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On the Arts of Decoration at the International Exhibition at Paris, A.D

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On the Arts of Decoration at the International Exhibition at Paris, A.D Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/onartsofdecoratiOOwyat J- JH • ON THE ARTS OF DECORATION AT THE INTERNATIONAL EXHIBITION AT PARIS, A.D. 1867, CONSISTING OF EFFORTS, TO THE BRITISH GOVERNMENT ON CLASS XV. DECORATION, &c. CLASS XVIIL CARPETS, TAPESTRIES, &c. CLASS XIX. PAPER LIANGINGS, &c. BY M. DIGBY WYATT, ARCHITECT AND BRITISH JURER FOR CLASS XV. AND TO THE FRENCH GOVERNMENT ON “OUVIUGE^DE TAPISSIER ET DE DECORATEUR,” BY JULES DIETERLE & M. DIGBT WYATT. LONDON 1868. COLLECTED AND REPRINTED FOR PRIVATE CIRCULATION ONLY. Mr. T)ighy Wyatt on Decoration, &e. 1 Report on Decorative Work and Upholstery.- Me. Digby Wyatt (Class 15.)—By M. Digby Wyatt, Architect. ON Decoka- TION, &C. Theke is, probably, no class of the community upon Benefits conferred whom international exhibitions confer greater benefits than by Inter¬ national the individuals who act as jurors on such occasions ; since the Exhibitions, opportunities afforded to them of taking stock,"’ as it were, not only of the material, but of the intellectual, progress made by each nation in special branches of industry, are of the most favourable kind. Such opportunities obviously include an unrestrained interchange of ideas and com¬ parison of impressions and experiences between those in each country who may have been selected to represent, and may therefore be assumed as likely to exercise a marked influence upon, the particular branches of in¬ dustry with reference to which they may have been on jurors especially. called upon to exercise the functions of jurors. While it is depressing on the one hand to observe retrogres¬ sion, it is, on the other, delightful to note advance, and to have to record the steps by which auspicious change may have been effected, opening up vistas of in¬ creased remunerative employment for skilled labour, and a consequent amelioration in the social position of those who have to live by the sweat of their brows."" Having closely followed the details, in their relation to industrial art, of each international exhibition since the first ever-memorable ex¬ periment in 1851, I am happy to be able on the present Progresg effected occasion to place on record my impression that never in since 1851, the history of labour has change more rapid, improvement more uniform, or present excellence pregnant in a higher degree with future still greater perfection, characterised any corresponding period than has distinguished the forward march of the arts of decoration in the principal nations of Europe during the last 18 years. What the Germans call an Entwickelungzeit,’" or transitional period,’" may be fairly dated from the year in which producers began to gird up their loins ’" in preparation for that noble rivalry Generally. of nations in the arts of peace which culminated in the fierce industrial tournament of 1851 ; and from that date to the present there has been an incessant sharpening up of the intellectual weapons, and remedying defects in the armour, of those who took the most conspicuous part in that great mêlée. In no branches of industry do this care and energy And in classes 14 & make themselves more manifest than in those which are 16 espe¬ cially. 20406.—20. A 2 Reports on the Paris Exhibition. Mr. Dioby comprehended in classes 14 and 15 of the Exhibition of Wyatt OY Decora¬ 1867. tion, &c. Immediately upon the assembly of the jurors of those Apparent obvious classes face to face with the objects they were called upon connection to judge^ it was recognised that it would be scarcely pos¬ sible to establish^ practically, a strict line of demarcation between what should rightly constitute the hunting grounds ’’ of each ; and it was therefore resolved that all productions should be regarded as common to both which could be assumed as ministering to man’s enjoyment by making his domestic hearth, taken in its widest sense, the abode of beauty. Distinctions which may be perfectly reasonable upon paper and consistent with sound principles of classification, become obviously inapplicable when their limits are overstepped in a great number of objects forming the staple produce of manufacturers whose habit it may be to blend in their trade the various branches artificially separated from one another in a catalogue for the sake of classification. In practice it is indeed most satisfactory that this blending should exist, for without it there would be little chance of any harmonious result in the fitting up between of a house. Unless the provinces of the decorator and of decoration and cabinet the cabinet-maker are to a great extent incorporated there is making. every likelihood that instead of the labours of