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CLASS XXX.
SUPPLEMENTARY REPORT.
[The figures after the Names (between parentheses) refer to the Exhibitors’ Numbers and to the Pages in theOfficial Descriptive and Illustrated Catalogue.]
The Exhibition of the Works of all Nations in theCrystal Palace had for its primary and essential objectthe display of whatever could be characterized as aproduction of Industry. It comprehended every kind ofunwrought material, no less than the most ingeniousresults of machinery, or the most exquisite examples ofhandicraft. But this complete and absolute recognitionof industry as the purpose of the Exhibition did not, inthe view of the Royal Commissioners, preclude fromadmission the productions of the Fine Arts; Paintingalone being excepted, because, being but little affectedby material conditions, it seemed to rank as an indepen-dent art. It was not without reason that such a coursewas adopted, when we consider how greatly, on the onehand, Architecture and Sculpture depend in the execu-tion of their details on mechanical dexterity, and, on theother, how intimately the Fine Arts are connected withmany branches of manufacture. So closely, indeed, do |their provinces border on those of certain other arts, that jit is often difficult to decide in what rank or class objects ;should be distributed, in the production of which industry jand taste have been jointly employed. !
This is most strikingly apparent in the case of jewel-lery and other works in the precious metals, works in :bronze, iron, zinc, porcelain, glass, terra-cotta, and also Jin every description of furniture; but it is not less true ;of carpets, tapestries, and embroidered and coloured istuffs, in all which the taste and beauty of the design \depend upon the manner in which the material has been .treated and its special conditions observed. I
In the great markets of the world the preference will jinvariably be at once given to those productions which icombine, with other indispensable requisites, the recom- .mendation of good taste in their design and treatment. ■
Among the many good results which we may ventureto anticipate from this Exhibition, it may not be too imuch to hope for a fuller revival of that happy alliance jbetween the Fine Arts and Industry which subsisted in ,the middle ages, when the artist was more of a craftsman ;— the craftsman more of an artist—than is the case at 'present.
Indeed, even in our own day, such a system of co-operation has been established with regard to one object, ;the technical ap' ication of materials; and of the signal jresults thus o\ " : ned many striking examples may be jcited from the inhibition.
Among these may be mentioned the wonderful speci- .mens of casting in bronze, iron, and zinc; an art which, 'as regards the two latter metals, has only been brought :to perfection in a recent period. !
To the present age are also due two most valuable and joriginal inventions, by which works of sculpture may bereproduced, in the one case by means of Galvanoplasticdeposit, in the other by the mechanical processes ofM. Collas, in France , and of Mr. Cheverton, in England.The cheapness with which the noblest works of art canbe multiplied by means of these inventions canuot buttend to the more general development of a feeling for the jbeautiful. Such then are some of the results of the con- ;nexion between Industry and the Fine Arts. j
But it was not only on account of their intimate asso- !ciation with the interests of Industry that the Fine Arts j
had a claim to be admitted into the Exhibition ; theirpresence there, as was anticipated by the enlightenedviews of the Royal Commissioners, conduced essentiallyto the impressiveness of the general spectacle. It wasthe variety and beauty of the works of art that lent tothe scene its peculiar grace and charm.
In this Report the objects contributed by the severalnations will be considered in succession, commencingwith Great Britain .
In the survey of each nation, its productions will benoticed in the following order:—
A. Sculpture and Works of Plastic Art—
1. Sculpture on a large scale, and in various mate-
rials, whether marble, metal, or wood.
2. Sculpture and its varieties on a small scale, in
metal, “ biscuit,” ivory, wood, precious stones,
shells.
B. Graphic Representations on Plane Surfaces—
1. New processes of painting.
2. Enamels on porcelain or metal.
3. Painting on glass.
4. Mosaics.
5. Designs for woven and printed stuffs.
6. Various processes of printing, such as litho-
graphy, lithochromy, zincography.
C. Architectural Designs—
1. The Exhibition Building.
2. Architectural and other models.
From the first introduction of the Fine Arts in thiscountry to the present day they have received little orno notice from the Government as such: their encou-ragement, like that of many other important objects, hasbeen left to the public. The foundation of the RoyalAcademy itself is of comparatively recent date, and theinstitution is self-supported. The collection of sculptureand antiquities in the British Museum , and that of paint-ing at the National Gallery , have been formed onlywithin the last half century, and many of their mostvaluable treasures are donations or bequests of privateindividuals. Before the building of the New Houses ofParliament the distinguished artists of this country hadrarely been employed by the Government on works of aMonumental character, and such commissions were, fromtheir nature, not the objects of private munificence.This is one principal cause why, in the English school ofpainting and sculpture, no true Monumental style hasbeen as yet formed.
Again, it was only in the year 1S36 that the Schools ofDesign were formed ; institutions by means of which theFine Arts have exercised a most beneficial influence onthe vast productive energy of Great Britain . Muchimprovement in every branch of industry has been accom-plished by means of these schools, but it must be acknow-ledged that in many kinds of manufacture the English productions, both in regard to their form and colour,show far less taste than those of other nations.
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