T a time like the present, when Dublin presents to us under one roof a collection not simply of pictures or statues, but of artistic work in every form, the scope

and meaning of decorative art draws from us unusual attention. I address myself to lovers of art. For such the scientific side of such an exhibition will not have so great an attraction as the more artistic and agreeable. I consider that the general interest will lie in that class of objects that claims to be attractive-works of art of all kinds, or scientific productions, more or less decorative in form and character. It is not only that more general pleasure is imparted by this side of the exhibition, but it is here that the refining and humanizing influence of such a display makes itself felt. Works of art are not specimens of useful production. They are something beyond the useful;-above it, as we hope to show but at any rate, as personal beauty is an attraction superadded to personal strength and adaptation to the wants and requirements of life, so the artistic and

decorative beauty of shows like the present are evidence of national aspirations above and beyond the mere requirements of material well-being,-they express the national aim at cultivation and refinement.

Indeed, it is the artistic element that makes us thus gregarious. While we put forward the results of long and laborious thought, in order to meet some pressing mechanical want, the world will find it out fast enough. The value of scientific discoveries, especially in mechanism, is measured by the want they supply. Their exhibition to the general public is not their publication. It is what adorns our homes and cheers and delights the eye that draws us to such exhibitions as we see this year in Dublin.

And the Dublin Exhibition is singularly illustrative of this position. In comparison with the manufacturing and commercial portions of the building those devoted to painting, sculpture, and music, are very large indeed. This is art unapplied to the objects of daily or occasional use.

Immense pains have evidently been taken by Mr. Doyle and his assistants to impress this artistic character on the institution, and, as far as the modest means so disposable would allow, on the decoration of the structure itself.

The taste and elegance of the various stalls of objects not of art, but borrowing from art more or less of their attraction, have been evidently matters of inconsiderable study, the different countries vying with each other in the race, and that not only for the production, but for the better setting off of their wares.