PORCELAIN AND FAIEXCE.
25
which such participation can give; and one of the grcatest of
these advantages is publicity through the reports.
It has beeil impossible to notice all that was interesting in
tliis gi'oup. Many important displays have not beeil men-
tioned, partly for reasons already giVen, and, in some cases,
from the difficulty or impossibility of obtaining any informa-
tion concerning them. In the absence of exhibitors or their
agents, and the presence of the notice,—"Visitors are not
allowed to touch the objects,”—little can be learned that is
afterwards available in a report. The reporter would here
direct the attention of exhibitors in future exhibitions to the
iniportance of preparing a conciso printed Statement of- the
chief facts concerning their proclucts, for the information of
those whose attention is specially directed to them. Such
facts and descriptions can be verified by examination, and
modified, if neecl be, to conform to the opinions of the exam-
iner. With such information at hand, the exhibitor neecl not
always be present, and will, in any case, be spared many
questions while benefiting the public as well as himself.
Some idea of the great exteut of the exhibition in the ce-
ramic department may be gained from the fact that over one
hundred and sixty awards were made. The number of ex
hibitors was of course much greater, but I have not been able
to obtain it. In the British section alone, there were thirty-
six.
II. POECELADf ASD FilEIfCE.
GREAT B RITAIN.
The ceramic productions were the most salient features of
the exhibition from the United Kingdom. They occupied
the most favored place in the grand transept, next to the
superb metal work of the Messrs. Elkington. They gave the
* most gratifying evidence of the substantial growth of the
artistic element in Britain. This aclvance, together with that
shown in the metal-work referred to, in the furuiture, carpet-
ings, and decorative art generally, may be accepted as the
result, in great part, of the efforts, sincc the Exhibition of
1851, for general art-education in Great Britain.
