DOI Page / Citation link:
https://doi.org/10.11588/diglit.1401#0069
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THE ILLUSTRATED EXHIBITOR.
23
The Fine Arts Department is reserved for works of a miscellaneous character in connexion -with art, such as printing
in colours, lithography, wood engraving, &c. Louis Haghe's tinted lithograph of a magnificent picture, with which
most readers will be familiar, " The Destruction of Jerusalem," by David Roberts, is a striking object here. The effect
produced by the colour, which is, of course, the primary charm of this picture, is finely rendered in Haghe's work and
the lithograph is altogether a very beautiM one. Several other specimens of warm tints arc given from Robert's
" Illustrations of Scenery in the Holy Land." Baxter's process of printing in oil colours is exhibited in a large frame,
which contains a number of clear and beautifully-harmonised drawings. A number of curiosities have found a place
here. In one part of the room there is a model of Mazeppa, cut out of cork, and another of a wedding party, an
ingenious and highly amusing article, grouped with a very natural effect, and exhibiting models of policemen, beadles,
horses, and dogs, all very minutely executed. The specimens hero vary in extent as much as in character. A model
of the Falls of Niagara, with' the surrounding scenery in proportion, is one of tho most singular of them. Skakspere's
House, at Stratford-on-Avon, and John Knox's, at tho Nethorbow, iu Edinburgh, are hero. On one side of a screen
devoted to works of this class are the beautiful Talbotypes of Messrs. Ross and Thomson, and tho greatly and justly
admired Calotypcs, by D. 0. Hill and R. Adamson. Crichton's fine specimen of Mosaic work in Scoteh pebbles, and
several other contributions of the same class, are also to be seen here. The arrangement of tho Fine Arts contributions
is, upon the whole, appropriate and judicious.
The Fine Arts cannot be dismissed in a chapter; from time to time, and even in this number, wo shall again refer to
them. It is not statuary alone which constitutes the Art of a country; whatever there is of beauty, in form or
configuration, that is Fine Art in the widest sense of the term.
€l)t Origin nf (gipnaitnim
Rather more than half a century since—in 1797—the
first Exposition of the National Industry of France took
place in the chateau of St. Cloud, under tho presidency,
and through the agency, of the Marquis d'Aveze. During
the troubles of the revolution, he found that the royal
manufactories at Sevres and Gobelins had suffered, and
that the workmen were wanting bread, though the ware-
houses were full of the choicest tapestry, china, and rich
wares. To remedy this sad state of things, he bethought
him of the sale of these products in a bazaar, and in a few
days, he tells us, the Castle walls were gay with hangings,
they were plunged. Tho workshops were deserted—for
two years the artisans had remained in an almost starving
condition; tho warehouses were full of the results of their
labours, and no commercial enterprise came to relieve the
general embarrassment. Scarely can I depict the effect
produced upon me by such a scene ; but at that moment an
idea presented itself to my imagination which appeared to
console me for the miseries of the present in the hopes it
offered for the future. I pictured to myself, in the most
glowing colours, the idea of an exhibition of ail the objects
of industry of the national manufactures. I committed my
PRINCIPAL ENTRANCE TO THE FRENCH EXPOSITION PALACE.
and the floors bright with the carpets, and the tables with
china and bijouterie. But the Marquis has told the history
of the affair so well, that we may use his own words :—
" In the year Y. of the Republic (1797), I had not yet
quitted the Opera, when the Minister of the Interior sum-
moned me to undertake the office of Commissioner to the
Manufactures of the Gobelins (tapestries), oi Sevres (china),
and of the Savonncrie (carpets). I had no need to stay
long in theso establishments to perceive the misery in which
project to paper, I detailed the mode of its execution, and
prepared a report, addressed to the Minister of the Interior,
and delivered it to M. Laucel, then at the head of the
section of Arts and Manufactures, in whose office the docu-
ment in question should still exist. My report receive?
the approbation of the Minister of the Interior, M. Franoois
de Neufchateau, who commanded me to carry it into effect.
