THE EXHIBITION.

Lyttelton Times, Volume LVII, Issue 6611, 6 May 1882, Page 5

THE EXHIBITION.

THE ITALIAN COURT. " That geographical expression,” as the incongruous collection of States in a certain boot-like peninsula to the south of Switzerland and Austria used sneeringly to be called, is nowa days a united and powerful, if not very wealthy, kingdom. With an army half a million strong, and a navy which croakers in England continually use to point the moral that our own should bo strengthened, and adorn the tale of national deficiencies, Itoly hag an annual revenue of some £56,000,000. And if the Italians of a quarter of a century back were rather inclined to make the ancient glories of their country in arts, arms, science, and commerce do duty for past as well as present, the case is otherwise now. Wilh the exception, perhaps, of Japan, no country during the last few years has made greater onward strides in the great race of progress and civilisation than Italy. That wickedly satirical Mr Gilbert has apparently taken great pains in “ H.M.B. Pinafore ” to connect the poor I-tal-i-an, in the minds of English and Colonial audiences, with the rather melancholy profession of organ-grinder. But if, by mischance, there should be any unenlightened Colonial children, who shall have taken this to bo the model occupation of the modern Italian, it is to be hoped that the Exhibition has lone since convinced them that they are in error. A very short inspection of the court, under the care of Signor F. Giorgi, will amply suffice to show them that he excels in other branches of the fine arts than that one of producing machine-made music for the delight of the million.

As a matter of fact, there are many manufactures, if not arts, in which his quick wits and quicker fingers place him far above the workmen of other nations. In the more ordinary forms of statuary and in carving in some particular branches, as well as in jewellery, he has special departments wherein he is unrivalled. The territory of Mosaics and Cameos is almost all his own; no other workman has either his inherited or personal skill in such matters. A large collection of statuettes in alabaster and Carrara marble fully support one of the assertions just made. For the most part copies of works by celebrated artists, they do not lay claim to originality, but are valuable nevertheless as models of antiques, and also as instances of what the Italians of the present day are capable of producing in the middle walks of art. Small copies of such famous statues of olden times as the Tenus de Medici, from the Uffizi gallery in Florence, and that from the Capitol in Borne will be found near more modern works by Canova and Frilli. The chief figure from Guido’s celebrated fresco of Aurora in the Bospigliosi palace at Rome, Michael Angelo’s David, and other wellknown statues are copied in alabaster; and “The Bather,” by Professor Tabbacchi, which attracted so much notice in the Paris World’s Pair of 1678, is also to be seen on a reduced scale. A great number of alabaster plates, with medallions of great artists, poets, &c., in the centre of each, and ornamental borders, will give even a better idea of the peculiar skill of Italians which has been already spoken of. Some very minute carving, giving characteristic sketches of national customs, will be found in the hard grey and brown lava, quarried at Resina, a village in dangerous proximity to the volcano Vesuvius.

Pictorial art amongst the inhabitants of the great peninsula is generally supposed to have died out. But that there is a national style may be gleaned from the small number of oil paintings and water-colours by Grandi, Pellegrini, Provaggi, and others. Among them is a very softly-painted head of an Italian girl by Buon Figliolo, of a far higher standard than the pictures which surround it. National art, if the words may be applied to this branch of picture-making, has evidently struck out a new line in the very highly coloured oleographs by Oavalzini, of Milan. The Italian caricaturist, if he does not understand the quieter touches of pictorial humour, certainly leaves no doubt on tt e mind as to the mark he intended to hit. Innkeepers and others who patronise the broader paths of art should be delighted with some of these scenes from the carnival, and humorous grotesque faces: they are unique in their way.

