DOI Page / Citation link:
https://doi.org/10.11588/diglit.3004#0060
THE PARIS EXHIBITION
nation, as excellent imitations of well-designed parquetage, adapted
to the mechanical methods of printing floor-cloths.
In mosaic decorations, the table-tops, sixteen in number, exhibited
by the Pontifical States, are worthy of careful anil minute exami-
nation, as suggestive of treatment in kindred productions. The
mosaics exhibited by the Royal Manufactory of Tuscany (155,
Grand Duehe de Toscane) are of extraordinary beauty and
excellency, but tend towards the domains of Fine Art, as in the
case of the productions of the Gobelins, Beauvais, and SeVres.
Tuscany also exhibits specimens of parquetage, the manufacturers
being Messrs. Chalon & Estienne, of Florence (87, Grand Duche
de Toscane). These are superior in design to those of Belgium,
already mentioned, being more essentially mosaic in their character.
As a whole, there are few departments of the Universal Exposi-
tion in which the time of the manufacturer or designer, specially
interested in the industrial bearings of Art, can be spent more
profitably than in that of furniture and decoration generally.
Before closing our remarks upon the furniture and decorations
of the Exposition, it is only an act of justice to an important de-
partment of English industry to notice the excellent examples of
painted imitations of woods and marbles exhibited by Kershaw, of
London, and Moxon, of London and Edinburgh. These specimens
of imitative skill have attracted the attention of the French
house-painters to such an extent, that on several occasions we
could scarcely approach them owing to the groups of workmen
en House, who were busily engaged in examining them and dis-
cussing their merits with a gusto perfectly refreshing, as com-
pared with the utter apathy which too frequently characterises
the English workman when a work of a superior character in
his own trade is brought before him. It was quite evident that
these imitative woods and marbles had taken Monsieur Jean by
surprise, and in the innocence of his heart he gave full expression
to his feelings in relation thereto.
PORCELAIN.
There exists in England a popular notion respecting the manu-
facture of porcelain in France, that, however remarkable the pro-
ductions of the Imperial Manufactory of Sevres may be as works
in which a high class of Art is displayed at enormous cost to the
state, yet that the manufacture of all the more useful articles for
which the Staffordshire potteries are celebrated is almost entirely
neglected in France; and that, from some unknown cause, whilst
French porcelain is so elegant and perfect, French pottery-ware is
just as clumsy and as imperfect : and that there is no exception to
this rule. The present Exposition will tend very materially to
correct this delusion, since a quiet walk through that portion of
the Palais dTndustrie devoted to the ceramic manufactures of
France, as distinguished from the special productions of Sevres,
will show that there is really no ground for the assumption that
France cannot furnish itself with the more useful kind of porcelain
and pottery. The question of how far this can be done to advan-
tage commercially is another matter, and one which the remark-
able display organised by the English manufacturers will probably
do much to answer.
We were certainly not prepared to see such specimens of ordi-
nary white-ware as those displayed from the various districts of
France in which this speciality is carried on. During the past ten
or eleven years a great change has certainly taken place in the
modes of manufacture, as well as in the objects of this important
industry. This is fully evidenced by the remarkably elegant and
practical display of Messrs. Lebeuf, Milliet, & Cie., of Montereau
(5453, Empire Fran9ais). This consists entirely of useful articles
in white, printed, painted, and gilded ware of a most excellent
character. Here we find no attempted tour deforce, but a distinct
and conscientious exposition of the precise articles which the
exhibitors are engaged in supplying to their fellow countrymen ;
but whatever the display lacks in attraction to the mere sight-seer,
is abundantly compensated for by the sterling manner in which it
commends itself to the practical man, the industrial artist, and the
manufacturer. It is therefore worthy of the special attention of
all interested in the manufacture of porcelain.
Another noticeable exhibition of white-ware is that of J. Pouyat,
of Limoges (5525, Empire Francais). The outline of the forms is
generally well-studied, and admirably suited to each piece, but
by a strange oversight some of the more useful articles of the
dinner service, which usually have the larger surfaces left as plain
as possible for facility in cleaning, ar-e decorated in relief in a
manner not calculated to promote so desirable an object. The
colour, glaze, and texture of these specimens are excellent. A
centre-piece en bisque, composed of storks and palm-leaves sup-
porting a tazza, is exquisite in design and execution ; the former
is certainly a little too much in the naturalesque style, but the
symmetry of the whole is perfect, and the effect thoroughly
ornamental. M. Sazerat, also of Limoges (5529, Empire Francais),
has also a charming display of white-ware. The flower vases are
ultra-naturalesque in the decoration, but singularly broad in
treatment in the modelling. In fact the modelling power displayed
in the French productions in porcelain is something remarkable,
and contrasts with great effect with that shown by every other
country, a few of the Parian groups of Minton and of Copeland
excepted.