« The chateau of St. Cloud was then uninhabited and
completely unfurnished ; and this appeared to me the most
;S$!*as
'■til*:
K
fgi'fcp,
THE ILLUSTRATED EXHIBITOR.
23
The Fine Arts Department is reserved for works of a miscellaneous character in connexion -with art, such as printing
in colours, lithography, wood engraving, &c. Louis Haghe's tinted lithograph of a magnificent picture, with which
most readers will be familiar, " The Destruction of Jerusalem," by David Roberts, is a striking object here. The effect
produced by the colour, which is, of course, the primary charm of this picture, is finely rendered in Haghe's work and
the lithograph is altogether a very beautiM one. Several other specimens of warm tints arc given from Robert's
" Illustrations of Scenery in the Holy Land." Baxter's process of printing in oil colours is exhibited in a large frame,
which contains a number of clear and beautifully-harmonised drawings. A number of curiosities have found a place
here. In one part of the room there is a model of Mazeppa, cut out of cork, and another of a wedding party, an
ingenious and highly amusing article, grouped with a very natural effect, and exhibiting models of policemen, beadles,
horses, and dogs, all very minutely executed. The specimens hero vary in extent as much as in character. A model
of the Falls of Niagara, with' the surrounding scenery in proportion, is one of tho most singular of them. Skakspere's
House, at Stratford-on-Avon, and John Knox's, at tho Nethorbow, iu Edinburgh, are hero. On one side of a screen
devoted to works of this class are the beautiful Talbotypes of Messrs. Ross and Thomson, and tho greatly and justly
admired Calotypcs, by D. 0. Hill and R. Adamson. Crichton's fine specimen of Mosaic work in Scoteh pebbles, and
several other contributions of the same class, are also to be seen here. The arrangement of tho Fine Arts contributions
is, upon the whole, appropriate and judicious.
The Fine Arts cannot be dismissed in a chapter; from time to time, and even in this number, wo shall again refer to
them. It is not statuary alone which constitutes the Art of a country; whatever there is of beauty, in form or
configuration, that is Fine Art in the widest sense of the term.
€l)t Origin nf (gipnaitnim
Rather more than half a century since—in 1797—the
first Exposition of the National Industry of France took
place in the chateau of St. Cloud, under tho presidency,
and through the agency, of the Marquis d'Aveze. During
the troubles of the revolution, he found that the royal
manufactories at Sevres and Gobelins had suffered, and
that the workmen were wanting bread, though the ware-
houses were full of the choicest tapestry, china, and rich
wares. To remedy this sad state of things, he bethought
him of the sale of these products in a bazaar, and in a few
days, he tells us, the Castle walls were gay with hangings,
they were plunged. Tho workshops were deserted—for
two years the artisans had remained in an almost starving
condition; tho warehouses were full of the results of their
labours, and no commercial enterprise came to relieve the
general embarrassment. Scarely can I depict the effect
produced upon me by such a scene ; but at that moment an
idea presented itself to my imagination which appeared to
console me for the miseries of the present in the hopes it
offered for the future. I pictured to myself, in the most
glowing colours, the idea of an exhibition of ail the objects
of industry of the national manufactures. I committed my
PRINCIPAL ENTRANCE TO THE FRENCH EXPOSITION PALACE.
and the floors bright with the carpets, and the tables with
china and bijouterie. But the Marquis has told the history
of the affair so well, that we may use his own words :—
" In the year Y. of the Republic (1797), I had not yet
quitted the Opera, when the Minister of the Interior sum-
moned me to undertake the office of Commissioner to the
Manufactures of the Gobelins (tapestries), oi Sevres (china),
and of the Savonncrie (carpets). I had no need to stay
long in theso establishments to perceive the misery in which
project to paper, I detailed the mode of its execution, and
prepared a report, addressed to the Minister of the Interior,
and delivered it to M. Laucel, then at the head of the
section of Arts and Manufactures, in whose office the docu-
ment in question should still exist. My report receive?
the approbation of the Minister of the Interior, M. Franoois
de Neufchateau, who commanded me to carry it into effect.
« The chateau of St. Cloud was then uninhabited and
completely unfurnished ; and this appeared to me the most