Turning for a moment from this last outlying dependency of the great realm of art, to that of manufactures, pure and simple, we find a large number of exhibits which are peculiarly Italian. The so-called Leghorn straw work from Fiesole, near Florence, is of the very finest description, and this corner of the court is pre-eminently a ladies’ one, more especially as this work is mostly done by women. In it will be found baskets and bags handworked in straw of a description to suit the fragile and mysterious articles which they are probably intended to hold. A parasol half straw, half silk, would be a striking novelty in the streets of Christchurch, and would attract more notice than the Japanese sunshades lately hoisted by our gallant defenders from Oamaru. Fans, and straw cases for bottles, are other specimens of this kind of ware on view. The Milanese hatters, Fisoni Brothers, appear to make lightness and softness an especial feature in their manufactures, the hats shown being very noticeable for these two good qualities, as well as for a certain foreign “ cut of the jib,” to use a rather vulgar but apt expression. The same firm have introduced a very handy invention for closing umbrellas. By its means the catch at the upper end of the stick which supports the ribs when the umbrella is spread, is very easily released from the lower part where it is held in the hand. A preparation of sulphate of quinine by a Milanese company, which gained a medal at Paris, is said to be much appreciated in Australia. From Genoa come silver filagree work and ,■ jet of no ordinary merit. A great many pketty things in the way of necklaces, bracelets, and other similar varieties of feminine adornment, made of Venetian shells or Neapolitan coral, will be vastly admired by that more ornamental (or ornamented) portion of the human race for whose use and gratification they are most particularly designed. But without doubt, the great glory of this court lies in the beauty, number, variety, and excellence of the cameos and mosaics exhibited. Both of these arts date back to the remotest antiquity. Mosaic work was known in the palaces of the Pharaohs, and pavements in this stylo were common in ancient Greece. Scarcely a single fossil Homan villa can be dug up without finding traces of such work. The Romans of to-day are famed for the wonderful beauty of their mosaics, the art of making which was once forgotten and re-introduced into Italy in the 13th century. The art consists in sotting small squares of glass on stone or metal, so as to imitate a painting. It is an especially Italian art, but the Russians, in 1862, sent exhibits to the London International Exhibition, which were unsurpassed. There are three varieties of mosaic exhibited, the Florentine, the Roman and the Byzantine. This last is an offshoot of the Roman, and differs from it only in the extreme minuteness of the smalts, as the squares of glass employed are technically termed, and in the designs. Some of the little pictures of birds, and the simple-coloured patterns on bracelets and rings, are very beautiful. The manufacture is, as may be well imagined, very trying to the sight, and it is rare to find an artist who does mosaic work with perfect eyesight at 30. Boon after reaching that age they are, as a rule, blind beyond cure. The danger of the profession is made up for, to a slight extent, by the high wages given; a good workman will receive his 50 francs £2 a day. The style of the Florentine mosaics is admirable. Though not demanding such superhuman patience, industry, and skill as the Roman, their artistic designs and soft colouring is very effective. Generally consisting of floral pictures or arabesques, the materials employed are often of value. Turquoise for the blue, greenstone from the bod of the Arno, chalcedony for white, and porporino and pink shells being used on a ground of black marble to produce the requisite effects. The number of brooches, &0., in this work is very groat, and each is a small work of art. The shell cameos are of modern invention. The ancient ones were out in stone of great hardness, advantage being taken of (tones which were formed in

layer* of different colour to produce a raised design. The word is used in oontra-distinotion to intaglio, where the design is out into the stone. The very beau* tiful cameo* on the large univalve shells under a tall glass case are perhaps the most striking of all the exhibits. These big conches consist of three strata, the lovely pink serving for groundwork, thenext for the figures, trees, etc., and the outside for the ornamentation and shading. To what a pitch of fidelity and minuteness such work can be brought, ths various designs and pictures, for such they really are, must be seen. Scale armour, hair, vine-leaves, and bunches of grapes are all drawn in the most perfect detail. The choicest specimen* are from Francati and Santa Maria, of Rome and London. One ideal scene of a pair of very romantic lover* in a swine is of exceedingly graceful workmanship; the figure* themselves, the drapery and the foliage of the trees overhead being most remarkable for their soft and dainty execution. Of the exhibits in pietra dura, or onyx, there is a very large collection, priucipally antique figures of most elegant workmanship. After such miracles of minute art the bracelets of carved Java stone, grey and brown and white (the latter from Resina), appear hardly so striking as they would were they by themselves. But their medallions, mounted in gold, snake bracelets, earrings, signet rings, brooches, studs, and other beautiful jewellery exhibits, are worthy of close attention on the part of visitors.

