File:Examples of household taste (1875) (14595672790).jpg

Identifier: examplesofhouseh00smit (find matches)
Title: Examples of household taste
Year: 1875 (1870s)
Authors: Smith, Walter, 1836-1886 Smith, Walter, 1836-1886. Industrial art of the International Exhibition
Subjects: Centennial Exhibition (1876 : Philadelphia, Pa.) Decorative arts
Publisher: New York, R. Worthington
Contributing Library: Sterling and Francine Clark Art Institute Library
Digitizing Sponsor: Sterling and Francine Clark Art Institute Library

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Text Appearing Before Image:
The Bryant Vase: Tiffany &• Co., New York. can bob-olinkfor the humor-ous poem ofRobert of Lin-coln. The twogreat Americanstaples are in-troduced tocomplete theornamentationof the handles—the stalk, leafand grain of theIndian corn onthe inside, andthe bud, flowerand ripened bollof the cotton onthe outside. Onthe base whichsupports thevase is the lyrefor verse, whichwith the brokenshackles pointto Mr. Bryantsservices in thecause of Eman-cipation. The design-er has intro-duced symbolsfrom nature, asthe fittest means INDUSTRIAL ART 77 of illustrating- the life of an author whose writings teem with symbols drawnfrom the same source, and has intended to bring unity out of elaborate detail.
Text Appearing After Image:
Curtain Borders: Royal School of Art-Xecdlework. On this page we engrave two examples of Curtain Borders from theexhibition made by the Royal School of Art-Needlework. The first of these 278 THE INTERNATIONAL EXHIBITION, 1876. is an exceedingly effective piece of work. The flower-sprays are embroideredon a dark, chocolate-colored cloth, admirably suited in tone to the colors ofthe leaves and blossoms of the plant. The design, too, is a beautifully gracefulone, copying nature, but treating the subject in such a manner as to be in noway offensive to good taste. The narrowness of the border, moreover, pre-cludes the probability of the unity of the figures being destroyed by folds inthe curtain. The second design is of an entirely different character, the themebeing a succession of plant-tendrils and flowers conventionalized to such anextent and located in such a manner as to suggest the Pompeiian borderswhich are familiar to all designers. In this as in the other example, the pattern KAL

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