the
'
y^
_
be reduced to a lower level.
'%l
V^'^^fl^HNpl'
at present pre-
vent the entrance of the
.ifll^E
I
^^^^I^^hI
^
SKk,
barriers
^I^^^B ^
*" .
^^^^^^R
t^
'
^Bf
development
these
SH^^^HHJ^^IHHHHI
I'iV'
Franco-
beauty
of
its
pro-
ducts, '^°
2XO
"
Mrs. Humpukv.
PALACE OF WOMEN'S WORK. S
only
not
it
occupy one of the most prominent positions
should
it
And having
White City?
the
Women's Work
Palace of
the
that
rig^ht
much more
not therefore
countless
varied
honoured
that
a thing
regret
for
considered
exhibits,
place,
the
in
that
in is
the
of a
light
work of women, leave so thin an impression on the mind ? Look you in one case in this building I will show
representation
of
the
—
you a mixing that
is
womanly
patent paste for falling hair,
combs
;
blouse trimmings
case
and buckles
;
What
remedy
what we women can do,
Should you, to show
jelly.
with praise a jar of
hail
metal repousse
;
and near by the pictures are hung
behind jars of jam and tomato pulp and gooseberry the world
sample bottles of a
shelters
the latest instantaneous
belts
;
The
weird.
jam
?
we step out for to see, having seen the jelly and the jam. The Empire dress that Marie Louise wore at her wedding, or the " Maisette Eye Shade, used by Royalty, a beauty preserver for all outdoor shall
Brussels lace
Bond Street firm, or the silk-embroidered picture of Frankfortthe "Robi" cycle muff? Truly, of all the White City Buildings,
functions," sent by a
on-the-Maine, or this is the It
is
one that shelters the greatest contrasts beneath
roof.
its
any woman ever did is continue mv tour, and note that
as though every out-of-the-ordinary thing that
commemorated
Mv
here.
ijloom does not
lift
as
I
Amateur displayed work of the
the plaster statuettes stuck about the archives are distressingly amateur.
— that's
the
note
of this
unskilled
and the immature,
worthy of display I
Somewhere
Palace.
students of various art schools
— their real
is
is
lack of inspiration, their confession of the
matter for wonder that they were judged
at all.
do not see the
real
woman worker
work, maybe, for the evening hour, here
woman
here
of leisure.
is
represented
in
the frippery
Here
any way. said
(all
is
the
and done) of the
Pretty-pretty, ornamental, lace work, embroidery, enamelg,
vou can imagine a man who was an utter stranger to British thought entering this place, he would go away thinking that the women of to-day were as cloistered as the women of the Turk, and did the binding of books
nothing but sweet
Women's Work The work of
.
.
little .
.
.
.
why,
things
na)', it is
the hospitals
if
all
day long and
is
represented well.
year through.
all
rather the housing of
Palace of
women's filling up of time. The London Hospital shows
modern ward, attended by nurses who are most willing to tell the inquirer how the work of a great hospital is carried on. One week the wax patient may be
a
suffering from tuberculosis, the next from a fractured spine
;
while the exhibition
has lasted he has been an astonishingly unfortunate sick man, that patient Visitors watch
how
he
is
treated
and
bandaged.
treatment room, see what the X-rays have done 231
Visitors, for
modern
too,
in
in
wax.
an X-ray
surger}'.
FRANCO-BRITISH EXHIBITION More
belonged
thing's that
to,
or were worked by, famous
you may step from these old dry things Baby's nursery
baby.
wish they might
into the bright
— as — — should — be it
with the City of
live there
is
then
and joyous domain of the
a big attraction.
Wonder
women — and
Children gaze, and
at their doors.
was designed
It
by the Misses Frith, the daughters of the artist. All white and green is model nursery, white and green and flowers, with chairs named specially for
this
their
proud owners, Henry, and Baby, and John.
Toys journeys
are there for playtime,
— a boat
among them
A
such a boat.
boat for huge
that ploughs the angry deep of the nursery floor, rocking-horse
A
wise, on safe dry land.
clock ticks merrily, and green trees
make
the landscape
of the walls.
Near
is
an exhibit just as enchanting, the model of a creche.
the Society of Daj- Nurseries.
The Rules
rooms of the creche are shown. A think this toy would make them happy
all
the
—
of the place fine
:
game, the children onlookers
here are special rooms for every Bathroom, the room where doubtful clothes are disinfected, ;
being made of wax.
all.
The only
this
model
The
device of the crescent-shaped table, with the plates
in
life
is,
I
suppose, that the children are so quiet,
fixed in depressions so that they cannot be spilt,
is
the invention of Miss Blow,
a young lady at the Fulham day nurseries.
in
sympathetic and friendly to inquirers,
firm friends to the
Nurseries,
The
"
reception-room for waiting mothers, dining-room, play-room and thing untrue to
shown by
the walls, and
the rest of their child-time.
for
exhibit represents the science of " crechery
needed purpose
doll
It is
hang upon
who
friends
doubtless will
The lady has made many help
charge of the model,
the
practically
Day
admirable work of
the Society.
Of
the
women
Welch, Lady Butler with the famous " Roll Call," and the with a series of her water colours. generally interesting the
Crimean War.
Before a creation exclaims, "
Oh
Lucy Kemp Lady Waterford
painters represented by pictures the best are Miss
in
is
Of
notable
the carriage used by Miss
relics,
late
perhaps the one most
Florence Nightingale during
Frocks find a place, of course,
in
the
Women's
Palace.
a gilt frame, by Nettleship, Suburbia stands amazed and "
and another big firm has found a new idea in fitting round waxen figures of well-known actresses. its frocks Mrs. Langtry, Miss Marie Tempest, and Sarah Bernhardt in wax move both Suburbia and gracious!
Mayfair to adoration. very
latest "
from time
;
At another
" the
exhibit actual living mannikins pose in
to time.
and white inquiry office that stands at the entrance, ready information on all branches of women's enterprise is given. Here are united many of the associations, unions and emplo)ment associations that have to do with women's work and this office has been of great use and help to very Lastly, in the green
;
man\'
women
visitors to the Exhibition.
D. 232
H.
M.
MOET & CHANDON'S
PAVILION.
" Vou ate the wine of the worldâ&#x20AC;&#x201D;yoy are the liquor in ishose bubbles lies the greatest amount of the sparkle of good spirits." Thackeray.
â&#x20AC;&#x201D;
HAMPAGNE
!
name has come
Will you not agree with
me
to be a thing of magic,
to stir
and open the gate of dreams
?
that the very
our blood
Will you have pleasure
moment, and to think of Our Lady Champagne as a woman whom the whole world loves. Her eyes are dark lakes with the glinting moonlight to be fanciful for a
in
them, her hair
is
soft black night for contrast to her
sweet spirit of pale and delicate gold, her forehead is nobly wide and high, and a kindly smile plays ever about her parted lips. She
Empress, serene, unchallenged she links all nations and dinner tables and pleasant hours with her beautiful pools of amber. Without her company the cushioned car of pleasure would run like the van that takes prisoners to their gaol. is
.
From
this,
may we
.
.
not look upon her as a beneficent Lady,
to unlock all the gaols of the
mind
(of
men and women
who has power
both) with her amber key?
Nightly she goes her rounds in the cities and places of the earth, unlocking the poor prisoners that are troubled by any of the ten thousand troublous things in the world.
Swiftly she goes on her huge, fine errand, and as she passes, dull '2,?,
30
â&#x20AC;&#x201D; FRANCO-BRITISH EXHIBITION The
eyes brighten and old fears are forgotten and shadowed hearts leap again.
lamps are
lit
.
.
.
the hours of her nightly rule begin
Regret, his aide-de-camp, snarl
in
the
corner,
my glass to ... In the
I
O
To-night,
are worshippers
^^^^^^^^^^^^^^^-
light of this
mysteries
laboured
of
the
name
?
morning,
men who knew of
might You
joy.
Then
all.
vinelands
the
France that we pleasure and
I
your temples, and
of
in
in the
the Exhibition go by,
drink a glass to
the
Let them
Empress,
tongued, mighty army,
sun-
crowds
while the
We
you.
and heavy old Time and
powerless to hurt.
come again to-morrow, venomed and respectable. name of your many^^^^^i^^^^ raise
:
wish
for
drink to the
I
â&#x20AC;&#x201D;
of one in especial
it
is
fair
have a
name
that
of
Claude Louis
Nicolas Moet,
bought
vintages
from the Abbey of
and
whose spirit dwells white little Regence furniture tapestries and its cool
Hautvillers, in
fragrant
this
with
Pavilion,
its
its Beauvais and its room whence one can watch
and
inner
roof pleasaunce, comfortably the
;
Ah, there
crowded passing show,
another
Dom
visitor
You
Peter Perignon,
more than 250 years of time
I
am sure,
pleasant
place,
Abbey
reach out
my hand
to you.
you were the
first
must have been when you sparkling wine, which leapt restless as you poured
What
produced that perfectly
when you
is, I
cellarer of the
this
are the high priest of the creed of this our Empress, for
maker of champagne. first
PORTRAIT OF M. MOET, THE FOUNDER OF THE FIRM OF MOET & CHANDON.
in
for 47 years, across
who
a splendid
moment
that
;
saw that dancing in the glass. I should love to have been with you then. I would have had you round up your brother monks, and make a champion night of it.. Possibly you did. Dom Peter and Claude Louis, you were certainly both good men. I trust that you were happy, and that the years of both of you went down in peace. Here is the very business book Claude Louis Moet kept, back in 1743 and onwards. He was a good business man, not wasteful of space, for this quaint column that Messrs. Moet and Chandon rightly treasure was his daybook, general first
book, ledger, and diary combined. writing,
From
the contents, in their crabbed, careful
will know the man as he lived "Gave nine livres to my son, he ix goitig to Rheims to buy a hat. "Bought JO pounds of candles. "Shipped Wine to Paris. Paid 42 sous for bill of lading this day.
you
234
"
—
MOET & CHANDON'S PAVILION
^^^H^^^~^^:
^^^ ^^^^K'~
mS^^^^^*:^
^^^'
1
M"
II
^
^^^^^K^^^^^^^n^^E^—^^^^
W
iJBlilij serif-
:;
|ft
^1
i
3t" 'a
iUm^
^
|MI^»
^K
4 THE ENTRANCE
All his expenses went
encyclopaedia. at times, for
-^ '^'
1 -^M^^I^P"^^
-^^''
-
T^^^^™
.V
down
in this
J HAl.L.
book, so that
it
becomes a
Evidently Claude Moet found the disbursing of
now and
then he adds to the entry pathetic
extravagance which necessitated it "Given to my sister for expenses
sort of family
money
distasteful
complaints as to the
little
:
given her 126 livrcs
hard
times,
and she wants
Ifind this too much. I have of the household, jo livres. this does not include meat, bread, and coal. These are
and
lately,
too
Later, too, he buys a horse,
much."
and records that he found
it
very expensive.
And there are records of shipments of wine to Warsaw, Brussels, Stettin, Amsterdam, Vienna, and Dantzig, but it was left to Jean Remi, the son, to send the first Moet champagne to England. In 1790 came Jeanson to England, a special traveller to spread the fame of King Jerome of Westphalia the wine that, later. Kings and Emperors ordered. and would have had more, said he, but that " he feared it wrote for 6,000 bottles, would be drunk by the Russians." Indeed, in 1814 Russian and Prussian forces occupied Epernay, and (would you blame them ?) made as free as they could with the wine. Was it only the chance of war that made them encamp in the place Later Napoleon stayed in Jean Moet's house, where that wine was produced ? Can you see him, sombre but and here is the very glass from which he drank. Two days later confident, drinking to his success in the desperate days to come ? broke from he had gone on his stern business, and the Prussians wise men War came and the night on to Epernay and pillaged the place once again. went great things were done and undone through the years but about Epernay and the Marne the families of Moet and of Chandon (who had come in bv marriage) still cultivated the grapes -white and a wonderful dark purple till They work 2,500 acres of their wine became a name throughout the world.
—
—
:
:
—
235
FRANCO-BRITISH
PLAN
vineland
now.
alone
over
is
DliS
Their
& CHANDON
ETABLISSEMENTS MOET
cellars
stretch
EXHIBITION
for
20
A EPERNAY (MARNE).
their
stock
reserve
and blend with be worthy of her,
Gather and
15,000,000 bottles.
and
acres,
press, ferment
master knowledge so that the sway of our Empress shall so that the wine shall be ready to do its part in the great mission of pleasure.
As
a rule, a
"grand vintage" of Champagne
10 to 15 years old.
These are the grand vintages i88g (famous by the Cuvee
Cuvee 17 14), Vintages which in the future of 1904 and 1906. the
Some wine. in
people
This
is
will
rank
among
:
is
in
its
prime when from
known by
1880, 1884 (well 1892,
36),
1898
and
good wines
the very
1900.
are those
Champagne is a general name for sparkling Champagne is a definite name for the wine produced
think that
still
not so.
the department of the Marne, and for that wine only
wine produced anywhere
else are frauds
;
and attempts
to sell
pure and simple.
for in this unique exhibit there is the whole present morning champagne making, the vineyards and the cellars, brought to our feet. I follow the feet of a countless number when I tread the stairs to the " Can we get out again," asks a nervous countrywoman at the top, basement. for she has been mazed by bewildering sideshows (such as the Haunted House
Back
business
to the
:
of
and the Spider's Web), and thinks attendant, " but you must not speak
this
" Oh, yes," replies the
another trap.
The lady promises not workmen." to do so, and it is not till she has been in the basement for several minutes that she understands why she must not speak to them. For the lifelike figures are of wax, though it would not be surprising if they should speak. In the the grapes
first lie
scene
men
to the
are busy gathering grapes in a sunlit vineyard of
piled in baskets
;
men bend and men
done that you would believe you could step join the workers.
the
work
of "
Further on, the new wine
remuage
"
being carried on 236
into is
carry
;
:
the whole so admirably
the pleasant scene and begin to
being stacked
â&#x20AC;&#x201D;the
Ay
in
cask
;
after
we
see
daily shaking in bottles so that
a
MOET & CHANDON'S PAVILION
DOM P^RIGNON
(1638-1715), BLIND,
TASTING THE GRAPES, BV
JOsfi
FRAPPA.
EXHIBITED IN THE ENTRANCE HALL.
the deposit of the young' wine shall be settled on the cork.
Finally, after a view
of a cellar with millions of bottles binned away, comes the largest scene of
all
where the disgorging of the sediment, the
great cellar stretching far back,
â&#x20AC;&#x201D;
final
corking and wiring are seen. In these model cellars,
places of the to
making
â&#x20AC;&#x201D; and
During
places,
close o\\ ten
either at the vine\ ards or the
vintage season
and begin
is
Ay,
man\ dawn of
for
mind
travel swiftly to the
The sparkling wine
Epernay, Verzenay,
Moet and Chandon own
Messrs. 1906,
eas\- to let the
is
of champag-ne to-day.
name only a few
Boiizy
it
acres in
all
Pierry,
district
real
comprises,
Cramant, Avize,
these places.
thousand workers were employed by the firm,
numerous pressing houses.
the event of the year.
The opening day
They gather on
of the
the eve of that
At eight, a more substantial meal, veal or mutton, and vegetables, not forgetting half a bottle of wine for each grown person. Till night At eight o'clock, supper, then bed and the falls, the work goes steadil\ on. the open air rest of worker. dreamless da\-,
good breakfast
Than working.
the
at :
at
noon, a
busy
Over
the next, after a meal of coffee and bread.
A\-,
still
of the vineyard worker there
da\-
is
Epernay, and her sunny company of
floats the spirit of the
birth
of wine, so that the air itself
Marne.
wholesome soft and delicate jewels, as district ot the
soft
no healthier way of sister places, is
like
wine
there in
the
Southward are the hills for the white grapes, and delicate and with a kind of dignity added by 237
FRANCO-BRITISH EXHIBITION t>m:
'.
„
„
^
^'ti at- a.'*^*^ ryjf0-
'
.
^
^ C)
.
^ .A
H
^ ^—
^':"::2'-
cs"^- o
1
,,..j^^/
..^
M-r
-
.
.4p*!'»'
'>r
»A«,
-j
/
'
h'^nt"- •^i^'^'ir--
=^
/_
—
,;-^
iz
.J
:
.
,
fcL^
1^
/^ ^
—.--
^-r^;
A PACE OF MR. MOET's JOURNAL IN 1743.
238
:
-J
/>»f
MOET & CHANDONS PAVILION their velvety colouring^.
the mother of to
create
them
all.
Purple are the grapes from the vineyard of Hautvillers, It
is
Champagne
a Saint
World suits better. The vines run, furrows
strange, ?
is
it
not,
that they have never thought
But perhaps that she
is
just a
Lady of
of orderly green, under the cloudless sky
workers gather the grapes, and others carry the laden baskets away.
the
and busy
;
Transferred
FACSIMILE OF AN ADDRHSS KXIIIBITED IN THE COSY BUREAl'.
to wicker sieves,
and unripe
women remove
berries.
Then
for over four tons of grapes.
of wine, the
first
all
indifferent stalks
to the pressing house,
and take away
all
bruised
where each press has room
Taking an average, four tons
will yield
pressing (or cuvee) being responsible for 10 casks of
15 casks
this.
Now
drawn off into casks, the from wine undergoes its first fermentation in the cellars, where it dwells to the end Then comes the extremely careful operation of drawing and tasting of the year. samples, and the necessary blending is carried out in in monstrous vats. the presses to the vats for a few hours
239
:
then,
EXHIBITION
FRANCO-BRITISH
PaTEI^TE' DEPA RTE MENT D E
A
I.
MARN
Bon pour Van
INoUS AiliniuiMraicuri imius
f.iUe
^V*i*.v*-i
il'
par
I
dc
In
f|titnancc
a^ Imreau dr IVnrpgistremeiit de Citoyen .V*-*** ipu' U dU
n;iyrlu soiiune
do Vu.H.1
wlmv
lx>Rii<ili>:
,
4101V,
siisdit
'*' **
-^^^^h*
Dvparimioiu df ayant son
>«».
—
savoir
sous
Ic Iv."
A\-~
celle <lc «\\«,^v^*i*vU
,
(
la
Alorn^
,
Mir
i
do sou
)
Iti
|.r(^f.fniaii on ri
domicile dans
jiriucip:)]
rcgislrc
Ij Coiiicnitino
V"»'»^»
de ircctu-, du
I't^.a 3..A\^ J*«v^» '^•••^••w
—
^\.u.t,
valfur locative (2) d .M* Uu.t.^ pi>ur(.'')
dijiimc dr
.bins.
«>^
I
v
jiar le Ciloji'n
d61ivrce le n^MA*^",* A*iv.-t-
a dt'clnr^ vnuloir fxt-rccr
jionr Ic
.
'^
>i
de la Rqnihiiquc.
v'^^hw*^*,-,
i «»*
,
pour
k*
-^ }h(|UcI1c
!l
cttju'vt a
dioit i\\c
,
ct cello
t
1.1
O
Lui avoru en cons^quonco ^ Si»\\|^ ,»«»*» i.^m,^*,— 1 ^ d** nu uioyen de laqiipllo il pourri cxererr pondiint I'.in H Siuis iroiilijo ui i-uipi^tlicnu'ru » en sc coiilarm.iiit .njx lois el aux rogli mens do pollc f Et a (1 ) y t.\' .^..» v'«., \....» .^ ci-dci^us , que sur ia pn^scnle (.'1). .•.i|;n(^ lant .^a r«gi»trc , souslu N.", t-Sl Citoyen *'i^«i»^ y«\».-.^ Ic i.iw»*i--*'i»..Vu v.*v» an 5v*^a^. do la Kopuidique frau^aisr , unc rt indivisible. Ct d6iivr^' h. ,
.
1« dit J'ttit
.^lm!X*"
^ia..» ^
^^*i*,»
,
dt'livri la pri^scnte Ptitcntc ,
i^l!'!^'^c7.u""
—
-l
) i^trmiB*
(S) Si (5) Si
><»xa,.u
<le
OV-W)
Pppulatiun est du
*^i.>^-w
^"^ow^^.v-r
lU'-'i'vrnr
I'sulto
la
«\Vcti» A\^ o iy\<y't*, "x^i*,*.^
Citojoii, fUu.-
"'
'
du Canton d
municifKiiis
c
-.A^'Vvs^.
>.
\
E.
dont
loiiiisw
D^'
I
Sienalurn ifXi dit
^^hnatures t/esJUme\i)tratrur3.
Hnjurront.
XT'
SccOu de VJdmiitislration.
,'
VU
par
Ic
CoRimtsuilro
da
---i.-.^u,-
tJirei-wire
eaw wiiif.
v
'
.
jZv Secn/taln:
WHOLESALE, WINE MERCHANTS' LICENSE (pATENTE), YEAR 8 OF THE REPUBLIC.
The
diflferent
knows
blender
the
growths well,
have for
that
his
is
The
the
art.
are delicate and g^entle,
and round, wines of Avize and Cramant
soft
wines have "body."
humans have, and Wines of Ay and Dizy
as
character
art of the blender
is
to nicely
this
are
Bouzy's
combine these
special
qualities.
This
One
carried
is
on
floor of the bottling
bottles,
and
in
&
Chandon establishment establishment there has lodging room for
at the
the one pile
huge Moet
of buildings,
in
addition to
many
at
Epernay.
four million
other bottles on
the various floors, 16,000 casks of wine can stand.
The time
for the bottling of the
wine
is
when
the vine flowers in the spring.
There are spring cleanings and spring cleanings in many various degrees to suit exacting or careless housewives, but no spring cleaning of them all can compare with that which every Moet bottle must undergo before it is judged fit to contain wine.
From high,
is
into each bottle,
cleansing work from
some
silver pipes,
is
jet.
is
any sediment from the quite clear;
and,
still
sides
water alone drives into
received
years, the bottles are placed neck
to dislodge
the wine
and then
another powerful
syphons and then along for
would shoot 30 feet them on its After, the wine, pumped up by
a pipe a jet of sand and water, that, unrestrained,
forced
into the bottles.
downward
on to the cork.
in
After resting
racks and turned daily
In three or four
months
neck downward, but this time perpendicular,
they wait for the "disgorging." 240
MOET & CHANDON'S PAVILION For
the necks are plunged
this,
bath— a Hquid
a cold
into
below freezing of
point
20^C.