IRON, STEEL, AND BRASS MANUFACTURES ( Continued ).

Mr J, Piper, of Christchurch, deserves great credit for the large and excellent array of sheet iron and tin goods displayed in his bay near the Auckland Octagon. The whole of the work shown is of a high degree of merit, and the arrangement of the exhibit is such as to present every article to the best advantage. Perhaps the most noticeable portion of the display is the japanned ware, which is certainly first-class both as to design and execution. Conspicuous objects are the two piles of sheet iron deed boxes at the entrance to the bay. They are japanned in black, and in imitation of oak, the graining of the latter being particularly good. The boxes are well and strongly made, not by any means devoid of neatness and finish, and are fitted with patent lever locks. At the back of the bay is a collection of admirably made baths, consisting of a 6ft taper bath, a 4ft child’s bath, a sponge bath of Bft diameter, and two hip baths. These last serve to illustrate the progress that has been made in the art of japanning in Christchurch during the past year or so. On comparing the white japan or enamel on their inner surfaces with that on the others, which are of newer'construction, a marked difference in favour of the latter will easily be perceived. The whole of the baths are coloured and grained, in imitation of oak on the outside, and of marble on the inside. Of more than ordinary interest is a shower bath, also in imitation oak, with two and a-half inch metal valve. The workmanship of this is unusually good. A very useful article in a household would be the neat flour bin of galvanised iron, the outside being also japanned to resemble oak. It is divided into compartments, covered with a lid. One of these is capable of holding 501bs of flour, while the other will contain a mat of sugar. Mr Piper has displayed great taste in the colouring and decoration of the three sets of japanned toiletware shown, and may also be complimented on the finish and general excellence of their workmanship. One of these is in Dutch pink (which, it is scarcely necessary to inform our readers, is not pink at all, but a most aesthetic pale green.) This set is decorated, by means of a transfer process, with sprays of forget-me-not and lily of the valley, intermixed with grasses. The effect is very beautiful. Another set is more quiet in design, being of a delicate French gray, adorned with a small device composed of “ Bunthorne’s ” favourites, the tulip and lily. The third set is of plain Krench gray, relieved only by a few lines of dark colour. Mr Piper shows a small hot-water can, japanned in different patterns an 3 colours, which is used as a sample whereby intending customers can judge of the effect of the various styles. Grocers and confectioners will find in this bay a great variety of canisters, both octagonal and round, of all sizes. They are mostly coloured green, and decorated with transferred pictures in gay colours, Chinese mandarins, landscapes, and other subjects. One object Mr Piper shows as evidence of the lasting character of his work. It is a japanned can, adorned with an exceedingly pretty transfer picture, which was among his collection at the Industrial Exhibition. It excited a good deal of admiration at the time, but certain individuals, whose faith in the imported, and distrust of the local production was of the deepest and most fervent kind, expressed their opinion that the colours of the picture were not lasting, would fade in a few months, and so on. Mr Piper quietly laid the can by, resolved to bring it out again to convince these doubters should occasion offer. The opportunity has come, and ail may see that the colours, after the lapse of two years, are as bright and clear as when first laid. As the colours in question are protected by an almost impenetrable coat of glazing, they will be as fresh ten years hence as they are to-day. Another noteworthy item is a strongly-made, well-finished coffeetin, for a grocer’s window. It is japanned in green and gold, and contains three compartments, with numbered lids. This is protected from the hand* of the over-curious by a most elegant fern-case, with a frame of black and gold. The top is of bent or arched glass, and the whole thing has a very tasteful and effective appearance. The case is of peculiar interest from the circumstances under which it was made. Some few days before the opening of the Exhibition, when the work of unpacking was in full swing in the various departments, Mr Piper noticed a number of circular glass show-cases, so broken as to be entirely useless. The idea occurred to him that he could utilise a portion of one of these, and he accordingly procured it, had it cut of the required size, and, as he expressed it, 11 made the case to fit the bit of glass.” This little incident shows that our local manufacturers are not wanting in that readiness to adapt ideas which is so characteristic of the Great Republic. Beside the fern-case are some specimens of grocers’ window bowls, •namelled in black and gold, for showing samples of tea or sugar. A very handy and useful article is a housemaid’s box, for carrying black-lead brushes and similar articles. It is strongly made of tinned-iron, japanned in black, a'-.d relieved by a small device in transfer colours. Gardeners visiting Mr Piper’s bay will, no doubt, note with interest some of Forrest’s watering pots, fitted both with the ordinary rose and with a fine brass one for watering small seeds. They are extremely well finished in usual green colour. On a table on the right side of the bay is placed what is, in some respects, the principal item of the exhibit, important because of the assistance rendered thereby to other local industries. It is a collection of tins for containing preserved meats, made on a principle patented by Mr Piper, with tapering tides, and collapsable bottoms. With these are shown a number of tins for preserved soups, and one and two pound jam tins. It is interesting to notice that some 400 or 500 of Mr Piper’s jam tins are used to containan exhibit of locally made jam in an adjoining bay. There is also a collection of shallow tins, stamped in one piece without a joint, for holding blacking. Several of these are also in use man exhibit of Christchurch blacking in the New Zealand court. Of ordinary tins, such as round and square coffee canisters, spice tins, &0., there is a large assortment. It is almost needless to say that all these are excellently made. Some brass gram samplers for use in grain stores are extremely serviceable well finished articles. There are a large number of pails in green, and in imitation oak, of all sizes ; and a good display of milk and cream cans and ordinary watering pots. The spaces between the principal exhibits are filled up with a large and varied collection of ordinary tinware, comprising tea and coffee pots, stamped measures of all descriptions, foot and chest warmers, candle boxes and moulds, “ billies ’’ and dippers, and many other articles. The lower shelves are occupied by an array of canisters suitable for the purposes of the biscuit maker, confectioner, or coffee grinder. In addition to the tin and sheet-iron ware,

