DOI Page / Citation link:
https://doi.org/10.11588/diglit.1310#0083
63 THE GREAT EXHIBITION
similar objects. Still considerable ingenuity was evinced in philosophical instruments,
and in various kitchen contrivances; matters, indeed, in which our continental neigh-
bours have been long accustomed to claim a fair right of precedence.
Among the manufactures, we are bound to notice as the first in importance, the
gorgeous productions of the silk-looms of Lyons, which were arranged in cases in the
gallery. The cotton, wool, and linen manufactures were also interesting, and the skilful
arrangement of these articles added greatly to their attractiveness. The splendid and
justly celebrated tapestries of the Gobelins, and of the manufactory of Beauvais, certainly
formed one of the most interesting features of the whole collection. The manufacture
of Sevres too, in richness, rarity, and costliness, was unrivalled. Much talent was also
displayed in the design and execution of useful and ornamental furniture, and a vast
profusion of articles of bijouterie, virtu, &c, and jewellery were heaped around. Photo-
graphs, both talbotype and daguerreotype, were exhibited, and various objects of sculp-
ture and of the fine arts added to the interest of the collection. We would more
particularly notice among the sculpture, a very masterly group of " Eve," by De Bay,
exhibited in the Gobelins room, the idea of which struck us as both poetical and
picturesque, and ably carried out. The first mother appeared to be lost in a reverie as
to the future destinies of her offspring, the principal incidents of which were fore-
shadowed to the spectator in the bas-relief sculpturings of the pedestal. All things
considered, we should be inclined to pronounce this to be one of the finest works of
sculpture that the Exhibition contained. Some have given it the fanciful title of the
" First Cradle," or " Nature's Cradle ;" but as that does not do justice to the poetic
mystery involved in the conception, we prefer the simpler title by which we have denoted
it. We cannot bestow similar commendation on M. Le Seigneur's colossal group, in
plaster, of " St. Michael overthrowing the Dragon," which stood in the east nave, a
specimen of the more exaggerated school, which prevails to an alarming extent amongst
our French neighbours. Yicious in composition, it disturbed the eye with innumerable
angular projections. In fine, it had all the vice of ill-studied and incomplete action,
whilst there was nothing in the character or expression of the principal figure (whose
costume was absurd) to redeem the more glaring defects of the composition.
Let us return, however, to the more graceful and lighter productions for which the
French are so justly celebrated, and which reveal an activity of imagination indicative
of a highly developed social and. political vitality—a universality of gracefulness in every
article, for the use even of the poorest, demonstrating the spread of those sentiments
which make taste a humble luxury for all, if not an indispensable accessory to the enjoy-
ment of life. Throughout the French compartment no one could fail to notice the
Protean shapes and styles in which the same objects presented themselves. One Sevres
vase was oriental: another was antique; a third recalled the breakfast-table of Mesdames
Pompadour or DuBarri; a fourth intimated the Majolica of Guid' Ubaldo of Urbino;
a fifth recalled the tazze of Jean Courtois or Liotard. One fragment of ornament
was Pompeian, another pure Italian, another Louis Quinze; and thus the flowers of all
time were combined in the modern Parisian bouquet. All this variety of style—spring-
ing rather from impressions and floating recollections than from any desire to copy
with servility—bears testimony to the spread of a popular knowledge of the history of
art; and it could only become universal in a country in which models of art had been
popularized through every imaginable variety of graphic reproduction. So long as France
is likely to retain her title of " Queen of Fashion," so long must she continue to be the
cleverest adapter and remodeller of old design-s. The vivacity of her artists checks any
approach to fac-simile copying; and so skilfully are her revivals made, that, while they
se'dom fail to recal a pleasing original type, they yet possess all the freshness of novel
similar objects. Still considerable ingenuity was evinced in philosophical instruments,
and in various kitchen contrivances; matters, indeed, in which our continental neigh-
bours have been long accustomed to claim a fair right of precedence.
Among the manufactures, we are bound to notice as the first in importance, the
gorgeous productions of the silk-looms of Lyons, which were arranged in cases in the
gallery. The cotton, wool, and linen manufactures were also interesting, and the skilful
arrangement of these articles added greatly to their attractiveness. The splendid and
justly celebrated tapestries of the Gobelins, and of the manufactory of Beauvais, certainly
formed one of the most interesting features of the whole collection. The manufacture
of Sevres too, in richness, rarity, and costliness, was unrivalled. Much talent was also
displayed in the design and execution of useful and ornamental furniture, and a vast
profusion of articles of bijouterie, virtu, &c, and jewellery were heaped around. Photo-
graphs, both talbotype and daguerreotype, were exhibited, and various objects of sculp-
ture and of the fine arts added to the interest of the collection. We would more
particularly notice among the sculpture, a very masterly group of " Eve," by De Bay,
exhibited in the Gobelins room, the idea of which struck us as both poetical and
picturesque, and ably carried out. The first mother appeared to be lost in a reverie as
to the future destinies of her offspring, the principal incidents of which were fore-
shadowed to the spectator in the bas-relief sculpturings of the pedestal. All things
considered, we should be inclined to pronounce this to be one of the finest works of
sculpture that the Exhibition contained. Some have given it the fanciful title of the
" First Cradle," or " Nature's Cradle ;" but as that does not do justice to the poetic
mystery involved in the conception, we prefer the simpler title by which we have denoted
it. We cannot bestow similar commendation on M. Le Seigneur's colossal group, in
plaster, of " St. Michael overthrowing the Dragon," which stood in the east nave, a
specimen of the more exaggerated school, which prevails to an alarming extent amongst
our French neighbours. Yicious in composition, it disturbed the eye with innumerable
angular projections. In fine, it had all the vice of ill-studied and incomplete action,
whilst there was nothing in the character or expression of the principal figure (whose
costume was absurd) to redeem the more glaring defects of the composition.
Let us return, however, to the more graceful and lighter productions for which the
French are so justly celebrated, and which reveal an activity of imagination indicative
of a highly developed social and. political vitality—a universality of gracefulness in every
article, for the use even of the poorest, demonstrating the spread of those sentiments
which make taste a humble luxury for all, if not an indispensable accessory to the enjoy-
ment of life. Throughout the French compartment no one could fail to notice the
Protean shapes and styles in which the same objects presented themselves. One Sevres
vase was oriental: another was antique; a third recalled the breakfast-table of Mesdames
Pompadour or DuBarri; a fourth intimated the Majolica of Guid' Ubaldo of Urbino;
a fifth recalled the tazze of Jean Courtois or Liotard. One fragment of ornament
was Pompeian, another pure Italian, another Louis Quinze; and thus the flowers of all
time were combined in the modern Parisian bouquet. All this variety of style—spring-
ing rather from impressions and floating recollections than from any desire to copy
with servility—bears testimony to the spread of a popular knowledge of the history of
art; and it could only become universal in a country in which models of art had been
popularized through every imaginable variety of graphic reproduction. So long as France
is likely to retain her title of " Queen of Fashion," so long must she continue to be the
cleverest adapter and remodeller of old design-s. The vivacity of her artists checks any
approach to fac-simile copying; and so skilfully are her revivals made, that, while they
se'dom fail to recal a pleasing original type, they yet possess all the freshness of novel