The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1889-05-12

These Russian bronzcs, whether single
figures or groups, possess remarkable dra-
matte qualities aud have dclicncy OF pre-.
csion and freedom oi modelling that en-.
titles them TO a place in the fine rather
than industrial art
IN decorative treatment Of gold. silver
aud jewels, in etching aud enGiuclGg.
the American exhibit stands first in sim.
pliciiy. clearncss, elegance and suggcs.
iiycness Of design, as well ~ la Inc ingcn.
iousness with which use aud beauty are
associated. While endless copying OF cX-
hausicd patterns proceed in European
workshops, the American designer is man.
iicsting disccrnmcnt Ia the selection Of
types worth preserving aud originality
aud Imagination IN the creation OF new
ones possessing the essential traits Of
beauty. The Tiffany exhibit introduces
native ideas VI decorations taken frankly
from the Indians aud developed, present.
ing pleasing contrast 20 British and colo.
NAL designing which Is hlhbily repeating
the feeble still patterns Of Indian, hack
ncycd at the Colonial exhibition three
years years ago, and worked 10 subsequent
exhaustion nj kcnsinglon. In force aud
individuality, as we'll rs in exquisite man
ulacturc, the Gotham Company stands in
front. Also Ia the artistic ~, Of the plato
by the electrical process, the Mcfidcn
Company has no visible rival. The small
articles exhibited from the workshops OF
the Fafrhlld Company, such as pencils,
match-boxcs and pen-holdCrs are also
notable for dainty fancy durability In con.
slructiOn aud beauty.
II We have supplied an intelligent world
with reading, writing and speaking ma
chimes We have also gwen II the only uni.
yersal gold pen, but with this brief com.
meat, the decorative aud industrial art OF
the United states, impressive Ia only one
great line. comes 10 an end. IL h incredible
that We should be content to occupy a
relatively Insignificant position. The Uni.
yersal Exposition shows that our path out
OF II is not untricd. England has taken
II before our eyes. She sent TO artistic
countries iordCsigcn, lorcmcn aud trained
artisans She located art museums and
established technical art'schools near the
centers Of hcr raw materials. She has
been educating her labor. Her artisaus
are acquiring the consciousness Of the
artist. She sets apart money every year
for the afttfaining OF labor. We have
been doing in small way, Involuntary,
what she had the sagacity to DO in large
way. Under stress Ut her unconqucfable
commercial instinct We have used foreign
trained labor Ia founding the decorative
industry that wo can now boast Tho
artistaftisans OF the Tiffany house
n few years ago were nearly oil foreign
born or trained, and ono.third Of them are
10 now. Tho chief designer, who Is now
In Paris, Mr. Paulding Farnham, was
pupil Of the free ART schools, whose exist.
enco IL due 10 the foresight and national
spirit OF Peter Cooper, but he has also
foreign training The chief designer Of
the Gorham Company, Mr.. Wilkinson, Is
AN Englshnan, aud was trained In Eng
land. Ills chief associate is q Frcnchman.
A large number Of their most reliable art
isans, according 10 their representative
here, Mr.. llougnton, are foreign by birth OF
extraction. Mr. Fairchild states that for the
finishing OF articles requiring a sense Of
form they employ only young men trained
in art schools. The Briitanic Company,
according TO liz representative, Mr.. Miles,
has been developed into great factory Of
artistic products only by the employment,
10 a considerable degree, Of loreign-born
or iorcign.trained labor. What the art
schools OF France had 10 do with the re-
tanning for her the first place Ia the beau
tiful manufactures, can DO learned In a
little volume by Comyns Carr.
The debt OF the United States 10 ionfign
skilled labor Is best known 10 American
architects, but all who have personal
knowledge Of the difficulties that encoln.