INTRODUCTION.

The [map] of the routes to the Crystal Palace will enable the visitor to ascertain the shortest and least troublesome way of reaching the Palace from the various parts of the great metropolis and its environs. The railway communication is by the London and Brighton, and the West End Railways, which serve as the great main lines for the conveyance of visitors by rail from London to the Palace doors.

We will presume that the visitor has taken his railway ticket, which, for his convenience, includes admission within the Palace, and that his twenty minutes’ journey has commenced. Before he alights, and whilst his mind is still unoccupied by the wonders that are to meet his eye, we take the opportunity to relate, as briefly as we can, the History of the Crystal Palace, from the day upon which the Royal Commissioners assembled within its transparent walls to declare their great and successful mission ended, until the 10th of June, 1854, when reconstructed, and renewed and beautified in all its proportions, it again opened its wide doors to continue and confirm the good it had already effected in the nation and beyond it.

It will be remembered that the destination of the Great Exhibition building occupied much public attention towards the close of 1851, and that a universal regret prevailed at the threatened loss of a structure which had accomplished so much for the improvement of the national taste, and which was evidently capable, under intelligent direction, of effecting so very much more. A special commission even had been appointed for the purpose of reporting on the different useful purposes to which the building could be applied, and upon the cost necessary to carry them out. Further discussion on the subject, however, was rendered unnecessary by the declaration of the Home Secretary, on the 25th of March, 1852, that Government had determined not to interfere in any way with the building, which accordingly remained, according to previous agreement, in the hands of Messrs. Fox and Henderson, the builders and contractors. Notwithstanding the announcement of the Home Secretary, a last public effort towards rescuing the Crystal Palace for its original site in Hyde Park, was made by Mr. Heywood in the House of Commons, on the 29th of April. But Government again declined the responsibility of purchasing the structure, and Mr. Heywood’s motion was, by a large majority, lost.

It was at this juncture that Mr. Leech,[1] a private gentleman, conceived the idea of rescuing the edifice from destruction, and of rebuilding it on some appropriate spot, by the organisation of a private company. On communicating this view to his partner, Mr. Farquhar, he received from him a ready and cordial approval. They then submitted their project to Mr. Francis Fuller, who entering into their views, undertook and arranged, on their joint behalf, a conditional purchase from Messrs. Fox and Henderson, of the Palace as it stood. In the belief that a building, so destined, would, if erected on a metropolitan line of railway, greatly conduce to the interests of the line, and that communication by railway was essential for the conveyance thither of great masses from London, Mr. Farquhar next suggested to Mr. Leo Schuster, a Director of the Brighton Railway, that a site for the new Palace should be selected on the Brighton line. Mr. Schuster, highly approving of the conception, obtained the hearty concurrence of Mr. Laing, the Chairman of the Brighton Board, and of his brother Directors, for aiding as far as possible in the prosecution of the work. And, accordingly, these five gentlemen, and their immediate friends determined forthwith to complete the purchase of the building. On the 24th of May, 1852, the purchase-money was paid, and a few English gentlemen became the owners of the Crystal Palace of 1851. Their names follow:—

Original Purchasers of the Building.

Mr. T. N. Farquhar,Mr. Joseph Leech,
Mr. Francis Fuller,Mr. J. C. Morice,
Mr. Robert Gill,Mr. Scott Russell,
Mr. Harman Grisewood,Mr. Leo Schuster,
Mr. Samuel Laing.

[1] Of the firm of Johnston, Farquhar, and Leech, Solicitors.

It will hardly be supposed that these gentlemen had proceeded thus far without having distinctly considered the final destination of their purchase. They decided that the building—the first wonderful example of a new style of architecture—should rise again greatly enhanced in grandeur and beauty; that it should form a Palace for the multitude, where, at all times, protected from the inclement varieties of our climate, healthful exercise and wholesome recreation should be easily attainable. To raise the enjoyments and amusements of the English people, and especially to afford to the inhabitants of London, in wholesome country air, amidst the beauties of nature, the elevating treasures of art, and the instructive marvels of science, an accessible and inexpensive substitute for the injurious and debasing amusements of a crowded metropolis;—to blend for them instruction with pleasure, to educate them by the eye, to quicken and purify their taste by the habit of recognising the beautiful;—to place them amidst the trees, flowers, and plants of all countries and of all climates, and to attract them to the study of the natural sciences, by displaying their most interesting examples;—and making known all the achievements of modern industry, and the marvels of mechanical manufactures;—such were some of the original intentions of the first promoters of this national undertaking.

Having decided upon their general design, and upon the scale on which it should be executed, the Directors next proceeded to select the officers to whom the carrying out of the work should be entrusted. Sir Joseph Paxton, the inventive architect of the great building in Hyde Park,was requested to accept the office of Director of the Winter Garden, Park, and Conservatory, an office of which the duties became subsequently much more onerous and extensive than the title implies. Mr. Owen Jones and Mr. Digby Wyatt, who had distinguished themselves by their labours in the old Crystal Palace, accepted the duties of Directors of the Fine Art Department, and of the decorations of the new structure. Mr. Charles Wild, the engineer of the old building, filled the same office in the new one. Mr. Grove, the secretary of the Society of Arts, the parent institution of the Exhibition of 1851, was appointed Secretary. Mr. Samuel Phillips was made Director of the Literary Department. Mr. Francis Fuller, a member of the Hyde Park Executive Committee, accepted the duties of Managing Director, Mr. Samuel Laing, M.P., the chairman of the Brighton Railway Company, became Chairman also of the New Crystal Palace, and Messrs. Fox and Henderson undertook the re-erection of the building.

With these arrangements, a Company was formed, under the name of the Crystal Palace Company, and a prospectus issued, announcing the proposed capital of £500,000, in one hundred thousand shares of £5 each. The following gentlemen constituted the Board of Directors:—

Samuel Laing, Esq., M.P., Chairman.
Arthur Anderson, Esq.Charles Geach, Esq., M.P.
E. S. P. Calvert, Esq.Charles Lushington, Esq.
T. N. Farquhar, Esq.J. Scott Russell, Esq., F.R.S.
Francis Fuller, Esq., Managing Director.

The present Board is constituted as follows:—

T. N. Farquhar, Esq., Chairman.
Arthur Anderson, Esq.James Low, Esq.
Samuel Beale, Esq., M.P.David Ogilvy, Esq.
Henry Sanford Bicknell, Esq.David Price, Esq.
George England, Esq.Henry Danby Seymour, Esq., M.P.
Charles Horsley, Esq.Captain Edward Walter.
A. C. Ionides, Esq.
Mr. P. K. Bowley is the present General Manager.

It will ever be mentioned to the credit of the English people, that within a fortnight after the issue of the Company’s prospectus the shares were taken up to an extent that gave the Directors ample encouragement to proceed vigorously with their novel and gigantic undertaking.

In the prospectus it was proposed to transfer the building to Sydenham, in Kent, and the site chosen was an irregular parallelogram of three hundred acres,[2] extending from the Brighton Railway to the road which forms the boundary of the Dulwich Wood at the top of the hill, the fall from which to the railway is two hundred feet. It was at once felt that the summit of this hill was the only position, in all the ground, for the great glass building: a position which, on the one side, commands a beautiful view of the fine counties of Surrey and Kent, and on the other a prospect of the great metropolis. This site was chosen, and we doubt whether a finer is to be found so close to London, and so easy of access by means of railway. To facilitate the conveyance of passengers, the Brighton Railway Company—under special and mutually advantageous arrangements—undertook to lay down a new line of rails between London and Sydenham, to construct a branch from the Sydenham station to the Crystal Palace garden, and to build a number of engines sufficiently powerful to draw heavy trains up the steep incline to the Palace.