the former being subordinated to those of the latter, the effect of the most elaborate furniture will be overpowered by the greater brilliancy of the walls and ceilings ; while, on the other hand, should the decoration be really a work of art, unless the cabinet-maker or upholsterer be a man of taste and self- denial his marqueterie and inlays, and his florid carpets and curtains, will reduce the painter’s work to comparative in¬ Deficient sipidity. It is one of the greatest defects of the present space in the Exhibition Exhibition that the number of those desiring to make a for display¬ ing this display of their talents has been so great as to make it im¬ combina¬ tion. possible to accord to any one firm sufficient room for effectually and effectively representing the complete equip¬ ment of an apartment. In fact, the multitude of small ex¬ hibitors in group 3 of the present Exhibition is such as to make it desirable that some steps should be taken to make the relative position of exhibitors rewarded by the jury on the present occasion the basis of prescriptive right to allot¬ ments of space of exceptional extent in any future Ex¬ A title to hibition. To win such a right would at any time, I have adequate space in little doubt, procure a most active competition and a steady future exhi¬ bitions sug¬ maintenance of excellence, since the conclusion that future gested as a class of success could only be founded on present activity would reward. force itself most keenly on the attention of manufacturers. Mt. Dighy Wyatt on Decoration^ &g. 3 Younger partners would stir up heads of old firms^ who, m^d^by having already carried off golden spoils from the past, are on decoba- apt to get somewhat apathetic with regard to the future, and many a fresh start would result. Amongst the germs of such fresh starts ” shown in the CMef novel- present Exhibition, none are more important as affecting ration of the arts of decoration in the future than the new life which IxhSition, in all countries appears to have been infused into the re- T^ri-a-cotta vivais of the manufacture of terra-cotta, of the application Enamel, of enamel and vitrified colours upon earthenware or metallic bases to the general purposes of the decorator, and of the art of mosaic-working in every form. These revivals have as yet most largely affected furniture, ornaments, and decorations for the services of the church —items specially included in class 15 ; but there are many indications that they will be rapidly extended in every direction into civil structures ” of every description, from national museums to ladies'’ boudoirs. The materials and the processes of earthenware making and of glazing, and of enamelling and mosaic working, will, no noticing doubt, be duly noticed by tbe reporters on ceramics, metal- til?undlr^' work, and the use of both in structure generally. My raUveîsptct function will, thorefore, be limited to a notice of the ap- only, plication of those processes to decoration generally. In enumerating these fresh starts ” terra-cotta has been Terra-cotta, put first because it serves not only by itself as an element of decoration, but as also furnishing the earthenware base for enamel colouring. Italy, the country in which the art of terra-cotta working was carried furthest in the Middle Ages and during the period of the Renaissance, still retains much of its ancient skill ; aad it is to be regretted that Boni, of Milan, alone appeared to be present; while Furlani and Bacci, of Florence ; Papi, of Sienna, Martinoz, of Palermo ; and Vanni, of Impruneta, are unrepresented at the present Exhibition. This is of less consequence since Boni's arch- Italian, way and panelling in the park are very meritorious, and since fine specimens of the productions of several of the absent manufacturers may be studied in the museum at South Kensington. The Italian terra-cottas are soft by comparison with those of France and England, ranking, however, in hardness and resistance to humidity before those of the Eastern nations, and of Portugal and Spain, Spanish. It is much to be doubted whether they would stand the alternations of soaking rain and sudden frost which dis¬ tinguish our northern climate. The best French contribution Erench. of terra-cotta is by Virebent, of Toulouse, whose work in former exhibitions has been better than it now is in point A 2 4 Reports on the Paris Exhibition. Me. Digby of form. My jury also commended the terra-cotta work of Wyatt ox Decoea- Mdme. Veuve de Bay, which is connected with the chapel TION, &c. in the park, and which, as subservient to the decoration of the church, fell within their province. March, of Charlotten- burg, near Berlin, shows, by a large archway in the gallery Pi’ussian. of machines, how well fitted he is to cope with the supply of architectural terra-cotta work upon the most massive Austrian.
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