Evening star. [volume] (Washington, D.C.) 1854-1972, 1876-08-30
EXPOSITION NOTES..
Correspondence OF The Evening Star.l

SIOuuuBt VIZ. DttNe6O Inc 8rL annex ana
the Vienna bakery, stands an odd and not
very attractive looking building which the
majority of visitors TO the exposition will be
likely to pass by unless their attention is
In some way directed TO ii. Yet those who
fail TO visit IL Will miss a most interesting
treat. 1t is an exhibit which illustrates In
most graphic and satisfactory way some
OF the best achievements In the higher ranges
OF hum an effort. In other words IL contains
the special official exhibit OF the French gov
eminent made for the purpose of displaying
working models and drawings OF the most
important and striking public works In that
country aud her colonies. Here, arranged
upon platforms OF suitable height, are to be
seen exact miniature reproductions of the
principal bridges, aQueducts, roads, canals,
dykes, harbors, moles, docks, light houses,
etc, in the empire, while the dead walls OF
The building, which is lighted from the roof
are are covered CO. with designs, plans maps, and
of scien tifc construction. Except Holland,
which has in her section of the main build
ing most interesting display OF models
showing the engineering peculiar to that
singular country, believe no other govern
ment has made any notable effort In this
lshed so complete and entertaining an ex-
hibit as this. II possesses, of cou rise, special
attractions for civil and military engineers,
architects, and others OF scientific turn of
mind, but none the less will 1t be found TO
have sufficient interest for every Intelligent
observer to richly repay a visit, If not pro-
longed stay.
A most vexatious and confusing thing
connected with the art department, aud one
quite without excuse, is the wretched man
ner in which most OF the pictures AID other
works of art are Numbered and labeled for
this exhibition. In the first place, m any OF
the French pictures and not q few OF the
countries, have been previously exhibited
elsewhere, and bear on some conspicuous
point the numbers intended for the catalogu ne
there in use, but which do not In any wise
correspond to those provided for this exhibi-
ton. The effect OF these old numbers, which
| ought to have been removed, is, as may be
imagined, exceedingly perplexing, and espe-
cially SO TO the uninitiated. Then, again,
the number labels prepared for the catalogue
here are OF the most Indifferent sort. In
stead OF the figures being thy mar ked
upon stiff bits OF tinted card board, uniform
in shape and size, they have been made with
lead pencil or pale ink, in awkward, stiff
school boy characters. on little irregllarly
| shaped scraps Of thin paper, which have a
| Italy and sometimes wholly hiding what
| they were intended to display. To this criti-
cism, which applies TO nearly all the other
| galleries, an exception must, however, be
| made In behalf OF the weIl-srrsnged aud
| properly Labeled English collection. In 1t
every picture bears upon the lower part of
| shape, on which are inscribed, In clear and
| plain black characters, the subject or title
of the picture, the name OF the artist, aud
another mark to Indicate that fact in case
II Is for sale. With these points made
| known at the start, the whole English COL
lection can be studied intelligently aud com
fortably, without the expense and trouble OF
| catalogue, which most persons prefer not
! TO be bothered with IL 1t can be avoided. 1t
expoeition lad NOT had foresjehf and III IIb se
| atty enough to adopt q simtla- plan for the
l entire art department, at the outset, aud IL
change at this late day; but one cannot help
i expressing the hope that the excellent ex
i ample set by our English cousins will not be
lost upon those who may control future dis
| plays OF the sort, nor indeed upon those who
| nave the management OF ordinary exnibi-
| ton and sale galleries. Such an innovation
| peiquisites In the sale Of catalogues, but the
| public would be vastly the gamers by 1t.
i %*#
A quite attractive establishment, some
i what connected with the Exposition, al
i though not in any way belonging to IL, is the
l English house, erected on the grounds by
the British government to be used for Office
| and reception purposes by the com mission
ers who represent Her Majesty here. 1t is
| not open to the public as a show pl ace, but
| IL may be inspected, In part at least, by those
| having business with the officers, an more
thoroughly by those who are favored with
tickets Of admission for that purpose. And
l no one who has the opportunity to do so
should fail to visit 1t, and especially no one
l who Is interested In domestic architecture
! and interior decoration. In Its exterior the
| building is fair type OF the better class OF
| modern English cottage, OF timber ana NOR
l ton OF any kind. Except for its rather mar
| row passages and stairway, 1t Is roomy and
| well arranged inside for its present use, and
/ very slight notifications would admirably
| adapt IL for domestic purposes. But 1t
IL not 30 much in the building itself as In its
fittings up that its chief interest Will be
l found. In its furnishing and decoration one
1 may see carried out on an elegant and har-
/ moniOus scale the ideas and designs OF what
| may be termed the new Eaglish school of
| household artists, of whose theories and pro-
ducts we get occasional glimpses on this side
| under the generic heads OF Eastlake furni
| ture, Dresser wall pspsrs, and Morris car
pets and draperies. In Its general effect the
| tone OF color, which seems to be the favorite
l with this school, will be apt 10 strike most
/ persons at first as peculiar, IL not disagree
| able, or at ali events as rather somoer aud
| gloomy. This feeling wears of In little
| time, however; and as the style has steadily
| gained favor under the cold gray atmosphere
| OF England it is not likely that this objection
will be q permanent one under our bright
| noticeable, except that 1t seems to be more
| subs tantial and honestly made than ours
| usually is, and simple rather than snowy.
But the upholstery and wall-hangings win
| attract attention at once for their peculiar
and quietly effective designs, and also for
| what one might call the want rather than
| the display OF color. In other words, there
are no high and positive colors to catch the
1 eye at the start. All seem 70 be toned down
i with grays of one tint And another, and the
l figures, which are simple In conception and
| con ventional In form, are mostly In different
shades OF the same color as the background,
instead Of being brought out sharply by
| strong contrasts. II q single tint or color
coald be named which would express the
| tone or effect more nearly than any other, I
she ud say it Is Olive. But Into or over this are
l introduced, In the most effective ways, hints
| rather than protrusions OF gold and other
bright and warm colors whicn reveal them
/ selves and grow upon you by degrees, until
| you finally accept the whole rs . thorou ghIy
artistic and pleasing success. This feeling
Is heightened, / should add. by the introduc-
l ton OF decorated tile work In the hall and
| about the IRE places, and also still further
i enhanced by the liberal distribution OF dpe
water.color drawings, rare engravings and
i choice bits OF faience wherever they can be
i suitably disposed. As pothiny