ENGRAVINGS FROM SCULPTURE.

THE ARTISAN REPORTS OF THE PARIS EXHIBITION.
(OF 1879)

THESE reports comprise a selection from a number made by special delegates, of whom there were in all more than two hundred, sent to Paris through the agency of a joint committee of the British Royal Commission for the Exhibition and of the Society of Arts. The subjects are Pottery, Glass Art Work, Mechanical Engineering, Agriculture and Horticulture, Building Trades, Cabinet Work, Watch and Clock Making, Jewellery and Optical Instruments, Printing, Textile Fabrics, Leather and India-rubber, Mining and Metallurgy. Of those which come within our domain three are devoted to pottery, and one to china painting. These are all, we believe, by practical designers and artists one or two of whom made reports on the previous Paris Exhibitions held in I855 and I867. The names of these reporters are Frank Harris, Aaron Green, Charles Toft, and J. Randall. The famous manufactory at Sevres naturally attracted much attention, especially as the reporters were allowed to see and learn much more than they were in I867. Moreover, the establishment has been entirely rebuilt, and both the pottery and the show rooms are very much more roomy. The reporters' practised eyes soon found matter of interest. The nature of the clay first struck them ; they saw several articles formed on the wheel-the old foot-wheel still used at Sevres-out of the same mass of clay, and were astonished to find that . the material, after all that working, felt as tough and tenacious as it did at first. They were informed that it was a native clay, not an artificial or compound substance, and that it came from Limoges. It would appear, from all the remarks of these reporters, that this fact concerning the clay was not known to our potters ; yet the deposits of china clay in France are well known to the scientific, and we should have thought to the practical world also. The reporters were equally surprised at the admirable arrangement of the furnaces, and at the perfect cleanliness which reigned everywhere. The use of wood in place of coal accounts in a great measure for this, and, besides, Sevres is rather a laboratory than a manufactory, and the amount of porcelain produced is very small. It was evident to the reporters that no private potter could possibly afford such expense as the Sevres arrangements entail. The care bestowed by the Sevres artists on the tints of the slip and pigments employed is remarked upon by more than one of the reporters, as is the fact that in the rooms in which they sat " the walls were covered with glass-fronted cabinets, containing birds, shells, seaweed, butterflies, fossils and drawings," for their use. The modes of alloying the gold -about which we are surprised there was any secret-the method of pencilling red and brown shading on the gold, and, generally, the elaborate care bestowed upon gilding, greatly impressed our artists. There is much of interest in all that is said about the Sevres works, but the reader should also consult the notes on the subject in our Catalogue of the Exhibition, in which is important information relative to the recent improvements introduced into the fabrication of this famous porcelain, which evidently did not reach the reporters. Comparing the present productions of Sevres with those of our own countrymen, the reporters are highly favourable to the latter ; but we must refer our readers in the reports themselves on that head. One fact noted as regards the Sevres work is of general interest, namely, that nearly all the large pieces ' are made in several parts ; even small vases, such as are usually made in one piece, are joined at the foot, and covered with metal mounts. Of course there is great convenience in such an arrangement : if an accident occur, only one 'portion of the object has to be re-made instead of the whole, and the manipulation and painting become easier. The enormous difficulty of executing grand vases with complicated handles, all of clay, decorating and turning them without a flaw, may be imagined ; and to those who are fully acquainted with such difficulties it seems surprising that such a feat should ever be accomplished. Then, as regards the bronze and gilt metal mountings, they frequently serve to hide imperfections, and so prevent the loss of labour-already immense-being greater than it is ; but we cannot conceal our surprise that one of the reporters should find this a commendable feature in Sevres work ; we have always felt the contrary, and we believe that metal is never introduced with porcelain without in some measure interfering with the harmony. The remarks on the productions of other French potteries are interesting, especially those relating to the beautiful white ware, either entirely plain or only slightly decorated : those amateurs who have resided in France cannot be insensible of the charm of this beautiful porcelain, sometimes glazed, sometimes in the form of biscuit, and sometimes with the two combined. A grand centrepiece; with the base more than three feet in diameter, by M. J. Pouyat, is especially mentioned as exhibiting extraordinary difficulties surmounted. It is the opinion of at least one of the reporters that the artistic work of some other French makers is quite equal to any produced at Sevres ; and it is hinted that the famous old factory has done its work, and will probably not long remain a national establishment. No such information has reached us, although we are aware of some rather curious changes which have recently occurred there : there must still be scientific, if not artistic work for such a national establishment to do with advantage. In speaking of the remarkable tile-work by. French artists, the reporters have inadvertently attributed too much to M. Deck, who can well afford a slight diminution of his high honours. A portion only of one facade of the Beaux Arts was executed by M. Deck-the rest was the work of MM. Boulenger, the other facade was decorated by M. Laebnitz. The names of the designers, artists, and manufacturers are all given in our Catalogue notes. We do not remember to have seen the beautiful exhibition of Oriental tiles and other work by M. Collinot mentioned in the reports ; this was probably owing to the fact that the beautiful pavilion of M. Collinot was not in the ceramic, but in the furniture and decoration section. The productions of our own potters are of course fully discussed
