The display of porcelain and pottery was extensive. The iron-masters of the country made a good representative display. The watch-companies exhibited their watches, and all the principal gun, scale, safe, scientific instrument, clock, telegraphic instrument, railroad-car, glassware, furniture, piano-forte, organ, paint, chemical, paper, book, and stationery manufacturing houses, and all the largest industrialists in every branch did credit to themselves and to their country. The gas-fixtures were specially admired; and the displays of silver-ware and jewelry and precious stones by the leading New York and Philadelphia jewelers were the largest and in some respects the finest collections of the kind in the fair.

The British exhibition was the strongest in textile fabrics, embracing a great variety of dress-goods, of woolens, the broadcloths, cheviots, kerseymeres, and all the well-known materials for men's apparel; of poplins and linens, lawns and laces, from Ireland; of curtain brocades, from Morris & Co., of London, and made-up ladies' garments from Hitchcock & Co., which were behind the French display in the same line in taste, rather than in richness of material. There was a very extensive display of Axminster carpets, imported Indian carpets, oil-cloths, etc., which contrasted favorably with the still larger but cheap and badly-designed collection of American floor-coverings. The display of chemical products represented eighty-five houses, and contained crystallized masses of caffeine, aloin, codetac sulphas, chlorate and bichromate of potassium, the essence of egg, a novelty, a new indelible ink, soda, soaps, paints, inks, etc. The metallurgists and iron and steel workers of England made a very slender exhibit of her principal industry; there were only nineteen exhibits, the chief of which were models of Dr. Siemens's regenerating furnaces for iron and glass, wire ropes, and a single exhibit of ores, pigs, rails, and steel. The gunsmiths' exhibit was fine, seventeen exhibitors taking part; and there was a good display of the only two of the Sheffield cutlers who thought it worth while to exhibit. In literary manufacture, Bradbury, Agnew & Co. had a good exhibit; Dickman & Higham showed a hexaglot Bible; and the Illustrated London News and London Graphic made showy displays, the latter paper having a pavilion hung around with the original drawings of hundreds of its best engravings, and a private office for the use of its artists and correspondents. There was a fine show of scientific and philosophical instruments by the best English makers. The first London and Liverpool watchmakers combined, to the number of fourteen, in a fine display; M. F. Dent exhibited different systems of compensating balances. Other articles exhibited were Aberdeen and Beesbrook granite, rooftiles, Portland cement-blocks, fire-brick retorts, chalk, whiting, emery, etc. British jewelers made a very scanty show. The largest London

houses were not represented. Not a single precious stone or piece of jewelry of value was sent. Artchison, of Edinburgh, made a large display of Cairngorm stones, Scotch pebbles, among them the largest one ever found, and fancy articles. A new description of cutlery, in which the silver plating is made to penetrate the substance of the steel, was exhibited, with a considerable variety of jewelry, by John Neal. The most interesting portion of the British section was the very fully represented class of artistic manufactures, pottery, furniture, and domiciliary ornamentation, illustrating the extraordinary revival of art-feeling and good taste which has been going on in England for many years. The English exhibition of ceramics, ornamental metal-work, and furniture, probably engrossed the attention of the visitors more than any other separate collections in the Exposition. Doulton, of Lambeth, sent a vast variety of his famous earthenware and terracotta fabrics. The Lambeth faience presented all the rich soft hues of blue, green, brown, and buff, which are peculiar to it, and all the quaint and graceful forms, and the brilliant glaze, by which it is also distinguished. Many of the objects were covered with raised and painted devices, human and animal figures, flowers, fruits, leaves, and conventional ornaments, of artistic conception, and spiritedly treated. In terra-cotta, there were a pulpit and font, mantels, etc.; of the use of encaustic tiles in fireplace decoration, there was a striking exhibit; two tiled hearths had fenders of the same material, and were covered with clocks, vases, plaques, etc., one of Doulton ware, the other of Lambeth faience. One set of chimney-tiles represented scenes from Shakespeare. A series of plaques, painted by George Tinworth, contained child-scenes of the Bible. The two Mintons and Maw & Co. had not less profuse displays of painted tiling; conspicuous among the designs, which often covered a number of blocks combined, were a water-view with cranes and lily-buds, a large domestic scene, allegorical and grotesque figures, falcons, and a series of genuine canine portraits. Many of the figures were colored, some in outline, on grounds of all colors, but oftenest white, drab, or buff; there were hand-painted, printed, enameled, and majolica, glazed and unglazed tiles, and ceramic tessera for coarse mosaic, in which work there was a copy of an ancient fresco, and other examples. Daniel & Son exhibited a good collection of finer porcelain, including a splendid Prometheus vase, and imitations of antique vases decorated in pâte sur páte, by L. Solon; also copies of Henry II. ware, and of Limoges enamel, panels representing Shakespeare's seven ages, by H. S. Marks, and a gorgeous display of table-ware richly decorated with Oriental and floral patterns, etc. The exhibition of the cabinet-makers was varied and fine; specimens of fully-furnished apartments were shown in many exhibits; the Eastlake style was prominent. Other styles ex