[2] A portion of this land, not required for the purposes of the Palace, has been disposed of.

And now the plans were put into practical and working shape. The building was to gain in strength and artistic effect, whilst the contents of the mighty structure were to be most varied. Art was to be worthily represented by Architecture and Sculpture. Architectural restorations were to be made, and Architectural specimens from the most remarkable edifices throughout the world, to be collected, in order to present a grand architectural sequence from the earliest dawn of the art down to the latest times. Casts of the most celebrated works of Sculpture were to be procured: so that within the glass walls might be seen a vast historical gallery of this branch of art, from the time of the ancient Egyptians to our own era. Nature, also, was to put forth her beauty throughout the Palace and Grounds. A magnificent collection of plants of every land was to adorn the glass structure within, whilst in the gardens the fountains of Versailles were to be outrivalled, and Englishmen at length enabled to witness the water displays which for years had proved a source of pleasure and recreation to foreigners in their own countries. Nor was this all. All those sciences, an acquaintance with which is attainable through the medium of the eye, were allotted their specific place, and Geology, Ethnology, and Zoology were taken as best susceptible of illustration; Professor Edward Forbes, Dr. Latham, Professor Ansted, Mr. Waterhouse, Mr. Gould, and other gentlemen well known in the scientific world, undertaking to secure the material basis upon which the intellectual service was to be grounded. To prevent the monotony that attaches to a mere museum arrangement, in which glass cases are ordinarily the most prominent features, the whole of the collected objects, whether of science, art, or nature, were to be arranged in picturesque groupings, and harmony was to reign throughout. To give weight to their proceedings, and to secure lasting advantage to the public, a charter was granted by Lord Derby’s Government on the 28th of January, 1853, binding the Directors and their successors to preserve the high moral and social tone which, from the outset, they had assumed for their National Institution.

The building paid for, the officers retained, the plans put on paper—Messrs. Fox and Henderson received instructions to convey the Palace to its destined home at Sydenham, and the work of removal now commenced. The first column of the new structure was raised by Mr. Laing, M.P., the Chairman of the Company, on the 5th August, 1852; the works were at once proceeded with, and the most active and strenuous efforts thenceforth made towards the completion of the undertaking. Shortly after the erection of the first column, Messrs. Owen Jones and Digby Wyatt were charged with a mission to the Continent, in order to procure examples of the principal works of art in Europe. They were fortified by Lord Malmesbury, then Secretary of State, with letters to the several ambassadors on their route, expressing the sympathy of the Government in the object of their travels, and backed by the liberal purse of the Company, who required, for themselves, only that the collection should prove worthy of the nation for which they were caterers.

The travellers first of all visited Paris, and received the most cordial co-operation of the Government, and of the authorities at the Museum of the Louvre, and the Ecole des Beaux Arts. The permission to obtain casts of any objects which could with safety be taken was at once accorded them. From Paris they proceeded to Italy, and thence to Germany, in both which countries they experienced, generally, a ready and generous compliance with their wishes. At Munich they received especial attention, and were most kindly assisted by the British Ambassador, and the architect Baron von Klenze, through whose instrumentality and influence King Louis permitted casts of the most choice objects in the Glyptothek for the first time to be taken.

The chief exceptions to the general courtesy were at Rome, Padua, and Vienna. At the first-named city every arrangement had been made for procuring casts of the great Obelisk of the Lateran, the celebrated antique equestrian statue of Marcus Aurelius on the Capitol, the beautiful monuments by Andrea Sansovino in the Church of S. M. del Popolo, the interesting bas-reliefs from the Arch of Titus, and other works, when an order from the Papal Government forbade the copies to be taken: and, accordingly, for the present, our collection, as regards these valuable subjects, is incomplete.

At Padua contracts had been made for procuring that masterpiece of Renaissance art, the candelabrum of Riccio, the entire series of bronzes by Donatello, and several other important works in the Church of St. Anthony; but, in spite of numerous appeals, aided by the influence of Cardinal Wiseman, the capitular authorities refused their consent.

At Vienna agreements had been entered into for procuring a most important series of monuments from the Church of St Stephen, in that city; including the celebrated stone pulpit, and the monument of Frederic III. A contract had also been made for obtaining a cast of the grand bronze statue of Victory, at Brescia; but although the influence of Lord Malmesbury and Lord Westmoreland (our ambassador at Vienna) was most actively exerted, permission was absolutely refused by the Austrian authorities in Lombardy, as well as in Vienna itself. Thus much it is necessary to state in order to justify the Directors of the Crystal Palace in the eyes of the world for omissions in their collection which hitherto they have not had power to make good. They are not without hope, however, that the mere announcement of these deficiencies will be sufficient to induce the several Governments to take a kindly view of the requests that have been made to them, and to participate in the satisfaction that follows every endeavour to advance human enjoyment.

In England, wherever application has been made, permission—with one exception—has been immediately granted by the authorities, whether ecclesiastical or civil, to take casts of any monuments required. The one interesting exception deserves a special record. The churchwardens of Beverley Minster, Yorkshire, enjoy the privilege of being able to refuse a cast of the celebrated Percy Shrine, the most complete example of purely English art in our country; and in spite of the protestations of the Archbishop of York, the Duke of Northumberland, Archdeacon Wilberforce, Sir Charles Barry and others, half the churchwardens in question insist, to this hour, upon their right to have their enjoyment without molestation. The visitors to the Crystal Palace cannot therefore, as yet, see the Percy Shrine.

Whilst Messrs. Jones and Wyatt were busy abroad, the authorities were no less occupied at home. Sir Joseph Paxton commenced operations by securing for the Company the extensive and celebrated collection of palms and other plants, brought together with the labour of a century, by Messrs. Loddiges, of Hackney. The valuable assistance of Mr. Fergusson and Mr. Layard, M.P., was obtained for the erection of a Court to illustrate the architecture of the long-buried buildings of Assyria; and a large space in the Gardens was devoted to illustrating the Geology of the antediluvian period, and exhibiting specimens of the gigantic animals living before the flood.

As soon as the glass structure was sufficiently advanced, the valuable productions of art which Messrs. Jones and Wyatt had acquired abroad rapidly arrived, and being received into the building, the erection of the Fine Art Courts commenced. To carry out these works, artisans of almost every continental nation, together with workmen of our own country, were employed; and it is worthy of note, that although, but a few years before, many of the nations to which these men belonged were engaged in deadly warfare against each other, and some of them opposed to our own country, yet, in the Crystal Palace, these workmen laboured for months, side by side, with the utmost good feeling, and without the least display of national jealousy.

To the whole of these workmen, foreigners and English, engaged in the Crystal Palace, the Directors are anxious to express their obligations and sincere acknowledgments. They recognise the value of their labours, and are fully aware that, if to the minds of a Few the public are indebted for the conception of the grand Idea now happily realised, to the Many we owe its practical existence. Throughout the long and arduous toil, they exhibited—allowance being made for some slight and perhaps unavoidable differences—an amount of zeal, steadiness, and intelligence which does honour to them, and to the several nations which they represent. To all—their due! If the creations of the mind stand paramount in our estimation, let appropriate honour be rendered to the skill of hand and eye, which alone can give vitality and form to our noblest conceptions. Of the advantages attendant on the erection of the Crystal Palace, even before the public were admitted to view its contents, none was more striking than the education it afforded to those who took part in its production. For the first time in England, hundreds of men received practical instruction—in a national Fine Art School—from which society must derive a lasting benefit. It is not too much to hope that each man will act as a missionary of art and ornamental industry, in whatever quarter his improved faculties may hereafter be required.

