popularity, Kiss's spirited melodramatic group of the _Amazon and
Tiger_ threw them all into the shade. Its triumph at London was almost
as marked, and the innumerable reductions of it met with everywhere
show it to be one of the few hits of modern sculpture.

The general result of the exhibition was to encourage our
manufacturers, without giving them a great deal of food for higher
ambition; while our artists and the taste of their patrons, actual
and possible, were disappointed of the instruction they had reason to
expect, and which the ateliers of Europe will supply in fuller measure
this year.

The succeeding years present us with an epidemic of expositions, most
of them, often on the slenderest grounds, arrogating the title of
"international." The sprightly little city of Cork was one year ahead
of New York. Then came Dublin in '53, Munich in '54, Paris in '55,
Manchester in '57 (of art exclusively, and very brilliant), Florence
in '61, London again in '62, Amsterdam in '64; and in '65 the mania
had overspread the globe, that year witnessing exhibitions dubbed
"international" in Dublin, New Zealand, Oporto, Cologne and Stettin,
with perhaps some outliers we have missed. Then ensued a lull or a
mitigation till the moribund empire of France and the remodeled empire
of Austro-Hungary flared up into the magnificent demonstrations of '67
and '73. To these last we shall devote the remainder of this article,
with but a glance at the second British of 1862.

[Illustration: MANCHESTER EXHIBITION BUILDING, 1857.]

This, held upon the same ground with its forerunner of eleven years
previous, affords a better measure of progress. It developed a