ABSTRACT
In a pre-unified Italy struggling with industrial backwardness, the formation of a Belgian national state was therefore considered an aspirational model. In both Belgium and Italy, the reform and promotion of the decorative arts began in the first half of the century, prior to independence. Another consequence of Turin's exhibition was the acceptance of Belgium's invitation to participate in its first world's fair, held in Antwerp in 1885. Through industrial, political, and diplomatic relationships as well as participation in international conferences, exhibitions, and world's fairs, Italy maintained close contact with several Belgian institutions, eager to confront economic realities and pursue reforms as effectively as possible. A pivotal point of the discussion was the potential educational and operative utility of the arts, engendering attempts to establish new artistic organizations to educate consumers and promote standards of "good taste." Organized in the picturesque park of the Valentino Castle, Turin's industry-centered exhibition was directed toward both education and entertainment.