At one time during the progress of the works as many as 6,400 men were engaged in carrying out the designs of the Directors. Besides the labours already mentioned, Mr. B. Waterhouse Hawkins, in due time, took possession of a building in the grounds, and was soon busily employed, under the eye of Professor Owen, in the reproduction of those animal creations of a past age, our acquaintance with which has hitherto been confined to fossil remains. Dr. Latham was engaged in designing and giving instructions for the modelling of figures to illustrate the Ethnological department, whilst Mr. Waterhouse and Mr. Gould, aided by Mr. Thomson, as superintendent, and Mr. Bartlett, as taxidermist, were collecting and grouping valuable specimens of birds and animals to represent the science of Zoology. Towards the exhibition of the articles of industry, six architects were commissioned to erect special courts for the reception of the principal manufactures, and agents were employed in various parts of England to receive the applications of intending exhibitors.

Such are a few of the operations that for the first few months went forward in, and in respect of, the Crystal Palace; and, excepting by those whose business it was to watch the progress of the works, no adequate idea can be formed of the busy activity that prevailed within the building and without, or of the marvellous manner in which the various parts of the structure seemed to grow under the hands of the workmen, until it assumed the exquisite proportions which it now possesses. It remains to state that, whereas the parent edifice in Hyde Park rose under the eye and direction of Sir Charles Fox, the present building was constructed under the superintendence of Sir Charles’s partner, the late Mr. Henderson, aided throughout his long and arduous labours by Mr. Cochrane, his intelligent and indefatigable assistant. Mr. William Earee has been the Company’s Clerk of the Works from the raising of the first column, and still occupies that position.

Her Majesty and his Royal Highness the Prince Consort have been, from the first, graciously pleased to express their warmest sympathy with the undertaking, and visited the Palace several times during the progress of the works. In honouring the inauguration of the Palace with her royal presence, her Majesty gave the best proof of the interest she takes in an institution which—like the great structure originated by her Royal Consort—has for its chief object the advancement of civilisation and the welfare of her subjects.[3]

[3] The Queen’s apartments in the Crystal Palace, destined for the reception of her Majesty and his Royal Highness the Prince Consort, when they honour the Exhibition with their presence, have been erected by Messrs. J. G. Crace and Co., in the Italian style. This beautiful suite of apartments, which are placed at the north end of the building, consists of a large entrance vestibule with architectural ornaments, and painted arabesque decorations. A long corridor leads from the vestibule to the several apartments, and is formed into an arched passage by means of circular-headed doorways, before which hang portières, or curtains. To the right of the entrance are two rooms, one appropriated to the ladies-in-waiting, and the other to the equerries; the walls of both being divided into panels, and decorated in the Italian style. On the left are the apartments for the use of her Majesty and the Prince Consort, consisting of a drawing-room and two retiring rooms. The walls of the drawing-room are divided by pilasters, the panels covered with green silk. The cove of the ceiling is decorated with arabesque ornaments.

ACCOUNT OF THE BUILDING.

In taking the structure of the Great Exhibition of 1851—that type of a class of architecture which may fairly be called “Modern English”[4]—as the model for the new building at Sydenham, the projectors found it necessary to make such modifications and improvements as were suggested by the difference between a temporary receiving-house for the world’s industrial wealth, and a permanent Palace of Art and Education, intended for the use of mankind long after its original founders should have passed away. Not only, however, have increased strength and durability been considered, but beauty and artistic effect have come in for a due share of attention. The difference of general aspect between the present Palace and its predecessor is visible at a glance. In the parent edifice, the external appearance, although grand, was monotonous; the long flat roof was broken by only one transept, and the want of an elevation proportionate to the great length of the building was certainly displeasing. In the Sydenham Palace, an arched roof covers the nave—raising it forty-four feet higher than the nave in Hyde Park—and three transepts are introduced into the structure instead of one, the central transept towering into the air, and forming a hall to the Palace of surpassing brilliancy and lightness. A further improvement is the formation of recesses, twenty-four feet deep, in the garden fronts of all the transepts. These throw fine shadows, and take away from the continuous surface of plain glass walls: whilst the whole general arrangement of the exterior—the roofs of the side aisles rising step-like to the circular roof of the nave,—the interposition of low square towers at the junction of the nave and transepts,—the open galleries towards the garden front, the long wings stretching forth on either side—produce a play of light and shade, and break the building into parts, which, without in any way detracting from the grandeur and simplicity of the whole construction, or causing the parts themselves to appear mean or small, present a variety of surface that charms and fully satisfies the eye.

[4] We do not know any name more suitable to express the character of this iron and glass building than that which we have chosen. In Gothic architecture we have named one style “Early English,” and we think we may with equal propriety confer the title of “Modern English” upon the new order, which is essentially the creation of the nineteenth century, and which served to house one of the greatest national displays that England ever attempted—The Great Exhibition of 1851. The erection of the building both of 1851 and of 1854, it may be well to remark, is mainly due to the rapid advances made in this country in the manufactures of glass and iron, substances which with only moderate attention will defy the effects of time. The present structure is capable of enduring longer than the oldest marble or stone architectural monuments of antiquity. The iron, which forms its skeleton or framework, becomes, when painted, the most indestructible of materials, and the entire covering of glass may be renewed again and again without in any way interfering with the construction which it covers.

OPEN GALLERY TOWARDS THE GARDEN FRONT.

Unity in architecture is one of the most requisite and agreeable of its qualities: and certainly no building possesses it in a greater degree than the Crystal Palace. Its design is most simple: one portion corresponds with another; there is no introduction of needless ornament: a simplicity of treatment reigns throughout. Nor is this unity confined to the building. It characterises the contents of the glass structure, and prevails in the grounds. All the component parts of the Exhibition blend, yet all are distinct: and the effect of the admirable and harmonious arrangement is, that all confusion in the vast establishment, within and without, is avoided. “The mighty maze” has not only its plan, but a plan of the most lucid and instructive kind, and the visitor is enabled to examine every court, whether artistic or industrial; every object, whether of nature or of art, in regular order; so that, as in a well-arranged book, he may proceed from subject to subject at his discretion, and derive useful information without the trouble and vexation of working his way through a labyrinth.

All the materials employed in the Exhibition of 1851, with the exception of the glass on the whole roof, and the framing of the transept-roof, have been used in the construction of the Crystal Palace. The general principle of construction, therefore, is identical in the two buildings. The modifications that have taken place, and the reasons that have led to them, have already been stated. Two difficulties, however, which were unknown in Hyde Park, had to be provided against at Sydenham: viz., the loose nature of the soil, and the sloping character of the ground. Means were taken to overcome these difficulties at the very outset of the work. The disadvantage of soil was repaired by the introduction of masses of concrete and brickwork under each column, in order to secure breadth of base and stability of structure. The slanting ground was seized by Sir Joseph Paxton with his usual sagacity, in order to be converted from an obstacle into a positive advantage. The ground ran rapidly down towards the garden, and Sir Joseph accordingly constructed a lower or basement story towards the garden front, by means of which not only increased space was gained, but a higher elevation secured to the whole building, and the noblest possible view. The lower story is sufficiently large to serve as a department for the exhibition of Machinery in Motion, and a very interesting exhibition of Agricultural Implements, which important branches of science and human industry will thus be contemplated apart from other objects. Behind this space, towards the interior of the building, is a capacious horizontal brick shaft, twenty-four feet wide, extending the whole length of the building, and denominated “Sir Joseph Paxton’s Tunnel” ([A]). Leading out of this tunnel are the furnaces and boilers connected with the heating apparatus, together with brick recesses for the stowage of coke. The tunnel itself is connected with the railway, and is used as a roadway for bringing into, and taking from, the Palace all objects of art and of industry; an arrangement that leaves the main floor of the building independent of all such operations. Behind the tunnel, and towards the west, the declivity of the ground is met by means of brick piers of the heights necessary to raise the foundation pieces of the columns to the level at which they rest on the summit of the hill.