— and
a crust
forms over the sediment which
ice
has been
forced
when
then,
upon
corks
the
hand of the disgorger, he
skilful
;
the bottle passes to the
sees that the wine
first
perfectly clear
is
by the aid of a small
electric light.
And
then he loosens the clip holding
the
cork,
and
company
in
the
with
and
sediment,
cork
out
flies
ice-bound
the
cork
another
is
substituted. Is
that
it
dry or sweet champagne
you want
champagne
is
your
If the former,
?
already complete.
the latter, a syphon draws out a THE GRAPES
ClATHERINCi
IN
THE VINEYARDS.
of the wine of
And now,
necessary dose of liqueur.
for the
by machinery, and everything
this time
Lady Champagne, but
experiences,
debonair,
at
is
helmet
still
bright
of gold
put
and
— that
place
an\-
London, her
men
Paris Ville for,
she
has smiled
in
British exiles visualise lights
or
the)-
all
La
that she stands
dream of the
champagne
glass of
the
worldly already through her
silver,
I 1^
and her laughter,
case see clearl\
in like
Lumiere and
when
inserts
silver
time, the bottles are corked,
last
in
every white man's place on the face of the earth.
apparatus
and
not too bold a statement to
down
and
fragile
ready for the tremendous shipments.
is
between. It is
and a
little
your service from the
Peru,
Poles to
in
glass
:
If
last
had,
thej-
r
^^^^ 4[ Br^-;
Ullli 1 1 ^^
or
J^M Wt^M 1
u'&Sw hWK
BK^p 1
1
iffJi^'s
* '
'
^^^^^H
when they mournfully, with a sobered joy at the darkened prospect
open stores.
That
the
last
bottle
Long has loneliest
complained
this
exile.
bitterly of
in
in front,
the
been
so,
camp now.
Napoleon L, being limited
r-'--
-:.-
THE CELLARS CONTAININCi THE NEW WINE
1
IN CASKS.
241 3>
FRANCO-BRITISH EXHIBITION one bottle of champagne a day.
to
Stories
men
great
on record of how the
are
of Britain snatched from
the famous wine
and
spirits
its
treasure of
abandon.
Pitt
good went
galloping through a turnpike gate
one
night,
the
evening
in
it
:
made a king
through
toasted his
for
champag^ne,
not to stop and pay
troubled
Nelson
and,
toll
:
Lady Hamilton
Byron, for certain, used
it
as
as ink, and there was more power in his pen thereby Sheridan drank champagne, and by so much his wit sprang to a keen and flashing life, so that he gave the lie for ever to well
:
the old proverb about silver
ONE OF THE CELLARS WITH MILLIONS OK BOTTLES AFTER THE DISGORGING.
and
silence
speech being
golden,
speech was golden indeed.
for
his
And
so,
company Kings, Marquises, Counts and Lords are of Moet and Chandon's customers, joining with commoners to be tribesmen of the Lady who Smiles. King Edward visited this very Pavilion, and his name is first in the sumptuous red book. Below, among others, are the names of the Duke of Sparta, the Crown Prince of Greece, and the members of the is
as you drink to-day, your
the salt of the earth.
French Embassy. No exhibit has had such a number of distinguished visitors.
You know now Our
how
Lady Champagne
well
served.
is
Upstairs to the light again, to see
Francois
du
Brunery's
"A
la
Sante
where happy Cardinals give the due praise of good, grateful chef,"
men to the artist of their food, the man who has made them happy. And in the foreground Our Lady Champagne,
in
her
earthly
form
of a bottle, smiles at the Cardinals
the shaking of the bottles, "remiage." 242
MOET & CHANDON'S PAVILION
SIONATIRE OF
without envy.
VII.
IN
THE SIGNATIRE BOOK AT THE PAVILION.
Ah
!
she
knows
well,
and therefore does not grudg^e the chef
moment. Jose Frappa's "
I
KING EDWARD
All praise to the chef of course, but what would the dinner have
been without herl his
M.
H.
think, as near to
moment when
first
breathing thing.
Dom
my
Perigfnon," close by, the best
heart.
For there
is
the old
monk who had
Champagne tumbled know the real worth of Did he sparklini''
work of the
painter,
is,
that wonderful
into the glass
like
a living
that surpassing day; did he
THE GRAND CHANTIER, BOTTLING, CORKING AND CARRYING.
dream how the hour of that discovery would shine out as a diamond flashes against all the years to come. How shall I praise that minute, that hour? It meant for men and women the of the earth a magnitude of pleasure not to be reckoned, a vast fine sum of uplifting of spirits and banishment of gloom, when you 243
EXHIBITION
FRANCO-BRITISH
band that has, some time or been made glad through it. Did he think of the many fine songs that would be sung,
consider the vast other, at all
the fine things written, in which our Lady Champagne would have some hand ? For my small part, I know what I will do. Out of an empty Moet and Chandon case I will fashion, as best I may, a little very special bookcase. In it I will keep just the songs and the writings of those great hearts whom I love most men who knew the world's beauty and loved all good things Swinburne, Keats and Byron, Gautier, Flaubert, and Anatole France, just to
â&#x20AC;&#x201D;
â&#x20AC;&#x201D;
name
They
a few.
shall rest
are of those
And
time of the lamps.
one of those
I
will
me
I
loved the
Champagne and when things go
tapering
tall
glasses that your soul loved well with
who
at the side of the shelves
;
will
fill
with your pale gold, and
all
my
brother tribesmen of the
drink to
kingdom of our Lady Champagne, and wish them well, calling the while
your name.
HERBERT SHAW.
CHAMPAGNE BOTTLES,
1741
TO
19OO.
EXHIBITEB
244
IN
THE ENTRANCE HALL.
"QUEEN ANNE" ROOM.
THE LOAN COLLECTION OF
BRITISH
FURNITURE. N
enquiring stranger, anxious to observe the development
and modern tendencies of furniture making in England, as revealed by this professedly industrial Exhibition, would be He would in fact be reminded grievously disappointed. of
very forcibly Iceland,
for
that
famous
of modern
chapter upon
furniture,
with
there
is
not a specimen to be seen.
whom
This
is
in
the exception of
one solitary exhibit and some students' work building,
snakes
in
another
not to be attributed to
many, and good ones, scattered all over the countrv, whose work has been seen and admired at countless smaller exhibitions of arts and crafts. But Shepherd's Bush for some reason has failed to attract them, and the curious visitor, as I have said, would be driven to the a lack of furniture makers, of
conclusion from what
is
there are
there offered to his inspection that the art of furniture 245
;
FRANCO-BRITISH
EXHIBITION
are
desig-ners
patrons of the
uncommon,
not
has turned
arts,
there has never
its
been an age
itself.
in
which the Hving arts
were
perilously
craze
so
is
what
near
rare
is
The all
for
old
and
â&#x20AC;&#x201D; not neces-
extinction.
sarily
Painters,
is
archi-
upon
back
what
for
beautiful, but
tects, decorators,
simply for what
tapestry workers
is
and craftsmen of
reaction, natural
every kind will
enough perhaps, rom the careless
tell
you the same that
tale,
twentieth tury,
as
way
the
repre-
a
which old
treated for INLAID
WARDROBE CABINET OF CHARLES
the feeling spread to every allied branch of art.
fore
us.
be-
When
for ancient buildings,
Dealers, with their
yeoman
every county breaking into and looting the fine old
were some
generations
REIGN.
II.
and awakening came, with a new and wholesome reverence
zealous flame.
in
things
cen-
noisseurs
in
It is
I
sented by its con-
the
old.
myrmidons
houses, fanned the
way to collecting, and to-day the craze has all lovers of our own times can only look upon as disastrous. by and sees the patrons who should be its supporters spending absurd sums upon the acquisition of broken-down, faked,
Preserving soon gave
reached a state which
Living art stands extravagant,
nay,
and decrepit furniture
;
massive and often tasteless decorations of bygone Dutch,
French, Belgian, Hanoverian, Chinese, and heaven only knows
what other
alien styles
crumbling
out and
tapestry
;
embroideries;
threadbare
ware
pewter
battered
washed-
;
and
silver
and anybody's discarded family porpick
As
up.
manage
can
they
that
traits
the
g"ood
exhausted (and most of
it
becomes has been
so long ago) the spurious takes place,
or even
criminate
Even GAMING TABLE OF 1530.
is
the
this
bad,
to
so
its
indis-
rage for the antique.
the Early Victorian, from the
horrors of which recently
we have been
delivered, 246
threatens
so
once
GEORGIAN ARMCHAIR.
THE LOAN COLLECTION OF BRITISH FURNITURE more
resume
to
dog
in
the
to its vomit
ponderous and
its
The
degraded sway.
world, like the
Scriptures, ;
and
I
returning
is
say that this
is
a deplorable condition of things from every point of view. Deplorable for
our old buildings, which are stripped of their
natural
surroundings
;
de-
for our modern English homes, which are filled with incongruous and unsuitable things de-
plorable
;
plorable
which
for it
the
dishonest
engenders;
deplorable of
all
for
to-day,
original
what
work.
and most
the craftsmen
who see diminishing market of
trade
a
gradually CHIPPENDALE TABLE,
for
sound
Continuity
counts
much
for
a
in
nation's
and
traditions,
posterity think of an age which deliberately sacrificed its artists and allowed this continuity to lapse. Surely it will say that what was once a fine will
feeling
has
past
the
for
by
degenerated
excess into an orgy of tasteless and senseless vulgarity.
With so much by way apology to the curious
who may
shores,
all
intimately wrapped
wonder at the most importhe one most
this the
in
(because
arts
from foreign
visitor
be inclined to
absence of new work tant of
of preface and
it
is
up with our
we
lives),
may
turn to a survey of the antique furni-
ture
and decorations which
of taste
has collected
a committee
place
in
of
for
it
our inspection and information.
The Loan series of
central
aisle
allotted
Five of
Art.
Collection
is
rooms ranged on to
British
rooms
these
grouped
in
a
either side of the
are
Decorative decorated
with highly ornate panelled interiors stripped
from
down,
old
and
houses very
which cleverly
Messrs. White, Allom of JACOBEAN ARMHIAIR FKO.M KNOLE.
these
represents
time of William 247
and
&
an
have
been
pulled
reconstructed
Co.
The
apartment
Mary,
by
earliest
of
the
adorned with
EXHIBITION
FRANCO-BRITISH by
carving
fine
Gibbons,
Grinling-
mouldings and architraves
next to
;
though the date given, 1739,
again
it
"
an
and
characterised
a
is
it
carries us into
is
e a r
cornice
Queen Anne room (so called, the reign of George II.); next to and Georgian
rooms
)â&#x20AC;˘
1
by handsome
both
Georgian"
came out of a
room and beyond, at the
house
end of the row,
on no very good
;
large
a
authority,
handsome
have
"
brocade
m er al d
opposite side of the
green and gold.
room
This
mostly,
if
entirely, in
its
tion
belonged
Christopher Hatton. On the
fine silk
e
to
formerly to Sir
room, hung with
of
Hatton
Garden, reputed,
and
" Chippendale
in
is
Anne
not
r
M
r.
. ^ ^, TheQueenAnne
JACOBEAN BUFFET.
these five
nondescript compartments
In de-
scribing
rooms and two other
furnish
not always
the
very appropriate setting,
it
is
well
to
begin chronologically, and for this we
must go a
little
precincts of the
beyond
Loan
true
the
Collection,
and
study the contents of the Elizabethan hall, constructed by Messrs. Hampton after the
model of Hatfield, on a
two-thirds of the actual
scale
Here
size.
grouped a small, but on the whole select, assortment of oak furniture of is
Tudor and Jacobean times. The earliest piece is beyond doubt the low buffet or side table exhibited by Mr. Ernest
Carved
George.
CHAIR.
with
Gothic patterns
on
cupboard doors
and
pattcl,
it
has
a 248
its
bold
two
central
curiously
to
Charles
Davis.
details,
willluHnd MARY
a
o o m,
belonging
modern
furniture for which
is
second Queen
construc-
and
aisle
ADAM AND EVE CHAIR.
the
THE LOAN COLLI'XTION OF BRITISH FURNITURK
"
ROOM.
(.'IIUMMCNDALI-;
un-English appearance, but the hinge work and lock plates, according
Macquoid, are a guarantee of
its
the close of the fifteenth century, out,
by
which are missing
in
the
nationality.
and were
1530.
cupboard beneath with
carved
for
It
present specimen.
has a flap top,
the reception
heads and
oak
belong
in
Of
small
style,
gaming of a
is
on a
chest,
date
to
drawing
table,
lent
type probably
sliding
and a
bar,
These small gaming
nearly similar date, but a
are a small chair of the type called cacqueteuse (conversational),
Macquoid.
Mr.
the panels of which are roughly
ornament.
were much used by the ladies of the period. later,
in
A
supported
of cards,
conventional
buffets
fitted with extra leaves for
Lord De Lisle and Dudley, also Gothic
made about
Such
tcT
tables little
and an
both carved with medallion heads and ornament, and lent by Mrs. Of late sixteenth century date is the massive oak " council table,"
from Blenheim Palace, which occupies the centre of the
hall.
This has the bulbous
legs of the period, and a handsomely carved under-rail, which supports the two
draw-flaps by which the length of the table can be doubled.
Against the left-hand
wall stands an Elizabethan court-cupboard, of exquisite design
and
fine
marquetry,
by Mr. H. T. Hall, which would be ten times more precious if it were not so polished and glossy. Next to it, along the back wall, is a square oak cabinet of lent
Charles
II.
time, lent
b)-
Mr.
Hubert
Elliott,
with handsome diamond-shaped
249 3Âť
FRANCO-BRITISH panels
and mother-o'-pearl, and further decorated
inlaid with ivory
hio-h relief,
in
on the surface with applied
EXHIBITION
and
other specimens which
in
Wh
regular type.
split turning^s of the
been the orginal uses of this cabinet one can but guess, but
in its
it
may have
present condition,
have seen, the handsome doors are used to hide a
I
The companion
remarkably plain and rough-looking chest of drawers.
piece on
the other side of the fireplace is an even finer specimen, of date about 1610, lent by Major A. C. Quilter. It is a transitional design between the court-cupboard and the buffet, and servings the purposes mainly of the latter. An ugly addition to the
leg's
has masked this original purpose and partly spoilt the handsome propor-
Decorated with marquetry of beautiful
tions of the piece.
finish
and colour,
chronicles the date at which meals begfan to be taken in the living
buflfet
The
instead of in a gaunt hall.
upper, or cupboard, portion
is
this
rooms
three-sided in plan,
and formed of three panels, of which the centre one is a door. Above, to quote from Mr. Macquoid, who figures this piece in his monumental work on oak furniture, rises
and
carved
a
inlaid
divided into two portions by carved
frieze,
and headed by a dental cornice. This is supported of slender columns on plain plinths the lower part
at each
forming-
frieze
a
a
and the face of the shelf beneath
drawer,
The
flowing arabesque design.
manufacture.
I
have dwelt on
the choicest specimen of early
work
may
counties
eastern
in the collection.
;
carved
is
claim
inlaid
credit
with
for
its
many it will appear have not much to say of
I
Company,
the plain Elizabethan chair belonging to the Carpenters'
James
by an
because to
this piece at length,
looking- octagonal oak table of the time of well preserved
end by a g-roup
headed
is
;
corbels
or their solid-
though both are wonderfully
I.,
but a word must be spared for a very interesting
little
carved
ladder-back chair of Cromwellian design, lent by Mr, Charles Allom, which the
owner
claims, on the strength of
reign of Charles
I.
This has the
of the chairs which were
The
fine
Jacobean
notable one in which collection
at
made
X
in
some
initials
Knole, should
I.
ends to the uprights and general features
scroll
Yorkshire during the time of the Protectorate.
chairs with
James
carved on the back, to belong to the
sat for his portrait
strictly
together with a mixed assortment of it
is
a
little
difficult to
by
have been placed
they will be found reposing rather incongruously
Indeed,
cushion seats,
their portly
including- the
Mytens, lent from the
among
these exhibits, but
room
in a tapestried
Queen Anne and Chippendale
proceed any further
in
close by, furniture.
a systematic manner, as the
Committee of Arrangement appear at this point to have given up any attempt at and have merely filled the various rooms as fancy chanced to dictate. Taking them in order, we find in the handsome Queen Anne room of Mr. Davis, with its rich carving and panelling of pale grey picked out in white, a pair
classification,
arm
of very exquisitely carved Chippendale
head arms, lent by Mr. R. Hospital,
also
presidential
W.
Partridge
by Chippendale,
chairs
which figure
and in
;
chairs, with ribbon
not so the
backs and
lion
the chairman's chair of the Middlesex
monstrous
collection
;
in
size
as
the
a stuffed Georgian
other settee
THE LOAN COLLECTION OF BRITISH FURNITURE ponderous shell-crested back,
with
square
and
lent b}- Sir Henrj- Hoare, and facing a Chippendale table from the same owner, with large carved mask heads bearing rings on the knees of its cabriole legs a Chippendale
foldinj,Âť-
lions'
cabinet
;
on
a
table-stand
Mr. P. Furnival a
with
square
legs
and
Chinese fretwork,
by
lent
large
carved
and seemingly inextricable con-
gilt
console
fusion,
and table
with
;
Mr.
Siena
marble top, one of
by
lent
Davis;
a
II.
ma-
about a dozen lent
George hogany
and
gilt
by Messrs. White,
console
table
equally
massive
Alloni a
&
heavy
Charles
Co.; looking
and ugly propor-
gilt
tions in a different
II.
console covered
table
wav,
with
same gentleman, and standing in
cupids, swags, and
female
busts
enormous
of
lent
bv the
close proximity to
in
tARVKD MAHOGANY SHAPED
CII1FPKNDAL1-: TABLE.
relief an extremelv fine and dainty satinwood work-table with painted panels of the Angelica Kauffman type, which formerly belonged to the Princess Charlotte of Wales, daughter of George IV. Near this, too, is a "Queen Anne" Broadwood piano, cased with
walnut veneer, but spoilt by heavy square and over-gilt legs. The Duchess of Wellington contributes a shell-back Queen Anne chair with eagleheaded arms, of which the companion is in the adjoining room, and the medley is completed b)- a gilt Georgian mirror lent by Messrs. Allom. The small room adjoining contains two satinwood commodes of Sheraton's beautiful
i^ EI-IZABETIIAN COINCIL TABLE,
FROM BLENHEIM.
EXHIBITION
FRANCO-BRITISH
make, painted with delicate wreaths of flowers and Bacchantes in oval medallions These are lent by by W. Hamilton, R.A., for the then Marquis of Ormonde.
Mr. Frank Lloyd.
In a corner stands a dainty
little
satinwood table arranged
with three diminishing- tiers for the display of flowers, belonging to Mr.
Walker
and on the same side
;
The
by Mr. Davis.
is
a charming
room
centre of the
Romaine
octagonal inlaid work-table lent
little
occupied by a case of old English
is
ware from the collection of Mr. William Ward, and the walls are decidedly
lustre
enlivened by four large gilt mirrors in Chippendale's wildest manner, two of them
ultra-Chinese identical
Here
conception.
in
also
"Robinson
is
Crusoe's" gun,
weapon, carved with the name of Alexander Selkirk
draw
a sight to
manner of sentimental
all
reflections,
over the butt,
all
but
the
not
calculated to
impress particularly the eesthetic sense.
The Tapestry Room, which
follows next,
is
so called from four large pieces
of Gobelin manufacture which adorn the walls.
These can hardly be regarded as English in any respect, and they were made, as the arms on the border show, for Alexandre de Bourbon, High Admiral of France, and uncle to King Louis XIV. The eye is attracted from these first, by sheer force of bulk, to three capacious chairmen's chairs,
the
first,
in
mahogany almost
wonderful
black with age,
them by Edward Newman, Master in 1749. But for the label one might imagine it to have been made in China, so celestial is the bold flamboyant carving of the open-work back, so freakish the whole design, and so much more suggestive of a torture than a chair to sit back in but this is dwarfed by the huge throne of the Carpenters near by, with its great lion-head arms, its towering crest of cornucopia and fruits, and its almost inevitable Chinese fretwork on the legs. More elegant is the third example of these monsters, an "Adam and Eve" chair lent by Mrs. Storr, with little nude
Company
belonging to the
of Joiners, and carved for
;
amid a
figures of the earliest pair standing
which they seem hopelessly out of crest
the place of
honour
in
its
applique ornament,
it is
down in
point to
life
on
chestnut or
They they
gems
are are
large
very in
room.
as the
massive
Princess of Wales, occupies
With
bold
its
columns and
exceptional this
and
magnificent.
room contains a
set
;
Coming
of three chairs
Ponsonby Fane. design and sweep, with reserved touches of carving, and pale
to
room
for
Of
is
it
normal plane,
attributed
of the
middle.
the
A
very
too architectural to suit any but a very formal mansion
workmanship
of
the pointed
sequence of broken pediments, and swags of strongly carved
Corinthian capitals,
in
H.R.H. The
the centre of the
b}-
some Vintners' Compan)-
Chippendale masterpiece.
(probably)
cabinet of late Georgian times, lent by
but
In the medallion formed
a laden wine-cart, which seems to suggest
is
possessors of this
first
scale.
of bold ribbon-work tracery in
riot
walnut belonging to Sir Spencer
Chippendale, daintiness
these the most perfect
are is
but
are
three
almost certainly
little
earlier.
The
Chippendale tables near the
a card-table with flap top and exquisitely
carved edges and mouldings, lent bv Mr. Percival Griffiths.
It
shares with a
THE LOAN COLLECTION OF
'
FURNITURE
ROOM.
trinket table, lacking' the usual gallery but also very delicately carved,
little
same owner,
belong'ing' to the
legs in the whole collection.
fret carving",
Chippendale's
liable to
and represents a
art.
carving of the
rail
breakage.
