The masterpieces of the Centennial international exhibition of 1876 .. . INDUSTRIAL ART. 313 sparingly used, never indeed to the extent obtaining at present, where theprimary object of the glass as a means of transmitting light is sacrificed inorder to introduce opaque effects of shadow. In the example before us thisfault has been carefully avoided. In the exhibition made by the Messrs. Elkington, of Birmingham, Eng-. Stained Glass Window: F. X. Zettler, Munich. LAND, was a collection of reproductions in electro-plate of celebrated works inmetal, chiefly copied from the magnificent collection
The masterpieces of the Centennial international exhibition of 1876 .. . INDUSTRIAL ART. 313 sparingly used, never indeed to the extent obtaining at present, where theprimary object of the glass as a means of transmitting light is sacrificed inorder to introduce opaque effects of shadow. In the example before us thisfault has been carefully avoided. In the exhibition made by the Messrs. Elkington, of Birmingham, Eng-. Stained Glass Window: F. X. Zettler, Munich. LAND, was a collection of reproductions in electro-plate of celebrated works inmetal, chiefly copied from the magnificent collection belonging to the SouthKensington Museum. Here were specimens of the exquisite workmanship ofBenvenuto Cellini; cups and other specimens of Roman work in silver, someof which belonged to the famous Treasure of Hildesheim ; work of the Byzan-tine goldsmiths; the remarkable St. Patricks bell; and, in short, notable works 314 THE INTRRNATIOXAL EXHIBITION, 1S70. of the goldsmiths and silversmiths of England, France, Germany, Spain, andItaly, from the ninth to the fifteenth century, beside the work of modern artistsof fame, and ancient pieces whose origin is the discussion of antiquaries. Thiscollection was, indeed, an excellent illustration of the history of the gold- and
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Keywords: ., bookcentury1800, bookdecade1870, bookpublisherphila, bookyear1876
