New-York tribune., 1878-12-26
CERAMIC ART IN PARIS.
,rr,p vA1JrE OF THE EXHIBITION.

THEY FOLLOW.
yRoxA AN OCCASIONAL CORRESPONDENT OF THE TRIBUNE
PARIS Nov. 12.-The Partisan collectors admira-
ton of the beauty to be found in pottery and por-
oea,u-beauty of FORM of decoration, and OF color
manifests itself in such ways that TO speak OF 1t
lightly as mania is SIMPLY preposterous. 1t Is the
resut of permanent and highly cultivated taste In
no respect differing from that which seeks grati-
6cation In a gallery of the Old Masters. Even
i'm America. Swhere the taste for ceramic Art
was for a long time cherished enthusiastically
only in the retirement OF few. and has very re-
Gently received such general attention as to entte
it TO be called popular, the word "mania" ought
now TO be dropped 30 long as crowned and noble
heads were busted with the problems of the fac
tory so long as kings queens and their titled sub
ects made favorites of pOters and ceramic artists
made factory a toy and its support hobby ana
set a fashion under which a rage lor
china was kinded among all the rich, the
word was in the mouth of satilist, not IN
appropriate Many other fashions are just as madly
followed without question: and with as llttie lhtel
Iigence. An insensate desire to possess and accu-
muato without a corresponding power OF appre-
citation must needs parake more OF less of the ma
ture of MANIA and where no appreciation Is re-
nnred but the insensate desire eXists-as in the
case of him who boarded the ropes with which GER
tain notorious persons were hung-the victim is not
wronged by being dubbed maniac But IT Is gen.
eratlons since in France the fashion became a
steady nursuit since the hobby became
pernetual pride since the rage became enthusiasm,
and the ania became a cultivated TASTE ii Amerl-
can collectors be mad, there is a marvellous amount
of method in their madness. 1t has been so far
subdued that it only makes itself felt in quicken
ing of the intelligence. Ceramic art is studied a
little perhaps, because it is fashionable, but
far more for the sake of the new forms of beauty
Il reveals and for the sake of the extended In
telligence and consequent wider reach OF re-
fined pleasure that the study conters. Manlas
are transient, but beauty discovered is beauty
for all time. The man who has once felt his sense
of the beautiful touched by specimen of old CHI
nese turquoise, never afterward pass crOckery
store without throwing an nquiring look into It's
window. Is he madf Not at all. He has merely
discovered new pleasure and is 10th to let slip the
smallest chance of experiencing it. Writers are
given to speaking of the rage" for ceramic art
something that will pass like last years fashions
1t has never passed away wherever it has been felt
andi will not pass away in America. 1t is taxing
6rmer hold upon the public mind every
succeeding year. Ceramic art has already be-
come TO America what it has long been to France.
England and every other country, in both the East
and West where it has been successfully practlsed,
perennial source of pleasure that will deepen as
taste is cultivated. As between New-York and
pect be found to be attributable to the more extern
sive means of study afforded by the latter city.
There is in both cities decided taste for Oriental
art, New-YOTk and Partisan collectors, however,
have their own preferences. With regard to Chinese
porcelain for example, the Parisian has the strong
est liking for specimens of the green and rose fami-
lies while the majority of Newly prefer to I'LL
their shelves with Nankn and other kinds of blue.
In this respect Americans are in full accord with the
English.
Besides the admiration for Chinese, 1 find
here general admiration for the faiences of Persia
and the Saracens These special tastes reflected
in the products of the French factories of the
present day. and this leads me to say something OF
the advantage of the Paris Exposition to the student
of Ceramic art Assuming on his part the capacity
10 make a continuous historical chain out OF the
disconnected links, he had here magnificent OPP
pOrtunity of following the art from age to age aud
from country TO country, and thus finding IN regu-
lar sequence illustrations Of the works of the
potters of the world. In the Trocad6ro he could
study the Past, in the Exposition proper
the Present. In the former were spread before
him the greatest historical works. in the latter he
could observe the accomplishments and promise OF
our own times. From Egypt he could wander tothe
East 20 China, Corea, Japan, India and Persia;
mark the growth of art in PhGnicia and its devel-
opment in Greece follow the Saracens in their wan
derings, and admire the lustres of the MOOrs, the
majohca of the artists Of Italy-Giorgeo, XantO,
Orazio Fontana and others-and the bas-rel!efs OF
the Robbia family; note the beginnings of French
art at Nevers Moustiers, Marselles and ROuen, and
lnger over the faiences of Palissy and the
inlaid work from the Chateau of Orion. He could
then take up the porcelain of Sevres, Chantily,
St. Cloud; or leaving France. he could examine the
efforts of the potters of Delft in following the art
lists of the Far East and watch the rise of the art
in England and lastly, turning to the New World,
he could pass northward from Peru to Mexico, and
so complete his circuit Of the globe The generosity
of the collectors both French and foreign, con-
tributing to the exhibition is beyond all praise.
They freely laid open to the poorest stranger the
rarest artistic treasures of Europe. Looking at
the utility of the display it has been, firstly the
means of diffusing knowledge of ancient art; it.
secondly has brought the only standards Of COM
parison within the ken of host of observers;
it, thirdly has enabled them to estimate modern
work, and to study the motive of the modern work
man. With such collection in memory one can tell
at where the copyst finds his model, and need
hesitate in giving the original artist credit
for his originality.
have said that the taste of many collectors for
Oriental art is reflected in the products of modern
factories The latter may divided into two great
classes. Some restrict themselves to reproducing
the works of their predecessors and make no pro-
fession of doing anything else. l have before me
card which reads Porcelaine tendre imitation de
Pancien Sevres, Chelsea, etc." and another adver-
tises Fabrique dc poterie de luxe ct dart genre
Bernard Palissyl." The leading French mauufac-
turers on the other hand, while endeavoring
to follow the best models, are seldom
tempted TO forget that one Of the greatest
merits of an artist is originality, They strive to