hibited were the Queen Anne, Jacobean, and Anglo-Indian. The materials were mahogany, oak, satin-wood, ebonized wood, etc., heavily carved, or lightly constructed, of uniform or combined woods, inlaid or trimmed with wood, porcelain, or metal. It was the most solid and tasteful exhibition of furniture in the Fair. A great centre of attraction in the British section was the regal display of silversmith's work, and electroplating, made by the famous house of the Elkingtons. The Milton shield and magnificent vase exhibited at Vienna, a row of elaborate dessert-sets, and a hundred other pieces, showed what wonderful work they can turn out in repoussé, metallic inlaying, and enamel, and exhibited an immense wealth of artistic ideas.

The Australian colonies made a large and ambitious display, revealing a vigorous and solid development, fine public buildings, and great works of engineering, a fine system of education, and the establishment of all the chief manufacturing industries on a firm basis. The immense production of the precious metals was exhibited, and the excellent grain and fine wool produced in most of the colonies. The industrial exhibit showed that the colonists can supply themselves with nearly all the comforts of English life. The woolens exhibited were of admirable material and texture. Cocoons and skein-silk showed that the silk-worm has been naturalized here. Excellent manufactures of leather were exhibited. Wine exhibits of over a hundred kinds showed that all the best varieties of the European grape will grow in that friendly climate. Of interest were the collections of stuffed birds, minerals, ornaments made from the great eggs of the emu, weapons and tools of the natives, and the photographs of towns and scenery.

The Indian exhibit included the grains, cotton, and natural productions of the great British dependency; its dyes, and silk, in the cocoon, threads, and in the finished textures, some of which were of rich patterns, and some splendidly embroidered; also, a few fine Indian carpets, a curious collection of jewelry from Bombay, some furniture elaborately carved, elegant fans inlaid with jewels and ivory, gold and silver cloth, native pottery and metal-work, and a collection of antiquities.

Canada made a very large and comprehensive exhibit. Among the prominent classes of products shown were cotton and woolen cloths, hosiery, leather goods, chemicals, sewing-machines, hardware, earthenware, marbles, and made-up garments. The models of ships, and specimens of ores, petroleum, plumbago, and building-stones, were also exhibited. The display of furs was prominent and fine.

Each of the other colonies of the British Empire sent a contribution of its products and peculiar native industries, all of them curious, attractive groups of good industrial promise.

The prominent feature of the French exhibition was the very extensive display of textile