The shaped below no
third table has square legs with Chinese feet less graceful,
top
Perhaps the most
They
Georgian
make, early Oueen Anne
chair
feet,
in
and
this,
and
to
me
unpleasing phase of
however, very charming-, and the open
is,
less so,
left till last.
claw
and
honour of possessing' some of the shapeliest Draughtsmanship could not better the curve and the
The
taper of these fine supports.
and
GEORGIAN
fiRlTlSH
were
it
not so hopelessly unpractical and
interesting" objects of this
room have been
include the strange transitional chair of Mr. Theodore Bassett,
strong- carving
in
desig^n,
on the back and
legs.
with
A
its
eagle arms, ball and
massive, not very beautiful
but of sound workmanship and curious history in
Not so curious though
all
probability.
as that of the fan-backed chairs (also called Chippendale,
Henry Hoare has lent from his collection of twenty-two These chairs formed part of a set which somehow found their way into the possession of Marie Antoinette, and back ag^ain, leaving some of their companions in the Louvre. A settee belonging to Mr. Cyril Butler matches but earlier) which Sir similar pieces.
them almost been
g"ilt,
orange.
exactly, but
is
preferable in one respect that the walnut has never
and that age has given to its veneered back a patina of fine rich This veneering is a strange feature in loop-backed chairs, but there it
s, and carved ornament
is
applied on to 253
it.
Lying" on the floor
in front
of these
EXHIBITION
FRANCO-BRITISH chairs
a picked-off specimen of the
is
house,
Hohne
huge carved swags from Lord
Chesterfield's
Lacey, which are attributed to Grinliiio- Gibbons, but are almost
certainly too coarse in execution for that master to claim them.
we come next
Crossing- the aisle, described.
William and Mary room already William and Mary furniture
to the
might have been hoped that
It
sufficient
could have been got together to keep this really beautiful
beyond a
typical pair of high
little
boudoir pure, but
backed cane chairs, with the turned legs of the
lent by Lieut. Walker-Munro, there is nothing strictly appropriate. Mr. Weatherfield's tall clocks, covered with marquetry of rare perfection, especially in the earlier one which has inlay even on the small round columns supporting the canopy, come nearest to the proper date, and are Oueen Anne at latest. Along
period,
most beautiful objects in the room are the two large lacquer Buchanan, on a carved gilt stand, of Charles II. date,
with them, the cabinets
one, lent by Mr.
;
and the other, probably Queen Anne, lent by Mrs. Macquoid. Very rich and gorgeous are the toned gold and colours of the painted decoration in these cabinets, and fine also the workmanship of the elaborate locks and hinges, always a noble feature in furniture of this description. Another
work
interesting piece of lacquer
Wilson, with a typical Chinese landscape running
The remainder
and colours.
Anne
narrow
two
period,
of
Mr. Clarence
the large folding screen of
is
the
here
furniture
high-backed
is
with
chairs
mostly of the
work Oueen
straight
set
over
all
it
incised
in
slats
in
cane-work, lent by Mrs. Macquoid, having rather an earlier appearance. There is no doubt, however, about the double settee, or " Love-seat," of Mr. Charles Allom, with
its
writ large (too large for
At
ugliness.
my
taste)
back under glass.
seem
to
over
all
it,
but
it
is
comfortable for
all
is
its
I must confess to a strong dislike for the ornament and an earl's coronet and arms let into feature and the carving on the back and legs
the risk of being captious,
pair of chairs with lead applique
the
Oueen Anne
broad concave walnut shields and sturdy cabriole legs.
me about
This
Elsewhere, on the other side of the room,
equally hideous.
Messrs. Allom exhibit some chairs of the period which are a good deal more tolerable in
;
but nearly
appearance,
all
not at
the
better content m)self with its
candle
discs
of
rate,
black
English good taste
The remaining
chairs exhibited arc squat and toad-like
representative of the best proportions.
all
supposing that that also
Oueen Anne Mr. Cyril
and
Butler's card
white
inlay,
and
Dutch extraction, as embodied with it.
three
of
is
rooms,
noticed, are furnished mainly,
if
of
which
the
table
which
slender, I
I
here,
well-curved
suspect.
decoration
is
should
has,
It
most
part, hardly
at
&
Co., of Bath,
the scope of this article.
room furnished and decorated in their own and colouring by Messrs. Morris & Company, which finds a reservation applies to the
254
any
has already been
not entirely, by Messrs. Mallett
come within
with legs,
with specimens of antique furniture from their showrooms, which, choice as are for the
be
the\-
The same special style
place
in
the
THE LOAN COLLECTION OF BRITISH FURNITURE
" WILLIAM
Loan Collection without isolated in
little
dwelling"
beinp-
among" the tombs.
made and designed
reallv
of
"
ROOM.
Their exhibit
it.
It
looks a
living"
creature
be mentioned, however, as constituting^ the
to in the beginning", of a firm exhibiting furniture
referred
I
may
fact
in
surrounding's of dead and g'one ag"es, like a
its
solitary exception
AND MARY
William Morris was the great pioneer
to-day.
who redeemed
us from the ugliness and tastelessness of the middle nineteenth century,
back for his inspirations to the splendid era of the early renaissance rather to the
an
therefrom original
Gothic entire
age which
scheme
and wholly English
how many workers have world the tradition he
of in
profited
first started,
immediately colour,
its
by
design,
fulfilment. this
there
precedes
and
Were
it,
and
decoration it
in
going
Italy,
or
constructing
was knows
which
not that one
redemption and are carrying on
would be something almost tragic
in the in this
bears his name standing alone amid the flotsam of Macauhu s New Zealander surveying fallen London. Happily really so. The Morris firm is but one of many that are carrying on
spectacle of the firm that
the it
not
is
live I
past, like
work,
for
one
in
am
weaving,
in
tapestry-making,
in
furniture,
and the kindred
arts,
and
sorry that no others are represented.
There is a central space, a sort of island, in the Loan Collection Hall which musl not bo overlooked, althoug"h from a cursory inspection it looks a little This may be due to the overpowering sensation created by the first uninviting. sight of the
huge erection facing those who 255
enter.
A
label
informs us that this
FRANCO-BRITISH
EXHIBITION
was designed by Sir William Chambers, painted by W. Hamilton, R.A., and made for Charles IV. of Spain by Seddon, Sons & Shackleton, in 1793. Batinj^ the makers, who have done their best, a more unfortunate set of cabinet
auspices could hardly be imagined.
There
is
nothing worse to follow behind the
ELIZABETHAN COURT CUPBOARD.
we may proceed. Two painted Adam chairs, and same style, lent by Lady Battersea and Sir Henry Hoare
screen, or even half so bad, so
a very large settee in the are
respectively,
Elsewhere,
there
Heppelwhite
window
is
almost is
a
the
plain
represented
only
white and gold
even
of
representatives
Adam
well-known
this
chair
seats, with slender tapering legs
and rolled-over ends.
a Georgian piano, of which the walnut veneer
is
Lord Darnley's.
of
more sparsely by one of
his
familiar
as perfect as in their
rise
up
;
other
Lady Wernher
sends a Sheraton cane settee of decorated satinwood, and a pretty
table, in
little
Broadwoods show
example, and the curved legs and under-frame more pleasing.
from the Huth collection
style.
little
cabinet
Mr. Davis a very ingenious and interesting writing which the top swings over on a ratchet and allows a stationery cabinet to Mr. Bassett a small harewood cabinet, with vases inlaid on the panels ;
;
Chippendale chairs, with pagoda crests; Mr. E. G. Raphael a ladder-back chair of 1770, a good specimen of the yeoman furniture of the day. At the extreme end is a fine bow-fronted satinwood
Mr.
P.
Furnival a pair of regular Chinese
256
THE LOAN COLLECTION OF BRITISH FURNITURE commode, covered with excellent marquetry, and decorated with painted panels by Angelica KaufiFman.
A
of
series
contain
glass
picked
china
cabinets
specimens
of
old
Worcester ware from the collections of Mr. Dyson Perrins and Mr. Cockshut old Chelsea, also lent by ;
Mr. Cockshut, and old English table glasses of various designs, from the
seventeenth and eighteenth centuries, lent
by Mr. Charles Kirkby Mason. a
In
smaller
case
are
exhibited
twelve Elizabethan parcel-gilt plates, of 1567, engraved with scenes from the
labours of
Hercules,
executed
by Martin Poehm, a pupil of Aldegrever. These were formerly in the possession of Sir Robert Cotton, the
founder of
the
Cottonian
LACgUER CABINET ON CHARLES
II.
STAND.
Library,
and are now exhibited by Mr. R. W. Partridge. The beautiful Old English House in the grounds at the back of the building, which has been erected and furnished by Messrs. Gill & Reigate, is by no means the least interesting feature of the " Loan Exhibit." Familiar to many generations of
Ipswich citizens,
it
was demolished
ments, but more fortunately than care that
it
materials,
and without the
is
last
year to
make room
usually the case,
has been possible to reconstruct
it
for
modern improve-
was taken down with such
almost entirely out of the old
least injury to its appearance.
One is
glad to learn that
the structure has been acquired by an English gentleman,
be re-erected once more on
its
native soil.
The house
is
Elizabethan bears
and
a genuine
and
one,
date
the
will
1563
over the entrance door. It is
in
pleasantly timbered
the upright style of eastern
the
counties,
where oak grew straighter grained than
Handin the west. some carving adds to its
'cAcyiKTKisE
â&#x20AC;˘
Axn OAK CHEST,
,535.
picturesque appear-
^nce.
The
Intcrlor
33
has
FRANCO-BRITISH
EXHIBITION
SATINWOOD COMMODE WITH PAINTED PANELS, BY ANGELICA KAl FFMANN.
been lined with panellings of appropriate date from various other old houses of the
neighbourhood, the most beautiful being that of the dining room, which has rich holly marquetry
by Messrs. enhances
Gill its
all
&
over the doors and some of the panels.
This room
is
furnished
Reigate with genuine oak furniture of the period, which vastly
appearance.
A
winding
staircase,
with quaint decorative pierced
balusters and newels, leads to the usual suite of bedrooms, leading out of each other,
in
which
Queen Anne
will
be found an assortment of furniture of later date, mostly
or William and Mary,
Some
of the pieces in these rooms are as
fine,
though probably not so well preserved, as anything to be found in the Loan Collection proper. The whole building does considerable credit to the skill and enterprise of the exhibitors, who have omitted no detail which could add to its effectiveness, even down to the little formal garden with its topiar)' shrubs which surrounds
it
Near by
as an enclosure. is
a creditable piece of modern construction work,
in the
cottage built on antique lines with timbering of old oak, by Mr.
Oxted. village,
J.
Mr. Williams has already erected some similar cottages on the Hoskyns-Master estate.
H.
258
C.
shape of a
Williams, of in
his
own
MARILLIER.
—
A
CORNER
Ol-
TIIK
MALHINERV HALLS.
MACHINERY HALLS. Herk
Machinery Hall they enshrine the religion of steel and steam that most forceful religion which has altered the face of the earth. The exhibits set the layman gaping. In the souls of most men (practical or not) lies that the
in
reverence and fascination for mechanical monsters, for whirring mighty wheels,
and here there comes to the visitor something of that old feeling of awe and wonderment with which, as a boy, he saw a big engine pull out of a station, or peered down from the alleyway of a ship to see the leaping cranks and thrusting pistons that (by
many
miracles)
made
the ship to go.
—
working Are not the ironmasters of to-day, in a manner, the kings of the world ? The charm of this place is grim, but very luring, and to the visitor with even the faintest "mechanical mind" it is luring above all else in the White City. It is
a vast place, vast-aisled, vast in the crowded shining exhibits
or at rest
most vast
in
its
romance.
Chief serving-men to the Gods of
show the
well their concrete shudders.
most interesting exhibits
designed to
make
ammunition and
all
killing
in
easy.
War
are the
men
Here they of Vickers-Maxim, one of of
steel.
The famous firm the halls, show many smart things, specially Automatic gun on light tripod gun, tripod,
—
are carried on the backs of three
dummy
men.
Steel frames
covered with leather have thick pads so that the burden does not press too hard,
lower parts of frames attach to the waist-belt, the upper ends bend to shoulders and are connected with the waist-belt by straps.
gun
is
neat
little
over the
The weight
o{ the
is fed with cartridges from a belt. A mountain gun shown is operated b)- a hand lever at the top, easy of any firing position. If a special trip to the Machinery Halls could have
only forty pounds, and the weapon
access in
fit
259
EXHIBITION
FRANCO-BRITISH been arrang-ed for turbulent
of the
tribes
hill
go out on
twice in the future before they
the
Indian frontier, they would think
war path again.
—
War
on land and war on sea there are strong lessons in each here. The beautiful model fleet of warships is of more than ordinary interest to both French and British visitors. The science of the ship of war, her making-, her equipment, Not since the Naval Exhibition has gone up with a run these last few years. All the 89 1 has there been any such bringing together of warship models. Armstronggreat firms have united splendidly to make this fine show possible.
of
1
Whitworth, Cammell-Laird, Yarrow,
and torpedo boat,
cruiser tell
how
also
shook
frightfully
all
J.
L. Thornycroft
are here in miniature to
we may use is
if
Look
Angel of Peace.
building for Brazil
destroyer,
how we
the sea in a time to come,
off the restraining counsels of the
battleship which that giant firm
— scout,
tell
— the
armed
use the sea, to
Gods of War the Armstrong
the at
"Minas
Geraes."
guns she carries, the gun turrets raised above each other, so that Twelve and in any direction the innermost turret guns may fire over those of the outer 12-inch
;
she can deal death.
Sh-e
has a displacement of 21,000 tons, three thousand tons
"Dreadnought."
more than the renowned
Near by
the "
is
Ermack,"
that
wonderful Russian ship that can break the ice as she carves her road through the bound Baltic ports. Here is the little " Ghurka," destroyer on her trial trip she
—
made
the record speed of
;^^
knots.
All are fascinated by this shining
fleet,
but especially the youngsters, to
Such
whom
— indeed
a ship model
is
would be
toys for the sons of kings, though as far out of reach even in that
fit
The
case.
always a dream-joy.
ships the
tO)'s,
so far out of reach
French Navy shows are as
beyond
just
attractive,
they
the
splendid model of the lighthouse.
The French Admiralty exhibits have stories of romance a number of manuscripts tell of olden French
bindings,
Beauchesne fared to the South Seas years' cruise
and more), here
is
in the
to
beautiful
In
tell.
rovers
of
the
seas.
Spring of i6g8 (and that was a three
his very log book,
and here
French seaman who made a good fight with Britain
ofi^
is
book of a
the signal
the chalk
cliffs
of England.
Here are relics of great interest, the barge of the great Napoleon, the flatbottomed boats which the French used when they captured Algiers, an astrolabe of 1578, the first boiler Papin made, and some of the small cannon that they used on the gunwales of the eighteenth century warships of wood. Modern, four classes of armoured cruisers and five types of French torpedo craft are shown, and half a dozen French firms present examples of warship equipment, armour plates, projectiles,
The
and a 20
mm.
Ministers of
(4'7)
gun.
Commerce and
of Marine have worked well to get such a
A
Paris firm shows the largest
representation of
French engineering genius.
searchlight of
kind yet made, mounted on a Moralle engine.
honour
in
Mousson
its
the blast
French furnace.
hall,
M.
central
Philip
and noble, Bertin 260
is
shows
The
place of
taken by the great Pont a his
wonderful
system
of
MACHINERY HALLS back now, you
electrical point-shifting
land again, where the master-
see, to the
minds of mechanics have done, and are doing, so much towards a progress enjoyed and made use of by the
less gifted children of the world.
In exact model, the Suez Canal
manufactures show their
The
to be
plain here to see
is
Motor
and understand.
achievements for slaying space and time.
latest
railway companies have joined in their turn
â&#x20AC;&#x201D; not a very good show, take
it
Here again is a treat for the children, and for grown-ups who have been lucky enough not to lose the fascination of engines and engine models. It is and in the station electricity runs, shunts, a beautiful model of a railway station and moves a passenger train and a long goods train. All the movements are
all
round.
;
controlled from a signal cabin by electric power.
For variety
in
and
London and North Western and the new in several departLook at this model of the old
interest of railway exhibits, the
Railway certainly take first place. Here are the old ments of railway work and progress well shown.
Rocket, which drew a load of thirteen tons at forty miles an hour; by
London and North Western engine of sixty miles an hour.
is
its
practically exhibit nothing
and the same can be said of other In the French section of the Machinery
road,
railwa)s represented at the White City. better than this,
first
more) and the saloon now used by
little
The Great Western Railway
but photographs of the scenery on
the
at over
Here, too, are vividly contrasting models of the old
His Majesty the King.
go one
side
draw over 300 tons
to-day, which can
saloon (which was a stage coach and very
Halls, they
its
for there the
scenery pictures are at least
"live" and moving, being shown on a cinematograph.
French railway exhibits
include also working electric semaphores and ingenious devices for buttressing the
strength of the permanent way.
We must revert back
for a
moment
to the
shipping section to notice an exhibit
which attracts as much attention as anything
Machinery Halls. Here are Lloyd's, world-known and world-esteemed, with the wonderful volumes of their Register of Shipping, from 1834 to 1908. Just behind this stand is the priceless exhibit in question a silver model of the King's Yacht "Britannia," lent by His Majesty. His action in sending this trophy marks a great honour for the Machinery Halls. The romance of the sea is endless, made up along a thousand roads. Is it else in all
the
â&#x20AC;&#x201D;
the miracles of the sea or the miracles of steel which
At suggested Channel Tunnel the Machinery Halls ?
the very beginning a carries
make
the
dominant note of
model of the Dover end of the
us back to the old controversies that idea
Then the flashing mirrors of a fine revolving light, and other ships' lights, shown by a Birmingham firm, remind us of the helpful part the edges of the land play in the service of those who go down to the sea in ships. brought
in
its
Turbines
train.
â&#x20AC;&#x201D; the
propulsion of the future
....
here, actually running,
is
a
mighty turbo-generator plant which lights the whole of the halls. Then the road of the sea-bed itself is plain to any imagination by virtue of the stand which 261
FRANCO-BRITISH
EXHIBITION The
belongs to manufacturers of diving- apparatus. centre
is
At
The
made up
glistening column in the
of mother-o'-pearl shells.
column stand models of
the sides of the octagonal
patent telephone they use
divers, fully equipped.
one of the simplest things on earth
is
— no,
not on
you can call the sea-bed earth. It is attached to the helmet, and by its means divers, working in twos, can converse with one another, and with the men in the boat so far above their heads. Surely the industry of iron and steel is the mightiest industry of all this, at least was an idea visitors could carry away who had no knowledge of the technicalities of steel, and were lost if an engineer should speak of spigot and earth, unless
—
faucet tubing, expansion bends, high pressure cylinders, rotor centres and valve
openings, combination friction and positive clutches, and the that the real engineers arrival to dusk,
who
studying
visit the
fly
like.
doubt not
I
Exhibition stay in the Machinery Halls from
wheels, suction producers, and other beautiful things,
untroubled even by desire of the Scenic Railway outside the doors.
layman
in steel,
ignorant, half alarmed
But the
—even he may vaguely know the mightiness
of steel craft from his layman's morning here.
Here, from Newcastle,
a
is
mammoth
plate of tensile steel,
thirteen yards
long, twelve feet wide, one inch thick, weighing nine and a half tons. largest
original
is
"
this
;
this
steel,
the firm
astonishing length of
its
hugeness.
fifteen
who
turned
it
The
out.
with a diameter of nearly twelve feet and weighing
model through which you walk
you accurate idea of
the
model of one of the turbine drums of the
— making a gateway to the stand of
hollow forged
twelve tons
See
ever rolled.
plate
"Lusitania
It is
yards
Here
is
is
exact
a steam
that alone will
size,
tube,
and so
will
drawn out
to
give the
show you man's mastery over
steel.
Not
interesting
less
is
the display of the
London
Electricity
Companies,
where demonstrations of cooking by electricity are being given to show how all the drudgery of the old-time kitchen can be abolished by electricity's aid. Will you not marvel at the electric kettle, and the sewing machine operated by electricity ? Press buttons, it seems, and all housework is done. And the electric range has
many wonders.
Not
least, too,
of the Exhibition's good things (those to which
the ordinary visitor will accord the Prix
here provided, without
fee or
d'Honneur in his mind) is the rest room charge of any kind. Settees for tired limbs, and a
pleasant fountain to rest the eyes, tired with the strain of sight-seeing, while a
punkah
(electrically driven, of course) brings a breeze of
sweet coolness.
The most ignorant layman in matters of steel monsters can, and does, room to the full. Remembering the general comfortlessness of
appreciate the rest
was a stroke of real genius grim and dour Machinery Halls.
the grounds,
of the
it
to put
that oasis of rest in the centre
VICTOR ANTHONY. 262
I'll.LEY
You
AND ASTON
S liXHIBlT.
AND CHEMICALS.
BRITISH
TEXTILES
turn to the
out of the sunny Court of Honour, and the shade of the
rii>"ht
well-lighted building- that shelters "British Textiles"
and a sense of true British
is
grateful.
A
solid
name
hangs about this interesting collection of exhibits. For one thing, cotton, which is one of the greatest British industries, bulks largel) here and there are Bradford stuffs, printed fabrics from Lancashire, wool, silk, and linen, flannels and homespuns. I dare wager that for the vast majority of women who visited the Exhibition the frocks of Pavilion 14 dominate their memory of the whole show. From solidity
;
cipening time
till
closing the
call
of the frocks lasted; the call was
felt
from corner
to corner of the grounds.
The great dolls moved on a narrow track, round and round on tireless and moved not an inch to the right or the left. They smiled beautifully as moved they were women above price in that they could not speak. :
263
feet,
thev
EXHIBITION
FRANCO-BRITISH In the
house they wore the i^owns of
first oflass
archways, faint lamps
lit
many
years.
Under flowered
women
Faint sighs from the living
their path at night.
the other side of the glass, words of swiftly crushed satire from the men,
made
the
accompaniment of their triumphant sidling from the arch of yellow laburnum to the arch of yellow
laburnum again, round and round
....
a million times or
more a day. Two did not move at all. They remained ever in a placid wax 1810 and a little child, stiff and foolish, against a painted balcony, green with lifeless flowers. 1830 was in white satin, and her everlasting simper was framed by curls of gold. 1805 was the most grotesque; from her waist she was clothed in a hugh bell buoy made of some rich stuff, and a plume stood stupidly from her hair. 1855 directoired for her living, and her face showed no enthusiasm for her work; 1835 was a solid villa of yellow; 1825, in old chintz, was puffed up in her waxen mind because of the inane huge streamers that dangled from her bonnet; i860 was the grandmother of them all. A yard away, another glass house imprisoned "original creations," and the eyes of the living women grew rounder still. Here were Ascot and Goodwood, Hyde Park's Holy of Holies and Ranelagh, the Carlton and Cowes. Or here, at least, was as much as mattered of those sweet places, presented to make a ;
beautiful indigestion for the suburban mind.