This excellence in modelling is remarkably obvious where no
part of it is concealed by colour and gilding ; for in the imitation
of Dresden ware the modelling does not appear to be always quite
successful, even in the best examples.
Space will not permit us to enter into any detailed examination
of the skill in painting porcelain, which the works in the Exposition
prove to be greater than ever. At least, there is no evidence
of any falling off. In most instances, however, the works are over-
gilt. This detracts from the value of the colour, and frequently
gives a metallic appearance to excellent works in porcelain, which
is not suited either to the forms, or the use of the article thus
decorated.
In printed ware there are some excellent specimens, in which
the design and engraving have been carefully adapted to the
method of transfer. Amongst the examples shown by De Saint
Amans, of Lamarque (5574, Empire Francais), are two plates
decorated in the litho-vitro-ealographic process with printed
medallions of Napoleon I. and Queen Victoria. The treatment is
especially effective and artistic, and whilst we object to the use of
medallions for the decoration of plates and dishes, the mode of
engraving and printing adopted in these specimens affords examples
for imitation in more appropriate pieces.
In Beauvais ware we doubt if there is so much excellence shown
as in the productions exhibited in 1844; nor do we think that, on
the whole, has any material advance been made in garden pottery.
The pendules in Beauvais ware and terra-cotta for hot-houses are
of a similar character, and many of precisely the same design as
those which attracted so much attention in the exposition of eleven
years ago ; and they still afford the same hints to our manufacturers
of garden decorations as they did at that time, for there has
certainly not been that improvement in England in this direction
as could be desired.
In the very highest class of ceramic art, the display of the
Imperial Manufactory of Sevres of course takes the lead, and fairly
overwhelms the visitor with the variety and extraordinary cha-
racter of its contributions. It affords a strange contrast, and a by
no means useless lesson, when looked at in connexion with the
rudeness, and often unnecessary ugliness of the common pottery
ware, which certainly are quite as bad, often worse, than articles
of a similar class as made in England ; the rude attempts at cheap
pottery in the United States of America are the nearest approach
we have seen to some of the more common utensils as exhibited by
some of the French potters.
In the imitation of Palissy ware and Faience, the French ex
amples are often very excellent, but we do not think that they
come up to the refinement observable in some of Minton's examples.
There is often an affectation of rudeness about them which detracts
from their value as truthful imitations, although the modelling
would at times do no discredit to the enthusiastic Bernard
himself. The specimens exhibited by Landais, of Tours (5558,
Empire Francois), are examples of this. There is great excellence
of colour, and that marvellous power of modelling which we
have already noticed as applied to the specimens of white-ware.
Nor should those contributed by Barbezet, of Paris (5439, Em-
pire Francais), be overlooked, as they present also special points
of excellence.
In shaded enamel ware, or (mail ombrant, there are none of a
superior character to those shown in 1844.
Amongst the best imitations of Faience are those contributed
by Dever3, of Petit-Montrouge, near Paris. These constitute a
remarkable display, rendered still more so by an extraordinary
application of the processs employed, to the production of a work
of singular power and originality. The whole forms a vitrified
picture of five-and-a-half metres high, by four-and-a-half metres
wide, inclusive of a frame or border of flowers and fruits in relief.
The subject is, " Guardian Angels." They are represented as
watching over the safety of a sleeping infant, lying unprotected
upon the earth below them. The sentiment of the work is
exquisite, and the execution, which is broad and effective, ap-
proaches in parts to the grand. A yellow tone pervades the whole,
which, however, is not sufficiently marked to be objectionable ;
whilst the fact that the picture is formed of distinct slabs of terra-
cotta, does not strike the spectator until after a close examination,
so admirably are all the parts united in the colour ; although the
joints of the slabs are by no means so clean at the edges as might
be supposed to be necessary to so perfect an ensemble. We
commend this work to the study of all interested in vitrified
manufactures. As a tour de force it is a triumph of skill; and
when it is remembered that the artist is little more than a poor
workman of very humble means, the interest which the work
creates is not a little increased; for the mind at once reverts to
XII
nation, as excellent imitations of well-designed parquetage, adapted
to the mechanical methods of printing floor-cloths.
