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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


IND USTRIAL AR T.
ticular industry of immense pecuniary value. Recently, however, other nations
have entered the field in competition with the French bronzists. Germany
has
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.
COX & SON, of LONDON,
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
studio.
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
other,
resting lightly upon the lid of the closed basket, suggests the idea that
the
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
to
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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