Women turned reluctantly from Peter Robinson's exhibit to dream of a black gleaming frock that fitted like molten metal. Then they gasped at the sight of still more wax clothed this time in Debenham and Freebodv's furs sable,
—
ermine, silver fox, sealskin, sea otter and chinchilla.
—
So much for these the cream of life to a woman's outlook. Facing them good sturdy things, linens and longcloths and the largest cotton bolls on record, each bearing 14 locks and weighing an ounce, from British Columbia. A step on are tartans from Scotland, bearing all the old historic names Clan Alpine and Cameron of Lochiel, Graham of Montrose and Kilgour, Macdonald and MacFeydran, Urquhart and Rob Roy, and a tartan copied exacth from the one worn by Prince Charlie in 1745. London and Paris give reminder that the world's suppl)- of vanity and pride are
;
—
of dress
is
not yet allocated solely to
women,
for
they
show samples
of
ties,
pyjamas and underclothing that rouse easily man-envy. Further on, soap rules, marking its special province of Pavilion 14 by a clean and grateful smell. The gigantic Erasmic soap-bubble, wide, high, and with never-ceasing foam, is indeed one of the features of the whole Exhibition.
At
night, surel}-, from the nurser\ of
down and pla\- with such a tow being made, a London and Paris firm having
the gods the god-children must step
Close by, soap full
is
laid
down a
modern milling machinery driven by an electric motor. The sweet soap scent clings like a drug pass naturally to the drugs of
plant of
—
world.
The
all
the
colours of chemistry are as beautiful as the colours of the frocks,
where the endless procession of admiring women 264
still
hangs
thickly.
TEXTILES AND CHEMICALS
BRITISH And
names in this Chemical Industries Section! Put to the chemist the "What's in a name?" and, if truth is with him, he will reply, "As can possibly get of the alphabet on a non-stop run." Hydroxymethoxy-
the
old question
much
as
methol,
I
in
its
orderly narrow phial,
has for neijjfhbour Acetyleriodictyol, and
Root smiles a little sourly in reply to the literally acid look of H. In a case near by are shudders and thrills that do not suit with a light-hearted White City mood. There are bacilli in innocent rows, bacilli of Typhosus, Capulatus Roseus (a Ojuologlo
C34 Hu9 CO.,
delicate pink
They rub shoulders with tubes of cobra
sweetmeat looking thing).
and rattlesnake venom, and a pleasurable specimen of Tuberculosis in a heart which once belonged to a frisking
rabbit.
One
is
sorry for that rabbit, but seeing
my
and though I should love to improve acquaintance with Barium Anthraquinone Mono-sulphonate (who in private
life
is
an exhibition leaves small time for
a dye of the deepest), a minute must be spared to look at the smallest
medicine chest it
idle tears,
in the world.
It is
a gold chest you could cover with a penny, and
300 doses of tabloid medicaments, equal to
12 square bottles with
contains
15 pints of ordinary fluid medicine. call for attention, and now you hear the clacking many that I doubt whether you could count them on the fingers of your hands. The Crofters' Agency demands special notice, for Mrs. Stewart
Tweeds and homespuns
looms
â&#x20AC;&#x201D; so
Mackenzie, of Seaforth, has organised the labour of the crofters of the Hebrides, the islands of Uist, Harris and Lewis, for no personal profit at
of the people of the
An
but for the benefit
islands themselves.
exhibit which has a special interest
a Manchester and
all,
London
that of Messrs.
is
Pilley
&
Aston,
â&#x20AC;&#x201D;
For this reason that every single article they sell is imported direct from Northern India, where it is made entirely by hand. Embroidery and furniture, carpets and curtains to staircases, mantelpieces and firm.
archways, everything that the firm trades
hand made that have
;
and
first
the}-
have executed
been designed by architects
combination of East and West Street, the
this
in
is the same genuine Indian work, way many orders for special furniture
in
London address of
lovers of beautiful things,
is
in
Great
Britain.
unique, and in consequence of
the firm,
and especially
is
a
known and
to lovers of Indian
Such a happy it,
524, Oxford
a notable place to
work.
H.
S.
265 34
all
â&#x20AC;&#x201D;
VIEW OF THE INDIAN PAVILION.
THE INDIAN
PAVILION. " And whoso
will,
from Pride released,
Contemning neither creed or
May
feel the soul
About him
at
of
all
priest,
the East
Kamakura." Riidyard Kipling.
if
But Kamakura is a very long- way off; and the visitor to the Exhibition, he had any imagination, could believe that he felt "all the East" about him
by a
careful
journey within
indeed was this
Pavilion
the
doors oi the
Indian Pavilion.
of Riches, organised by the
A
fine
thing
Government of India
unknown country to so many of us â&#x20AC;&#x201D; and understanding visitors, having amazedly studied its glory and gold and colour, went out, grateful for greater knowledge. Often they returned again. that
For the
life
was shown and typified in the Indian Pavilion East and West met this once and West (in the
of the East
and the East's wondrous art. shape of the many thousand visitors) departed thoughtful, having learnt something of its lesson. They say that it cost the India Office fifty thousand pounds just to collect the exhibits shown here. It was money well spent. ;
The work
in
hand was
to
show
country hugely mysterious, hugely
the
people at
unknown
;
home
the
life
and work of a
and you cannot set about such
business cheaply.
was
"Cook's trip" and more, this tour of an hour or so round the Indian Pavilion. Did you halt at the very first It
all
of a hundred guinea Eastern
266
THE INDIAN PAVILION
CORNER OF THE PALACE SHOWING COPPER REPOUSSE DOOR.
exhibit
—a
reverent, ;
brasses, streets,
little
the
and
showed
big,
playmates
lifted ;
— then
the
their
of the roads, the bazaars and the
life
Here were strange many-limbed gods,
wicked heads
;
the snake-charmer played to his
mincing
camels went
along
the
Here were some of the treasures of the earth
trappings.
the dark red lushia bean, the
black canna of
plain the
of the temples.
fantasies
and hooded cobras strange
Nagpur, Gwalior,
you landed in India at once, Plaster figures, detailed and correct, showed you some of the eager. the native postman, the native policeman, and so on. And cast Hyderabad, Baroda, Bangalore
Karachi,
workers
large white case that sheltered ransackings from
— beautiful
fish-tail
palm,
the
roads, in
gay
with
a land of sun,
teak seed, the tiny lustrous
seeds that are strung for ornament, to deck the shoulders
women.
Now
already you
were truly
India.
in
And now
the art of the land's
dreamers, the joyful work of the land's craftsmen, were flung prodigal for your Delicate workers in wood, the men of the East displayed their skill to delight.
make envious
the onlookers of the West.
Elephants trumpeted and fought along
the front of a carved sandalwood box from Mysore must remember covetously it was priced at ^90.
—
Madras (carved
silver
A
which
fine
all
who saw
it
carved overmantel
and from the School of Art work), Bombay (enamelled gold, copper, and jewellery),
by Ala Singh came from the Punjab School of Art of
State,
267
;
FRANCO-BRITISH Tr
EXHIBITION
V a n d-
Indeed, the
rum (carved ivories),
exhibits
i
o rganised
Jaipur (co
b y
cloths),
ment
came
e x-
always
amples
of
most
genius
the
h e
t
Govern-
o ured
1
were the
inter-
esting,
for
of students,
they show-
and
ed the wis-
evi-
dences
dom
of
of the
the
watch-
ful
care of
strange
the Govern-
land in en-
ment
couraging
rulers of
that
had fostered
all
a
talent in
men
that genius.
the
Lahore
they ruled.
School of
So
Art sent a
Pavilion
brass lamp,
stood,
in
designed by
a
way,
for
thestudents
a
kind
of
to adorn the
peaceful
entrance to
triumph
that the
of
the famous
Taj Mahal of Agra.
The
ment.
CARVED WOOD TROPHY.
Govern-
ment of Burma provided a and caskets by native
fine
artists;
example of
this in
its
collection of silver
bowls
and H.H. the Maharaja of Mysore sent examples
of inlaid work and brass ware which were
much admired. Strongly individual of its own kind, aloof and strange,
and fascinating is the native art of India owing nothing to the West. Noticable were a screen by Thaker Singh and a copper repousse door from the Bombay School of Art. A little ironic showing :
of the gulf between East and West, surely, lay
in
this
â&#x20AC;&#x201D; that
several
beautiful
â&#x20AC;&#x201D;
were the work of men imprisoned in the Bikanir Jail, Rajputana lacquered koopis and a painted brass vase, among other things. The summit of things
artistic
Especially interesting to realise
making France and Britain was
achievement of our English gaols that
you have only
both countries.
to consider
And do you know
is
the
the
vast trade
the size of India? 268
of mail bags. this
Hall of India
relations of
She
India
Ijoasts a million
;
to
with
and
THE INDIAN PAVILION boundaries
a half square miles, of which
her
one
practically
million
provinces and
are
British
the
rest
fifths,
one-fifth
a
of
makes
four-
by
comparison
up
the
white
care for
world produces.
now
to her
one
in
of
men
her and rule
Plains
sampling"
nearly
that mig-hty
liqueurs,
apparel
the
What
;
sells
silk,
and
goods
being
that
copper,
seeds alone
sing-le year,
India pro-
seeds.
in
a
CARVED WOOD SCREEN, BV THAKER SINGH.
along-
Of
and
oil
oil
duces one and three-quarters
Within
road.
buys
sterlingf.
brandy,
every
climate of the world
alone,
cotton, hides, skins, tea,
the
Himalayas,
the
to
— France,
millions
eigfht
India stretches from
year
And
India buys from France
her.
She
trade
that
from her goods to the value
are Hindus,
Mohamedans — only
fraction
who
people,
roui>-hly,
everything
the
Of her 300
Native States.
millions
are
found
is
millions worth.
of India as a buyer of the g-oods of other lands?
cotton and yarn g-oods to the value of twenty-seven
In
1907 she boug-ht
millions, the
greater part
from the United Kingdom.
So compare India as a customer with the Colonies. She does not cry out for emigrating- men she does not need them she shows her sales books and her buying books, and is content. She has this grievance, that Britain taxes her tea. Tea vast figures lie behind that household word. ;
;
—
In
1906 there were well over half-a-million acres
India under cultivation for
in
producing roughly two hundred and forty-one million lbs. An area of twenty-one million acres under cultivation for cotton produced three million tea,
bales
of cotton
and her jute plantations brought forth three and a quarter
;
million bales of jute.
India deals
in
bewildering millions
in
many departments
of her industry. It
was curiously fascinating had to adapt
progress have gigantic
was
country.
clearly
In
the
how our modern ways
Government Post
Among
shown.
to note
themselves to the conditions
the
special
Office
exhibit
of
of
this
accoutrements
shown Government workshop
for postal servants (all the things
were made at
were spearheads with
Alicarh)
rattles
the
in the
attached.
native
runners,
jingling
away
These are
rattles
wild
the
ball
carried
by
purpose of the
being
to
animals on
frighten
lonely
the
path and forest journeys.
rfl^ %u<>.
in
The
great arch of carved
the
centre
of the
hall
wood
was of
-"i^f^:
269 BRONZE FIGIRES.
a
BRONZE FIGURES.
EXHIBITION
FRANCO-BRITISH course
the
main
All
spectacular attraction.
visitors
long
will
remember it, with the fantastic shining peacock on its front. Two lamps hung in the doorway, and above them the peacock shone, needing no lamps to show its dazzling coloured splendour. From the workers of the Punjab came the back of the arch, with elephants at the foot, and workers in wood from Baroda and Mysore worked lovingly to make the sides and the whole of the arch was patiently and wonderfully carved. It had an exotic beauty, and whispered of the East, losing some of its effect, naturally, because of the crowding in upon it of so many other things, it wanted half lights and a free road before it for proper ;
worshiping
the
at
peacock's
shrine.
Its
carvings
and native workers from many provinces of India had had hands in its making. were often delicate as
The
lace,
EI.KPHANT t.VRVHn IN WOOD.
manner of crafts. The looms of Bjapur, Amritsar, Kashmir and Benares hung its walls with carpets and rugs, and products of the simple hand looms were also shown. For the Government, eager for the welfare of the vast governed, is doing all in its power to promote Pavilion
the use of these
and
And
fed.
was
little
rich
in
all
looms, so that the spreading thousands shall be workful
shawls and embroideries, muslins and tussor
silk,
drove
in to
us
the dim knowledge of that tremendous Eastern world. For the best part of a week you could have lived in the Pavilion, and your wonder would not have Perfumes and incense, leather work and lacquer work, tanned stayed its course. snake skins made to belt a woman's waist, a great log of Bombay rosewood,
weighing four tons and over, that the
Scenas
earth. artist,
in
relief,
showed us the
Burmah of
will in
time
filter
into our
own Western
lands
in
form of pianos, agricultural implements to coax the parched and reluctant
(near
it
by
painted
W.
T.
Helmsley, the well-known
industries of the land, or
a case of rubies to the value of
some of them
many
Bombay, and jute from Bengal. And you saw by pictures how the men who helped
giving of their sweat and their brain. the roads.
By
marvelled at the
was
in
calm or
â&#x20AC;&#x201D;a
scenic
ruby mine of
thousands), a cotton
to
make
field
the land Avorked,
The bridge builders, the men who drove how the railways climbed and went one
knew a little bridges where men undaunted had daily worked whether the river flood, bridges like the Empress Bridge over the Sutlej, with its
these one
:
sixteen spans of girders of 260 feet. India's lavish
the
showing
to the
Western People
w-as a triumph.
sunny country of the Exhibition one carried splendid miracles
Out again in the
mind.
H.
270
into
S.
AUSTRALIAN PAVILION. HE
appears at the White City as a proud and triumphant young-
lady,
does Australia
The
six
the fairest of Britain's daughters overseas.
of
States
New
Commonwealth,
the
Queensland, Victoria, Tasmania, Southern and Western
show land Pavilion
that
earnest
her desire
in
for
of the
settlers.
The
magnificent advertisement of a giant house of untold
Australia's
is
dead
in
is
Australia,
respective courts the tremendous richness
their
in
Wales,
South
treasures.
many
Lofty and light and hung- with display are
gems and
show
to
In Victoria's court a
of
huge arch of gold
the bulk of the precious metal mined.
impressive figures for the minerals wrested from
space
In one section alone are
wool and g^olden wheat.
g^old,
gold nugg^ets to the value of ;^20,ooo. rises,
the notes of Australia's great
flags,
The same
years.
fifty
New
State shows fine
straws, and one of the finest merino wool.
^192,000,000 are the South Wales State over a
arches
— one
Also an arch of
of grains
coal,
and
and around
it
and other minerals. comes from In the well-g^uarded A the Broken Hill mines. Mineral Court the visitor stays for a while, and is perfectly dazed with the
samples of
g^old, silver, iron, tin,
pyramid of
silver
wealth that surrounds him.
Here unearthed
are three gold nug-gets that are wonderful apart from their value, in
different
of
parts
Commonwealth, they form a remarkable
the
One
"Entente Cordiale" kind of family. of the
configuration
of France,
England, and the third itself.
They
are
is
a solid
shown exactly
for,
is
an almost exact facsimile
in outline
the
second follows closely the coast line of
map
of the coast outline of the
Commonwealth
as they were found.
See what the State can do
in
way
the
of
woods
:
a beautiful
room made
and decorations of white beech, and a parquet Oak and rosewood make the furniture the room
entirely of black bean, with carving
flooring
gum.
of spotted
contains, and in
it
Royalty has taken
tea.
—
—
mine of all the Mount Boppy Mine shows an interesting model of its equipment for treating oxide and sulphide ores, and Broken Hill - that spot of land so rich in romance, for you will hear Australian visitors "swapping" stories of how, before the full value of the place was known, a man sold a share in Broken Hill for a few head of cattle. Exhibits drive in on the visitor that it was a surpassing- miracle in a land of many miracles. The boundar\- rider who first discovered Broken Hill thought that Broken He went back to his station and formed Hill's outcrop consisted of tin ore. There were a syndicate of seven people, each contributing the sum of ^'70. hands holders. it was not shares in the of these original But tin, but silver, that 14 was to make Broken Hill stand forever as the g^reatest synonym of luck and in
The
largest gold-producing
:
six
years from
jCi, 2^0,000.
that
Now
time the
Broken
market value of each one of those shares was
Hill has paid over ;^ 12,000,000 in dividends. 271
—a AUSTRALIAN PAVILION. In the
New
South Wales section are
Women's
eyes
the jewel
take
The
with wondrous gems.
lust
opal
and a misunderstood stone.
into
from
fleeces
them
from
the districts,
all
made from Australian mohair.
Riverina to the Hunter River, and dress goods
predominates,
sight of cases
the
at
and the opal
Notice the largest opal carving
is
in
a
crowded maligned
the world
—
representation of Cupid and Psyche, carved from a single stone of i,ooo carats.
Pass on to see a Queensland pearl diver equipped for his dangerous work on
North Coast.
the pearling stations of the is
the famous Southern Cross pearl
make
to
gem why
Mounted
a perfect cross.
— nine in
And
in the
Western Australian Section
pearls, really
—^joined
an open gold setting,
it
by nature herself
shows as a king
a bewildering collection of wonderful gems, and you can well understand
in
who found
the native diver
(a staunch Catholic)
it
thought he had found a
sacred thing, and hid the pearl for six months, waiting a favourable opportunity to
convey
it
The
to the Pope.
story of the finding leaking out, the pearl of ;^io,ooo
value passed into other hands than those of His Holiness.
Queensland has a great pagoda made up of i6
varieties
wood, and the silky oak, maple, elm, and crowsfoot, are largest trophy
in
The
Her
represented.
a big pile of beef tins, fringed with the hoofs of cattle, to remind
is
the stranger of her cattle-raising industry, and there
ending
all
of Queensland
a windmill
made
is
a huge pyramid of cereals,
of wheat.
Commonwealth, Tasmania, is proud of her scenery, and of her fruit and the apples she shows make all men feel like the boy in front of a well-stocked orchard. Is it wood you want Tasmania displavs 600 sister of the
little
:
—
specimens.
And
the discovery of
a nugget of tin that has a history
Mount
—for
Mine, which ranks
Bischofif
this very
among
nugget
led to
the largest in
the
world.
Frozen,
in
a cold store,
meat, butter, and
lie
helps the tables of the Mother Country.
And
in
fruits,
to
show how Australia
the very centre of the hall an
Australian garden makes for more wonder at the overpowering
country
—and for
all stuffiness
to
make
fertility
of the
you must so soon take the Tube back to London and crowds and tiring pavements when there is such a land as this regret that
—
fair the earth,
a land so blessed by the gods.
And
the settler can reach
that country for jC6.
Well, not least of the
many
things that the White City did was to awaken
at the heart with a pull that was sheer go back to little houses in crowded streets in company with haunting images called up by seeing the spread-out lavishness of other sunnier lands. Many visitors registered vows of emigration within the Colonial halls, and future settlers in Australia and elsewhere will (many of them) not deny that it was the Franco-British that really sent them overseas.
the
"wander-hunger," so that
pain.
It
was
terrible for
it
many
tugged
to
V. A.
NEW ZEALAND AND THE CROWN COLONIES. ZEALAND
|l{W
stands
(in
Her
her greater neig^hbour. that there
is
very
little
the
map
hall
White City) opposite
of the
uncomfortably crowded, so
is
space to walk and smaller space to wait
and specimens of what the two islands can manufacture and produce. The roof is draped with awning-s, which have often g"iven needful coolness when the hall was packed full long
for
with a moving and
before
the
stalls
mazed crowd. Most prominent here is a very good exhibit of specimens of the famous kauri gum, the fossilised sap of age-long kauri pines. Good for decorative purposes, too, is kauri
and
;
slig-htly
this
is
Flax and wool, of which
well evidenced in the beautiful table of mottled kauri.
New
Zealand
of green-stone articles attracts
stall
display quartz and ore
Papamii shows
s.s.
many
how
and
iron
cleverly butter
Great Britain.
in
buyers. ;
shown near
and a Gold and copper companies and a section model of the
rightly proud, are
here, too, are coal
exactly
market
frozen, for the
New
;
is
by,
and cheese and meat are stored,
All in
all,
under
difficulties of space.
Zealand makes a brave show.
The Crown Colonies
of Great Britain
Gold Coast and Mauritius
—
— Southern
book, unfortunately, allows only brief notice, very exhibits.
From
Nigeria,
little
Gambia, the
Fiji,
Since space
have a building to themselves.
in this
can be said about these
a spectacular point of view, the gold trophy of the
Gold Coast
Colony and the various native relics must rank as first the giant tortoise and the set of (95 years of age if he is a day) sent by Mauritius claims attention island armour, made of tremendously strong fibre matting, from Fiji, must not be ;
;
forgotten.
Mr. Swayne, who
is
responsible for the Fijian exhibits, has done very well
in adequately representing the life and customs and work of the two hundred islands which make up little-known Fiji. Fiji wants emigrants just as
indeed
her greater fellow-colonies, and her claims should not forth sugar, bananas,
who goes sort of
the
certain
to the islands should see
man.
Crown
and copra, cotton,
good
rice,
go unheard.
tobacco and spices,
profit for his
labour
if
She brings and the man
he
is
the right
shown in the way of pottery
All these mentioned products, and others, are
Colonies, and specimens of native art
merit.
A
in
the
queerer country than the big colonies
—
that, too, is
hall of
are of
shown, as
you see the combs with which the women of Lau dress their hair, dress it in high edifices, and see, also, the wooden pillows which they then use, when the hair is done to the satisfaction of the Fijian postcard beauty, to protect the said edifice from disarrangement or damage.
mind the whole
life
The imaginative
visitor
can construct
of the Fijian natives from the curios and native
in
his
relics.
RICHARD OHARA. 35
INTERIOR VIEW IN CANADIAN PAVILION.
CANADIAN PAVILION. HEN
Pavilion,
It is
set out to represent in
one
work and life of a country half the size of the British Empire (to be more exact, a country covering- 3,745,574 square miles), you are going to do a great thing. Canada, thirty times the size of the United Kingdom, does this great thing in the Canadian Hers is the most sweeping and impressive and does it with success.
result in the
is
you
fine building the
whole Exhibition,
a solid temple, this place, a temple with a stern, compelling
spirit.