In mosaic decorations, the table-tops, sixteen in number, exhibited
by the Pontifical States, are worthy of careful anil minute exami-
nation, as suggestive of treatment in kindred productions. The
mosaics exhibited by the Royal Manufactory of Tuscany (155,
Grand Duehe de Toscane) are of extraordinary beauty and
excellency, but tend towards the domains of Fine Art, as in the
case of the productions of the Gobelins, Beauvais, and SeVres.
Tuscany also exhibits specimens of parquetage, the manufacturers
being Messrs. Chalon & Estienne, of Florence (87, Grand Duche
de Toscane). These are superior in design to those of Belgium,
already mentioned, being more essentially mosaic in their character.
As a whole, there are few departments of the Universal Exposi-
tion in which the time of the manufacturer or designer, specially
interested in the industrial bearings of Art, can be spent more
profitably than in that of furniture and decoration generally.
Before closing our remarks upon the furniture and decorations
of the Exposition, it is only an act of justice to an important de-
partment of English industry to notice the excellent examples of
painted imitations of woods and marbles exhibited by Kershaw, of
London, and Moxon, of London and Edinburgh. These specimens
of imitative skill have attracted the attention of the French
house-painters to such an extent, that on several occasions we
could scarcely approach them owing to the groups of workmen
en House, who were busily engaged in examining them and dis-
cussing their merits with a gusto perfectly refreshing, as com-
pared with the utter apathy which too frequently characterises
the English workman when a work of a superior character in
his own trade is brought before him. It was quite evident that
these imitative woods and marbles had taken Monsieur Jean by
surprise, and in the innocence of his heart he gave full expression
to his feelings in relation thereto.
PORCELAIN.
There exists in England a popular notion respecting the manu-
facture of porcelain in France, that, however remarkable the pro-
ductions of the Imperial Manufactory of Sevres may be as works
in which a high class of Art is displayed at enormous cost to the
state, yet that the manufacture of all the more useful articles for
which the Staffordshire potteries are celebrated is almost entirely
neglected in France; and that, from some unknown cause, whilst
French porcelain is so elegant and perfect, French pottery-ware is
just as clumsy and as imperfect : and that there is no exception to
this rule. The present Exposition will tend very materially to
correct this delusion, since a quiet walk through that portion of
the Palais dTndustrie devoted to the ceramic manufactures of
France, as distinguished from the special productions of Sevres,
will show that there is really no ground for the assumption that
France cannot furnish itself with the more useful kind of porcelain
and pottery. The question of how far this can be done to advan-
tage commercially is another matter, and one which the remark-
able display organised by the English manufacturers will probably
do much to answer.
We were certainly not prepared to see such specimens of ordi-
nary white-ware as those displayed from the various districts of
France in which this speciality is carried on. During the past ten
or eleven years a great change has certainly taken place in the
modes of manufacture, as well as in the objects of this important
industry. This is fully evidenced by the remarkably elegant and
practical display of Messrs. Lebeuf, Milliet, & Cie., of Montereau
(5453, Empire Fran9ais). This consists entirely of useful articles
in white, printed, painted, and gilded ware of a most excellent
character. Here we find no attempted tour deforce, but a distinct
and conscientious exposition of the precise articles which the
exhibitors are engaged in supplying to their fellow countrymen ;
but whatever the display lacks in attraction to the mere sight-seer,
is abundantly compensated for by the sterling manner in which it
commends itself to the practical man, the industrial artist, and the
manufacturer. It is therefore worthy of the special attention of
all interested in the manufacture of porcelain.
Another noticeable exhibition of white-ware is that of J. Pouyat,
of Limoges (5525, Empire Francais). The outline of the forms is
generally well-studied, and admirably suited to each piece, but
by a strange oversight some of the more useful articles of the
dinner service, which usually have the larger surfaces left as plain
as possible for facility in cleaning, ar-e decorated in relief in a
manner not calculated to promote so desirable an object. The
colour, glaze, and texture of these specimens are excellent. A
centre-piece en bisque, composed of storks and palm-leaves sup-
porting a tazza, is exquisite in design and execution ; the former
is certainly a little too much in the naturalesque style, but the
symmetry of the whole is perfect, and the effect thoroughly
ornamental. M. Sazerat, also of Limoges (5529, Empire Francais),
has also a charming display of white-ware. The flower vases are
ultra-naturalesque in the decoration, but singularly broad in
treatment in the modelling. In fact the modelling power displayed
in the French productions in porcelain is something remarkable,
and contrasts with great effect with that shown by every other
country, a few of the Parian groups of Minton and of Copeland
excepted.