materials for ladies' wear, and of dress-ornaments and finished garments. The richest point-lace shawls and trimmings, beautiful embroideries, satin dresses richly trimmed, dresses with Oriental patterns combined in beautiful color-effects, daintily - embroidered satin shoes, fans, ribbons, artificial flowers, silk stockings with lace insertions, rich brocades and heavy velvets, and all the sumptuous products of the Lyonnaise silk-industry, were grouped and combined, with such a masterly understanding of effects of color and symmetry, that their beauties were enhanced by the arrangement. Forty Lyons silk-manufacturers made a joint display, filling a large court with their exhibits. One house exhibited fifty varieties of silk-cocoons. The French bronze-founders made the finest show of bronzes in the Exhibition, though few new works were shown in the Main Hall, and several of the most celebrated dealers were not represented. Among the finest pieces were Grégoire's "Rape of Hersilia," exhibited by Susse, and Pradier's "Atalanta" and "Sappho," Jules Moignier's "Pointer and Pheasant" and the Comte de Nieuwekerke's "Duke of Clarence in Combat with a French Knight" in brass and nickel, exhibited by the same house, which also had fine salvers and clock-cases of beaten brass, and handsome objects ornamented with Mexican onyx. Still finer was the Marchand exhibit, embracing Bourgeoise's "Snake-Charmer," and his "Kabylean Washerwoman," Schönewerk's "Boy and Tortoise," and two figures of Egyptian dancers, besides a large mantel of black marble, elaborately ornamented with verd-antique and figures in gilt bronze, and a circular settee, with a bronze candelabrum in the centre, surmounting a fountain in red antique marble, and having a silver-gilt frame and green satin upholstery. Kaffel, of Paris, had a large variety of fancy bronzes. A great variety of fancy articles of all kinds, materials, and uses, came from France. The largest Paris jewelers contributed no more than the great jewelers of Regent Street; yet there were exquisite specimens of enamel and other curious ornamental work sent by makers who are alone in their specialties. Of French furniture there was a slender collection, though three or four gorgeous articles were sent. Of porcelain there was a much weaker exhibit than in the English and German sections. The Sèvres factory was not represented, except by a couple of splendid vases and one or two other articles in the Art Hall, and a few plaques in the collection of the bronzeur Kaffel. A large variety of Palissy ware was brought by Barbizet, the grandson of the Barbizet who rediscovered the process of Palissy about fifty years ago. Montagnon, of Nevers, exhibited fine copies of the Nevers faience of the seventeenth century. Faience de Gien, table-sets, etc., consisted of imitations of ancient French and majolica faience. The Limoges makers exhibited porcelain, decorated

mens.

The Netherlands exhibition was well selected and representative, having been organized by the Government. The educational, agricultural, and industrial methods of the kingdom were well illustrated. There were a great number of charts and drawings, illustrating the system of public works in Holland, and the plans for draining the Zuyder Zee. There were plans also of Dutch dwellings and public buildings, model working-men's homes, schoolhouses, etc. The book and music publishers made a good exhibit. In the small exhibition of manufactures, woolens for male ware, fine blankets, excellent imitations of Turkish carpets, handsome oil-cloths, clay-pipes, belting, and handsome tiles, after the old Delft manner, were noticeable; and also some fine lacquered work, particularly a screen, with illustrations from Goethe and Schiller. The colonial display was fine, including the cereals, spices, and woods of the Dutch East Indies, and the weapons, embroideries, filigree, and rich webs made by the natives.

The Belgians made a good exhibition of their excellent manufactures. Of special note were the laces of Mechlin and Brussels, the cloths of Verviers, the tapestries of Malines, the linens, paper materials, fine glass, and wood-carvings, notably an elaborate wooden pulpit, various fancy articles, and a large display of fire-arms. The German exhibition was strong in cheap and substantial textiles and articles of general utility, besides containing the best book exhibit and the best display of fine porcelain in the Fair. The Saxon and other cloth-makers filled large booths with their cloths for male wear, more durable than fine, their calicoes and mixed goods, velveteens; and scattered among these were some rich velvets and beautifully-figured textures. Several piano-makers exhibited excellent instruments. The peasant clock-makers of the Black Forest, and their rivals in Freiburg, the toy-makers of Nuremberg and Magdeburg, the looking-glass manufacturers, the pencil-makers (Faber and his principal competitor), the manufacturers of cheap jewelry, the cutlers, and the dealers in common bronzes, all set up displays more or less extensive. Of the fine bronzes of Berlin none were sent. Of chemical products there was a considerable variety, including dyes, gelatine, medicinal barks, essential oils, bronze powders, soap, cologne-water, etc. One case contained all the varieties of amber found in the Baltic. A collection of surgical instruments and appliances included models of hospital wards and a hospital train, and photographic illustrations of operations, and all kinds of instruments. The cheap gold and the imitation jewelry were very fine of their kind, and for the most part tastefully designed. Conspicuous in the magnificent display of the Royal Porcelain Manufactory of Berlin were the Borussia vase, a vase containing a copy of Guido's

Charlemagne, after Kaulbach, a table-top, with a copy of Raphael's Poetry, and a vase with a finely-rendered design of Klöber's, among a great number of other finely-painted and richly-decorated pieces, in which the grounds and flat colors were wonderfully even and brilliant. A collection of gray and blue stone-ware winejugs and beer-mugs in the old German style was interesting.

