DOI Page / Citation link:
https://doi.org/10.11588/diglit.3004#0058
TIIE PARIS EXHIBITION
the embellishment of the interior of buildings, both secular and
ecclesiastical; and as the principal seat of this department of
industry is Paris, the facilities thus afforded to exhibitors of
articles which it would be costly and dangerous to convey from a
distance, has induced an enormous display of carved and inlaid
furniture of a very ornate and frequently highly artistic character.
It is somewhat singular that throughout the whole of this class
of articles, there is really very little which can be said to be
suggestive in a practical sense, especially as suited to English wants
or modes of execution. The construction is constantly covered up,
anil interfered with by the decoration. The former is in many
instances only the vehicle for the latter. This great error in
principle leads at times to very strange results, and the treatment
of the ornamentation is often very wild and unsatisfactory. Chairs
which it would be dangerous to the ornamentation to sit down
upon, billiard tables, the decoration of which would certainly
interfere with the free movements of the player, are amongst the
least of the errors committed. Probably the exhibition of the
well known Parisian house of Tahan, which takes a prominent
position in one of the central avenues of the Palais de 1' Industrie,
will beat illustrate this excess of elaboration. In these we find
gnat excellence of manufacture, combined with a painful over-
loading of the construction with useless and obtrusive details. A
Jardiniire, for instance, lias for its central ornament in front,
a group of doves, Cupid's bow and Hymen's torch, wrought so
in relief, and projecting so far from the true form, that a
lady passing near it would be likely to entangle the folds of her
dress, and upset the whole before she was aware of the danger.
The most striking lesson the English are likely to learn from
the French furniture is the extent to which artistic education has
been carried amongst the workmen who execute the carvings and
inlaid work. The skill displayed, and the evident freedom with
which it is used, is something marvellous. Occasionally details are
a little overwrought, but in the generality of instances the workman
appears to have had the true artistic perception when to leave off.
The tooling of some of the carved accessories to the more important
pieces of furniture is masterly, and adapted to the material with
rare skill. At times there is a little affectation of the sculptu-
resque types as suited to marble, and perhaps oftener still a
tendency to the ultra-natural in imitation, in which the material
appears to be forgotten ; but these are exceptions, and however
much we may at times regret the misapplication of the skill, it is
impossible not to be impressed with its extent, its variety, and
the thorough intelligence shown by the Art-workman of Paris
in the speciality of decorative furniture.
There is an evident tendency to the introduction of more colour
into furniture. This has been gradually manifesting itself of late
years in France, and if not carried too far, of which there is great
danger, the practice is not objectionable. At present tulip wood
with or-molu mountings, appears to be in the ascendant. The
result is very showy, but when carried to excess, as it often is, it
becomes more or less offensive ; especially when contrasted with
some of the more quiet effects around.
As illustrations of the best examples of the French furniture
exhibited, though by no means comprising all deserving of careful
examination, we would quote a cabinet d'annes, purchased by the
Emperor, exhibited by Jeanselme, pere etfils, of Paris (7924, Empire
Francais). Though very elaborate, the usual objectionable projec-
tions have been avoided. The work is of a very high class, broad
and intelligible, whilst the construction is strictly adapted to its
purpose, that of a repository for fire-arms. A book-case, exhibited
by the same house, constructed of walnut-wood inlaid with coloured
stones, is another example of fine workmanship, judicious construc-
tion, and appropriate ornamentation. A buffet by Durand, of Paris
(no number in catalogue), affords an admirable example of arrange-
ment. The carving is bold and effective without fritter, whilst the
projection from the surface of the construction is kept within the
bounds of propriety. The bronze handles of the drawers, composed
of oak-leaves and acorns, are well arranged, and the forms adapted
for use. A large library cabinet, secretaire, and bookcase, in the
style of the Eenaissance, by Meynard, of Paris (7937, Empire
Francais), is a remarkable example of its class. The construction
is of walnut, with mouldings of ebony. The ornaments, though a
little too high in relief, are of a most admirable character in design
and execution. A magnificent cabinet d'annes, by Jules Fossy
(7971, Empire Francais) ; a cabinet and china buffet, in ebony and
walnut, by Chaix (7899, Empire Francais) ; a porte-jv,sil, by Gueret
(7918, Empire Francais), are each excellent, and, in some respects,
suggestive either in construction or execution.
