Studio: international art (2.1894)

The Arts and Crafts Exhibition, 1893

were no small number of memorable works—
memorable, that is to say, to those technically
interested in decorative art—some from their ex-
ceptional costliness, others for the new vitality they
showed in arts that had slumbered long; this
year, save always Mr. Morris's tapestries, the exhi-
bition is more noticeable for its high level than
for any one or two tours de force. To say that
it has no epoch-making work, is by no means a
reproach ; it is far better to produce a number of

SS. URIEL AND MICHAEL. DESIGNS FOR STAINED
GLASS AT ST. MICHAEL'S, BRIGHTON,
BY FORD MADOX BROWN

objects fine indeed in their way, but not too fine
for ordinary use, than a few masterpieces fit only
for private or public museums.

There are two questions one would like to put
as a test: one, whether the level of commercial
design has advanced since 1888, and how far the
exhibition may be taken as a representative
sampling of the market to-day ?

To the first no certain affirmative is ready. Nor
could the warmest supporter of the Society claim
that it was entirely catholic and representative. For
the more you examine them you feel that although

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the industrial exhibits represent (as they should do)
the individual art of many clever designers and
makers, they do not represent (as one hoped they
might) the average of commercial products made
directly for public sale in the ordinary way. This is
not the fault of the Society; the shop-windows to-day
give evidence that the standard of design has not
risen appreciably since 1888, so we are compelled
to own that the beautiful things inside the New
Gallery represent the work of a few for the few,
and that the taste of the masses is not shown, nor
will be raised directly thereby. But—and here is
surely the reason which justifies its existence as an
exhibition—for artists in design and as a show
which attracts the classes rather than the masses,
its influence is certain to be felt sooner or later by
those who at present scarce know of its existence.

Outside, the ruling fashion of the hour is as reck-
less of all restraint as ever. Now it inclines
to sobriety and good design, then it veers round
to the inane vulgarity of a bastard rococo when
it is to be feared the vulgar novelty chokes to
death the seedlings that looked so vigorous. Yet,
despite open attack, despite trade jealousies, and
despite honest divergences of taste, it cannot but
be good that a body of art-lovers should unite
to set up a fixed standard, above caprice, even
though it be more limited in its choice of
styles, and more severe in their employment,
than a cosmopolitan would demand. For the
exhibits are unmistakably English; even a nation
so nearly allied in custom and taste as America
has not influenced a single example. Modern
French art is hardly more felt, and although
old Italian, old German, and old Dutch may be
traced, yet these inspirations, however obvious,
have been expressed in native idiom, proclaiming
a desire for fine craft allied to good art, regard-
less of the taste of the man in the street. The
so-called aesthetic movement which is irrevocably
mixed up with the "Arts and Crafts" by the
average person, has always had two classes of
enemies: those who protested against it in
public and straightway accepted its productions
with gratitude in private, and those who openly
applauded it, and by indiscreet imitation showed
their praise to be the most vulgar form of flattery.
But the art-items of the furnishing catalogue which
appeal to this latter class are noticeably absent in
the New Gallery; and that its judges have not
modified their notions of beauty and fitness to
accept work out of sympathy with their ideal will
be found an easy-and not unfounded taunt to
hurl at them. Hard words, however, are helpful