The building consists, above the basement floor, of a grand central nave, two side aisles, two main galleries, three transepts, and two wings. It will be remembered, that in Hyde Park an imposing effect was secured by the mere repetition of a column and a girder, which, although striking and simple, was certainly monotonous; and, moreover, in consequence of the great length of the building, the columns and girders succeeded one another so rapidly that the eye had no means of measuring the actual length. At Sydenham, pairs of columns and girders are advanced eight feet into the nave at every seventy-two feet, thus breaking the uniform straight line, and enabling the eye to measure and appreciate the distance.

The building above the level of the floor is entirely of iron and glass, with the exception of a portion at the west front, which is panelled with wood. The whole length of the main building is 1,608 feet, and the wings 574 feet each, making a length of 2,756 feet, which with the 720 feet in the colonnade, leading from the railway station to the wings, gives a total length of 3,476 feet; or nearly three-quarters of a mile of ground covered with a transparent roof of glass.

Visitors are fond of reverting to the old building in Hyde Park, and of comparing it with the present structure; in order to help the comparison, we furnish, side by side, the exact measurements of the two buildings; from which it will be seen that either building exceeds the other, in some of its proportions.

CRYSTAL PALACE AT SYDENHAM.EXHIBITION BUILDING IN HYDE PARK.
ft.in. ft.in.
Length1,6080Length1,8480
Greatest width3840Greatest width4560
General width3120General width4080
Area, including wings603,0720Area798,9120
Height of nave from ground-floor1103Height of nave from ground-floor640
Height of transept from ground-floor1743Height of central transept from ground-floor1022
Height of central transept from basement19710
Area of galleries261,5680Area of galleries233,8560

Though not exactly in the direction of the cardinal points, the two ends of the building are generally called north and south, and the two fronts east and west.

The floor consists of boarding one inch and a half thick, laid as in the old building, with half-inch openings between them, and resting on joists, placed two feet apart, seven inches by two and a half inches thick. These joists are carried on sleepers and props eight feet apart. The girders which support the galleries and the roof-work, and carry the brick arches over the basement-floor, are of cast-iron, and are 24 feet in length. The connections between the girders and columns are applied in the same manner as in the building of 1851. The principle of connection was originally condemned by some men of standing in the scientific world; but experience has proved it to be sound and admirable in every respect. The mode of connection is not merely that of resting the girders on the columns in order to support the roofs and galleries, but the top and bottom of each girder are firmly secured to each of the columns, so that the girder preserves the perpendicularity of the column, and secures lateral stiffness to the entire edifice. Throughout the building the visitor will notice, at certain intervals, diagonally placed, rods connected at the crossing, and uniting column with column. These are the diagonal bracings, or the rods provided to resist the action of the wind: they are strong enough to resist any strain that can be brought to bear against them, and are fitted with screwed connections and couplings, so that they can be adjusted with the greatest accuracy. The roof, from end to end, is on the Paxton ridge-and-furrow system, and the glass employed in the roof is 1⁄13 of an inch in thickness (21 oz. per foot). The discharge of the rain-water is effected by gutters, from which the water is conveyed down the inside of the columns, at the base of which are the necessary outlets leading to the main drains of the building. The first gallery is gained from the ground-floor by means of flights of stairs about 23 feet high; eight such flights being distributed over the building. This gallery is 24 feet wide, and devoted to the exhibition of articles of industry. The upper gallery is 8 feet wide, extending, like the other, round the building; it is gained from the lower gallery, by spiral staircases, of which there are eight. The greater number of these staircases are divided into two flights, each flight being 20 feet high; but in the centre transept the two staircases contain four flights of the same altitude. Round this upper gallery, at the very summit of the nave and transepts, as well as round the ground-floor of the building, are placed louvres, or ventilators, made of galvanised iron. By the opening or closing of these louvres—a service readily performed—the temperature of the Crystal Palace is so regulated that on the hottest day of summer, the dry parching heat mounts to the roof to be dismissed, whilst a pure and invigorating supply is introduced at the floor in its place, giving new life to the thirsty plant and fresh vigour to man. The coolness thus obtained within the Palace will be sought in vain on such a summer’s day outside the edifice.

The total length of columns employed in the construction of the main buildings and wings would extend, if laid in a straight line, to a distance of sixteen miles and a quarter. The total weight of iron used in the main building and wings amounts to 9,641 tons, 17 cwt., 1 quarter. The superficial quantity of glass used is 25 acres; and weighs 500 tons; if the panes were laid side by side, they would extend to a distance of 48 miles; if end to end, to the almost incredible length of 242 miles. To complete our statistics, we have further to add that the quantity of bolts and rivets distributed over the main structure and wings weighs 175 tons, 1 cwt., 1 quarter; that the nails hammered into the Palace increase its weight by 103 tons, 6 cwt., and that the amount of brick-work in the main building and wings is 15,391 cubic yards.

From the end of the south wing to the Crystal Palace Railway station, as above indicated, is a colonnade 720 feet long, 17 feet wide, and 18 feet high. It possesses a superficial area of 15,500 feet, and the quantity of iron employed in this covered passage is 60 tons; of glass 30,000 superficial feet.

But vast as are the proportions of the Crystal Palace, novel and scientific as is the principle of construction, we are in some degree prepared for this magnificent result of intellect and industry by the Great Exhibition of 1851. One arrangement, however, in the present structure admits of no comparison; for, in point of extent, it leaves all former efforts in the same direction far behind, and stands by itself unrivalled. We refer to the process of warming the atmosphere in the enormous Glass Palace to the mild and genial heat of Madeira, throughout our cold and damp English winter.

The employment of hot water as a medium for heating apartments seems to have been first hinted at in the year 1594, by Sir Hugh Platt, who, in a work entitled “The Jewel House of Art and Nature,” published in that year, suggests the use of hot water as a safe means of drying gunpowder, and likewise recommends it for heating a plant-house. In 1716, Sir Martin Triewald, of Newcastle-on-Tyne, proposed a scheme for heating a green-house by hot water; and a Frenchman, M. Bonnemain, a short time afterwards invented an apparatus for hatching chickens by the same means. In the early part of this century Sir Martin Triewald’s plan of heating was applied to conservatories, at St. Petersburgh; and a few years later, Bonnemain’s arrangement was introduced into England, where it has undergone several improvements, and occupied the attention of scientific men. The application of hot water to the heating of churches, public libraries, and other buildings, has been attended with considerable success, and it is now looked upon as the safest, as well as one of the most effectual artificial methods of heating.

The simple plan of heating by hot water is that which Sir Joseph Paxton has adopted for the Crystal Palace. But simple as the method undoubtedly is, its adaptation to the purposes of the Palace has cost infinite labour and anxious consideration: for hitherto it has remained an unsolved problem how far, and in what quantity, water could be made to travel through pipes—flowing and returning by means of the propulsion of heat from the boilers. At Chatsworth, the seat of the Duke of Devonshire, the principle has been carried out on a large scale, and the experiment there tried has yielded data and proof: but in the present building, a greater extent of piping has been attached to the boilers than was ever before known, or even contemplated. In order to give the visitor some idea of the magnitude of the operation in question, it will be sufficient to state that the pipes for the conveyance of the hot water, laid under the floor of the main building, and around the wings, would, if placed in a straight line, and taken at an average circumference of 12 inches, stretch to a distance of more than 50 miles, and that the water in flowing from and returning to the boilers, travels one mile and three-quarters. But even with these extraordinary results obtained, the question as to the distance to which water can be propelled by means of heat is far from being definitely settled. Indeed, Sir Joseph Paxton and Mr. Henderson invented an ingenious contrivance, by means of which, should it ever be required, a much larger heating surface may be called forth at any time in any particular portion of the building.