Here
transmitted the magic, the glamour of a mighty sweeping land, calling with a
clear
and mighty
not hear the
where wide
Hardly an entrant
voice.
Where
call.
rivers
nobly packed temple
who does
the earth labours richly to her satisfied fruition of wheat,
and wide lands stretch
labour as a servant), the minds of very visit to
in that
in
a restful
power (asking only
many men have
for
man's
been turned through a
Canada's Pavilion.
They
Canada with a real longing for the Dominion's spaces and clean air. Canada worked her spell over her visitors, unashamed, and woke a desire by no means small. She had no apology in her speech,
replied
for she
to
strong
the
believes in herself.
call
of
All the notices scattered about a pavilion
bewilderingly rich with natural exhibits, had supreme confidence as their keynote.
She was royally proud
in
her independence, in her sheer confidence. t
274
CANADIAN PAVILION These mottoes sealed up, for the visitor, the unconquerable impression of splendid power. "The Canadians are building-up a great nation. The United
now
States has the nineteenth century, but
Another message of Earl Grey, a
"To-day
the inhabitants of the
the twentieth
in
is
it
Canada's turn."
one for the Franco-British Exhibition:
fitting
Dominion
are neither English nor French.
stand before the world not as English or French, but as Canadians."
gold were
all
these inscriptions, and
were gold,
all
"The North
brooking no contradiction.
They
In letters of
too, in their bold individuality,
Star of the British Empire
is
the hard
" Canada's hard wheat areas are of more value than
wheat lands of Canada."
the coal lands in the British Isles and the Colonies combined.
Was it braggart? I woman gifted by the gods,
all
"
was simply the buttressed serenity of a great In the pavilion she showed conscious of wonderful life. her gifts; should she rvhisper her own pride in them? Not she. Master minds have planned all things that went to make up her tremendous shout of triumph. Grain on green grounds covers the walls, worked into opulent designs suggesting the fruitful boughs of trees. "Wheat," she cries, " I have the largest area of arable land to be found in any country in the world." So in the very centre of her pavilion we look up and marvel at the grain hopper towering to the roof, built of grain. Up at the top, bags of wheat, hard wheat from Manitoba, think
it
Saskatchewan, pour their wealth into the hopper.
northern wheat from
the hopper, horns of plenty spring out,
"ALL RED"
making
the roof of the pavilion that
From is
the
And
again you seem to hear Canada speak, though this was not lettered on the walls, " I am not out for small things. ALL base of this
RED.
I
can feed your whole Empires peoples with the grain
Another giant industry that
the
—a
— pulp-wood,
colony of
Here, live
bear."
;^5, 000,000
the wood-pulp logs, the
first
backs this
wood workers
are
beavers in a pool, though their straitened circumstances
hinder them from actually
twigs at their disposal,
among
I
the manufacturing of pulp for paper, so
regiments of our newspapers shall continue.
industry in Canada.
busy
exhibit.
if
making a dam,
they were really
as they would do, with the sticks and
in their native
haunts.
There was
fierce
and daily fighting among them when they first came, for the beaver is the Irishman of animals, and now they glare at each other, longing for a scrap, through wire netting, which not even the
craft of a
beaver can break.
All the industries are here: lumbering, fruit and dairy produce.
made up of
butter,
Jacques Cartier lands
in
In scenas
Quebec, and King Edward meets
President Fallieres with an unmelting smile, and there bloom roses of butter that shall
never wither.
Adjacent,
the
refrigerating
chamber shows how they are
brought to the tables across the seas. Fish
— Canada
supplies the world with lobsters, and shows here her cod and
salmon, swimming stuffed and motionless
For the overseas
tables
again, there are piles of tins of canned salmon, that in their last minutes
made
part of a heaped crowd,
all
glistening
in great tanks.
silver,
27s
in
a
British
Columbia
trail-net.
FRANCO-BRITISH
A
fine
land for sport
Turn
!
to
trapper, lynx
musk
and mink, and
tableau
this
of scenery,
and the mountain goat.
ox,
sable,
and
in
Here
the Canadian canoes exhibited sends one paddling on free
is
deer,
game
and
for the
The
very sight of
huge waters,
all
the
in front.
Slay that dream swiftly, or rush on the Scenic, or
elk,
and about the animals are the peoples of
the air: curlew, snipe and quail, geese and duck, and crane.
wealth of an open air day
kingly animals
its
and meet the fixed stares of the
covering- the foreground thickly,
antelope, the bear, the
EXHIBITION
thrill
it
will
haunt you through the day; and no mad
of the lifting Flip-Flap, shall seem
good
to you, or
dreaming from your mind. Forget it, then, in this other scena, where red and yellow apples, peaches and plums, nature's jewels of rich beauty, drive into you how hugely dowered the land is, and waken new desires. 1903 saw over 60 million bushels of apples in Canada; soon the young trees will begin to bear, blot the
and that number
will
Surely the work
be doubled is
to
in 1910.
Canada, and
in
some
some year of a clearly what she
year, one thinks,
monstrous dim-imagined upheaval, the nations shall at last see In a year when the peoples cry, and Canada alone shall be blessed and can do. green .... In that year we shall see her giant arms open and let loose their God's things upon the starving other earth.
Then our huddled millions shall pour madly upon her life-giving shores, and even the dregs of men shall have changed utterly, so that every man who can walk shall also work, work ungoaded and with spirit. Then at last we shall realise Canada, and know her burden, to rain
all
purpose to the
full.
That
wayward dream, a monstrous dream of a black night of Titanic cruelty, enveloping the world till the dawn should come to discover a new sun. Yet something we know of Canada who have stayed and been stricken with wonder between the doors of her pavilion. is
a
HERBERT SHAW.
THE BEARPIT
OLTSIU1-; TllK
276
CANADIAN
I'AVILION.
THE ALGERIAN PALACE.
THE FRENCH COLONIES. The French in
Colonies were rather late
in
making up
to participate
They had exhibited since 1900 in much more propitious than London
Franco-British Exhibition.
the
Hanoi,
Marseilles,
at
centres
development of their commerce, and these repeated
upon
minds
their
funds for
their
countries,
propag'anda purposes.
whose enormous and
efforts
Besides,
for
the
drawn
had
larg"ely
the
chief Colonial
in
magnificent possessions
at
Paris,
have such names as
Canada, the Indies, Australia, the Transvaal, France has scarcely a chance of
showing her exotic products. The British Empire reaps all that we Asia and in Africa. It could scarcely then become a considerable customer
successfully
reap in
of our Colonies.
From
the point of view of being agreeable places to stay at during the cold
season, certain of our possessions have an evident interest in
known
to such great travellers as the
Tunis,
now
Anglo-Saxons.
making themselves
Algiers,
Blidah,
provided with comfortable hotels, are well equipped for the reception
of the globe-trotters, lovers of beautiful scenery and of sunshine. in
Biskra,
this respect that the Algerian and Tunisian exhibits
Illustrated pamphlets,
It
is
produce
will
edited by the Winter-season Committees,
chiefly results.
have made our
paradises better known, familiar though they are already to thousands of villegiaturists.
The French
To
Colonial Exhibition
is
sub-divided in three palaces or pavilions.
speak more accurately and with a becoming modesty, the Indo-Chinese section
has grouped
works of and Western its
style,
in
and gold pagoda its agricultural and industrial samples, Algeria, Tunisia, ethnographical and statistical documents assembled in one white building constructed in the Arabian riches in a compact space, but with a regularity and order
a red
art, its
Africa,
present their
;
that prove the methodical spirit of the organisers.
use the word " riches" of nature seen
when he
in
It
is
not by chance that
to describe the representation of labour
these
museum-halls.
I
and the resources
The Frenchman calumniates himself Our seventy years in Algeria,
denies his capacity for colonisation. 277
36
,
FRANCO-BRITISH
A
thirty
in
twenty
Tunisia,
CORNER
THE FRENCH COLONIES.
IN
Indo-China,
in
EXHIBITION
have proved, on the contrary, by a
we know how to bring- prosperity the provinces we have conquered.
very striking" economic evolution that countries
our
in
possessions,
it
extent or in
is
protectoral
importance,
territory in question
Algeria for
and
compared with those of Eng^land
true, are not to be
is
but there
this
is
to
be said,
but recent, and, further, that
to the
Our
either in
our rule over the
that
we have had
to struggle in
many long years against the most warlike and the least industrious Now, notwithstanding the short period since our conquest
race in the world.
and obstacles,
and occupation,
in
spite of difficulties
accomplished.
In
1882, only 400,000 hectares in the principality of
cultivated for the produce of cereals.
In
let
sown with wheat, and 64,000
barley
15,000 hectares have been planted with vines.
were under 20,000,000.
In
Tunis were
1886 the same superficial area was
entirely ;
us take note of the work
additional
1907, they exceeded
hectares
produced oats and
In
103,000,000.
1886,
the exports
In Algeria, our
more striking. In Indo-China our principal object has been to more rapid the means of communication with the immense market of China, so as to reach it more easily and speedily. We have taught the natives to utilise those improved methods of work that our civilisation puts into their hands. In short, we have tried, by means of experimental fields and progress
is
still
develop, to render
278
THE FRENCH COLONIES
ALGERIAN ATTENDANTS.
gardens,
testing-
to verify the
upon those that give the best
modes of results
culture in use in order to concentrate
and the largest
profits.
In this vast Indo-
Chinese Empire, the population of which is not endowed with lively energies, and where the colonist so soon becomes enfeebled by the damp heat of the climate,
it
will
not be possible to organise a frugal,
thrifty
with as
life
much
and variety as in our North African possessions, for instance but nevertheless, thanks to the education of the Tonkinese and the Annamites, thanks intensity
;
to the gradual acclimatisation of the immigrants,
we
shall succeed in
prosperity and happiness upon a region which has never distress
let
me draw
attention to the generous character of our intervention as
conquerors, everything considered.
war and the
conquered people of their property
Thus,
but
and oppression.
And the
bestowing
known anything
after
Condemning, once
reprisals following victory, ;
;
we
we inspire them with confidence we give them the support of our
some years of rancour and
under our laws, accept our
rule,
and
ill-feeling,
profit
279
for all,
the violence of
try to associate ourselves with the ;
we do not
despoil
them
protection and our power.
the natives of
all
races live
by the advantages of the safety they
FRANCO-BRITISH owe
Arabs who have become richer and who have regained possession of lands that had been in
There are
to us.
than our colonists,
to be found in Algeria
the hands of these colonists.
In these things the genius of France, faithful to
endeavours to implant ideas of liberty and justice wherever
itself,
But revenons a nos
niotiions,
applicable in this case, for
arranged
fleeces
in
â&#x20AC;&#x201D; and
why ?
and
hovers.
it
is
it
particularly
the reader to piles of skins and woollen
" Palace of of which I am
the third building, rather pretentiously entitled
from denying, are
formed
the proverb says,
as
we conduct
The few samples
the Colonies." far
EXHIBITION
referred to above,
the utility
:
and unnoticed in this Hall, which has been transa bazaar, where there are many articles from Paris or
lost
â&#x20AC;&#x201D; into
elsewhere ticketed "Oriental" or "Far-Eastern" merely for the occasion.
These
stalls
were much visited by the crowds
and even a few French, speaking an outrageous polyglot gibberish and
offering- their
cheap wares
who
at the Exhibition,
provided
Inside were Arabs, Turks, Germans, English,
themselves there with souvenirs.
for sale
in nasal voices,
jewellery at six francs, gilt belts, silk or
:
pearl-embroidered kerchiefs, dolls, mechanical toys, perfumes, glove-boxes, purses, tea-cups, feathers, etc.
I
was surprised
to find in this "Colonial
strap of Austrian manufacture and a scouring paste of
Yankee
Palace" a novel
origin.
Amidst the rubbish we saw a superb automobile of French make, statistical collections of the
hats,
materials for
Colonial Minister, engravings, samples of wood, straw
dress or furniture,
native figures and costumes,
displays of
Colonial newspapers, a few carpets not very attractive in colour or design.
a chaos
!
One
readily
perceives
instructive objects scattered
among
the
that
this trash.
visitors
The
were not
attracted
Decidedly,
savages as they think
many
civilised
What by the
curious and the eager went by
preference to glass trinkets, to brilliant objects of which they could
adornment.
the
beings are not
so
far
make
a personal
removed from
!
PAUL LAFAGE.
SOIKS ALGERO TINISIENS.
2SO
DECORATIVE FOUNTAIN
THE UR
"GRES," BY ALP. MONCEL,
IN
CITY OF
PARIS
great and noble lady,
come and
visit
herself as
one may
and orders upon her
say
in
PAVILION. having decided to
City of Paris,
the
high and
the
FRONT OK THE PAVILION.
IN
puissant
her best
all
Lady London,
dressed
with her jewels
attire,
a fine array of riches and chefs d'oeuvre,
;
treasures of science and of wealth.
one
If
feels
famous song
proud to be a Frenchman
how much more
asserts,
the beauties of our dear Capital,
on
Column, as the
seeing the
so should one be
when one contemplates
unique, adorable Paris.
You smile, you Londoners, at this enthusiastic and emotional rhyme. "Oh, these Frenchmen, exuberant as their own Marseillaise!" Never mind, in
your hearts you share our love
seasons you cross the Channel
holiday us,
in
for the
the
Champs
Elysees,
in
banks of the Seine, and
London has extended to our queenly
life.
city a
There
is
only room at the
Out of
right royal welcome.
regard for her friend she has abstained from exhibiting her treasures.
your
thousands and come to taste with
pleasures of
the
at all
Exhibition for our
own
city.
archives and It
is
her
to
alone that English visitors pay their gracious homage, forgetful for the nonce of their
own
glories,
and
truly
Paris deserves their homage,
charms, but also for her virtues.
moral qualities of a thousand kinds. the kindness of her heart
;
For
Paris,
let
not onlv for her
none ignore
it,
abounds
in
Charity and widespread benefactions attest
education lavished upon her people shows with what
and variety the intelligence of her children complicated organism, with millions of veins and
zeal
is
cultivated
arteries,
;
a healthy
and
which her architects
and engineers are ever developing, manifests her anxiety to improve the welfare of each of her citizens by the diffusion in every home of light, of water, of electric power, animating their machinery and carrying the burden of human thought. 281
;
FRANCO-BRITISH Witty
satirists
of our public
make
offices,
in
EXHIBITION
fun sometimes of our public officials, and
which, perhaps with too
much show
more
still
of formality,
are
elaborated our schemes and projects, our police regulations, rules for the health
and safety of our services
:
fine
citizens,
and
the
responsibilities
hygiene,
education,
arts,
all
the
of
care
involved the
by so many
means of
streets,
communication, contributions, hospitals,
relief offices, public parks and gardens, and the analysis of foods, protection of persons and property, suppression of murder, theft, incendiarism, and so forth. The truth is, our citizens do not fully appreciate all the talent and labour devoted
laboratories for the testing of materials
Which
to their comforts.
of us thinks of the merits of
MM.
Lepine, Bouvard,
Mesureur, Bedorez, Ogier, the Bertillons, Formige, Colmet-Daage, Miguel these high officials in
employ the whole of
Our eminent
our service.
at all
upon
crowds
irritable
and
skill
and experience
Prefect of Police appears in public on
popular effervescence and pays with public order
their activity
;
his
own person
to
Yet
?
all
days of
impose a respect
but in secret, day after day, he
is
for
working
hours to protect us against crafty miscreants.
Bouvard and Formige embellish Paris with works of art and new promenades Miguel and Colmet-Daage watch with tireless vigilance over the quality of our
Mesureur provides trusty quiet guardians for the infirm poor he exposes the misappropriators of public relief funds, and brings brightness and happiness into the deadly life of hospitals. Bedorez controls our primary and professional education beneath his lofty direction thousands of professors are forming youthful brains, and teachers are instructing our boys and girls in drinking water
;
;
;
the arts of livelihood. dresses, artificial flowers,
bronzes,
carpentry,
We
can see
pottery
sculpture,
in
the
Pavilion of the City of Paris,
made by our
iron-work,
children of the streets
carvings,
bindings,
;
hats,
furniture,
lithographs,
and
work of apprentices not yet sixteen years of age. Even the infant Already skilful and not "one-handed." clever, these future fairies of the Rue de la Paix can do embroidery work and designs, can work tapestries and crochet, charming naive attempts like the first artistic efforts of a rude age. What patience and ingenuity the teachers must possess to produce such results. The modest labours of our educators are an admirable thing. They are equipping the generations to come with better and more artistic weapons for their own protection. The name of M. Bedorez will be for ever connected with the great work carried on by the City of Paris amongst our infant population, for it is to his initiative and perseverance that this magnificent intellectual movement and development of professional and commercial schools owes its origin, under the patronage of illustrious names like those of Bernard Palissy, Boulle, Diderot, Dorian, and Estienne and Germain Pilon. printing, the
classes send evidences that they are
Though
good is well represented in the domain of Parisian has not a monopoly of the Hotel de Ville. Vice, crime and
the science of the
administration,
it
282
THE CITY OF PARIS PAVILION
Roger Boiaakh,
v^rf/iiVÂŤ/,
PAVILION OF THE CITY OF PARIS.
dishonesty have also to be tracked and punished, so in
an imperfect civilisation
like ours.
violence of rogues and vagabonds
organisations the
Bertillon
;
counteract the schemes and avert the
society has had
to
the
;
anthropometric
service
form various protective
instituted
the police forces, guardians of the peace,
;
malefactors are there
the laboratory of toxicology under the distinguished direction of
Ogier
chemist
To
many
by
M.
Alphonse
commissioners of morals,
There are on view at the Pavilion of the City of Paris criminal records calculated to give an apache a fit of the shivers and to reassure honest folk. These records show that an imprint on a window pane or on a table and the
like.
cloth are sufficient to identify an assassin,
ments
in
and prove the
infallibility
the detection of criminals despite disguises and
of measure-
the lapse of years.
These precautions unfortunately cannot prevent crime, but they help to pursue and to reach it. But enough of this. A noble lady like our city does not care for the associations of such company. She would prefer to shut herself up in her palace and study the magnificent records of her history. Her library, furnished with manuscripts and precious works, recounts the history of Lutetia since her birth, the acts and deeds, glorious or shameful, of the generations which have lived beneath
The
the segis of her laws. life
historical researches of
of past times, distinguished like our It
fills
own by
our great scholars reveal the
trials rather
than joys.
us with pride, and sometimes with sadness, to finger and re-read these
records of the past.
It
would be impossible even 283
to
enumerate the important family
FRANCO-BRITISH papers accumulated amongst our archives
which photography has enabled
we
notice in
to be
EXHIBITION Of
course of centuries.
in the
those
reproduced at the Franco-British Exhibition,
passing a decree of Charles V. concerning the payment of the warriors
diamonds and jewels of Charles Duke of Orleans to a citizen of Paris the page of a register containing the will of Ninon de I'Enclos a permit to visit Voltaire in the Bastille a demand by Marat for rebate a letter of fines the proclamation of the sale of effects of Marie Antoinette a from the Prefect of Police concerning the return of Prince Louis Napoleon of Duguesclin
;
the deed of sale of the ;
;
;
;
;
;
request for the suppression or reconstitution of the Committee of Public Safety
during the joyous. for
Commune
If
in 1871.
In the
life
of a people
all
hours are not equally
we can take note of a thousand noble deeds, we have also to blush
many pages
of our history which are stained with blood.
alas, are the fixed alternatives to
wherever they
may
be.
which
all
generations of
Weal and woe,
human
these,
beings are subject
Let us put aside the bad memories, and preserve only, for
our dear Paris, the recollection of our love for her grace, her generosity of feeling,
and her power of resistance
to all the forces of oppression.
PAUL LAFAGE.
W'H-^F-/.^ÂŽ!'^ ^
mm b*
'i\^
SUNDIAL, BY PIERRE ROCHE AND
284
A.
BARBERIE.
â&#x20AC;&#x201D;
THE GARDENS OF TWO NATIONS. Whethkk
it
be the grey old sombre buildings of a university city or the g-leaming
white palaces of the Franco-British Exhibition, what a charming
given
by a green sward studded with gay blooms and decorative foliage. it was to devote so much space at Shepherd's Bush to
to the picture
What
relief is
a happy inspiration
horticulture
a great uncatalogued, unclassed exhibit, yet the setting and finish to
the display of the wealth, energy and inventive genius of two nations.
And what
There are lawns that might be the envy reign of Queen Elizabeth. There are tropical cacti, sending up their weird globular and many-sided prickly growths. There are Australian eucalyptus trees, and a mere stones-throw away mushroom beds cQUchc h champignons vc\a6.q, up as only the Parisian market gardeners can do them. There are tobacco plants spreading their huge veined leaves far over the there unrepresented
is
of a bowling club with a green
sown
?
in the
pots in which they flourish, and a few yards distant the sweet old English rosemary.
There are
the delightful French styles of training, and
fruit trees, principally in
and roses that are beyond compare. Quite as typical of the nations as the arts and crafts are the gardens. The veriest amateur is struck by the contrast between the British and French styles. The Garden of Progress with its wonderfully trained fruit trees and gorgeous bedding is it one whit better than the brilliant display by British firms in other parts of the Exhibition ? To compare them would be to class a twisted legged Jacobean chair with a Louis XVI. table. They are both the best that each nation has to offer, gorgeously artistic, charmingly skilful, cunningly instructive. Even when the two nations clash in beds almost side by side, as with gladioli and dahlias, decorative trees with shrubs of
all
types,
â&#x20AC;&#x201D;
is
there anything to choose between the
of bloom
tall
massive spikes and enormous clusters
?
Perhaps the most striking exhibit from the trained
fruit
trees
the
in
well-named
Court
utility
of
standpoint
is
that oi the
The
Progress.
