Studio: international art (12.1898)

Studio- Talk

seen in England. There is a community of feeling Each exhibitor seems to have been anxious to
between the English and ourselves in our admira- outdo his neighbour by the gorgeousness of his
tion of the beautiful. Their magazines keep us in- display; and as these efforts have been generally
formed of what is being done there. Thus it is successful, the result of it all is disastrous in every
easy to make a just comparison, and to see that way. One has considerable trouble in discovering
the really charming and meritorious work is that the interesting specimens of decorative or applied art.
which embodies some new form not to be found -

in the original. Each of these designs has, The exhibits of the Socie'te des Cristalleries, of
without resembling them, a certain analogy with Val St. Lambert, are very remarkable, by reason of
its fellows, but it is no longer the commonplace the lovely wrhiteness of the crystal, which is cut in
repetition of the styles of Louis XIV., Louis XV., such a manner as to bring out to its fullest extent
or Louis XVI. It is quite evident there are many the refractive qualities of the material. Some of
skilled workmen who now turn to The Studio, the polychrome glass is also very curious. The
just as formerly they relied on Vigno/e, or LArt effects are obtained by adding, during the process
pour Tons. This was bound to be." of the work, successive coatings of coloured enamel

- and white crystal. The difficulties attending this

Thanks to the spirit of
emulation they have
aroused among the great
nations these universal Ex-
hibitions have resulted in
the realisation of a large
number of ideas. The
Paris Exhibition of 1889,
for instance, established
the decorative employment
of metallurgy in architec-
ture, to which new life had
already been given by
means of multi-coloured
ceramic work. It is much
to be regretted that the in-
teresting " Projet de Ville
Moderne," proposed by
MM. PTankar and Crespin
could not be carried out;
for it certainly would have
been a starting-point for
any number of improve-
ments, which, it is to be
feared, will now be loim
delayed by slow-moving
routine.

Whereas the French sec-
tion in the large gallery of
th<- Exhibition is installed
with the utmost taste, and
with perfect delicacy of
colour and form and pro-
portion, the Belgian sec-
tion on the other hand is
a shocking chaos of ex-
traordinary constructions. POSTER i;v rHBO van RYSSBLBBROHB

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