The general arrangement of the Heating Apparatus may be described as follows:—Nearly twenty-four feet below the surface of the flooring of the main building, and leading out of “Sir Joseph Paxton’s Tunnel” (the name given to the roadway in the basement story, extending the whole length of the building on the side nearest the Gardens), are placed, at certain intervals, boiler-houses, each containing two boilers capable of holding 11,000 gallons of water. The boilers are twenty-two in number, and are set in pairs. In addition to these, a boiler is placed at the north end of the building, on account of the increased heat there required for the tropical plants. There are also two boilers set in the lower stories of each wing, and two small boilers are appropriated to the water in the fountain basins at each end of the building, which contain Victoria Regias and other aquatic plants of tropical climes. Four pipes are immediately connected with each boiler; two of such pipes convey the water from the boiler, and the other two bring it back; they are called the main pipes, and are nine inches in diameter.

Of the two pipes that convey the water from the boiler, one crosses the building transversely—from the garden-front to the opposite side. Connected with this pipe, at certain distances, and in allotted numbers, are smaller pipes, five inches in diameter, laid horizontally, and immediately beneath the flooring of the building. These convey the water from the main pipe to certain required distances, and then bring it back to the return main pipe, through which it flows into the boiler. The second main pipe conveys the water for heating the front of the building next to the Garden; and connected with this, as with the other main pipe, are smaller pipes through which the water ramifies, and then, in like manner, is returned to the boiler. Thus, then, by the mere propulsion of heat, a vast quantity of water is kept in constant motion throughout the Palace, continually flowing and returning, and giving out warmth that makes its way upwards, and disseminates a genial atmosphere in every part.

To ensure pure circulation throughout the winter, ventilators have been introduced direct from the main building into each furnace, where the air, so brought, being consumed by the fire, the atmosphere in the Palace is continually renewed.

GROUND PLAN OF THE CRYSTAL PALACE.

[Large ground plan.]

REFERENCES

N.B. The numbers indicate those of the Flower Borders

PART II.

THE INTERIOR.

Note.—The following Guide conducts the visitor up the Colonnade from the Railway Station, through the South Wing into the building. Passing through the nearest section of the Natural History Illustrations, he proceeds direct to the front of the Screen of the Kings and Queens of England, from whence he walks up the Nave to the Great Central Transept, and then commences the series of Fine Arts Courts with the Egyptian Court, continuing it with the Greek Court, the Roman Court, and, through the division for the Tropical End, the Alhambra Court, and the Assyrian Court. Then crossing this end of the building, he continues the series of Courts on the other side with the Byzantine Court, the German Mediæval Court, the English Mediæval Court, the French and Italian Mediæval Court, the Renaissance Court, the Elizabethan Court, the Italian Court, and the Italian Vestibule. The Court of Monuments of Art is next, from which the visitor crosses the Central Transept to the west, and explores the Stationery Court and the adjacent departments, then the Birmingham Court, the Sheffield Court, and the Pompeian House, from which he crosses the South Transept, and enters the Natural History Department, having inspected which, he returns up the building on the other side, through the Foreign Glass Manufactures Court, the British Porcelain Manufactures Court, the Ceramic Court, and the Court of Fancy Manufactures. Returning then to the Screen of the Kings and Queens of England, the visitor examines the collections of the Nave, the South Transept, the Great Central Transept, the North Transept, and the Tropical End of the Building. The Botany of the Palace is then described. The Main and Upper Galleries, in which will be found the Picture Gallery, the Naval Museum, the Engineering Models, the Indian Court, the Industrial Museum and Technological Collection, and the Industrial Exhibition (described in the Exhibitors’ Descriptive Catalogue, [page 175]), should be next visited; and, after them, the Agricultural Machinery, and the Machinery in Motion, which are exhibited in the basement story next the Gardens: the basement is reached by descending the stairs from either of the Transepts.

THE CRYSTAL PALACE.

THE ENTRANCE.

The Crystal Palace Railway from London Bridge, and the West End Railway from Pimlico, unite at the Station, in the grounds of the Crystal Palace. The Station is connected with the South Wing of the building by a glass-covered colonnade, along which is planted a brilliant array of flowering plants, whilst luxuriant creeping plants adorn the wall. The Fine Art Courts commence with the Egyptian Court, at the Central Transept, from whence the sequence is continued round the northern portion of the Nave. The Central Transept then will be the proper starting-point. When the weather is fine, the visitor may cross the gardens from the Railway Station direct to the central entrance on the upper terrace. We assume that he proceeds by the more usual way of the Colonnade, through the South Wing, until he attains the floor of the main building. He then passes through the Natural History illustrations which are nearest, and which he will examine hereafter; and, keeping to this, the south end of the Palace, proceeds towards the centre of the Nave, taking his stand opposite the Screen of the Kings and Queens of England, which bounds the long Nave at this end. From this point an unrivalled general view is obtained of the interior of the building. In the foreground is the Crystal Fountain, which adorned the Palace in Hyde Park, but here elevated in its proportions and improved. It is surrounded by a sheet of water, at each end of which float the gigantic leaves of the Victoria Regia, the intermediate space being occupied by various aquatic plants,—the Nymphæa Devoniensis, the Nymphæa cærulea, the Nymphæa dentata, and the Nelumbium speciosum, or sacred bean of the Pythagoreans, being conspicuous, with many others, beautiful, rare, or curious. The basin is also encircled with rich flowers. On either side of the Nave the plants of almost every clime wave their foliage, forming a mass of cool, pleasant colour, admirably harmonising with the surrounding tints, and also acting as a most effective background to relieve the white statues, which are picturesquely grouped along the Nave; at the back of these are the façades of the various Industrial and Fine Art Courts, whose bright colouring gives additional brilliancy to the interior, whilst the aërial blue tint of the arched roof above considerably increases the effect of the whole composition, having the effect of an opal vault. Towards evening the interior of the Palace appears like a vocal grove, the visitor hearing with delight the beautiful note of the nightingale, together with that of blackbirds, thrushes, wrens, and robin-redbreasts, which build and make a perpetual home of this magnificent covered garden.

VIEW OF PALACE FROM SECOND TERRACE.

Let the visitor now proceed up the building until he arrives at the Central Transept, at which point he will be enabled to judge of the vastness of the hall in the midst of which he stands, and of the whole structure of which the transept forms so noble and conspicuous a part.

INTRODUCTION TO THE FINE ARTS COURTS.

In order the better to appreciate the arrangement of those restorations through which we now propose to conduct the visitor, a few words explanatory of the object which they are intended to serve may prove of use.

One of the most important objects of the Crystal Palace is to teach a great practical lesson in Art. Specimens of the various phases through which the arts of Architecture and Sculpture have passed, are here collected, commencing from the earliest known period down to modern times, or from the remote ages of Egyptian civilisation to the sixteenth century after Christ—a period of more than three thousand years.

Perhaps no subject, with the exception of the literature of departed nations, affords more interest to the mind of man, than these visible proofs of the different states of society throughout the world’s history; and nothing better aids us in realising the people and customs of the past, than the wonderful monuments happily preserved from the destructive hand of Time, and now restored to something of their original splendour by the patient and laborious researches of modern times; and, we may add (not without some pride), by the enterprising liberality of Englishmen.