English
horticultural writers so far back as the beginning of the eighteenth century have
French are
dealt wnth trained fruit trees, yet the
gardening, and
it is
no exaggeration
easily our superiors in this class of
to say that the majority of well-trained trees
country have come either from France or the Channel Islands.
in this
All along
the wall of the Machinery Halls fruit trees have been trained, and flanking are long narrow beds also packed with these subjects. is
mostly apple and pear,
in variations
The
fruit
of the candelabra styles
;
them
against the wall
some oi the
trees
are fifteen feet in height, with from four to a dozen strong stems emanating from a short, sturdy trunk. trees,
from all,
and
this in
The
spite
and well-ripened wood denotes perfectly healthy of the fact that most, of them were seven days in transit
their parent nurseries.
are
fan-trained,
the
foliage
Many
of the trees, perhaps the most fascinating of
branches
spreading out so evenly that one thinks
unconsciously of the draughtsman as well as the gardener.
and
in
front of the trees in the shallow beds are
Alpine strawberry. 28s
some
Others are U-trained,
excellent examples of the
EXHIBITION
FRANCO-BRITISH
and cherry country there were standard
In the flanking beds there are apricot, plum, peach, apple, pear
trees in various shapes and as distinct novelties in this and horizontal trained currants and g"ooseberries. The umbrella-trained trees are particularly striking, having the appearance of an umbrella turned inside out and supported upon a long standard. Examples of trees in the various stages of training are shown, many of them having their branches secured to laths and ;
spreading from the main trunk with geometrical exactness.
Pyramid
trees
and
double cordons are freely exhibited, and those trained on the losange principle are
worthy of particular study and attention.
Vines are also shown flourishing out of
doors, in the shelter of the great white buildings.
The beds
in the centre,
between the two long arms of
fruit trees, are typically
French, and were laid out under the direction of the chief gardener to the City of
Many
Paris.
of the beds are sunk, and the colour-blending
is
simply charming,
the artistic effect being invariably heightened by subsidiary grass banks that form,
as
it
were, frames to the gorgeous carpet bedding, whilst intermingling curves also
play their part in adding charm to what are really pictures in flowers and foliage.
Messrs. Carter are very strongly represented in several parts of the Exhibition.
Their bedding
is
superb, well-known English flowers being supplemented in
of the beds with tropical palms and ferns, whilst their
Kochia scoparia shrub, with
its
is
worth more than passing mention.
show of
many
the little-known
This interesting annual
feathery compact foliage and pyramidical form, from a rich green
summer turns a warm, glowing scarlet in autumn, and from this is sometimes known as the " Burning Bush." The miniature trial grounds of this firm were a bright idea and one would never imagine there were so many kinds of English in
â&#x20AC;&#x201D;
grasses as are shown in the small multi-shaped beds. best,
and the humble though
nasturtium
eff"ective
Japanese trees are also a striking feature such subjects as thuya, osmanthus
hornbeam,
berberis,
in
(a
leaved
is
Messrs. Carter's exhibit, and comprise
Turkey oak, Japanese plum, pomegranate,
of yew.
Turkey oak flourishing
in
is
azalea,
and taxus, a
larch
There
juniper.
is
typical cottage
one large-
soil at all,
of these dwarfed trees are planted in shallow pottery vessels with very
The
pinus,
an azalea of 200 years, a
a mass of tufa rock, without
There are gardens everywhere.
at their
The dwarf
not overlooked.
kind of holly), juniper,
The patriarch of this displaj' Methuselah among trees, even to the 98-year-old
species
Sweet peas are here
gardens
but most
little soil.
in
the
Irish
and wall edgings that are only found in Ireland and Cornwall, are as faithfully laid out as the garden round the Tudor House, with its stone-flagged pathways, clipped yews and box, sundial and
Village, with their quaint odd corners
rosemary.
Even
in the
Australian and other Colonial sections there are exhibits
of ferns, trees, palms, and so on, of both an educational and an artistic value. In it
all
parts of the
Exhibition
the
horticulture
is
represented as thoroughly as
possibly could be.
A. C. 286
MARSHALL,
F.R.H.S.
SCENE
IN
THE
IRISH VILLAGE.
BALLYMACLINTON, THE WHITE Through
the
CITY'S
gateway of
castellated
century portcullis, and you are
in
PRIDE.
Ballymaclinton,
a different place altogether.
with
You
its
sixteenth
are with quiet
and peace.
You cannot
call
Here you are free of the hurdygurdy air that overlays so much of the Outside City. Here is something aloof and sombre (a little), and very sweet, like the Irish mind that you will never understand unless you first have understanding in your heart. for
it
is
more than
the Irish Village just one of the attractions of the Exhibition,
Typical Irish
Gay and twist,
that by a very long way.
life,
that
is
Ballymaclinton, in the lighter hearted holiday view.
picturesque and wholly interesting, spick and span at every turn and
wide and white and clean.
The colleens wear red hooded cloaks, and boast The jaunting car runs on merry trips. You
the dark eyes and hair of their race.
may buy
Irish laces
and
Irish linens
and
Irish carpets
â&#x20AC;&#x201D;
Irish
goods only, so the
motto runs here. Here is the shrine of St. Patrick's Bell. Close by are copies of the famous Tara Brooch, and the ancient Irish drinking cups, round at the base, square at the top, to hold the
small talk of
and meades of the merry aforetime, when there was Rule, and turbulent kings came down in the night (and the
foaming
Home
ales
day, too, for that matter) on any neighbours 287
who dared
to be discontented
with
EXHIBITION
FRANCO-BRITISH Stand by
things as they were.
Round Tower
this
of Old Kilcullen here
were merrily broi<en and blood flowed richly around
The
Irish craftsmen
Their
to see in 1908.
boxes
craft carries
warm
all
Do
.
at things for the
Flower bowls, Celtic
appeal.
of the Irish Decorative Art Association, which does
making Ireland
.
.
heads
in 1798.
and craftswomen have been busy
copper, and enamelled brooches and pins,
in
it
Saxons
furniture,
produced under the auspices its
share in the fine idea of
robust and strong, by the work done on her island alone.
live,
wooden settee ? if you will stay a moment, the colleen you of her woi^k and of the Celtic legend enshrined who in the decoration of it. A harper playing to a lady. That comes from W. B. Yeats, the m3'stic Irish poet, whose portrait hangs in the Irish Art Gallery next door. "I also bear a bell-branch full of ease" .... says the harper. The twin sons of Ler were turned into swans till the great bell of you not
it
will tell
should ring
St. Patrick's
Out
like this
make
helped to
in Christianity.
into the wide streets again.
Into the quiet but buoyant
life
with
(if
you
a love for my Ireland that goes tugging at your and the more so for our human faults. Catholic we are, and we love all men and nations that mean us well, but no thing or no nation should take all of the sceptre from our hands. '^Ourselves alone!"
be proper
the
man
Ours
heart.
or proper
is ///('
woman)
race,
The Irish village is rich in Galway fisherman's cottage,
typical buildings,
The housing
door. built
by Messrs.
question
?
McClinton, the soap manufacturers,
Donaghmore, Tyrone its
and (four roomed)
:
stone altar and
Here say,
it
is
And
its
it
let
is
here
is
their
two
workpeople
at
a week,
shillings
the old church of Arrahmore,
what matters
;
genuine Blarney Stone.
real
for
a replica of those
is
for
— outside the
sixth century St. Patrick's Cross.
the famous Blarney Stone of old
not the
is
true fisherman's boat
This other model cottage
together with a half acre of garden. with
— the
to
gathered on the shore, roofed
built of cobbles
with thatch, having a rude canvas coracle
you
a few steps bringing
"spielers" with the gifted tongue
tell
When
if,
as
some
critics
outside the gateway,
of impossible delights to be found inside
the sixpenny shows for which they are paid to loudly " spiel," shall Ireland not
be allowed some latitude
beast?
Paddy's pig
as a serious item, foolish
is
Why,
If this
is
"just our Blarney," do we hurt
here, in an Irish farmyard, that pig
mind you, not as a
Saxon papers.
and dainty
?
Irish dances
And in you may
special
'tis
Irish
or
which God gave us
comic subject
the Village Hall
man
for the
songs
^•ou
benefit of
ma\- hear
see.
we are Come, Saxon, a true word and no Are not your hours in Ballymaclinton here the best you have lived in the White City ? Is it not the merry place, the place where the feet tread lightly and the heart is gay ? it
breath of a
is
at the gate again
!
lie.
H. 288
S.
GALLERY FROM WOOD LANE. (The Eight Halls.) GIVE the impression of the majority of the visitors to
when
City
say that the long- covered
I
Road entrance
Uxbridjjfe
way
from the
leadinjj"
to the beginning- of the
White
the
grounds
is
a
nuisance.
This
is
gallery has
adown
its
at night,
back
for
when
some most
various reasons
is
seen
all
to
dubbed the
And
feet.
the sightseeing
who have
those
religioush
wrong thing interesting
this
is
make last
over
is
to put
â&#x20AC;&#x201D; then
down,
displays
"Eight Halls"
length, but the passage of the
And
visitor's
a terribly
it
is
is
I
know,
for the
and trade exhibits a weary tramping.
that
the long journey
Uxbridge Road main entrance for straw that makes utter weariness of the tired for
why many
the
conscientious sightseers, even
if
they have
have carried away such mightily
parts of the Exhibition,
knowledge of the Eight Halls that made the beginning and the cruel tiresome ending. It is a pity, for, as I say, there is very much worth looking at in the little
only they could have devised some method of transit through
galler\-.
If
save tired
feet.
it,
to
But even the moving staircase (that saves a few steps, at least) is generally Iiors dc combat for some reason, and bears a placard to that effect. Eour of the eight halls are British and four French. And best of all the varied stall exhibits I place the little French wineshop, sweet and clean in its scheme of light wood furniture, where you can drink veritably a la Francaise and,
moment
resting for a
or so, think with a sheer hate of the distance
That
tramped, either to the exit or to the beginning of the grounds. place and a noble idea, considering
become, and
how parched
his throat.
how
is
tired the feet of the civilised
(Let
me
give praise where
it is
still
to be
a pleasant
human can
due, and not
must also put on record the fact that there were a few seats for oases in the Sahara of the Eight Halls, here and there, round the pillars in the centre. But they were very few.) Next, since they were also grateful and restful to the eye, shall come the collective exhibit of British pictorial photography, which includes surprisingly good examples of how the artist's mind can find real scope in the use of the camera in spite of all the sneers of the men of the palette and tubes -if the said artist mind lacks all skill of the brush. Most interesting are the displays of the French method in the schools of teaching lessons by pictures, wall cards, and models. Let us hope that some of our own educational authorities have gone studying there to a practical purpose. Useful lessons they are for the child mind, and often of more account than the insides of text books for instances, charts and pictures in this valuable section la\the ground work of knowledge in all manner of important social questions ....
hurl solid blame, so here
I
â&#x20AC;&#x201D;
how
savings
banks and insurance
offices
work,
how
to
think
by means of
289 37
EXHIBITION
FRANCO-BRITISH mathematical diagrams, and the life
effects
evil
home
of the use of alcohol on the
of a nation.
Specimens of work executed by the students of the
command and
of French schools
car put together by a
admiration
band of students (working;
famous
specifications of a
warm
receive
The
firm.
arts
entirely
social side of the
taking
indeed well represented here, which,
it
all
and
crafts
— especially the
motor
by themselves) to the
work of
round,
departments
is
the
two nations
is
probably the most
educative section of the whole of the great Exhibition.
You
can learn
all
about the advantages of garden
cities
and co-partnership
schemes of housing the Salvation Army will tell you of the big work it does. Stay to see this model room, and learn how, by using a generator for pure ozone, ;
air
can be drawn into a building, warmed, purified, and mixed with ozone to
make
the ideal ventilation.
Then
there
a splendid Pasteur exhibit, showing pretty nearlv every stage
is
and how anti-toxins are prepared. the flasks by which Pasteur came to his famous truth, that life is necessary to beget life. Not far away is a new and helpful creation of some bright modern mind an appliance to add to the comfort of the home. We deal, of the
life's
work of Here are
that great benefactor to his kind,
—
you
see,
with a bewildering variety of things
Eight Halls.
in the
Hammock,
bed,
you can make this new thing what you will of these four lovel\- things. One single appliance it is which can be converted into all these. Britain is to the fore in the hall given up to alimentation. Mustard (the noble and world-renowed Colman, of course), food for cattle and food for infants, foods for all, man and beast and for man's womankind chocolate, pickles, and stronger things than jam. cornflour, jam For Messrs. Buchanan and chair, table,
—
—
.
.
.
Gilbey (to these be the praise of men) show of their goods, and the best pictorial scena
in
the whole of the gallery
Loudenne,
in
the latter
is
firm's
Chateau drawn by a couple of
tableau
the foreground a cart on the vintage acres
of the
oxen.
Variety again
— for with memories of
of air
the year's great doings in the matter of
make, a horrid vast Twopenny Tube of the beautiful fields that stretch between our puny heads and the sk}', manv find chief interest in
making, or trying
to
model of an airship shown by the Societe Francaise des Ballons Dirigeables and the Antoinette motor that Farman and Delagrange used in their
the beautiful
successful flights.
The only thing about looking
by a process of automatic aeronautics of the mind, the spectator thinks immediately of his own aching feet, and persuades himself that they are tireder than ever. And wearih- he drags them along the floor of the Eight Halls grounds, whichever way his journey
these
at
to
the
is
that,
main
exit or
the beginning
of the
lies.
GILBERT DOM ECO. 290
â&#x20AC;&#x201D;
THE INDIAN ARENA â&#x20AC;&#x201D; THE
Jl
CCLERS.
COUNTLESS OTHER ATTRACTIONS. The Sideshows. "Countless Novel Attractions ..." is how the list of amusements was headed regular newspaper advertisement of the British
were
;
but
not
it
quite
This in
the
Franco-
was hardly as bad as that. They There was an end. countless.
who had sideshowed not wisely but too well would have been made am pretty and even now permanently deaf certain there are men who wake Klse
in
truth
the
visitor
I
;
from sleep with a sudden thinking-
wildly
hear the
rattling-
that
they
start, still
of the Canadian
Toboggan. and the Scenic first place in must take Railway popularity. deal with Sir Flip-Flap first, that monster-boomed thing-, because it has achieved the crowning British honour o\' having- a particularly inane music hall song written round it ON
TIIK Sti:NU-
RAILWAY.
I*"lip-Flap
I
"Take me
on the Flip-Flap, do, dear, do."
Sir Flip-Flap's fee
291
AN
EXHIBITION SHOWMAN.
EXHIBITION
FRANCO-BRITISH
was
a
shilling"
first,
in
accordance with
the law,
g^eneral
"Thou
exhibition
like
for
a wise
not
shalt
keep thy hand pocket
the
at
in
thy
long,"
but
knig'ht,
he
came down to sixpence, and so one bank holiday census
testifies
that he
swung" close on 13,000, people TIIK
JOHNSTOWN
moved those two 96 people
in its
1-
LOOI)
AM) SCENIC
arms,
g"iant
150 feet long, to a height of 176
feet,
was two and a half minutes of sensation. arms with a beautiful steadiness, till the
And
exactly cover the other.
A
steady worker,
for the
thrill
the wide air
â&#x20AC;&#x201D; those
fellow adventurers across
deep gulf of space, mere dots behind the
Flapping
in
all else.
knowing
distant view,
in
pj
of seeing the other car pass
senger, the
remains above
an
There was an
when
just
effort
to
to
locate
t
grille
art in Fli
look at the
t
Crys
Palace beyond the four shafts that marked Chelse just
the
when to transfer the gaze (if you dared) wonder of the White City far
beneath
with
its
crawling
specks.
For the journey was none too long your eyes had to hurry to get the full measure of impression. Many for the true air-voyager, so that
women
with
flip-flapped
shut
eyes
and tightened hands, seeing nothing but mind-images of fear. For them
was only the brave joy of saying they had been on the
"Of
Flip-Flap.
course we weren't going to miss
The Gold Book with certificate
and
carrying
twin cars.
watcher on the Court of Honour Balcony saw o
arm
air,
took ;^640 in so doing. A 100 horse power motor
RAII.WAV.
Its trip
the great
the
in
that
the
its
that."'
foolish
possessor
had
sknkc;ai.ksi; ciin.nKKN.
292
it
lifted
COUNTLESS OTHER ATTRACTIONS
THE SCKNIC RAILWAY.
visited the Exhibition
medal
to each
you had
If the
!
traveller,
flip-flapped,
there
there
Flip-Flap proprietors had awarded a tiny souvenir
would have been some sense
was a brave deed done
often,
in
its
it.
For when
merit depending"
upon the exact deg;ree of nervousness of the flip-flapper. It was the Scenic Railway that made the hit of the hurdy-^>urdy attractions of the White City. Incidentally, it gave you real value for your sixpence, for the thrills oi' the scenicker spread out over ten minutes, thoug"h "Scenic" was by
way of a misnomer. twisting- cars.
friend
met
:
You
"Have you
travelled over a mile
and a half of
track, in the
long
been on the Scenic?" was the question put to every
you were no White Citizen
till
the rush of the Scenic had wrung-
you were a man, screams if you were a woman. It was the main attraction, the "King-Pin" show, and the syndicate of Americans who controlled it, together with other side shows, shook hands with themselves and were mightily pleased men. Towards evening and on holiday afternoons the waiting queue for the Scenic doubled back on itself snakewise in several lines, and the waiting crowds on the
joyous laughter from you
if
platform scrambled for places trains
home.
It
in
the cars as
if
was the switchback known of
luxe,
gilt-edged and hundred powered.
down
into the dip
at
a
Tube
old, but a
station for the later
switchback edition de
SteadiK' to the top, then a fine rush
and up a shorter slope, at whose summit the driver 293
laid
back
FRANCO-BRITISH
EXHIBITION
on his brakes, and the longskin
of
seemingly by the wheels, swept round an impossible
its
corner and
down
Toilsomely,
car,
into the dip again.
another
and a fleeting glimpse of the Exhibition, a delicious breasting of the air in an ecstacy of swift motion, this time
in
view of the
full
the hungry
waiting lines
the cries and
hill,
onlooking crowds and
â&#x20AC;&#x201D;at
this
screams and ohs
were the most loud.
!
always,
dip,
of
the
Finally into a tunnel, where
crude scenes of lady bathers, monstrous
and the
like suited
the easy holiday
drew further "ohs!" platform and to the WAiriNc; i-ou
nil-:
you
took
â&#x20AC;&#x201D; then
Scenic added a keener
humour and
back to the
a fresh crowd on. thrill
heads,
startino-
Night on
to the ride as
you swung by
i-i.ii>-i-lai'.
fresh views of the glittering city in seconds
more
let
women
the coloured lights and caught on the mountain tops before once
the
plunge.
When you grew wise 3'ou
stopped on
the
car
for the next time round,
making a rush
for either
the front or the last seat,
which
doubled the fun.
For most on
the
once
people,
Scenic
was
not
enough, and they returned THE ELEPHANT
during
the
deserved
its
day.
It
success,
for
"catchpenny"
things,
RIDE.
where several of the sideshows were poor and sorry
the ride
was
the best value for the sixpenny fee.
The Canadian Toboggan was switchback ordinaire, and the Spiral
Railway was of the same family, though in this latter the structure itself,
car
in
for
part,
moved with
greater
Scenic was
the swift
sensation.
king of
all.
A
The bank
holiday census showed 20,000 riders
and takings jC^2^. In the Ceylon Village )ou
WAITINC; THEIE^ Tl
294
R.N
I'OR TIIK St'ENH' RAII.WAV.
COUNTLESS OTHHR ATTRACTIONS walked
into
Ceylon
street,
juij^ler
and
busv
a
where the the
snake
charmer, the wrestler and the
played
astrolof^er,
their
and native
parts,
craftsmen went busily at their
work
eyes
to
European A dwarf Tamil woman, no more than four four
for
see.
feet
hig-h,
languajifes
command
to
at
had her
entertain
the cosmopolitan visitors,
and
NATIVE MANGLING CLOTHES.
Ceylonese
showed coppers-7an objectionable feature both
for
beg-gingf
The
in
this
sheer
children talent
in
and the Senegal
Arena gave a somewhat dreary show under the high Nautch g-irls chanted monotonously in front sounding titles of the programme. natives balanced on bamboo poles of a third-rate Rajah the most attractive performance and feature of the the grand finale was a much advertised elephant hunt. Men g-alloped round on horses, shouting and making- only a passable attempt at realness and vivacity and then, after three real g^un-shots, a couple Village.
Indian
—
;
—
;
of elephants appeared at the top of a chute and slid
Some
foot.
said they were
was practised on
cruelty
tremendously
inspiriting-
have been "grand," as
down
into the water at the
pushed down, and there was discussion as to whether beasts. Cruelt\- or no cruelty, it was not a
the
spectacle,
though
it
may
billed.
London in the fifteenth and sixteenth was interestingly personated by a series of careful models London as it appeared just before the Great Fire. Generally speaking, it was a most Old
centuries
—
back in the dead years Old London Bridge, Cheapside, St. Paul's,
interesting- exhibit, this tour to see
Parliament
House and
the
The most popular was the man in costume who passed doleful davs then.
stocks,
sold
to
call
attention
postcards - a
to
feature
Abbey
with
his
the
of
the
building,
feet
shows was the peddling of postcards
fixed
He,
show.
many
were
Old London
feature of
outside
they
as
of the in
in
too,
side-
connection
with them.
Tin-
295
piiotoscope.
FRANCO-BRITISH
EXHIBITION
The Johnstown Flood gave an actual of
representation
evening a
in
when
1889,
reservoir
the
the
in
Mountains overflowed owing to rainstorms, and the Allegheny
millions of tons of water
thus
down
swept
loose
let
overwhelm Johnstown and destroy Not a 2,500 people. to
cheerful
subject
for
THK
FI.IP-1'I.AP.
a
holiday crowd to witness, and there will be few to defend the glaring bad taste in
reproducing such a terrible disaster for the purposes of
profit.
More pleasant was the model of a Working Colliery, exhibited by two brothers of Keir Hardie, M.P. Here six model engines hauled trucks of coal along the ways to the shafts; an engine pumped water out of the mine, and a tiny locomotive dragged the laden trucks
to
the waiting
steamer.
Stereomatos was a French
any solid substance with full stereoscopic effect on to a screen, Pharaoh's Daug'hter was an enlarged to any size and in its natural colours. illusion, which presented the spectacle of that lady slowly changing from her novelty, projecting
mummy
state
to
warm
life,
other attractions were the
and slowly returning
Tudor House and
to the
the Spider's
people paid to get mazed and lost (the exhibition visitor
much exit,
in his
tomb again. Among Web. In the latter, does not demand too
entertainments), and walked round and round walled places to find no
or floundered pathetically on devilish staircases that slipped and bumped.