As examples of the combination of colour, either in marble,
variegated stones, or painted panels, the contributions of Balny,
jeune, of Paris (7890, Empire Francais), Beaufils, of Bordeaux
Empire Francais), and C'harmais, of Paris (7900, Empire Francais),
may be quoted. Balny has a bookcase in oak, inlaid with green
marble, admirably arranged, and of excellent execution as regards
the carving. Beaufils exhibits a large bookcase in three compart-
ments, the two- sides and each of the divisions decorated with
figures representing Africa, Asia, Europe, and America; at each
end are two admirably-conceived and well-executed figures ; one,
a veiled figure with a flame upon the forehead, representing Divine
Law, the other, an armed figure, embodies the idea of Human Law.
The whole work is one worthy of study and careful examination.
Charmais exhibits a variety of bed-room furniture of a very high
class, and a buffet in walnut-wood and ebony, with panels of green
marble variegated with black and white stria;. The mountings of
the drawers, &c, are in bronze, with bronze relievi in some of the
panels, and occasionally bronze ornaments are mounted upon the
marble. The arrangement and execution of the whole gives
evidence of high artistic and constructive ability, whilst the execu-
tion is of such a character as to leave nothing to desire. This
work alone would raise the workmen of the Faubourg St. Antoine,
by whom it was executed, to the dignity of artists, even if there
were not many other examples which go to prove, more or less
effectively, that the French cabinet-maker has been trained in a
school of Art adapted by an earnest intelligence to his wants and
future pursuits.
Again, a buffet by Bibaillier, atne, & Mazaroz (7992, Empire
Francais), illustrates the combination of a high class of decorative
painting with the carved work which ornaments the construction.
In principle this may be objected to as applied to furniture, since
it renders it too architectonic in design. In this example, however,
there is so much to admire that we forget to apply the rigid test
in admiration of the manner in which the work is carried out.
Artistic alike in design as in execution, the animals, trophies of
game, and details of the ornamentation, are wrought out with
marvellous skill and effect : panels with a gold ground, upon which
subjects illustrative of the chase, &c, are painted in a low key of
colour, combine with carved emblems of suitable design, in which
the vine, the wheat-ear, and the bryony are admirably treated, to
give an ensemble of a most satisfactory character.
Amongst the less ornate examples, a modest-looking little book-
case, in oak, by Blanchet, of Paris (7966, Empire Francais), may
be quoted. It is charmingly designed and admirably executed.
Another example of the same class, very elegant in its proportions,
and in the details of the ornament, is exhibited by Bruland, of
117, Rue du Bac, Paris (not inserted in the catalogue). These
specimens prove that in the less ornate examples the Parisian
fabricants des meubles are not less successful than in those in which
decoration appears to be the chief object of the designer, the use
in the latter being often almost concealed in the abundance and
richness of the ornamentation.
Amongst the smaller articles appertaining to furniture, but
classed as " Objets de Mode et de Fantaisie," of which there are an
immense display, both in the Palais de lTndustrie, the galleries
around the Panorama, and in the Annexe, we have only space to
quote the specimens exhibited by Diehl, of Paris (8828, Empire
Francais), as illustrations of the perfection to which this depart-
ment of industry has now attained in France. A lady's work-
table of tulip-wood, a Psyche-glass in rose-wood and or-molu, a
liqueur-case in buhl-work, fitted up with glasses in blue and gold,
and a terminal clock, also in buhl-work, are all worthy of close
examination and careful attention, amidst the masses of similar
articles. All are without doubt more or less excellent, but it would
be hopeless to attempt to examine them here in detail, even if it
were worth while to do so.
The manufacture of buhl-work is now carried on to an enor-
mous extent in Paris, and at times rises to the dignity of Art; but
at others the skill employed runs into great excesses of over-
decoration.
As a warning lesson in the avoidance of over-ornamentation in
combination with excessive imitation, the works of Ribaillier)t;'««ne
(7991, Empire Francais), may be taken. Here we have the most
exquisite execution and beauty of detail aiming at the most perfect
imitation of natural forms in the material used; but the whole is
so painfully suggestive of breakages and a species of noli me
tangere sentiment, as to detract very seriously from the satisfac-
tion which every person of judgment in Art feels on viewing a
well-executed work.
Probably the most extraordinary, and, to us, least understand-
able work of its class in the whole Exposition, is the contribution
from the manufactory of ecclesiastical decorations at Angers, de-
scribed as " Chaise et Autels," by the Abbe Choyer, director of the
said manufactory. It consists of an immense and elaborately-
carved work in oak, in which a peculiar class of design has clearly
run mad from excess of liberty. We have an elaboration of towers,
pinnacles, pendants, statues of saints, and bas-reliefs of scripture
subjects, all concentrated in the altar, and seats proper thereto, of
a Roman Catholic cathedral. One portion, a carving of a ruined
town, is supremely ridiculous, artistically speaking, from the accu-
rate character of the imitation. Of course these remarks refer to
the nature of the work as a specimen of Art-manufacture, and not
to the intention of the designer in conveying by such material
the embellishment of the interior of buildings, both secular and
ecclesiastical; and as the principal seat of this department of
industry is Paris, the facilities thus afforded to exhibitors of
articles which it would be costly and dangerous to convey from a
distance, has induced an enormous display of carved and inlaid
furniture of a very ornate and frequently highly artistic character.
