These strictures were far from being applicable to the entire British Exhibition of this class of work. One or two notable exceptions may be quoted, such as a bookcase carved in oak, exhibited by Mr. Crace, bought by the Commissioners and added to the Kensington collections. This and a few other works "are particularly to be commended for their sound constructive treatment, and for the very judicious manner in which ornament is made subservient to it. The metal-work is also excellent, and the brass fittings of the panels of the bookcase deserve to be studied, both for the manner in which they have been put together and for their graceful lines."
Four years later, in 1855, in the Paris Exhibition, our furniture and woodwork had made a stride forward, which was still more marked in the London Exhibition of 1862. By that time, our leading houses had appreciated the necessity of obtaining talented designers and foremen, and in many instances they had employed the first architects of the day to give them drawings. The result was a great progress. While the French, indeed, continued to produce very fine pieces, some on the best models, or rather after the principles of the best periods of the Renaissance, our own cabinet makers had run far on in the same direction and in many others, for the mediæval feeling had still a strong hold on the taste of English architects and their patrons.
The greatest change, however, was that which the Paris exhibition of 1867 brought to light. Fifteen full years had passed, since public attention had been called to any careful comparison between the state of our furniture and the decorations of the interiors of our houses, with those of other countries, and the advance was incalculably greater on the part of this country than on that of the other competing nations.
It is worth remarking, that in three great comparative Exhibitions, and particularly in that of 1867, national tastes and peculiarities seemed to have been so completely pared away, that it became difficult to keep the productions of the North and West of Europe from those of the South or the East, distinct in one's mind. Each nation followed the fashion of the works that had obtained the best prizes at former Exhibitions.