the bay contains several excellent specimens of work in galvanised iron. Very useful looking things are some strong and wellfinished chimney pots, fitted with cowls. At the back of the bay are arranged a number of samples of guttering, ridging, and rainwater pipes. All these are so placed that they present the same appearance us they would if fixed on a house and in use. On the outside of the bay, which is surmounted by a very effective sign, are several exhibits of an interesting and attractive character. One of these is a brass urn for supplying tea, coffee, and hot water. It is strongly constructed and serviceable, and is not destitute of artistic finish. Opposite to this is a large oval copper boiler, tinned inside ; a Ter j creditable piece of work. Of considerable interest to milkmen will no doubt be the 16gallon carrying can, with a perforated handle to the lid in order to secure the ventilation of the milk without any danger of spilling it. On the floor, close to the entrance, is placed an article of the greatest utility, and of interest to all, in the shape of a bucket engine, with pump hose and nozzle complete. Many a fire bos been checked at the outset by the judicious use of a bucket, of water, and those little engines enable that bucket of water to be applied in the most effective way. This engine of Mr Piper’s manufacture, appears equal in all respects to thoi*e itnported. It is of the orthodox vermillion colour, and is kept full of water ready for use. The decorations and appointments of the bay are of a singularly appropriate character. The unsightly wooden posts supporting the roof are covered with galranised iron guttering. The uprights of the benches on which the exhibits are displayed are covered with piping, and at the back of each bench is placed a sheet of plain galvanised iron, in order to harmonise with the different colours of the objects shown. From the centre of the roof is suspended a very handsome hotel show lamp, with a frame of gold and green, adorned with artistic representations of grapes and vine leaves in natural colours. Two smaller lamps, of figured and stained glass, suitable for passages or halls, are hung at the back of the bay. At night these are lighted, and the effect of the coloured rays falling on the glittering contents of the stands is very striking. Ere concluding, wo may be allowed to express a hope that the admirable display of all branches of the tin-plate worker’s craft will help to convince the public of Canterbury that they can obtain all the articles therein shown of at least equally good quality to those which are imported. A brief description of one more fine display of local industry will conclude our notice of the metal manufactures in the New Zealand section of the Exhibition. The exhibit in question is that of the New Zealand Railway department, and consists of specimens of work from the Addington and Billside workshops. The work certainly reflects the utmost credit on those who produced it, and has been deservedly admired by all who have examined it. It is, unfortunately, not exhibited to the best advantage, the -brass castings and springs being placed id- the carriage annexe, where they are somewhat out of the way, while the points and crossings are of necessity shown in the south-west quadrangle, together with the waggons and trucks. Against the outer wall of the carriage annexe is the stand on which the castings are arranged. There are the finished articles of burnished brass, and the rough work fresh from the mould. The quality of the work is excellent, all the objects shown being well and substantially made. The completed articles are indeed finished—highly so—while the rough castings are beautifully sharp and clean. The most prominent object in the collection is a steam whistle for a locomotive