by the reporters, but they have already been treated, we hope satisfactorily, in our Catalogue. The Austrian, and particularly the Viennese porcelain is highly commended by all the reporters for the elaborate finish of its figure painting, and the lavish beauty of its raised gold work ; the extreme care and finish displayed are pronounced marvellous. The Belgian majolica and decorated earthenware, Swiss faience, Danish unglazed ware, Bohemian breakfast services, a pair of grand vases in the Persian style from Morocco, and the beautiful dark green and brown glazed ware of India are spoken of with much admiration. The contributions from the United States surprised one of the reporters, who speaks of Mr. Brewer's vases as quite original, and as ornamented in good style, and of a bust by the same as a capital piece of modelling, and who admires some figured trays by Mr. J. Carter. The admiration called forth by the Chinese, and still more by the Japanese collections is almost unbounded. The immense vases, all fired, and well fired too, in one piece, without any metal bands, handles, or other auxiliaries, the splendid enamels and colours, the cloisonne work, the truthfulness of the flower drawing, and the marvellous perfection of manipulation throughout, are thoroughly appreciated. The four reports on China and Earthenware contain much useful information in a compass of eighty pages. Mr. George Bedford's report on Terra-cotta and other similar ware, such as the Doulton stoneware and Mr. Lascelles's cement bricks and slabs, is a very interesting production, affording valuable hints for all who desire to obtain or increase their knowledge of this beautiful art. The productions of France, Italy, Austria, Denmark, and other countries are carefully and fairly criticised and compared with those of England ; the important element of price is never forgotten; and there is a good deal of statistical and practical information in the report. A full report on Glass of all kinds, by Mr. Joseph Leicester, completes, with the preceding, the second part of these reports. The reporter goes minutely through the Exhibition, and shows himself an enthusiast in the beautiful art of the glass-blower. His remarks are generally judicious. Mr. Leicester also visited one of the best glass houses in France, and has given an admirable account of French methods of working, which differ materially from ours. The second division of the work contains five reports. The first of these is on Stained and Painted Glass, by Mr. Francis Kirchhoff. It is short, but we think complete. The writer thinks that the best French work is as good as possible, and speaks of the Belgian with high praise, while condemning the usual German style. For many reasons the British contributions did not fairly represent the present highly honourable position of the art in our own country. Mr. William Letheren's report on Ornamental Ironwork is that of a practical smith, with very clear notions respecting the principles which should guide the artist in hammered iron. We think he does full justice to all, and we cannot but indorse his opinions generally respecting Belgian, Austrian, and French work in iron. He protests, and properly so, against the absurd fashion which has prevailed too long in England of disfiguring rooms with Gothic branches, fenders finger-plates, and, we may add, coal-scuttles, and in general designing domestic work on ecclesiastical principles. Architects of taste do not commit this egregious blunder. Like all true artists in metal, Mr. Letheren mourns over the wretched imitations of genuine hammered work, traced and cut out of a sheet of iron, presenting no variations in thickness, and none of the crispness and admirable relief which the hammer produces. Let us not forget, however, that whereas. half a century or so ago, the very notion of pure hammered metal ornament was all but lost, we have now hundreds of practical men who thoroughly understand its value, and many who can and do produce really artistic hammered work. Two reports on Wood Carving will be read with interest by those who studied the examples of this beautiful art at the Exhibition, although they may disagree with certain judgements; and the general conclusions and remarks on the opportunities and capabilities of French and English workmen, and on the methods of Art education, if not new, are generally fair. With respect to the carving of the Italians and French, both reporters agree, and we agree with them, that the former treat it more as a F ine Art, and the French as decorative and auxiliary ; and again, that the effect of much of the French work is marred by excessive finish and polish. Lovers of carving will find at South Kensington specimens of the most remarkable Italian carving that appeared at the Exhibition. Stone carving is treated in a terse, practical manner ; the report contains some useful remarks on French tools and methods, as well as on Art education, and speaks very highly of the work of the French stone carver, Three reports are given on Cabinet Work. One, by Mr .Henry R. Paul, is full and good the respective qualities of the furniture of France, Italy, and our own . country are discussed with judgement and impartiality. The grounds upon which the British cabinet-work obtained so much attention, and the highest honours of the Exhibition, are set out very distinctly. Mr. Paul examined some of the best English specimens with two Parisian cabinet-makers, also appointed to report nn the subject. He likewise visited the establishment of M. Fourdinois and that of MM. Damon, Namur & Cie., who employ six hundred men and two hundred women, and his account of what he saw there is valuable, as exemplifying the differences which exist between the two countries with respect to the methods of work, wages, and other circumstances, besides giving some statistics of the trade, the importance of which is indicated by the fact that there are twenty-seven thousand workmen employed in it, of whom fourteen thousand two hundred and sixty are in Paris. Two reports on Watch and Clock Making, by Mr. Henry Ganney and Mr. B. W. Warwick, deserve the careful perusal of all who are interested in these manufactures. With the exception of marine chronometers, and perhaps pocket chronometers of the highest class, England has somehow allowed much of this trade to slip through her fingers first to Switzerland, then Besarcon, and now to the United States : the former have succeeded by means of good technical education and training, and the last by the adoption of machinery, We cannot imagine a better field for the immediate and energetic action of the new Guilds' Institute than the raising of the condition of the Clerkenwell industry, and securing real theoretical and practical education and training for the rising generation. The rule of thumb has failed here as in other cases, and must be dropped. Mr. Edward Kirchhoff contributes a short report on Jewellery which contains useful hints respecting the work of the French and Italian jewellers, and the evident superiority of the gold-plate work of Paris. The reporter cannot avoid noticing the absence of leading London houses from the Exhibition, but he points to the beautiful collection of Mr. Brogden as quite sufficient to show what the best English jewellers can do, whether in the revival of the styles of the antique, or in the production of modern work.It appears by this report that in Paris apprenticeship in the jewellery trade only extends to four or five years, but that the youths are obliged to attend technical drawing schools, which are supported by the employers, so that many of them are tolerably good workmen at eighteen years of age, while in England they would be apprentices till the age of twenty-one. Throughout these reports the recognition of the immense advantages which Parisian workmen enjoy forces itself on the reporters. " With such opportunities open to them," says M M. Lambert, "can we wonder that the French workmen have Acquired for them selves so high a reputation for intelligence and skill?"

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