Nor is it the least extraordinary fact, in this view of progress, that the building itself, which contains these valuable monuments of past ages, is essentially different from every preceding style, uniting perfect strength with aërial lightness, and as easy of erection as it is capable of endurance. Thus then, beneath one roof, may the visitor trace the course of art from centuries long anterior to Christianity, down to the very moment in which he lives, and obtain by this means an idea of the successive states of civilisation which from time to time have arisen in the world, flourishing for a greater or less period, until overturned by the aggressions of barbarians, or the no less destructive agency of a sensual and degraded luxury. Sculpture, the sister art of architecture, has also been worthily illustrated. Vainly, in any part of the world, will be sought a similar collection, by means of which the progress of that beautiful art can be regularly traced.

The statues will generally be found as much as possible in or near the Architectural Courts of the periods and countries to which they belong, so that the eye may track the intellectual stream as it flows on, now rising to the highest point of beauty, and now sinking to the lowest depths of degradation. The visitor is invited to proceed with us on this world-wide tour of inspection, but he must bear in mind that our present task is to show him how to examine the Building itself, with its contents, and not to describe them, except by briefly pointing out the most remarkable objects that encounter him on his way. For detailed and valuable information the visitor is referred to the excellent Handbooks of the respective Courts, all of which describe with minuteness not only their contents, but every needful circumstance in connection with their history. The point from which we start is the Central Transept. Proceeding northwards, up the Nave, the visitor turns immediately to the left and finds himself in front of

THE EGYPTIAN COURT.[5]

The remains of Egyptian Architecture are the most ancient yet discovered. They possess an absorbing interest, not only on account of the connection of Egypt with Biblical history, but also of the perfect state of the remains, which enables us to judge of the high state of civilisation to which Egypt attained, and which have permitted the decipherers of the hieroglyphics, led by Dr. Young, Champollion, and Sir Gardner Wilkinson, in our own time, to give us clear insight into the manner of life—public and private—of this early and interesting nation. Egyptian architecture is characterised by simplicity of construction, gigantic proportions, and massive solidity. The buildings were almost entirely of stone, and many of them excavations and shapings of rocks. The examples of this architecture now before us are not taken from any one ruin, but are illustrations of various styles, commencing with the earliest, and terminating with the latest, so that we are enabled to follow the gradual development of the art. Little change, however, was effected during its progress. The original solidity so admirably suited to the requirements of the Egyptians continued to the end; and religion forbade a change in the conventional representations of those gods and kings which so extensively cover the temples and tombs. So that we find the same peculiar character continued in a great measure to the very last.

[5] See the “Handbook to the Egyptian Court,” by Owen Jones and Samuel Sharpe; also, “The Egyptians in the Time of the Pharaohs, being a Companion to the Crystal Palace Collection,” by Sir Gardner Wilkinson, to which is added, “An Introduction to the Study of Egyptian Hieroglyphs,” by Samuel Birch. Crown 8vo., with Illustrations.

Plan of the Egyptian Court.

Advancing up the avenue of lions, cast from a pair brought from Egypt by Lord Prudhoe (the present Duke of Northumberland), we have before us the outer walls and columns of a temple, not taken from any one particular structure, but composed from various sources, to illustrate Egyptian columns and capitals during the Ptolemaic period, somewhere about 300 years B.C. On the walls are coloured sunk-reliefs showing a king making offerings or receiving gifts from the gods. The capitals or heads of the columns are palm and lotus-leaved; some showing the papyrus in its various stages of development, from the simple bud to the full-blown flower. The representation of the palm and the papyrus occurs frequently in Egyptian architecture; the leaves of the latter, it will be remembered, were made into a kind of paper, and its flowers were specially used as offerings in the temples. We shall afterwards inspect some growing specimens of this curious plant in the fountain basin at the north end of the Nave, as well as of the lotus, when these restorations may be remembered with interest. On the frieze above the columns is a hieroglyphic inscription stating that “in the seventeenth year of the reign of Victoria, the ruler of the waves, this Palace was erected and furnished with a thousand statues, a thousand plants, &c., like as a book for the use of the men of all countries.” This inscription is repeated, with some slight additions, on the frieze of the interior of the Court. On the cornice of both the inside and outside of the Court, are the names of her Majesty and the Prince Consort, engraved in hieroglyphic characters, and also winged globes, the symbolic protecting deity of doorways. Entering by the central doorway, on the lintels and sides of which are inserted the different titles of King Ptolemy, in hieroglyphics, we find ourselves in the exterior court of a temple in which the multitude assembled; the decorations of the walls are similar to those we saw outside, and it must be borne in mind that the colouring is taken from actual remains in Egypt. On the wall to the left is a large picture copied from the great Temple of Rameses III. or Rameses Mai Amun, at Medinet Haboo, near Thebes, showing the counting of the hands of the slain—three thousand as we are informed by the hieroglyphics engraved over the heads of the scribes—before the king who is in his chariot; on the right-hand side of the Court is a representation of a battle-scene, with the Egyptians storming a fortress. Turning to the left, after examining the eight gigantic figures of Rameses the Great, forming the façade of another temple, we enter the Court of Amunothph, a colonnade of an early period, its date being about 1300 B.C. The columns represent eight stems and buds of the papyrus bound together, and are cast from a black granite column bearing the name of Amunothph, now in the British Museum.

First order of Egyptian Column.

Passing on we find ourselves in a dark tomb copied from one at Beni Hassan. It is the earliest piece of architecture in the Crystal Palace, its date being about 1660 B.C. The original tomb is cut in the solid chain of rocks that forms a boundary on the east of the Nile, separating the sandy desert from the fertile valley of the river. Although architectural remains exist in Egypt of a much earlier date than this tomb, it still possesses great value to us, for it may be considered as exhibiting the first order of Egyptian columns, which was employed in constructing buildings at as remote a period as two thousand years before Christ; this fluted column in another respect claims our attention, for there can be but little doubt that it supplied the Greeks with the model of their early Doric. The original tomb has but one instead of four entrances as here represented, and is accordingly more gloomy and impressive. What is lost in sombre effect, however, is made up to the visitor in convenience.

Passing out, we behold, in front of us, a beautiful colonnade, or portico, from the Island of Philöe, and of the same period as the Egyptian wall which we first saw fronting the Nave. Within this we cannot fail to remark the scattered statues, especially the Egyptian Antinous, executed during the Roman rule, the life-like development of whose limbs, representing, as it no doubt does, the Egyptian type, is sufficient to convince us that when Egyptian art was not tied down by the hierarchical yoke, it was capable of producing works of truth and merit. Another work of art, executed when the country was under the Greek yoke, is the remarkable bas-relief portrait of Alexander the Great, inscribed in hieroglyphics and Greek characters. The Greek name is spelt wrongly—a sufficient proof that the work of art is from the hand of an Egyptian artist. Amidst the statues will be found two circular-headed stones—copies of the celebrated Rosetta stone (so called from having been found at the little town of Rosetta, near Alexandria) from which Dr. Young and Champollion obtained a key to the deciphering of hieroglyphics. The stone is engraved in three characters: Hieroglyphic, Enchorial—the writing of the country—and Greek; the inscription is an address from the priests to the Greek King of Egypt, Ptolemy V., in which the sovereign’s praises are set forth, and orders are given to set up a statue of the king, together with the address, in every temple. The date of this interesting remnant of Egyptian manners and customs is about 200 years before the Christian era.