With a few rarely novel),
shows of the White Cit\' were not brilliant (and although they appeared to be rare good money coiners. exceptions, the
D. H. O.
YOLTHFLL
SENF.GAT.F.SK.
296
THE GOLD HUMBUG BOOK. It Cometh to pass that
I
walk of a morning- adown the
Honour, musing on
beautiful things.
other ways, perdie
and she
GOLD BOOK,
!),
Sir?
Uprises a lady
"Would you
saith,
flags of the
who
lieth in
Court of
wait (and
your name
like to sign
in
in
the
'Tis only a shilling."'
"You have it the wrong way about. If I sign my name, it is I answer, you who should pay me a shilling for the labour of so doing." But, sneering, she disdaineth argument, and I pass on, merry in the discovery of this new thing. For the predatory genius who invented the GOLD BOOK found the idea swiftly twelve stalls in different in an evil night, and it burst suddenly on the White City album, wherein you signed your places, each with a monstrous early Victorian name and received (ye pocket-rifling gods of tin !) a certificate that you had For sixpence you received certificate with a red seal for visited the Exhibition.
â&#x20AC;&#x201D;
;
a shilling you had
The The
certificate
with a
best thing in booby-traps
gilt seal.
â&#x20AC;&#x201D;
must always pay honour
I
to
any best thing.
racing crook with his upturned umbrella, his furtive eye for the police, and
his brief gospel of
the master
mind
"Find
the Lady, gentlemen,"
that created the idea of the
was
was child-brained compared
GOLD BOOK
to
and underlined the
though girls sat calmly There were going to be 250,000,000 names in the GOLD BOOK. Then they were all to be bound together, the first page containing the signatures of King Edward and other notable visitors. "What then?" "Oh, then! They'll be put, I think, in the British Museum. last
word
inanity.
in
It
all
so beautifully vague,
at the receipt of custom with explanations.
Why Why did
were you not true
you not
artists,
dear lady attendants of the
Balham, Streatham,
tell
persuaded to sign, that King Edward,
and
Walham
Green,
whom you
and Marie Lloyd send a bar of chocolate and a letter of thanks to all the Sultan of Turkey,
had
faithfully
who
signed in the gold book, the gold bug book, the gold
promised to
GOLD BOOK ?
humbug book?
would not have been such stout portions of the six gold books pathetically unused in their brave gilt. Certainly you were very good. You sent the certificate to the signers in a neat useful roll, charging a penny extra and if you buy a good pair of lenses, and pay to get them adjusted Then,
I
think, there
;
you can make a passable telescope out of a cardboard
scientifically, least,
I
At
roll.
think so.
Designers of the White City money-hooks, this was your crowning achievement.
Take, with
a knighthood
very sorry.
I
;
my
compliments, the figurative crown
but at that thought
am
I
am
filled
I
with grief;
You
give. I
am
desole.
deserve I
am
out of stock, or you should have one with pleasure.
HERBERT SHAW.
297
"OUTSIDE." Albert, John and Dick ("such a nice lad, and so gfentlemanly "') take their aunts or their girls or their cousins up from the country to the White City, and spend lavishly and comport themselves gorgeously,
man from Tooting who
in
manner of
the
the
young
But let Albert, John, or Dick fare never so well and spend never so much (yea, though he wind up in the last brilliant hour with presents of milk chocolate to take home) and he does not arrange for the going home so that there is no fretful waiting for bus or tram, he shall get the cold hand and the frozen eye from the females he escorts, and their esteem of his prowess as a cavalier shall go down with a mighty thud. is
cutting a cavalier dash.
The Tube if that is your way, you are, to speak But the Tube serves not everywhere. Brixton, are you ?
vulgarly, on a winner.
:
Albert,
it
is
going
to
you have small wisdom, and your cortege is getting more fretful and bad tempered and scorning every time that the clinging dots hang in vain, dragging to the rail of that Wormwood Scrubbs and Heme Hill bus. Oh, that crowding under the fierce lights of the Tube entrance, that surging which blocks the road All the wonders of the City seen all the journeys of the City done and the whole City forgotten in that fearful and desperate desire for the doors of home again, and the dragging tired miles in packed stuffy vehicles that intervene between the crowds and their desire. As by a miracle, all these you see here, as you stand and watch, will in two hours or so have forced their tired selves into different parts of vague and frightful London. What discomfort, that hot travelling, wedged in between children and stout be a hard job,
if
â&#x20AC;&#x201D;
!
â&#x20AC;&#x201D;
women, whom
to sit next to
the unspoken thought
way,
I
:
"I
is
a purgatory, at least for
wish, almost,
have changed from tube to
train,
I
me
And
!
had not come."
I
and snappy,
homeward
every heart
have changed from bus to District,
have waited sickly on dreary platforms of the Underground. the progress
in
have travelled that
I
of a family, tempers of
I
I
have followed
man and woman growing
thin
have seen the poor children tired to death of Exhibition and of being acidly told that " 111 never bring ^ou out any more, that's one thing," drop I
to troubled sleep even in the
of
Canada It is
falling
more
is
many
continued for
miles beyond the ken of
remember
that they have homes.
you notice that man close by
?
Do
you see that
untroubled, that he walks lightly and without care,
appear to be
in
himself
fighting time.
in this
Wood Lane Wood Lane. It the
on Saturday night, when half-a-million people, about the hour of
terrible
nine or ten, suddenly
Do
their limp hands.
a terrible fighting, that struggle which begins outside
entrance, and is
from
crowded noisy carriage, the treasured picture book
when
a kind of fever of anxiety and fear
He
lives at
?
his face
calm and
is
all
around him people
He
alone
is
master of
Shepherd's Bush, the best place
in
the world to live in at this hour.
H.
298
S.
all
CHARIOTS AND CARS.
IN
White City Journeys By Earth and Air and Water. It
possible
is
many
that
without learning- the
real secret of the Exhibition.
Wherefore that secret
The a
is
here laid bare.
Franco-British was, chiefly, a huge and
Catholic
gave to
RR'KSIIAW MEN.
came away
visitors
riding school.
because
Catholic,
eager pupils riding lessons for no one
its
animal or no one thing, and you learnt twenty ways, on the earth,
ride in nearly
â&#x20AC;&#x201D; and
troublous steeps
in
or on water,
air,
tour in the
for a penny, a moving staircase saves you
the
Honour ....
Wood Lane
trouble
Then through the crowded hall and now you need walk no more.
steps at the end.
on
how
to
or up
levels
even on a mat.
away on your walkless
Start right
it
Gallery
of walking
:
here,
down
the
that leads on to the Court of
Step into a swan boat, driven by one-man power, and on that explore the waterways.
Or you can do the
case,
same voyage
the
The
chairmen wait.
polite
Not a good sailor? In that became one of the big
a launch.
in
chair tour soon
features of the grounds.
The Exhibition
chairs are specials,
and the warning
men,
Young and
sufficient novelty.
leisurely survey of the
Of evenings Paillard's
they
suit
and the propellers are smart and
they
bell
ring
to
clear
well
chair
my
is
bell
rings,
on
lady on her
removes
her
way
to
and the ordinary
people give her right of
way.
It
she
be:
is
as
should
it
different
to
Let her pass on
to
is
them. her dinner under softly-
shaded lamps. leave
your
You
chair,
can and,
with a walk of not more
than three
feet,
embark
on the delightful adventure of a trip in
is
in
a rick-
shaw, pulled by a brown
A SWAN HOAT.
299
the
Garden
itself
most
Club or
from the pressing crowds
handle
the
path
polite
obtained by their use.
merely walk, behind her the
the
old are glad of the chairs, and the best and
whole grounds
The
dine.
to
bicycle
that
FRANCO-BRITISH
EXHIBITION
clothed native at
a
loping
He
trot.
needs no
make
to
too, are the rides
on elephant,
bell
and
camel
straight
his path stays not
For them,
soon.
â&#x20AC;&#x201D; he
key, but
nor
donthese
all
experienced,
it
is
swerves, shouting
certain that they
a jargon of Eng-
would award the Grand Prix of
and
lish
his
own
tongue.
of
children
little
at
delight
journeying
sit
to
rides.
Your shaw
the
is
prettiest thing.
They
hibition
rickshaw
novel
this
back
legs,
unafraid of
any
rickshaw
rick-
ride
fin-
Renard train waits. Far heavier loco-
the light rickshaw
dangling
the
ished, the
in
with
Ex-
whole
the
The
motion,
the
for
carry
cars weight
of
a
four
speed, and bubble
to five tons each.
with laughter on
Neither
all
the
The
sad thing
that
it
world.
shout
crushingly on
Your
its
THE HELTER-SKELTER.
way, and
journey
air
does
Renard
is
ends too
is,
its
noise
is
for
nor
bell
it
the
need, lumbers
a curse to people anywhere near
it.
of course, on the Flip-Flap, and your mountain journey
the Scenic Railway, that crawled you to the tops and flung you into the valleys. Near cousins of the Flip-Flap, if not so popular, are the Spiral Railway and the Toboggan, and on these the riding lessons are breathless and severe. In Ballymaclinton you can swerve and jolt on an Irish jaunting-car. Finally, your vehicle is just a mat. Bearing your precious mat, you lift on a moving staircase to the top of a slippery winding way. And on your mat you slide from top to bottom as best you can. It is not the proper use for mats, but the hunter of a new is
sensation defies convention.
Then your doses.
And
lassitude in your legs,
forgotten
comes on you for repeat in your brain, and a weird out on a brave attempt to discover if you have
riding lessons are finished
till
the lust
with a strange jumble of motion-memories
how
you
set
to walk.
H.
300
S.
THE GREAT STADIUM. HESE
a few interesting facts about
are
Stadium.
It
the
covers a space of about i,ooo
and contains a banked cycle track of two-and-three-quarter laps to the mile, and by 700
feet
The
a running- track three laps to the mile.
Swimming Bath
feet long,
with a vary-
350 ing depth of 4 to 14 feet. The remainder of the arena inside the tracks is turfed, and is
measures about 700
by 300
feet
feet.
mind of any who saw the great games, the Stadium remains as a splendid In the
splendid
of
field
battle
men
struggling eager
ground
where
battling
men
were
they
on
mammoth
as a
;
watchers
eager
as
of
part
the
trial-
the
as
thews forgot utterly that
of
British
and
and
cold
of
the
Northern Islands, and stood up (nay, leaped
up as though a power again and again
in their
fordone and cracking throats as a
lifted
his wheel,
....
away
just passed the bend, into a last super-sprint for the line not far
or
runner flung up his arms to breast the tape, with a fighter as
as a beautiful
worthy
them) to roar
man jumped
at his very heels
....
or as a
swimmer
of these our islands, of
whom
we had despaired, cleft and troubled the water (with the arms of a god) in the desperate overhauling and triumphal winning for the colours he bore ... or as Oh, any of twenty sweet and wonderful strivings that lifted us still again with giant sounds greater than words in our throats, and finally to that most blessed
—
Were when our own flag scurried awkwardh- up the stafi^ before our eyes. Did not our shoutings give us rightful not these moments of the wine of Life ? part in the hour of the men who won ? I call to mind the finish of a great race on a great afternoon, when the magic of fine attempts of the fighters in the arena had laid sheer hands upon our souls, and I and the other watchers did what we could to roar the very rain down on us. roar
No man a
man
of
could keep his seat.
little
mind,
whom
And
by
me
no magic of the
stood a poor souled weakling,
combating could touch
fine
know, but the dry dust magic of a banking account. while all about him roared till they could roar no longer, he kept did not raise a cheer. His hands moved thinly that was magic,
—
could have slain him had
deserved and (to seats
And
I
till
I
all
I
remained by the side of
all
all.
I
fled
No
I
live,
and
think
down over
shouted and not a man was dumb.
this silence at such a time.
I
his lips shut
I
this skeleton at the feast of
proper men) imperative acclaiming.
joined the ranks where
no proper man,
as
— no
blood, but water,
the
He was
filled his veins.
EXHIBITION
FRANCO-BRITISH
VIEW
These I
thing^s set
IN
THE STADIl'M DIKING THE MARATHON RACE.
down above
I
have seen, and with
my
brother watchers
have paid homage.
my
For these 1 give full thankfulness. These memories make souvenir of the Stadium, and wipe out from the mind all the unpleasant things
I forget there were often empty seats around the track of the fighting men. I forget that there were once ugly markings on the running ground, and that astonished judges, aghast at ill things done,
that are linked with the Stadium's name.
broke the tape and called
"No
race
.
.
.
And
."
I
forget,
willingly,
the
waving and parading of doll-like flags that were strewn with stars. me that this was to be an article on the Stadium, and that you who read this, and were not as lucky as I ... that you who did not see any of irritating It
occurs to
.
these splendid things done, will be justly angry at these
my
babblings.
What
do ? I who trade words for coin make to you my very sincere apologies. sometimes permitted to us poor scribblers (bj- your grace alone, I grant you) that our own minds creep into the pens we ply. can It
I
is
H.
302
S.
CONTENTS. PAGE
Introduction
3
Architecture
9
Fibrous Plaster British Fine
14
Art
17
French Fine Art
105
COLLECTIVITE DltLIEUX
•57
French Decorative Art Exhibits
181
Art Exhibits
191
British Decorative
British Applied Arts
...
194
French Applied Arts
...
196
Morris
&
Co.mpany
203
Pilkington's Tiles and Pottery
2og
Fashion Exhibit
217
Beauty and Furs
223
SaINT-EtIENNE CoLLECTIVITIi
Palace of Women's MoiJT
Si
227
Work
231
Chandon's Pavilion
233
Loan Collection
245
Machinery Halls
259
British Textiles and Chemicals
263
Indian Pavilion
266
...
Australian Pavilion
271
New Zealand
273
Canadian Pavilion
274
French Colonies
277
City of Paris Pavilion
The Gardens of Two Nations Ballvmaclinton
281 •
285
.
287
...
—
-
LIST OF ILLUSTRATIONS
.
page Galleries, Uxbridge Road
to
Wood
289
Lane
Countless other Attractions
291
Gold Humbug Book
297
Outside
298
In Chariots
299
and Cars.
Stadium
...
301
Contents
...
303
List of Illustrations
304
—<^c^a«»'>-
OF ILLUSTRATIONS.
LIST
page UxbriJge Road Entrattce
-
-
-
-
3
French Restaurant at night
-
-
-
5
Calderon,
Preparing Cement for the Soil
-
-
-
7
Collins, W., R.A.
Court of Honour
-
-
-
-
-
9
Wood Lane Entrance
-
-
-
-
10
British Applied Arts Palace
-
-
-
10
Cascade
-
-
-ii
-
-
-
-
Court of Arts and Palace of Worneirs Work Grand Restaurant -
Garden Club
/jQve
Cotman,
Palace 0/ Fine Arts
-
-
-
-13
-
-
Market Day
F.
Dedham
R.A.
Dadd, Frank,
The Crown of
Moonlight Scene
R.I.
-
-
13
Dixon, John.
-
-
-
14
Dressler, Conrad.
Preparing Mouldings
-
-
-
-
'5
Constructing a Cupola
-
-
-
-
16
Drury, Alfred, A. R.A. Du Maurier, George.
British Sculpture //all
-
-
-
-
85
^
to
Bacchus
78
Fisher,
//omer
-
-
102
-----
go
Fulleylove, John,
28
Hampstead Gainsborough, T.
P.
Brangwyn, Frank,
La Femme
-
-
-
The Cider -
-
5'
Eve...
98
-
—
Thomas Gainsborough, R.A. Work Ford Madox. Brown, Street Cries Buckman, E., A.R.W.S. BuRNE-JONES, Sir E., Bart. Le Chant d'Amour -
The Golden Stairs
W. Day
Frith,
/n-
The Fish Market A. R.A.
Brock, Thomas, R.A. ,P.S.B.S.
—
Frampton, George and Son
-
Beardsley, Aubrey.
Press
Melton.
-
Bates, Harry, A.R.A,
BoNNiNGTON, R.
S.
-
-
-
-
-
54
87 -
lOI
-
99
------
45 76
Nearly Welcome
comprise
-
Circe
Hardly Con-
— — —
29
78
-
-
-
Z.M.O., R.A.
Derby
My
Garden,
R.I. -
,
Cattle
Portrait
of
-
Anne,
-
.
-
Duchess
Cumberland Portrait of /Mdy Bate Dudley
The Blue Boy
-
-
-
-
-
72
-
33
-
61
31
GoTTo,
Brother Ruffino
-
26
-
37
304
44
of
Gilbert, Sir John, R.A., P.R.W.S., The Field of the Cloth of Gold Basil.
94
Landscape
R.A. .
58
Mother
R.A.
-
92
69
------
P.,
and
96
Dreams J.,
41
65
Farquharson,]., a. R.A. TJw Shortening Winter's Day drawing to a close
,
Dedication
-
Skittles
Bacchante
95 82
/.'s
-
The Misses Crewe
-
A A
-
The /deal
Modelling in Fibrous Plaster
British Fine Art Drying Clothes Allingham, Mrs. H. Alma-Tadema, Sir L. O.M., R.A.
Charles
Beer and
R.I.
DiCKSEE, Frank, R.A.
Section. —
34
Vale
-----R., A. R.A.
F. G.,
sistent
46
-
Cromer Sands
Crofts, Ernest, R.A. Execution
1 1
-
J.,
W.
CoLTON,
12 -
W.
Constable,
-12
//all of Music
page
British Fine Art Section {continued). —
60 lOI
OF ILLUSTRATIONS
LIST
British Fine Art Section {continued). C.
qiiisitionists
Gregory, Charles, R.W. S. Abstraction E.
R. A.
,
J.
,
Millais,
The Rc-
R.A.
,
P. R.
T/te
83
MoRLAND, 84 43
------
grave
Haite, G. C, in Morocco
A
R.I., R.B.A. -
-
-
-
-
Hassall, John, Ttie Dogs do Bar/t
86
Scene
Har/:/ Harti
R.I.
-----
65
Granton Edwin, R. H.A. Harbour Herkomer, Sir Hubert von, C. V.O. R. A. Tfte Last Muster
H.\YES,
Orpen, William, N.E. A. C. 77
-
Parsons, Alfred, Megeve, Savoy Poole,
48
—
Morning Prayer
HoppNER,
— —
-
60
-
-
-
73
Mrs. Williams
R.A.
-
17
Portrait of Miss Juditli Beresford
63
J.
,
Ttie Sisters
Hornel, Laing,
E. a.
25
70
Amsterdam
E.
-
Laverv, John, Polymnia
-
Bart.
-
-
W.
R.A. Waters
Still
-
-
-
Lewis,
J.
F.
Garden
May,
McArdell, MiLLAis,
32
-
P. R.A.
-
-
l^idy
-
-
21
-
-
-
as -
a '9
-
The Ruins of
Mariana Bower Meadow
RossETTi, D. G.
—
50
Tlie
82
-
-
-
63
-
-
-
23
N. E.A.C. WiLLIAM, ROTHENSTEIN, Carrying back tlie Law -
27
—
57
The Doll's House
Sargent,
J
ohn S
.,
-
-
-
-
Portrait Shannon, J. J., A. R.A. Miss Kitty Shannon The Storm Sims, Charles, A. R. A. The Crystal Smith, Carlton, R. L
7'
5^
68
-
Portrait of tlie
R. A.
Didies Acheson
97
-
-
49
of -
53 62
-
66
36
Stokes, Adrian.
81
-
57
What Price thisfor Margif?
85
P.
,
J.
Sir
Autumn
,
40
-----------
W.
Phil.
91
83
R.A.
R.W.S.
Linton, Sir James D., R.L
Logsdail,
38
An
R.W. S.
Smythe, Lionel P., A.R.A., R.W.S. Within Sound of the Sea Tlw Solomon, Solomon, J., R. .A.
,
WarBeys
In Time of
Linnell, John, R.W.S.
Storm
-
------
79
35 D.
(!.
A.
75
-
^I'^ou Lksi.ii;,
-
-
Roberts, David, R.A. Luxor
Summer
P. R. A.
-
-
R. S. A. Henry, R.A. Lady Steuart of
RoMNEY, G. "Bacchante"
Green Pastures -
80
-
Lady Hamilton
Sir
,
Lord,
Leighton,
-
-
Charles, Deatli of Dirce -
Ttiv
B.
and
-
-
Lawes-Wittewronge,
Crosbie
R. H. A.
R. S. A., -
-
-
Monarch of the Glen
Tlie
Leader,
-
-
-
Reynolds, Sir Joshua,
Midsummer
R. k.
,
Dream
Xight's
—
-
59
R.W.S.
,
Portrait of Alicia, Coltness
Nicholas,
St.
-
.
Landseer, Sir
-
-
-
R.W.S.
G.,
J.
-
Flowers for the Temple
59
Afternoon imlien Kensington Gardens were white with Snow
Raeburn, Sir
-
58
Shower The Seventh Day
Arthur,
Rackham,
22
-
-
R.A.
F.,
P.
A. R. A.
of the Decameron
22
,
the Pot of Basil
47
Tfie Valuers
A Summer
Perugini, C. E.
,
A Card Party HoG.\RTH, W. Wooded Holland, James, R. W. S. Scene — A Salmon Trap Holman-Hunt, W. O. M. Isabella and
42
-----
Bootermilk
42
.'
-
-
-----
Benevolent
Ttie
,
The Ladies IValde-
Green, Valentine.
39
-
MuLLER, W. J. Ttie Ctiess Players A. R.S.A., Murray, David, R.A. Tees—Snowhall Ttie A. R. W. S. Reach Praties and NicoLL, Erskine, a. R. a.
Boulters
Locti
R.A.
P.
-
George. Sportsman
Luther s
I.
Sir J. E., Bart., Black Brunswicfter
PAGE
—
British Fine Art Section (continued).
---------
Gow, Andrew
Gregory,
PAGE
—
An
///
the
Tlw Coming
Abandoned
Early Victorian
Duchess of Ancaster J.
Bart.,
E.,
I^'aves
-
55
-
P. -
-
French Landscape
-
52
Stone, Marcus, R.A.
In Love
-
76
Storey, G. A.
Bad News from
the
,
A. R. A.
60
88 30
Thornycroft,
and
-
War
SrOTT, EiDWAUD, A. R.A.
