The exhibition of American art at the world's fair is remarkable24 on the whole for individual expression, excellent colour and effective composition. It proves to a demonstration25 that the tendency is progressive, and that it is not too much to expect that a few decades hence this continent will produce a Corot, a Daubigny, a Bonnat, a Bouguereau or a Millais. Not the least gratifying feature of the exhibition has been the revelation to the foreign world—and probably to many Canadians as well—that there is already some artistic performance of a much higher order than was believed to exist in Canada, and that it has been adjudged worthy19 of special mention among the masterpieces that surround the paintings of our artists. This success, very moderate as it is, must stimulate Canadian painters to still greater efforts in the future, and should help to create a wider interest in their work among our own people, heretofore too indifferent to the labours of men and women, whose rewards have been small in comparison with the conscientiousness26 and earnestness they have given to the prosecution27 of their art.
The opportunities which Canadian artists have had of comparing their own work with that of the most artistic examples at the exhibition should be beneficial if they have made of them the best possible use. American and French art was particularly well represented at the exhibition, and was probably most interesting from a Canadian point of view, since our artists would naturally make comparisons with their fellow-workers on this continent, and at the same time closely study the illustrations of those French schools which now attract the greater number of students from this country, and have largely influenced—perhaps too much so at times—the later efforts of some well-known painters among us. A writer in the New York Nation has made some56 comparisons between the best works of the artists of France and the United States, which are supported by the testimony28 of critics who are able to speak with authority on the subject. The French notably excel "in seriousness of purpose and general excellence29 of work from a technical point of view, especially in the thorough knowledge of construction in both the figure and landscape pictures." On the other hand, the artists of the United States "show more diversity of aim and individuality of expression, as well as colour feeling." Some two or three Canadian artists give examples of those very qualities—especially in their landscapes—which, according to the New York critic, distinguish the illustrations of the art of the United States. As a rule, however, there is a want of individuality of expression, and of perfection of finish, in the work of Canadian artists, as even their relatively31 imperfect representation at Chicago has shown. The tendency to be imitative rather than creative is too obvious. Canadian painters show even a readiness to leave their own beautiful and varied32 scenery that they may portray33 that of other countries, and in doing so they have ceased in many cases to be original. But despite these defects, there is much hope in the general performance of Canadians even without that encouragement and sympathy which the artists of the United States have in a larger measure been able to receive in a country of greater wealth, population and intellectual culture.
Not only does the exhibition of paintings in the world's fair make one very hopeful of the future artistic development of this continent, but the beauty of the architectural design of the noble buildings which contain the treasures of art and industry, and of the decorative34 figures and groups of statuary that embellish35 these buildings and the surrounding grounds, is a remarkable illustration of the artistic genius that has produced so exquisite36 an effect in general, whatever defects there may be in minor37 details. A critic in the July number of the 'Quarterly Review,' while writing "in the presence of these lovely temples, domes38, and colonnades39 under the burning American sky which adds a light and a transparency to all it rests upon," cannot help echoing the regret that this vision of beauty is but for a season, and57 expressing the hope that some one of the American money kings "may perpetuate40 his name on marble, by restoring, on the edge of this immense capital, amid parks and waters, that great central square which, were it only built of enduring materials, would stand without a rival in modern architecture." Perhaps the fine arts in the Dominion—where sculpture would be hardly heard of were it not for the French Canadian Hébert—may themselves even gain some stimulus41 from the examples of a higher conception of artistic achievement that is shown by this exhibition to exist in a country where a spirit of materialism42 has obtained the mastery so long. Canadian architecture hitherto has not been distinguished43 for originality44 of design—much more than art it has been imitative. In Montreal and Quebec the old buildings which represent the past have no architectural beauty, however interesting they may be to the antiquarian or the historian, and however well many of them harmonize with the heights of picturesque12 Quebec. Montreal is assuredly the most interesting city from an architectural point of view in Canada, simply for the reason that its architects have, as a rule, studied that effect of solidity and simplicity45 of design most in keeping with the grand mountain and the natural scenery that give such picturesqueness to an exceptionally noble site. While we see all over Canada—from Victoria on the Pacific to Halifax on the Atlantic[64a][H]—the evidences of greater comfort, taste and wealth in our private and public buildings, while we see many elaborate specimens46 of ecclesiastical art, stately piles of legislative47 halls, excellent specimens of Gothic and Tudor art in our colleges, expensive commercial and financial structures, and even civic48 palaces, yet they are often illustrative of certain well defined and prevalent types of architecture in the eastern and western cities of the United States. It cannot be said that Canada has produced an architect of original genius like Henry Hobson Richardson, who was cut off in the commencement of his career, but not before he had given the continent some admirable specimens of architectural art, in which his study of the Romanesque was specially30 conspicuous, and probably led the way to a higher ideal which has reached some58 realization49 in the city which must too soon disappear like the fabric50 of a vision, though one can well believe that, unlike a dream, it will leave a permanent impress on the intellectual development of the people who have conceived an exhibition so creditable from a purely51 artistic point of view.

