Lippincotts Magazine, March 1876 | Page 9

in the surrounding area, the peoples were encamped around their possessions. The gastric fluid being the universal solvent, the festive board was assigned the position nearest the building, a continuous shed protecting the restaurants of all nations, each with its proper specialty in the way of viands and service. Necessarily, there was in the carrying out of the latter idea a good deal of the sham and theatrical. But that gave the thing more zest, and the saloons were by no means the least effective feature of the appliances for introducing the races to each other. Tired of the tender intercourse of chopsticks, forks and fingers, they could exchange visits in their drawing-rooms; most of the known styles of dwelling-place, if we except the snow-huts of the Esquimaux, the burrows of the Kamtchadales and the boats of Canton, having representatives.
The United States government took particular interest in this exposition, and published a long and detailed report made by its commissioners. Our contributions were not worthy of the country, and showed but little novelty. Implements of farming and of war, pianos, sewing-machines and locomotives attracted chief attention. The pianos were "unreservedly praised." The wines, California having come to the rescue, were pronounced an improvement on previous specimens. The only trait of our engines that was admired or borrowed appears to have been that which had least to do with the organism of the machine--the cab. In cars our ideas have fruited better, and Pullman and Westinghouse have gained a firm foothold in England, with whose endorsement their way is open across the Channel. In the arts we are credited with seventy-five pictures, against a hundred and twenty-three from England and six hundred and fifty-two from France.
[Illustration: PARIS EXPOSITION BUILDING AND GROUNDS, 1867.]
Here France was at home, and felt it. The works of Dubray, Triquetti, Yvon, Giraud, G��r?me, Dubufe, Toulmouche, Courbet, Troyon, Rosa Bonheur and others exhibited the route toward the naturalistic taken by her modern school, so different from that pursued by the Pre-Raphaelites in England. The D��sseldorf school has been drawn into the same path--France's one conquest from Prussia, who made at the same time a stout struggle in defence of the classic manner through Kaulbach. The drawings and paintings of art-students maintained by the French government in Italy attested an enlightened liberality other governments, general or local, would do well to imitate. The cost of supporting a few score of pupils in Rome could in no way be better bestowed for the promotion of commerce, manufactures and education. Taste has unquestionably a high economic value. But this is only one of France's ways of recognizing the fact. The government ��cole des Beaux Arts at Paris contained, in 1875, a hundred and seventy-two students of architecture, a hundred and eighty-three of painting, forty of sculpture and two hundred and fifty of engraving.
As a corollary to this assiduous culture, French art collectively was at the exposition "first, and the rest nowhere." The old works sent by Italy stood by themselves; and in mosaic, Salviati's glass, and statuary led by Vela's _Last Moments of Napoleon_, the modern studios of that country ranked in the front. Prussia had some heliographic maps, then a new thing, and chromos, also in the bud; Austria and England, fine architectural drawings; and Eastlake, Stanfield, Landseer, Frith and Faed crossed pencils with the French. But nothing modern of the kind could stand by the porcelain of S��vres, the glass of St. Louis and Baccarat, the bronzes of other French producers, the vast collection of drawings of ancient and mediaeval monuments and architecture in France, her book-binding and illustration by Bida and Dor��, her jewelry and her art-manufactures as a whole. In carriages she had obviously studied the turnouts of American workshops to advantage.
In agricultural machinery all civilized exhibitors had gone to school to our artisans.
One of our specialties, a postal-car, appeared under the Prussian flag. So did things more legitimately the property of the nascent empire. The Krupp gun cast its substance, as well as its shadow, before. A locomotive destined for India made Bull rub his eyes. Chemicals in every grade of purity spoke the potency of the German alembic.
The probability that the production of beetroot-sugar would before many years attain a position among the industries of this country gave interest in the eyes of American visitors to the display of European machinery employed so successfully in that business. Labor-saving machinery we have not generally been in the habit of borrowing. Neither, on the other hand, has Europe been accustomed to draw from us crude material for the finest manufactures; and the balance was set even by the admirable quality of the glass made from American sand and the porcelain moulded in American kaolin. The latter substance, a silicate of alumina, is not found in England, and