In the Austro-Hungarian exhibition the most noticeable group was the brilliant collection of Bohemian glass. The finest specimens were in pure white glass, with flowers, leaves, arabesques, etc., ground into their surface with the emery-wheel. There were also fine examples of ruby and emerald ware, with gilded ornaments, and cheaper samples of darkgreen glass in the ancient Vienna style. The Bohemian porcelain also is of very fine texture, and the exhibited samples were tastefully decorated; and in the Hungarian exhibit of china-ware there were some fine imitations of Chinese and early European styles from the town of Herend. From Innspruck were sent some fine stained-glass windows. The display of meerschaum carving from Vienna was very large and fine. Other exhibits were Russia leather from Vienna, the garnet jewelry of Prague, Hungarian fire-opals, Viennese silks and shawls, delicate laces from the Erzgebirge, bent-wood and hollow-iron furniture from Vienna, woolens and cottons, ready-made clothing, buttons, chemicals, perfumes, musical instruments, mirrors, with paintings on their faces, and a fine collection of photographs.

In the Swiss section all the principal exports of the republic were shown. Forty-five watchmakers exhibited every imaginable variety of watches and chronometers, some of them so minute as to be inserted in a finger-ring or the top of a pencil-holder. There were good exhibits of scientific instruments, electrical clocks, and music-boxes. Prominent exhibits also were the handsome laces and embroideries of Appenzell and St. Gallen, the carved-wood trinkets from the Bernese Oberland, and the public exhibits of education and engineering, including some masterpieces of chartography. Other Swiss specialties were the silk boltingcloths, braids for ladies' hats, red-cotton cloth for the Eastern trade, condensed milk, chocolate, dyes, and liquors.

The Swedish exhibition was one of the largest in the Fair, and was to most people an unexpected revelation of the state of arts and manufactures in that country. The iron exhibit, embracing samples of pig-metal, rails, railroad axles, nails, spikes, bars, and pipes, and ingots of iron and steel, and maps of the mining-regions, and drawings of furnaces and machinery, was the largest one in the Fair. The exhibit of furs was fine. There was also a very attractive display of porcelain, showing rare and beautiful colors and rich ornamentation: the Parian ware, with delicately-moulded

vines and flowers, table-sets with black ground and vines and arabesques in white, large vases with paintings of flowers, a pair of vases with a ground of red and a dull metallic color, and pictures from an ancient Saga, some reproductions of Palissy ware, and a massive stove, and a pair of candelabra, with a beautiful blue ground of delicate shade, richly ornamented with white, gold, and dark blue, were prominent in this rare and fine collection. The exhibit of common industrial products, woolen cloths of the very finest, plain silks and cotton goods, cutlery, kitchen-utensils of polished brass, hardware, and carpentry, all showed an advanced stage of industrial art, and solid, conscientious workmanship. The peasant-figures modeled by Prof. Lödermann, and costumed in the genuine dress of the people, grouped to represent familiar scenes of popular life, illustrated vividly the intimate liabits of the Swedish folk. The military exhibit was large, and showed an advanced condition of the military art.

In the Norwegian court the most attractive exhibit was the beautiful silver filigree-work from Christiania. Other interesting groups were the textiles, metals, and various special manufactures. There was a series of costumed figures of the inhabitants, and a collection of Gothic antiquities, arms, and utensils, of great interest.

The Danes exhibited the furs, skins, woolenmanufactures, etc., of their country, some Esquimaux curiosities, and two exceedingly attractive groups, terra-cottas, in Etruscan style, and artistic silver-work from Copenhagen, including a silver vase, which was one of the gems of the Exposition.