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1
dominion
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n.统治,管辖,支配权;领土,版图 | |
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2
insignificant
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adj.无关紧要的,可忽略的,无意义的 | |
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3
paltry
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adj.无价值的,微不足道的 | |
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4
annually
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adv.一年一次,每年 | |
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5
stimulate
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vt.刺激,使兴奋;激励,使…振奋 | |
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6
conspicuous
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adj.明眼的,惹人注目的;炫耀的,摆阔气的 | |
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7
dearth
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n.缺乏,粮食不足,饥谨 | |
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8
artistic
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adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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9
manly
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adj.有男子气概的;adv.男子般地,果断地 | |
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10
illustrating
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给…加插图( illustrate的现在分词 ); 说明; 表明; (用示例、图画等)说明 | |
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11
notably
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adv.值得注意地,显著地,尤其地,特别地 | |
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12
picturesque
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adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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13
picturesqueness
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14
generosity
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n.大度,慷慨,慷慨的行为 | |
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15
commodious
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adj.宽敞的;使用方便的 | |
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16
illustrate
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v.举例说明,阐明;图解,加插图 | |
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17
wondrous
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adj.令人惊奇的,奇妙的;adv.惊人地;异乎寻常地;令人惊叹地 | |
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18
faculties
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n.能力( faculty的名词复数 );全体教职员;技巧;院 | |
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19
worthy
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adj.(of)值得的,配得上的;有价值的 | |
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20
entirely
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ad.全部地,完整地;完全地,彻底地 | |
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21
destitute
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adj.缺乏的;穷困的 | |
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22
essentially
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adv.本质上,实质上,基本上 | |
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23
mere
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adj.纯粹的;仅仅,只不过 | |
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24
remarkable
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adj.显著的,异常的,非凡的,值得注意的 | |
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25
demonstration
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n.表明,示范,论证,示威 | |
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conscientiousness
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责任心 | |
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27
prosecution
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n.起诉,告发,检举,执行,经营 | |
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testimony
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n.证词;见证,证明 | |
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29
excellence
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n.优秀,杰出,(pl.)优点,美德 | |
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30
specially
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adv.特定地;特殊地;明确地 | |
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relatively
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adv.比较...地,相对地 | |
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32
varied
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adj.多样的,多变化的 | |
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33
portray
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v.描写,描述;画(人物、景象等) | |
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34
decorative
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adj.装饰的,可作装饰的 | |
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35
embellish
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v.装饰,布置;给…添加细节,润饰 | |
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36
exquisite
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adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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minor
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adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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domes
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n.圆屋顶( dome的名词复数 );像圆屋顶一样的东西;圆顶体育场 | |
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colonnades
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n.石柱廊( colonnade的名词复数 ) | |
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40
perpetuate
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v.使永存,使永记不忘 | |
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41
stimulus
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n.刺激,刺激物,促进因素,引起兴奋的事物 | |
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42
materialism
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n.[哲]唯物主义,唯物论;物质至上 | |
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43
distinguished
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adj.卓越的,杰出的,著名的 | |
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44
originality
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n.创造力,独创性;新颖 | |
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45
simplicity
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n.简单,简易;朴素;直率,单纯 | |
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46
specimens
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n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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47
legislative
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n.立法机构,立法权;adj.立法的,有立法权的 | |
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48
civic
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adj.城市的,都市的,市民的,公民的 | |
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49
realization
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n.实现;认识到,深刻了解 | |
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50
fabric
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n.织物,织品,布;构造,结构,组织 | |
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51
purely
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adv.纯粹地,完全地 | |
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