It is somewhat singular that throughout the whole of this class
of articles, there is really very little which can be said to be
suggestive in a practical sense, especially as suited to English wants
or modes of execution. The construction is constantly covered up,
anil interfered with by the decoration. The former is in many
instances only the vehicle for the latter. This great error in
principle leads at times to very strange results, and the treatment
of the ornamentation is often very wild and unsatisfactory. Chairs
which it would be dangerous to the ornamentation to sit down
upon, billiard tables, the decoration of which would certainly
interfere with the free movements of the player, are amongst the
least of the errors committed. Probably the exhibition of the
well known Parisian house of Tahan, which takes a prominent
position in one of the central avenues of the Palais de 1' Industrie,
will beat illustrate this excess of elaboration. In these we find
gnat excellence of manufacture, combined with a painful over-
loading of the construction with useless and obtrusive details. A
Jardiniire, for instance, lias for its central ornament in front,
a group of doves, Cupid's bow and Hymen's torch, wrought so
in relief, and projecting so far from the true form, that a
lady passing near it would be likely to entangle the folds of her
dress, and upset the whole before she was aware of the danger.
The most striking lesson the English are likely to learn from
the French furniture is the extent to which artistic education has
been carried amongst the workmen who execute the carvings and
inlaid work. The skill displayed, and the evident freedom with
which it is used, is something marvellous. Occasionally details are
a little overwrought, but in the generality of instances the workman
appears to have had the true artistic perception when to leave off.
The tooling of some of the carved accessories to the more important
pieces of furniture is masterly, and adapted to the material with
rare skill. At times there is a little affectation of the sculptu-
resque types as suited to marble, and perhaps oftener still a
tendency to the ultra-natural in imitation, in which the material
appears to be forgotten ; but these are exceptions, and however
much we may at times regret the misapplication of the skill, it is
impossible not to be impressed with its extent, its variety, and
the thorough intelligence shown by the Art-workman of Paris
in the speciality of decorative furniture.
There is an evident tendency to the introduction of more colour
into furniture. This has been gradually manifesting itself of late
years in France, and if not carried too far, of which there is great
danger, the practice is not objectionable. At present tulip wood
with or-molu mountings, appears to be in the ascendant. The
result is very showy, but when carried to excess, as it often is, it
becomes more or less offensive ; especially when contrasted with
some of the more quiet effects around.
As illustrations of the best examples of the French furniture
exhibited, though by no means comprising all deserving of careful
examination, we would quote a cabinet d'annes, purchased by the
Emperor, exhibited by Jeanselme, pere etfils, of Paris (7924, Empire
Francais). Though very elaborate, the usual objectionable projec-
tions have been avoided. The work is of a very high class, broad
and intelligible, whilst the construction is strictly adapted to its
purpose, that of a repository for fire-arms. A book-case, exhibited
by the same house, constructed of walnut-wood inlaid with coloured
stones, is another example of fine workmanship, judicious construc-
tion, and appropriate ornamentation. A buffet by Durand, of Paris
(no number in catalogue), affords an admirable example of arrange-
ment. The carving is bold and effective without fritter, whilst the
projection from the surface of the construction is kept within the
bounds of propriety. The bronze handles of the drawers, composed
of oak-leaves and acorns, are well arranged, and the forms adapted
for use. A large library cabinet, secretaire, and bookcase, in the
style of the Eenaissance, by Meynard, of Paris (7937, Empire
Francais), is a remarkable example of its class. The construction
is of walnut, with mouldings of ebony. The ornaments, though a
little too high in relief, are of a most admirable character in design
and execution. A magnificent cabinet d'annes, by Jules Fossy
(7971, Empire Francais) ; a cabinet and china buffet, in ebony and
walnut, by Chaix (7899, Empire Francais) ; a porte-jv,sil, by Gueret
(7918, Empire Francais), are each excellent, and, in some respects,
suggestive either in construction or execution.
As examples of the combination of colour, either in marble,
variegated stones, or painted panels, the contributions of Balny,
jeune, of Paris (7890, Empire Francais), Beaufils, of Bordeaux
Empire Francais), and C'harmais, of Paris (7900, Empire Francais),
may be quoted. Balny has a bookcase in oak, inlaid with green
marble, admirably arranged, and of excellent execution as regards
the carving. Beaufils exhibits a large bookcase in three compart-
ments, the two- sides and each of the divisions decorated with
figures representing Africa, Asia, Europe, and America; at each
end are two admirably-conceived and well-executed figures ; one,
a veiled figure with a flame upon the forehead, representing Divine
Law, the other, an armed figure, embodies the idea of Human Law.