Further on to the right, as we face the west—in a recess—is the model of the Temple of Aboo Simbel, cut in the side of a rock, in Nubia. The sitting figures which, in the original, are of the size of the gigantic figures which we shall afterwards see in the Northern Transept, represent Rameses the Great, and the smaller ones around, his mother, wife, and daughter. The original tomb is ten times as large as the present model. It should be remembered that nearly all the models here introduced are very much below the size of the architectural remains which they represent. For example: the majority of the columns in the Temple of Karnak are 47 feet high, and some are 62 feet. Turning from this recess, and after looking at the beautiful lotus columns to the left, surmounted by the cow-eared Goddess of Love of the Egyptians, and having examined the two large pictures on the walls of the temple—one of which represents a king slaying his enemies with the aid of the god Ammon Ra, and the other a feat of arms of the same king—we direct our attention to the columns before us, which are reduced models of a portion of the celebrated Temple of Karnak at Thebes. This temple was, perhaps, one of the largest and most interesting in Egypt; the principal portions are said to have been erected by Rameses II. about 1170 B.C. It seems to have been a fashion with the Theban kings to make additions to this temple during their respective reigns; and, as each monarch was anxious to outvie his predecessor, the size of the fabric threatened to become unbounded. Temples and tombs were the grand extravagances of the Egyptian kings. The sums that modern rulers devote to palaces which add to their splendour whilst living, were given by the remote princes of whom we speak, and who regarded life as only a fleet passage towards eternity, for the construction of enduring homes when life should have passed away. Inasmuch as, if the career of an Egyptian king proved irreligious or oppressive, the priests and people could deny him sepulture in his own tomb, it is not unlikely that many Egyptian kings lavished large sums upon temples, in order to conciliate the priestly favour, and to secure for their embalmed bodies the much-prized sanctuary. It is to be observed, however, with respect to the names and inscriptions found on Egyptian monuments, that they are by no means always to be taken as an authentic account of the remains within. Some of the Egyptian kings have been proved guilty of erasing from tombs the names of their predecessors, and of substituting their own; an unwarrantable and startling deception that has proved very awkward and embarrassing to Egyptian antiquaries.

Column from Karnak.

The portion of Karnak here modelled is taken from the Hall of Columns, commenced by Osirei the First, and completed by his son, Rameses the Great, a most illustrious monarch, whose deeds are frequently recorded, and whose statue is found in many parts of Egypt, and who flourished during the twelfth century before Christ. Before entering the temple, we stay to notice the representations of animals and birds on the frieze above the columns, which is the dedication of the temple to the gods. Entering between the columns, on the lower part of which is the name of Rameses the Great, and, in the middle, a representation of the three principal divinities of Thebes receiving offerings from King Osirei; and, after thoroughly examining this interesting restoration, we return again into the outer court. The visitor who wishes to realise to himself the actual condition of the principal Egyptian temples and wall-sculptures of Karnak and Kalabshee, can do so by inspecting the splendid collection of French photographs of these ancient works of art in the Gallery immediately over this court, or by consulting the works of Champollion and Sir Gardner Wilkinson in the Reading Room of the Library. Regaining the Nave, a few steps, directed to the left, bring us to

TOMB OF BENI HASSAN.

THE GREEK COURT.[6]

Architecture and sculpture have here made a stride. We have noted even in Egypt the advance from early rude effort to a consistent gigantic system of art, which grew under the shadow of a stern hierarchical religion. We step at once from the gloom into the sunshine of Greek art. The overwhelming grandeur of Egypt, with its austere conventionalities, is exchanged for true simplicity, great beauty, and ideality. Just proportions, truth, grace of form, and appropriate ornament, characterised Greek architecture. The fundamental principles of construction, as will readily be seen, were the same in Greece as in Egypt, but improved, added to, and perfected. The architecture of both countries was columnar; but, compare the Greek columns before us with those which we just now saw in Egypt, taken from the tomb of Beni Hassan: the latter are simple, rude, ill-proportioned, and with slight pretension to beauty, whilst, in the former, the simplicity still prevailing, the rudeness and heaviness have departed, the pillars taper gracefully, and are finely proportioned and elegant, though of great strength. The specimen of Greek architecture before us is from the later period of the first order, namely, the Doric; and the court is taken, in part, from the Temple of Jupiter at Nemea, which was built about 400 years B.C., still within the verge of the highest period of Greek Art. Passing along the front, we notice on the frieze above the columns the names of the principal Greek cities and colonies.

[6] See “Handbook to the Greek Court,” by George Scharf, jun.; also, “An Apology for the Colouring of the Greek Court,” by Owen Jones.

Plan of the Greek Court.

We enter the court through the central opening. This portion represents part of a Greek agora, or forum, which was used as a market, and also for public festivals, for political and other assemblies. Around the frieze in this central division are the names of the poets, artists, and philosophers of Greece, and of their most celebrated patrons, the list commencing immediately above the place of entrance with old blind Homer, and finishing with Anthemius, the architect of Saint Sophia at Constantinople. The names, it will be remarked, are inserted in the Greek characters of the period at which the various persons lived. The monograms within the chaplets on the frieze are formed of the initial letters of the Muses, the Graces, the Good and the Wise. The colouring of this court, with its blue, red, and yellow surfaces, blazoned with gold, produces an excellent effect. It is the object of the decorators to give to the whole of the architectural specimens in the Crystal Palace those colours which there is reason to know, or to believe they originally possessed; to restore them, in fact, as far as possible, to their pristine state, in order that the imagination of the spectator may be safely conducted back in contemplation to the artistic characteristics of distant and distinctive ages. In this court are arranged sculptures and models of temples. Amongst the former will be recognised many of the finest statues and groups of the Greek school, the Laocoon (16); the Farnese Juno (6); the Dione (3); the Genius of Death (24); the well-known Discobolus (4) from the Vatican; the Ariadne, also from the Vatican (27); the Sleeping or Barberini Faun (19); and, in the centre, the unrivalled Venus of Milo, which affords perhaps the most perfect combination of grandeur and beauty in the female form (1). We make our way round this court, beginning at the right hand. After examining the collection, we pass between the columns into the small side court (next to Egypt), answering to a stoa of the Agora. Around the frieze are found the names of the great men of the Greek colonies, arranged in chronological order. The visitor has here an opportunity of contrasting the architecture and sculpture of the Egyptians with those of the Greeks. On one side of him is an Egyptian wall inclining inwards, with its angular pictorial decorations, and the passive colossal figures guarding the entrances. On the other side are the beautiful columns and bold cornice of the Greek Doric, surrounded by statues characterised by beauty of form and refined idealised expression. In this division will also be found the busts of the Greek Poets, arranged in chronological order, commencing on the right-hand side from the Nave: these form a portion and the commencement of the Portrait Gallery of the Crystal Palace.

