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Smith, Walter (ed.) / The Masterpieces of the Centennial International Exhibition illustrated: industrial art
Volume 2 ([1876-78])

The international exhibition 1876. ,   pp. 3-497

Page 15

ticular industry of immense pecuniary value. Recently, however, other nations
have entered the field in competition with the French bronzists. Germany
developed some excellent talent; and more recently England, by devoting
herself just as France has so long done-gradually to training the young
workmen up from the                               is bronze-first cast in
Art School to designing               jt          a mould, and afterwards
and modeling for metal-                           finished with the chisel.
1    1  _  *~A 1  ro A                           T"   1    t   o T 1-
worK-has gained for
herself an excellent rep-
utation. Such work as
is exhibited by MESSRS.
a house whose produc-
tions are known all over
the world, could not be
produced by any but
workmen whose educa-
tion has been not only
in the workshop and
foundry, but also in the
We ask the reader
to give this work of
art-manufacture the de-
I he su DJ ect is an Indian
Snake-charmer, a class
of men frequently met
with in Asia and India
and throughout the
tropics. Observe the
ease and gracefulness
of the pose. One arm
is raised, the hand hold-
ing a wand round which
the snake is twined.
The man's head is bent
backward as he watches
the reptile, while in the
other hand he holds the
small pipe, just remov-
ed from his mouth, by
gree of attention which  Snake-Charmer: Cox & Son, London.  which he
has created
it merits. The material                            the charm.   The left
foot, placed firmly upon the ground, supports the weight of his body; the
resting lightly upon the lid of the closed basket, suggests the idea that
snake upon the wand is but one of several-the others being confined in the
basket.  The figure is in a sitting posture, and yet there is no relaxation
the muscles. We can see that the man is on the qui-vive, though the moment
chosen is one when he naturally would be perfectly motionless.  Herein lies
one of the greatest merits of the work in a purely artistic sense. To attempt
to convey a sense of motion in a statue or carving is not good art. Move-
1 5

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