R.A. -
67
Allegory
the
Maid
-
W, H.\MO.,
The Reaper -
R.A.
-
72
Artemis
100
-
305 39
1
OF ILLUSTRATIONS
LIST
PAGE
—
Art Section [continued). ToLLEMACHE, The Hon. Dukk.
British Fine
------
Lizard
Turner,
—
M.
J.
Snowdon
W.
R. A.
,
Coblente
Afterglow
;
The
-
62
-
-
79 80
-
-----
Waterhouse, J. W. R.A. Hylas ana the Nymphs Watson, J. Mrs. Abington Watts, G. F., O.M., R.A. Orlando pursuing the Fata Morgana -
—
French Fine Art Section {continued). Delacroix, Eugene. Mirabeuu Marquis de Dreux-Breze Delaunay, Jules Elie. La Peste
—
Portrait of Lord Tennyson
WiLU.\Ms, Terrick, R.
French Fine Art Adan, Emile. Adler, Jules.
Section.
-
Rochelle
Richelieu
-
a
Mante Blanche,
Enfants
-
-
Auguste Rodin Bonheur, M. Rosa. Moutons dans Pyrenees
Bonnat,
—
-
-
Dubufe Gandara, a. De
---------
tant la table
Brown, John Lewis. de Beniy
Caro-Delvaille, Henry. I'Hortensia
Carpeaux,
T. B.
Jeitne Fille
J.
ci
Chaplin, Charles.
Cottet, Charle.s.
Mer
-
-
Ingres,
— —
118
Courbet, Gustave.
Dawant,
Albert.
Sebastopol
.
"
La Sieste Dans la
. -
.
143
-
130
Alpes Maritimes
136
142
-----Mme.
Biblis
la Comtesse
-
-
-
1
Gazouillis
12
155
La famille Stamaty -
A. D.
J.
Mme.
D'blaiic
AL Leblanc
Jeanniot, George.
-
-
.
.
-
.
.
.
Les Vagabonds
Laurens, Jean Paul.
132
Lhermitte,
•31
Biicheron
-
-
—
—
Antonin.
Village
Michel, Gustave.
12
105
Millet,
116
Les Mule tiers Moreau, Gustave. MoREAU, Mathurin.
—
124
Mart
J.
F.
Lecomte Pharaon
NoiJY,
"7 306
le
Le
.
Depart
.^'aint
La
-
-
155 155
.
.
Tristesse .
148
"9
Georges
.
121
148
D' Sommeil
du.
123
du
D's Bilcherons -
10
122
D' De-
La Pensee -
126 1
-
L'Officicr d'Etat-Major
Mercie,
1 1
'5'
.
et
----------
Meissonier, Louis Ernest. jeuner
113
-
Mort
Manet, Edouard. D- Liseur D' Printemps
142
'49 '50
136
-----La
L60N.
127
Hommes du
D's
Saint Office
1
135
.
107
Soir au Pays de la .
.
L. Eugene. Monseigneur de Belzunce donnant la Communion aux Pestifires de Marseille
Venus Ana-
Chavannes, Puvis de. La Decollation de Saint Jean Baptiste Corot, J. B. L'Etang de Ville d'Avray
.
Isabey,
129
----..
Chasseriau, Theodore. dotncne
-
Les Bulks de Savon
-
Portrait de
Henner, J. J. Hexamer, F.
153 -
-
140
Mme.
Portrait de
Henri.
Pastrc
'56
Matemite
-
l.\.
G.
Harpignes,
ii
la Coquille
Soir de Fete
C.
_
.
Plore
CARRifiRE, Eug4;ne.
Cazin,
-
Lm Dame
... M.
115
Le Vainqueur
-
137
-
-
-
Paysanne
109
M. Renan La Servante appre-
-
Grani^, Joseph.
108
Saint Vincent de Paul prend les feurs d'un Galerien au Bagne de Marseille -
141
et les
•43
les .
-
Les Cotnniuniantes
119
.
-
.
Gervex, Henri.
133
108
soir
Portrait
Portrait de
Ricciardi
le -
Venus
-
Emile.
Hubert.
-
-
105 119
-
Carolus. de Mine. Feydeau -
LfeON.
Portrait de
-
A.
140
Bonvin, Francois.
—
DuRAN, Emile
33
E.
J.
Coin de For&t
Fkiant,
Mme.
Portraits de
et de ses
—
125
la
Aman-Jean, Edmond. Portrait de Miss Ella Carmichael Bastien Lepage, Jules. Les Foins Besnard, Albert.
Duez, liRNEsr. Ulysse Bntin DuPRE, Jules. Bords de Riviere
Amours
La Fille du Passeur La Soupe des Pauvres
Henri.
89
'45
Harlowe
Clarisse
Fantin-Latour, Henry.
-----
Allouard,
64
—
114
Les Victimes du
DuBUi'E, Edouard.
74 66
and Pans
Pots
I.
-
106
------
Detaille, Edouard. Devoir
,
24
et le
'54 de .
139
t
1
LIST
French Fine Art
La
Mme.
Rodin, Auguste.
En Ete
P.
Royer, Henri. Sab.\tti!:,
Ia'
-
-
-
134
Depart des Barques
141
Le Paiivre
-
La Serenade
le.
Jour d'Ete Toutenfleurs TiSNE, Jean Lucien. Le Bassin de Touch, Gaston la. . Bacchus Troyon, Constant. Le Troupeau Simon, Lucien.
Parce Domine
Willette, Adolphe.
Grand Canal,
ZiEM, F. British
British
Venice
and French Sculpture and French Sculpture
Andre
Collectivite Porcii
and
Priiu-ipal
Central Gallery
Delieux
-
-
Salon of Polished
Mahogany
Stamped Leather
Furniture of Queen Marie Antoinette Louis XV. Boudoir
Commode
after Riesener
-
-
-
186
.
.
.
188
139
Secretaire-Toilet Table
-
-
.
.
igo
128
Original
120
------
Design
Pavilion
Decorative
for
Applied and Decorative
A rts
MM.
Objects of Art by
157
Diamond and Platinum Lace Brooch Diamond Necklace Emerald and Diamond Stomaclwr Diamond and Platinum Lace Brooch
Boucheron
'59 160 161
Walnut Libraty Table
-
-
-
-
163
-
-
-
-
164
-----
Modern Salon
Plaster Group, " Youth "
Bedroom
Walnut
in
-
.
196 196 -
Silver-gilt Toilet Set
.
-
-
197
198
'99 -
Exhibit of MM. Boin-Taburet
199
200
and Side Ornaments -
201
162
Decorative Overmantel
.
-
-
158
-
191
194
French Applied Arts. —
101
-
-
Art
Pavilions
Silver-Gilt Table Centre
Comb, by Henry Miaul
'83 '85
-
-
-
i8o
.
-
.
'79
Savo7inerie Carpet
153
-
-
.78
181
-----
Table Centre
Brass Vase, "Seaweed"
.
-
127 132
-
Porcelaine Vase in Polychrome Applique
-
146
—
-----
Principal Facade
Reticule of
178
179
Central Hall of French Decorative Art
93 -
Entrance
A ndre
Portrait of M.
-
" 1 8jo" Miniature Ivory Bust
'47
-
-
Delieux.
-
-
ILall
-----
Velvet Portiere
-
-
-
Cushion of Lace and Embroidered Batiste
Eliseieff
.
P^ernand.
Sidaner, Henri
-
page
—
Ddlieux (continued). " The Good Hound" Tapestry, Cotton
Collectivite Andre!
Pechenses de Monies
Renoir, Auguste.
Roll, A.
Seine
PAGE
—
Section {continued).
Peuch, Denys.
OF ILLUSTRATIONS
Morris
-
166
.
.
.67
-
202
203 204
Walnut
Secretaire Cabinet of Italian
65
-
.
Inlaid Cabinet of Italian Walnut
164
-
-
Co.—
Decorated Interior and Furniture
.64
-
&
-
Mahogany Inlaid Commode " Prim avera," Arras Tapestry Inlaid Mahogany C/iina Cabinet
-
205 -
206 207
208
-
Cloisonne Enamels on Gold
-
-
-
168
Wrouglit Iron Grill
-
.
-
168
Dining Room in Natural Oak Marble and Ivory Statuette and Pedestal
169
Perspective View of Exhibit
-
-
-
170
Interior of Exhibit
-
_
.
-
209 210
Maliogany
170
Front and Interior
.
-
-
-
21
.
.
.
171
Tiles with Floral Designs
212
172
Painted Vases
-
-
-
213
172
Plate
Dinitig
( \ibinct
Room
Neck-buckle,
in ' '
-
with Marquetry Panel
Oak
Clouds
-
-
-
-
"
Pendant of Gold, Enamel and Pearls Peanoood Clock, carved with Grapes of
Carved Oak
Miniature Clock, "Roses"
-
-
-
Cusped Dish of Plated C 'opper " Mimosa " Cup and Saucer -
-
-
Leaded Glass Fire Screen
-
.
-
Child's Frock of Velvet Appliqiie
Gallia
Cup
in Silver, Gold,
-
and fewels
-
—
-
-
-----
and Bowl Bowl and Vases Three-handled Cup
172
------
Dining Room Suite Enamels
Pilkington.
73
Fashion Exhibits.
174
-
-
-
214
.
-
-
-
216
-
-
-
217
175 175
Satin Soie
.76
Evening Gown
.76
Evening Dress
'77
Ball Dress
177
DdcoUetie Toilette
-
----------
Gown
2'5
—
Satin Evening Dress
307
-
-
-
-
-
-
217
.
-
-
-
-
218
-
-
-
-
21Q
218 219
-
LIST
OF ILLUSTRATIONS
—
-----------
Fashion Exhibits (continuedJ. Toilette
Outdoor Gown
-
-
Perfumery Exhibit by L. Toilette
-
-
.
Piver
T.
Cascade and Electric Launch
-
-
-
PAGE
Loan
Collection {continued).
220
Elizabethan Council Table
220
" Georgian" Room
221
' '
.
View of St. Etienne Exhibit Hats, I'jgo to i8jo -
-
227
Pilley
Hat, igo8
Moet
&
-
-
-----— ----.
.
229
-
.
269
-
-
-
269
.
-
-
270
-
-
233
-
Interior of
-
-
Inlaid Wardrobe Cabinet
Gaming Table of jjjo " Georgian" Armchair Chippendale Table
-
Jacobean Armchair
-
Jacobean Btiffet
-
-
242
.
.
.
-
Souks Algero Tunisiens
-
-
-
-
279 280
Decorative Fountain outside Villc dc Paris
281
City of Paris Pavilion
283
Indian Arena
243 243
244
-
-
-
-
_
.
-
-
-
291
-
-
-
-
291
-
284
— The Jugglers
On
the Scenic
An
Exhibition
Railway
Showman
287
-
-
-
-
291
The Johnstown Flood
-
.
-
-
292
Senegalese Children
-
.
.
-
292
.
-
-
-
293
Scenic Railway
.
-
-
-
-
246
Waiting for the Flip-Flap
-
-
-
246
Elephant Ride
-
.
-
246
Waiting their turn for the Scenic Railway
294
247
Native Mangling Clothes
295
247
The Photoscope
248
The Flip-Flap
.
245
-
-
-
-
-
" William and Mary" Chair Adam and Eve Chair -
-
-
-
278
Algerian Attendants
Sundial in Machinery Gardens -
277
-
-
.
-
241
Collection. —
-
]
248 -
-
-----------------------------
'outhful Senegalese
248
Ricks/iaw
249
A Swan
Men
Boat
-
-
-
-
-
-
.
-
-
.
-
-
The Helter Skelter
Carved Mahogany Shaped Chippendale -
-
-
French Colonies
in the
238
241
King Edward Bottling, Corking and Carrying Champagne Bottles, i'j4i to igoo -
Table
Algerian Palace
274 276
242
Signature of H. M.
Chippendale" Room
-
Scene in the Irish Village
-
-
240 -
New Wine
-
Canadian Pavilion
Bear Pit outside Canadian Pavilion Corner
239
Cellar with Millions of Bottles
^'
Elephant Carved in Wood
237
Wholesale Wine Merchant's Licence
" Queen Anne " Room
-
236
Facsimile of Address exhibited
Loan
267
.
235
-
266
-
-
234
-
-
-
-
-
Shaking of the Bottles
-
-
Carved Wood Screen Bronze Figures
-
Cellars containing
-
268
-
-
263
.
-
-
-
-
-
-
-
-
-
Gathering Grapes
259
-
.
-
-
-
Carved Wood Trophy
.
-
-
230
The Entrance Hall
Page of M. Moet' s Journal
25«
-
View of the Lidian Pavilion Corner of Indian Palace -
Portrait of M. Moet
Plan of Establishment at Epernay Dom Perignon tasting the Grapes -
and Asian's Exhibit
257
257
230
Chandon.
View of Pavilion
253
256
Lacquer Cabinet on Charles //. Stand " Caqueteuse " and Oak Cliest, 153$ CoTnniode decorated with painted PanelsCorner oj the Machinery Hall
-
251
Cupboard
ElizabetJian Court
225
-
-
222 223
.
-
-
222
-
Costumes, 1822-18J2
-
-
255
Ladies visiting P. M. Griniwaldt's Sta?/d .
-
William and Mary " Room
The King and Preside7it at P. M. Grun. . . waldfs Exhibit
-
PAGE
—
View
'
308
in the
Stadium
-
-
-
-
294
294
295
296
296 299 299
300 302
:
:
Z^y
HY
a.i»i><)intmi<:nts
ReDFCRN Original
&
Exclusive
Models Smart Racing Gowns
Shooting Costumes
Paris Millinery
Lingerie
&
Corsets, etc.
LONDON Sressmaftcts,
ffurricrs,
etc.,
26-27, Conduit
St.,
W.
27,
New Bond
PARIS 242,
Rue de
Rivoli.
St.,
W.
I
.fSft=B^^^f«5^^
^!&~f(i=BM
EXHIBITION
FRANCO-BRITISH Group
XI Ia—Class 83. (FRENCH SECTION).
SAINT'ETIENNE (LOIRE)
Comite Stephanois. List of Exhibitors. Balay(G.)
& Cie.,
rue de la Republique,
5,
Rubans velours, rubans
Brossy, Balouzet
&
Chaize Freres,
chemin du Guizay, Rubans imprimes.
Chenouf
&
(J.
&
(J.
rue des Jardins,
5,
Rubans
et velours
haute nouveaute.
place Marengfo, Rubans, echarpes, g'alons.
Cie., 19, rue de la
B.), 16, rue de la Bourse,
Descours (Henri), Deville
13,
imprimes.
<S
Bessy,
Colcombet (F.)
David
4,
Cie.,
et tissus
15,
Bourse, Rubans en tous g^enres.
Rubans
velours.
place de I'Hotel-de-Ville,
B.), 14, rue
de
la
Rubans
velours.
Republique, Rubans, echarpes, g^alons.
Deville (Nicolas), 4, rue Forissier, Rubans, velours, specialite de noirs.
Epitalon Freres, 22, rue de la Bourse, Rubans unis et faconnes. Forest
(J.)
&
Cie.,
Fraisse Merley
Giron Freres,
&
14,
rue Buisson,
Menu,
4, rue
5,
Rubans
place Marengo,
Richelandiere,
Rubans
et velours unis et fa9onnes.
Rubans
et velours.
velours unis et faconnes, velours etofFe.
& Davier, 6, rue de la Bourse, Rubans et soieries nouveaute. Louison (V.) & Cie., g, place Mi-Careme, Rubans, velours, gazes. Marcoux-Chateaunef & Gelas, 13, rue de la Republique, Rubans faconnes et velours. Staron (P.), jeune & 7, place Jacquard, Rubans et galons nouveaute. Guinard
(J.)
fils,
Vinson (Honore),
g®=s«i?
28, rue des Mouliniers,
|^S|«^88^^
Galons de tous genres.
'^i -3^^4m^
gSCft=ffi^
Medailles d'Or.
H.C.
Grands Prix
Membre du
jury.
,
Milan. 1903. Londres, 1908
mm
Riviera Palace Hotel, MONTE CARLO. THE MOST LUXURIOUS HOTEL Every
Room
Faces South. Electric
IN
THE WORLD.
Healthiest Situation in
Monte
Carlo.
Railway from Casino Gardens.
=^^ /^^
u>
Riviera Palace Hotel, NICE-CIMIEZ^ BATHED
IN
SUNSHINE. -m-
-^
BRACING MOUNTAIN
AIR.
CHARMING PARK and GARDENS. -^^77
To
^^^
reserve
Accommodation
^^^-
in the Hotels apply to
International Sleeping Car
â&#x20AC;&#x201D;
Company,
20, COCKSPIR STREET, CHARING CROSS, LONDON, W.C.
,,
= GRAND
Highest Award,
PRIX,
r^=^
^
Franco- British Exhibition,
—
^^
1908.
CARL HENTSCHEL, LTD.. The
leading and largest firm of
PHOTO-ENGRAVERS in the
World.
ALL THAT PERTAINS TO PHOTO-PROCESS Reproduction and artistic publicity.
SPECIALISTS
The
Head
IN
HENTSCHEL-COLOURTYPE
Offices:
&
184, FLEET WEST NORWOOD and PARIS.
182, 183 And
at
THERE To
mankind
and ;
it
that
ways, and pradlically their
and the influence
The
is loft,
to tour
way and
lives,
is
is
STREET,
LONDON,
E.C.
per Motor Car.
The Railway
is
the
great
hat fidlitious civilisation that disseminates along
induces varied races to plan their buildings, their
A few
short miles from the railway
two methods
in all its native simplicity.
of travelling,
'^, by Rail or Motor,
hardly worth considering, while there can be no question
mofl enjoyable.
THE MOTOR HOUSE of these can
I
upon one model.
difference in coft of the
which
it
and there the country can be seen
reckoning a party of four, as to
is
carries with
the whole of the permanent
SPECIALITIES.
our
are
BUT ONE WAY
IS
see a Country,
leveller of
PROCESSES
MEISENBACH
and
be hired
have a stock
for periods of
of
about 300 Cars
for sale,
and
mo«
one day and upwards.
Foreign Tours are planned, and drivers speaking Continental languages can be supplied.
The AVotor House, Proprietors:
GRANDE MAISON D'AUTOMOBILES,
314, 316, 318, 366, 368,
LTD.,
EUSTON ROAD, LONDON, N.W.
Telephone: 895
NORTH
(Three Lines).
Bankers:
BANK OF ENGLAND.
Telegrams;
"AFORCAR, LONDON."
the: 'DRY IMPERIAL'
^"mpsl extra qui^ily-
IS
M0£T OWN
®.
^Jp
THE PRODUCE OF
CHANDON'S
VINEYARDS, OF WHICH THEY POSSESS 2,500 ACRES AT AY, CRAMANT, ROUZY, VERZENAY, ETC.
—
& Chatham
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Railway
LONDON & PARIS 6 hours 50 minutes,
in
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Great Accelerations and Improvements
Shortest Sea Passages
Mail Express Services
5 Trains per day each way For
From London Charing :
Cross, 2.20 p.m.
;
Cross,
Particulars
Cannon
see the S.
Street, 9 a.m.
;
E.
&
C. R. Continental
Charingf Cross, 10 a m.
;
Time Table
Holborn, St Paul's and Victoria, 11 a.m.
Charing Cross and Cannon Street, 9 p.m. — From Paris, Gare du Nord
:
8.25, 9.50 a.m., 12
noon
;
4
Charing and 9 p.m. ;
^^ z^
CHEMIN DE PER DU NORD LONDRES, PARIS, HOLLANDE. L'ALLEMAGNE, la RUSSIE
Services rapides entre: LA
BELGIQUE, LE
TRAINS DE LUXE: Mediterranee
LA
DANEMARK,
-
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Express.
Simplon-Express.
— Train
la
—
SUEDE
et la
Peninsulaire- Express.
rapide
quotidien,
— Engadine-Express. — Voyages
entre
— Calais-Marseille-Bombay-Express. —
Paris-Nord
Circulaires
NORVEGE
a
Prix
(7.32
p.m.),
Reduits
en
Nice France
et et
Calais-
Vintimille.
a
I'Etranger.
^^^^^
Chemins de Fer de VOuest PARIS via
A LONDRES
ROUEN, DIEPPE, NEWHAVEN,
par
la
Gare Saint-Lazare
SERVICES RAPIDES DE JOUR ET DE NUIT TOUS LES JOURS (Dimanches et Fetes compris) et toute I'ANNEE TRAJET DE JOUR en 8 h. 40 (|- et classes seulement) 2'"^'
GRANDE ECONOMIE Billets simples,
valables pendant 7 jours;
La
donnant
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a toutes les gares situees sur le parcours.
C'e de I'Ouest envoie franco, sur demande affranchie un bulletin special du service de Paris a Londres; s'addresser 20, Rue de Rome, Paris.
^
D^
=
=
CONTINENTAL HOTEL INFORMATION. Those contemplating a
journey
Continent can obtain
information free
regarding Hotels, 1
1 ,
^
all
etc.,
at
on
the
Dewynter's,
Charing Cross Road.
Booklets
may be
be booked, and,
obtained,
in fact,
Rooms may
everything arranged
for the comfort of the journey.
^
/
Write
this
day
for full
^
particulars.
DEWYNTER'S HOTEL AND TARIFF BUREAU, 11,
CRARING CROSS ROAP
TRAFALGAR SQUARâ&#x201A;¬ LONPON, Telephone Numbers
GERRARD
3559 &
W.C.
Telegraphic Address
:
GERRARD
2865.
"
:
DEWYNTERS, LONDON.
oiMCiiBi^
f
Exc.
TO BE OBTAINED AT ALL LEADING CLUBS, HOTELS AND RESTAURANTS, AND RETAIL OF ALL GROCERS, WINE MERCHANTS, ^f^^^^ CHEMISTS AND STORE.S. S '
PRINTED BY
A.
&
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WALTER,
I.Tn.,
13
TO
17,
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"Ik
-
-"'.
—
2»nn.inl'-s-=
-jW^t
JT-
nnnr
T-i.-Qf^Er
-•rt.
"
Ji.'-a.
ujt.
-
—
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Jit
-
^
i.ir
^ —^
.-^T;
—
*
JJ. uliJiHU £--a!cEl-n-"- - -
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