engine. It has three valves, and is an admirably got up piece of work. Two lubricators for engine cylinders are equally well made. Several valves of various descriptions are all finely finished, serviceable articles. Particularly noticeable is a Gresham injector, the workmanship of which is worthy of high, praise. The rough castings are duplicate parts of the articles mentioned above. The way in which they have coma out of the mould bespeaks the care exercised in their making, and is highly creditable to the skill of the employees in the shop where they were produced. On the floor by the ' side of the stand is a collection of springs of all varieties, the sight of which is calculated to banish from the mind of the beholder all apprehension of accidents from the breaking of springs in the engines or cars. The most noticeable are, perhaps, the coiled buffer-springs, which are exceedingly strong and well made; and the car bogie-springs, the workmanship of which is also extremely good. A fine specimen of welding is shown, in the shape of a bar of hammered scrapiron. Cue end of this is left in a rough state, showing the half-welded scrap. The other is drawn out, rounded and polished, displaying very perfect welding. The whole exhibit is well worth the attention of all lovers of the smith’s craft, and the staff of the Railway workshops are certainly to be complimented on the grand show their work makes. On the walls on either side of the exhibit, are hung some capital drawings. One of these shows sections of the Pullman carriage, another illustrates a hot-air pump engine, and the third comprises outline drawings of all the various classes of locomotive engines in use on the railway. Another noticeable object is a painting of the Royal Arms on glass, the work of Mr J. S. Lane, foreman painter at the Addington workshops. A set of points, and a welded steel diamond crossing are shown in the quadrangle. The character of the work displayed in these is fully equal to that of the springs and castings already described. No one making even a cursory inspection of the large and admirable displayofihe results of New Zealand energy and ingenuity, as exemplified in the various departments of brass, steel, and iron work, can fail to be struck by the uniform excellence of all the exhibits. Of course there are different degrees of finish, of solidity, and of utility, to bo found among them, but there is not one article of which the maker has any reason to feel other than proud. This is high praise, but it is merited, as any one will admit who takes the trouble to carefully examine the various objects displayed, and who reflects that less than half a century ago the only specimens of metal manufacture to be seen in this Island were a few muskets (imported) in the hands of the Maories. Now, the best productions of the Old World are not only imported, but some of them are equalled by local manufacturers. There is, however, still vast room for progress and improvement. One great step in this direction will have been made when the iron ores and sands of New Zealand are opened up, and native minerals alone are used in native manufactures. MISCELLANEOUS. An interesting addition has just been made to the New Zealand exhibits of machinery, in the shape of an admirably constructed and finished high-speed engine, of three-horse power nominal. This was designed by Mr R. J. Scott, and manufactured by Messrs Cutten and Co., of Dunedin. It is suitable for use in steam launches, for general farm work, and also for traction and mining purposes. It is a grandly finished specimen of workmanship. The fittings are of a very superior character, and altogether it refleets great credit on the designer and makers. It is placed on view close to the doorway of the carriage annexe, on cli? left of the entrance hall.