The whole work is one worthy of study and careful examination.
Charmais exhibits a variety of bed-room furniture of a very high
class, and a buffet in walnut-wood and ebony, with panels of green
marble variegated with black and white stria;. The mountings of
the drawers, &c, are in bronze, with bronze relievi in some of the
panels, and occasionally bronze ornaments are mounted upon the
marble. The arrangement and execution of the whole gives
evidence of high artistic and constructive ability, whilst the execu-
tion is of such a character as to leave nothing to desire. This
work alone would raise the workmen of the Faubourg St. Antoine,
by whom it was executed, to the dignity of artists, even if there
were not many other examples which go to prove, more or less
effectively, that the French cabinet-maker has been trained in a
school of Art adapted by an earnest intelligence to his wants and
future pursuits.
Again, a buffet by Bibaillier, atne, & Mazaroz (7992, Empire
Francais), illustrates the combination of a high class of decorative
painting with the carved work which ornaments the construction.
In principle this may be objected to as applied to furniture, since
it renders it too architectonic in design. In this example, however,
there is so much to admire that we forget to apply the rigid test
in admiration of the manner in which the work is carried out.
Artistic alike in design as in execution, the animals, trophies of
game, and details of the ornamentation, are wrought out with
marvellous skill and effect : panels with a gold ground, upon which
subjects illustrative of the chase, &c, are painted in a low key of
colour, combine with carved emblems of suitable design, in which
the vine, the wheat-ear, and the bryony are admirably treated, to
give an ensemble of a most satisfactory character.
Amongst the less ornate examples, a modest-looking little book-
case, in oak, by Blanchet, of Paris (7966, Empire Francais), may
be quoted. It is charmingly designed and admirably executed.
Another example of the same class, very elegant in its proportions,
and in the details of the ornament, is exhibited by Bruland, of
117, Rue du Bac, Paris (not inserted in the catalogue). These
specimens prove that in the less ornate examples the Parisian
fabricants des meubles are not less successful than in those in which
decoration appears to be the chief object of the designer, the use
in the latter being often almost concealed in the abundance and
richness of the ornamentation.
Amongst the smaller articles appertaining to furniture, but
classed as " Objets de Mode et de Fantaisie," of which there are an
immense display, both in the Palais de lTndustrie, the galleries
around the Panorama, and in the Annexe, we have only space to
quote the specimens exhibited by Diehl, of Paris (8828, Empire
Francais), as illustrations of the perfection to which this depart-
ment of industry has now attained in France. A lady's work-
table of tulip-wood, a Psyche-glass in rose-wood and or-molu, a
liqueur-case in buhl-work, fitted up with glasses in blue and gold,
and a terminal clock, also in buhl-work, are all worthy of close
examination and careful attention, amidst the masses of similar
articles. All are without doubt more or less excellent, but it would
be hopeless to attempt to examine them here in detail, even if it
were worth while to do so.
The manufacture of buhl-work is now carried on to an enor-
mous extent in Paris, and at times rises to the dignity of Art; but
at others the skill employed runs into great excesses of over-
decoration.
As a warning lesson in the avoidance of over-ornamentation in
combination with excessive imitation, the works of Ribaillier)t;'««ne
(7991, Empire Francais), may be taken. Here we have the most
exquisite execution and beauty of detail aiming at the most perfect
imitation of natural forms in the material used; but the whole is
so painfully suggestive of breakages and a species of noli me
tangere sentiment, as to detract very seriously from the satisfac-
tion which every person of judgment in Art feels on viewing a
well-executed work.
Probably the most extraordinary, and, to us, least understand-
able work of its class in the whole Exposition, is the contribution
from the manufactory of ecclesiastical decorations at Angers, de-
scribed as " Chaise et Autels," by the Abbe Choyer, director of the
said manufactory. It consists of an immense and elaborately-
carved work in oak, in which a peculiar class of design has clearly
run mad from excess of liberty. We have an elaboration of towers,
pinnacles, pendants, statues of saints, and bas-reliefs of scripture
subjects, all concentrated in the altar, and seats proper thereto, of
a Roman Catholic cathedral. One portion, a carving of a ruined
town, is supremely ridiculous, artistically speaking, from the accu-
rate character of the imitation. Of course these remarks refer to
the nature of the work as a specimen of Art-manufacture, and not
to the intention of the designer in conveying by such material