The Russian section was organized and supported by the Government, and, as a national display, was the most striking one in the whole Exhibition. The fruits of the new national school of arts, which cultivates the early Muscovite styles, were the most prominent feature of this exhibition. The Strozonoff School of Technical Design in Moscow exhibited an interesting collection of casts and drawings which are given its scholars to study. Two Moscow silversmiths exhibited some of the finest specimens of repoussé work and enamel, both ancient Russian arts, in the whole Fair. Their display embraced silver beakers, with historical and national designs, artistic bronze casts of Russian peasants and soldiers, a silver plaque, with a copy of the Last Supper of Leonardo, and several pieces of table-furniture of gilded silver, with the Russian napkin in white silver draped over them with wonderfully deceptive effect. There was a large exhibit of malachite, jasper, lapislazuli, rhodonite, nephrite, etc., from the Ural Mountains, made, combined with metals, into ornamental pieces of furniture, and also worked up into smaller ornaments. A unique style of jewelry was in the form of flowers, with petals of gold of different shades, colored by different

degrees of heat. There were some samples of gold and silver cloth, mixed with silks, or richly embroidered in colors, of dazzling splendor. A collection of garments and table-coverings from Circassia, embroidered in silk, silver, and gold, was curious and pleasing. The Russian display of furs, cured skins, and madeup garments, was the finest of the Exhibition. The exhibit of gutta-percha goods revealed a flourishing condition of that new industry. The collection of minerals and fossils sent by the Pedagogic Museum of St. Petersburg was highly interesting. The exhibits of pianos, scientific apparatus, amber, velvet cloaks, with linings of the white fur of the Thibet goat, or trimmings of sable-fur, chemicals, fans, umbrellas, and various other articles, spoke well for the industrial condition of Russia.

The Italian section, though not very large, contained a tolerably good representation of the ornamental industries and manners of art treatment for which she is distinguished. The ancient Italian art of wood-carving was represented by a great number of elaborate specimens from half a dozen different cities, in which the ornaments ranged from bold realistic figures to delicate floral designs in low-relief and conventional Renaissance patterns. Articles exhibited were immense mantels and bedsteads, and tables, cabinets, and chests of all sizes. Inlaying with wood, the art for which Siena is distinguished, in floral and arabesque patterns, was exhibited; and also wood inlaid with malachite, lapis-lazuli, onyx, etc. The display of Venetian glass was not brilliant, nor was that of miniature mosaic, called Roman mosaic; of Florentine mosaic there was a fair exhibit in jewelry and table-tops, and some fine pieces were placed in the art exhibition. There were some admirable reproductions of majolica pottery, and numerous copies of antique bronzes, armor, hammered metal-work, etc. Of Genoese filigree there was a fair representation. There was a good exhibit of the coral ornaments of Naples. The jewelers of Turin and Rome made a brilliant display of gold and precious stones, one of the richest and most artistic in the whole Exhibition. The finest part of this exhibit was the show of tiaras and necklaces of Signor Castellani, of Rome, brother of the archæologist whose splendid collection of antiques was exhibited in the Art Building; the manner of the Etruscan jewelry was admirably reproduced, and even improved. Of the silks of Turin and the velvets of Genoa the display was almost nothing. In the more utilitarian industries Italy made a very small, but in some branches not discreditable, exhibition.

The Portuguese exhibition was a full one, and of considerable interest. There were some beautiful filigree-work, and examples of most delicate wood-carving; also specimens of fine silver-work, and tasteful porcelain. And in the whole range of useful manufactures there was a creditable display. A kind of coarse

pottery of strange forms and ornaments, and some little terra-cotta figures of country-folk, were curious features. There was a good exhibit of printing materials from the Royal Typographic Establishment, and a large collection of minerals.

The Spanish exhibition was one of engross ing interest, as revealing styles of ornamentation and workmanship strikingly different from those of the countries whose work is better known to us. The tapestries, brocades, laces, velvets, shawls, scarfs, cotton and woolen dress-goods, the glassware, pottery, and porcelain tiles, all showed forms, colors, and devices, in a fine but unfamiliar taste. The metal-work, silver and gold and iron inlaid with gold, the copies of ancient armor and utensils, ornamented in the Moorish manner, were beautiful beyond compare. The exhibit represented all the industrial activity and productivity of the country.

