FAYETTEVILLE. 



451 



France led off with about two hundred oil- 

 paintingsspecimens of the great French 

 School ; nearly 40 water-color pictures ; 50 

 groups of sculpture ; and about 130 engravings, 

 lithographs, and architectural drawings. The 

 pictures selected by the Imperial Commission 

 were those painted by living artists since 1850, 

 or those painted since 1840 by deceased mas- 

 ters born after 1790. The greatest novelties 

 represented were the recent school of natural 

 landscape, and domestic subjects. There were 

 six specimens of Paul Delaroche. 



The Great German School of Painting was 

 well represented by the Zollverein, and other 

 German States. Prussia sent nearly 200 works 

 of arts, in architectural designs, oil paintings, 

 sculpture, and engravings. Berlin and Diissel- 

 dorf each sent a fine collection of paintings ; 

 and the engravings from the former city were 

 choice and numerous. 



BAVARIA sent about 40 works of art, chiefly 

 oil paintings. 



The Austrian School was represented by 

 about 80 oil paintings, 16 water-color pictures, 

 19 pieces of sculpture, and a few engravings 

 and architectural sketches. 



HOLLAND exhibited about 120 oil paintings, 

 and two engravings. 



DEN was represented by about 40 works 

 in oil paintings and sculpture. 



XORWAY sent some 50 oil paintings. 



DENMARK sent about 110 works, including 

 six groups of sculpture by Thorwaldsen, and 

 five by 3. A. Jerichau. 



RCSSIA sent more than 100 works of art ; 80 

 oil paintings, five groups of sculpture and 

 medals, three architectural sketches, and 

 seventeen engravings. The other pictures 

 were remarkable for the insight they afforded 

 into the Russian manners and ways of life, its 

 humor and character. 



BELGITM contributed the most complete dis- 

 play: about 113 oil paintings, about 26 groups 

 of sculpture and two engravings. 



SWITZERLAND sent more than 100 oil pictures, 



SPAIN was represented by 30 works, in oil- 

 painting, sculpture, and engraving. 



PORTUGAL sent only two oil paintings, five 

 photographs, and a few woodcuts. 



ITALY was characteristically represented by 

 about 40 architectural designs and 80 oil paint- 

 ings and drawings ; about 70 groups of statuary 

 and b 



ROME sent 57 pieces of sculpture ; valuable 

 cameos ; a few fine drawings many engravings ; 



a collection of medals ; and a large assemblage 

 of mosaics, including a contribution from the 

 Vatican. 



TURKEY, for the first time in the history of 

 all Exhibition, filled a place as an exhibitor of 

 pictures. 



GREECE sent two oil paintings, five groups of 

 sculpture, and engravings. 



BRAZIL contributed a few paintings, and a 

 pen-and-ink portrait of the Empress ; two carv- 

 ings in wood ; and medals and coins. 



UNITED STATES. The American fine-art 

 numbered only about a dozen pictures and en- 

 gravings, the chief of which was Mr. Cropsey's 

 Autumn on the Hudson. 



The foregoing summary has been compiled 

 entirely from English sources, and on that ac- 

 count more prominence may have been given 

 to the exhibits of England and its colonies. As 

 an Exhibition, its success has not been equal 

 to that of 1851 in fitness of the edifice, in the 

 novelty of articles exhibited, nor in its finan- 

 cial results. The structure itself, criticized by 

 rules of architectural art, or judged by its 

 general effects on all beholders, has almost uni- 

 versally been regarded as a failure. In its 

 constructive details, there has been much of 

 credit to the engineer, but little to the archi- 

 tect. In the articles exhibited, there has been 

 little of novelty or invention, but much to 

 show the progress of art, and the improve- 

 ment, especially in chemistry, in machinery, 

 in processes already known, and of tools 

 long La use. Since 1851, the production of 

 coal-tar colors has become an industry, and 

 the necessity of iron plating for war service 

 has called for a class of tools of a size never 

 before attempted. Xo new principles have 

 been evolved, but the material and excel- 

 lence of workmanship is in advance of any- 

 thing before exhibited. The immense rolled 

 and hammered iron plates, and the huge shafts 

 of steel, are products which in 1851 could 

 not have been produced, nor would have been 

 attempted. The result of the Exhibition in 

 building and in articles shown, may be sum- 

 med up as an exhibit of what may be done by 

 industry rather than by genius, and if it failed 

 in its financial results, part was perhaps due to 

 the war in our own country, part to the mana- 

 gers themselves, but more perhaps to the fre- 

 quency of such exhibitions. Once in a quarter 

 of a century should have been lapse of time brief 

 enough to reproduce in any one country the 

 Exhibition of 1851. 



F 



FAYETTEVILLE. the capital of Washing- 

 ton county, Arkansas, has an elevated and 

 picturesque situation in the northwestern part 

 of the State, about 200 miles from Little Rock. 



flourishing schools, an institute for youth, three 

 churches, a court house, and a United States 

 land office. The population was about 1,500. 

 The town was occupied by Federal troops of 



It was the centre of an active trade, and had the division of Gen. Curtis, on Feb. 18, and 