This excellence in modelling is remarkably obvious where no
part of it is concealed by colour and gilding ; for in the imitation
of Dresden ware the modelling does not appear to be always quite
successful, even in the best examples.
Space will not permit us to enter into any detailed examination
of the skill in painting porcelain, which the works in the Exposition
prove to be greater than ever. At least, there is no evidence
of any falling off. In most instances, however, the works are over-
gilt. This detracts from the value of the colour, and frequently
gives a metallic appearance to excellent works in porcelain, which
is not suited either to the forms, or the use of the article thus
decorated.
In printed ware there are some excellent specimens, in which
the design and engraving have been carefully adapted to the
method of transfer. Amongst the examples shown by De Saint
Amans, of Lamarque (5574, Empire Francais), are two plates
decorated in the litho-vitro-ealographic process with printed
medallions of Napoleon I. and Queen Victoria. The treatment is
especially effective and artistic, and whilst we object to the use of
medallions for the decoration of plates and dishes, the mode of
engraving and printing adopted in these specimens affords examples
for imitation in more appropriate pieces.
In Beauvais ware we doubt if there is so much excellence shown
as in the productions exhibited in 1844; nor do we think that, on
the whole, has any material advance been made in garden pottery.
The pendules in Beauvais ware and terra-cotta for hot-houses are
of a similar character, and many of precisely the same design as
those which attracted so much attention in the exposition of eleven
years ago ; and they still afford the same hints to our manufacturers
of garden decorations as they did at that time, for there has
certainly not been that improvement in England in this direction
as could be desired.
In the very highest class of ceramic art, the display of the
Imperial Manufactory of Sevres of course takes the lead, and fairly
overwhelms the visitor with the variety and extraordinary cha-
racter of its contributions. It affords a strange contrast, and a by
no means useless lesson, when looked at in connexion with the
rudeness, and often unnecessary ugliness of the common pottery
ware, which certainly are quite as bad, often worse, than articles
of a similar class as made in England ; the rude attempts at cheap
pottery in the United States of America are the nearest approach
we have seen to some of the more common utensils as exhibited by
some of the French potters.
In the imitation of Palissy ware and Faience, the French ex
amples are often very excellent, but we do not think that they
come up to the refinement observable in some of Minton's examples.
There is often an affectation of rudeness about them which detracts
from their value as truthful imitations, although the modelling
would at times do no discredit to the enthusiastic Bernard
himself. The specimens exhibited by Landais, of Tours (5558,
Empire Francois), are examples of this. There is great excellence
of colour, and that marvellous power of modelling which we
have already noticed as applied to the specimens of white-ware.
Nor should those contributed by Barbezet, of Paris (5439, Em-
pire Francais), be overlooked, as they present also special points
of excellence.
In shaded enamel ware, or (mail ombrant, there are none of a
superior character to those shown in 1844.
Amongst the best imitations of Faience are those contributed
by Dever3, of Petit-Montrouge, near Paris. These constitute a
remarkable display, rendered still more so by an extraordinary
application of the processs employed, to the production of a work
of singular power and originality. The whole forms a vitrified
picture of five-and-a-half metres high, by four-and-a-half metres
wide, inclusive of a frame or border of flowers and fruits in relief.
The subject is, " Guardian Angels." They are represented as
watching over the safety of a sleeping infant, lying unprotected
upon the earth below them. The sentiment of the work is
exquisite, and the execution, which is broad and effective, ap-
proaches in parts to the grand. A yellow tone pervades the whole,
which, however, is not sufficiently marked to be objectionable ;
whilst the fact that the picture is formed of distinct slabs of terra-
cotta, does not strike the spectator until after a close examination,
so admirably are all the parts united in the colour ; although the
joints of the slabs are by no means so clean at the edges as might
be supposed to be necessary to so perfect an ensemble. We
commend this work to the study of all interested in vitrified
manufactures. As a tour de force it is a triumph of skill; and
when it is remembered that the artist is little more than a poor
workman of very humble means, the interest which the work
creates is not a little increased; for the mind at once reverts to
XII