The Turkish exhibition was varied and fine, including, notably, gorgeous embroidery, fine linen and woolen fabrics, curious pottery and pipes, attar of roses, Oriental floor-cloths, and interesting ancient armor.

In the Egyptian court the chief groups were the magnificent embroideries, the goldsmiths' work and brazen salvers, engraved with beautiful arabesques, fine inlaid cabinet-work, and the displays of silk and cotton, and some fine examples of ancient Saracenic art. There were magnificent caparisons, with velvet hangings, embroidered with gold-thread and mounted with gold. The furniture was, much of it, of ebony, inlaid with ivory and mother-ofpearl. Many articles of daily use were ornamented with precious stones and metals. The silken and embroidered stuffs were gorgeous beyond description. Table-ware of solid gold, with beautiful engraved or open-work arabesques, and a good display of porcelain, were also noticeable. The rugs and carpets were also fine. The varieties of silk-cocoons and of cottons were prominent exhibits, and the other products of the soil were well represented.

The Bey of Tunis displayed a collection of arms, beautifully engraved, inlaid, and jeweled, jewelry and silversmiths' work, and rich goldthread embroideries, and decorated trappings. The Orange Free State in South Africa, with enterprising spirit, sent a selection of its products, comprising wool, fine wheat and corn, the singular grain called Kaffre corn, coal, dried fruit, hides of the springbok and jackal-skins, whips of rhinoceros-hide, the curious creamof-tartar plant, ivory, diamonds, and stuffed birds.

The Hawaiian kingdom was represented by sugar, coffee, corals, and shells, handsomely marked woods, strange textile fibres, stuffed birds, and the contribution of the Queen, fans, feather-work, and curious articles of native use.

Probably no national exhibit was so much visited and wondered at as the Japanese; cer

On a

tainly none represented more manual labor and skill and artistic invention. The prominent specialties in this exhibition were the bronzes, the porcelain, the lacquered-ware, and the pictorial screens; yet every other industry exhibited is peculiarly Japanese, either in its mechanical method or in the artistic treatment which this æsthetic people bestow upon every product of their skill. The rare and costly ancient bronzes and porcelain vases were fewer than at the Vienna Exposition; yet the collection of vases was a large one of entrancing richness and variety, and the infinity of decorative devices would furnish study for a longer time than the whole period of the Exhibition. Some of the Japanese bronzes are cast entire in the moulds; and in others the ornaments are worked out with chisels and polishing-instruments. A large number of them were inlaid with metals, which is done in two manners: by incising the design and filling up the hollow with the metallic inlay, or by filing, and then beating the gold or silver into the roughened surface. A peculiar style of work called mokn-me is produced by soldering plates of several different metals together, chiefly gold, silver, copper, and a dark-blue amalgain, and then hammering, rolling, and working over the mass, and finally beating it out into a sheet, thus producing a beautiful variegated surface of damascened appearance. The grotesque plays the chief part in Japanese decoration. great number of the vases was seen the Japanese dragon, and among the ornaments were grotesque figures of birds, beasts, and human beings, and also many wondrously naturalistic representations of animal life. Some of the artists reveled in ludicrous caricatures of popular and official manners. On many of them gold or silver bronze was combined, sometimes in raised figures worked out in highrelief, and sometimes inlaid in delicate traceries, with the darker metal, which in the finest examples was of a deep steel color. On the Japanese porcelain was lavished a wealth of ornamentation not less prodigal. Noteworthy were the examples of Kaga ware, with scarlet or green ground and gold ornamentation of exceeding brilliancy; the white Yokohama ware, delicately ornamented in gold and colors; the Banko ware, with colors running through the material; the large pair of vases with raised dragons in gold and finely-painted landscapes on a blue-and-white ground, and a collection of grotesque figures satirizing Japanese manners sent from Tokio. In lacquerwork a wide range of articles was exhibited. The ancient pieces are the best in color and workmanship, of which class a wonderful cabinet, three hundred and fifty years old, was the finest specimen. The art of lacquering is generally practised throughout the empire, but in the greatest perfection in Tokio and Kiyoto. The slightly-raised figures in lacquer-ware are either carved in the founda