The masterpieces of the Centennial international exhibition of 1876 .. . througha skylight in her is also a tragicside to this demorali-zation of taste, for in aprivate sanctum, wheretnemorials of the pastare preserved to re-mind Mr. Croesus of hisearly struggles, and toenhance the value bycontrast of presentwealth, are two candle-sticks of sea-greenglass, which are modelspierced side of Christ to be clasped in the hand whenever Bridget takes thiscandlestick into the cellar to light her when fetching a hodful of coals. All this happens when designers forget the limits by which ornam
The masterpieces of the Centennial international exhibition of 1876 .. . througha skylight in her is also a tragicside to this demorali-zation of taste, for in aprivate sanctum, wheretnemorials of the pastare preserved to re-mind Mr. Croesus of hisearly struggles, and toenhance the value bycontrast of presentwealth, are two candle-sticks of sea-greenglass, which are modelspierced side of Christ to be clasped in the hand whenever Bridget takes thiscandlestick into the cellar to light her when fetching a hodful of coals. All this happens when designers forget the limits by which ornamental artfor industrial purposes should be bounded, and, overstepping these lines, invadethe domain or employ the language of fine art, by imitation rather than adap-tation. The same mistakes occur, though in the opposite direction, when thedesigner of a picture or a statue abandons the truth and beauty of nature, orneglects to imitate her best types, or treats them in an ornamental spirit. Thenresults either a conventional, academic manner, stiff and formal, or madly. Hindoo Watcr-BottU. of the Crucifixion; thebowed head of the Sa-viour and his out-stretched arms formingthe handle by which itis to be carried; andthat great historic scenewhich was completewhen the dying Saviourcried in mortal agony,It is finished! is em-ployed to furnish theornament of a stickwith which to hold atallow candle — thecrown of thorns tocatch the grease as itgutters over, and the Si8 THE IXTERNATIONAL EXHIBITION, 1876. eccentric in its individuality, wiiicli, being only a crazy fashion and not a truth,becomes as temporary in its existence or appreciation as the fashionable absurdi-ties in dress. It is true that many imperfectly educated artists fall into thismiserable style of work from want of knowledge and lack of power; it is notso much chosen wickedness on their parts, as an unfortunate imbecility, pro-duced by a morbid belief that the highest success in art is more the result oftraining the h
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Keywords: ., bookcentury1800, bookdecade1870, bookpublisherphila, bookyear1876