Making our way through the opening in the back, opposite the Nave, we enter a covered atrium, commonly attached to the portion of the agora here reproduced. The massive antæ, or square pillars, and the panelled ceiling—the form of the latter adapted from the Temple of Apollo at Bassæ in Arcadia—give the visitor another specimen of Greek architecture. We proceed, to the right, down this atrium, occasionally stepping out to examine the sculpture arranged in the gallery, and the restored and coloured frieze of the Parthenon of Athens, which extends its length along the wall. The coloured portion has been executed under the direction of Mr. Owen Jones, the golden hair being founded on authentic examples which still exist on analogous remains of ancient Greek art.[7] The tints on the different figures are put forth rather as suggestions than restorations. We really know nothing certain of the manner in which these celebrated relievos were coloured. Acknowledging this fact, Mr. Jones, in thus boldly supplying pigment, has proceeded upon the known principle of the Greeks—using the tints so as to enhance the effect of the sculpture. This frieze represents the Panathenaic procession to the temple of Athene Polias, which formed part of the display at this greatest of the Athenian festivals, and took place every fourth year. Dividing the frieze, is one of the most interesting objects in the Crystal Palace, a model of the western front of the Parthenon itself, about one-fourth the size of the original structure. This is the largest model that has ever been constructed of this beautiful temple, and possesses the great charm of a veritable copy. The scale is sufficiently large to give a complete idea of the original. This admirable model is due to the intelligent and successful researches prosecuted in Athens by Mr. Penrose, whose labours have thrown so much new light upon the refinements practised by the Greeks in architecture. Mr. Penrose has himself directed the construction of the model. In this gallery are ranged statues and groups, including the celebrated Niobe group, from Florence (187 to 187 L, inclusive). This subject of the punishment of Niobe’s family by the gods was frequently treated by Greek artists; and certainly the group before us is one of the most beautiful examples of Greek sculptural art. It is supposed that the portion of the group at Florence occupied the pediment of the temple of Apollo Sosianus at Rome. The Niobe group belongs to one of the brightest periods. Casts from those most beautiful and wonderful remains of ancient art, the colossal figures from the pediment of the Parthenon at Athens, are also here (185 to 186 B). The originals, brought over to England by Lord Elgin in 1801-2, are in the British Museum, and the nation is indebted for the acquisition to the painter Haydon, who was the first British artist to recognise the value, and appreciate the beauty, of these mutilated but inimitable monuments of art at the highest period of its glory. They belong to the Phidian school, and are characterised by simple grandeur, great repose in the attitudes, and a deep study of nature in their forms. The Theseus more particularly displays a marvellous study and appreciation of nature, and the figures of the Fates (185 B), headless though they be, are the most awfully grand impersonations the world has ever seen. In connection with the Parthenon will also be seen a cast from a part of one of the actual columns, also in the British Museum (150). Here also is the wonderful Belvedere Torso, from the Vatican (67); the far-famed Venus de’ Medici (198), from Florence, and the exquisite Psyche (199), from the Museum at Naples. The visitor will not fail to be astonished, no less by the number than by the charming effect of these works which have come down to our time, and which will descend to the latest posterity as models of excellence. Proceeding until we arrive at the junction of the Greek and Roman Courts, we turn into the right-hand division of the outer court; round the frieze of which are the names of the statesmen and warriors of Athens, the Peloponnesus, and Attica. The busts ranged on either side are portraits of the Greek philosophers, orators, generals, and statesmen, arranged in chronological order, commencing at the entrance from the Nave.

[7] The remainder of the frieze is erected in the gallery above the Courts.

We walk through this court until we reach the Nave; then turning to the left, find ourselves facing

THE ROMAN COURT[8]

On approaching this Court, the visitor will at once notice a new architectural element—as useful as it is beautiful—namely, the Arch, a feature that has been found susceptible of the greatest variety of treatment. Until within the last few years the credit of the first use of the arch as an architectural principle has been given to the Greek architect under Roman rule, but discoveries in Egypt, and more recently in Assyria by Mr. Layard and M. Botta, have shown that constructed and ornamented arches were frequently employed in architecture many hundred years before the Christian era. It is to be observed that architecture and sculpture had no original growth at Rome, and were not indigenous to the soil. Roman structures were modifications from the Greek, adapted to suit the requirements and tastes of the people; and thus it happened that the simple severity, purity, and ideality of early Greek art degenerated, under the Roman empire, into the wanton luxuriousness that characterised its latest period. In comparing the Greek and Roman statues, we remark a grandeur of conception, a delicacy of sentiment, a poetical refinement of thought in the former, indicative of the highest artistic development with which we are acquainted. When Greece became merely a Roman province, that high excellence was already on the decline, and the dispersion of her artists, on the final subjugation of the country by Mummius, the Roman general, B.C. 146, hastened the descent. A large number of Grecian artists settled at Rome, where the sentiment of servitude, and the love of their masters for display, produced works which by degrees fell further and further from their glorious models, until richness of material, manual cunning, and a more than feminine weakness characterised their principal productions; and the sculptor’s art became degraded into a trade, in which all feeling for the ancient Greek excellence was for ever lost. Thus, in the transplanted art of Greece, serving its Roman masters, a material and sensual feeling more or less prevails, appealing to the passions rather than to the intellects and high imaginations of men. The cumbrous dresses and armour which mark the properly Roman style, hide the graceful and powerful forms of nature under the symbols of station and office, creating a species of political sculpture. It is very curious and instructive to notice at a glance the high intellectual expression of the great men of Greece whose busts adorn the Greek Court, and to contrast their noble countenances with the material and sensual aspect of their conquerors, the Romans, who range peacefully close by: much of the past can be gleaned from such a comparison.

[8] See “Handbook to the Roman Court,” by George Scharf, jun.

Plan of the Roman Court.

In the wall now before us we have a model of a portion of the outer wall of the Coliseum at Rome, pierced with arches and ornamented with Tuscan columns. The Coliseum is one of the most wonderful structures in the world, and the Pyramids of Egypt alone can be compared with it in point of size. It is elliptical in form, and consisted outwardly of four stories. In the centre of the interior was the arena or scene of action, around which the seats for spectators rose, tier above tier. The enormous range was capable of seating 87,000 persons. Vespasian and Titus erected this amphitheatre, and the work commenced about A.D. 79. In this vast and splendidly decorated building, the ancient Romans assembled to witness chariot-races, naval engagements, combats of wild animals, and other exciting sports. A very beautiful and highly finished model of the Coliseum restored will be found in the Court, which it will be interesting to compare with the present state of the ruin as seen in the model of the Roman Forum close by. A model also of the Pantheon will be found here. These were all executed at Rome under the superintendence of the late Dr. Emil Braun.

Entering the Roman Court through the central archway, we come into an apartment whose walls are coloured in imitation of the porphyry, malachite, and rare marbles with which the Roman people loved to adorn their houses. This style of decoration appears to have been introduced a little before the Christian era; and so lavish were the Romans in supplying ornament for their homes, that the Emperor Augustus, dreading the result of the extravagance, endeavoured by his personal moderation to put a stop to the reckless expenditure: although it is recorded that the lofty exemplar was set up for imitation in vain.

Following the same plan as in the Greek Court, we proceed round from the right to the left, examining the sculptures and models. Amongst the former will be noticed the statue of Drusus from Naples (222); the beautiful Venus Aphrodite from the Capitol, Rome (226); the Venus Genitrix from the Louvre (228); the fine statue of a musician, or female performer on the lyre, from the Louvre (230); the Genius Suppliant (232); the Marine Venus (233); the Venus Aphrodite from Florence (236); the Venus of Arles (237); the Venus Callipygos from Naples (238); and the Bacchus from the Louvre (241). Around the Court are placed the portrait-busts of the most celebrated kings and emperors of Rome, arranged chronologically, commencing, on the right-hand side of the entrance, with Numa Pompilius (34), and terminating with Constantius Chlorus (73). Having completed our survey, we enter the arched vestibule at the back adjoining the Greek Court. This vestibule, and the three others adjacent, are founded, in respect of their decorations and paintings, on examples still extant in the ancient baths of Rome. The bath, as is well known, was indispensable to the Romans, and in the days of their “decadence,” when they had sunk from glorious conquerors and mighty generals into the mere indolent slaves of luxury, the warm bath was used to excess. It is said that it was resorted to as often as seven or eight times a day, and even used immediately after a meal, to assist the digestive organs, and to enable the bather to enjoy, with as little delay as possible, another luxurious repast.

We proceed through these vestibules, as in the Greek Court, studying the objects of art, and occasionally stepping out to notice the continuation of the Parthenon frieze on the wall at the back, and the sculptures ranged around. In the centre of the first vestibule is the Venus Victorious (243); and in the third, the Diana with the deer (261),—two chefs-d’œuvre of sculpture, that give an idea of the highest state of art under Roman rule. We soon arrive at the sides of the Alhambra, when, turning to the right, we find ourselves in a Roman side court, which is surrounded by the busts of the most renowned Roman Generals, of Empresses and other women.

Passing through this compartment, we once more make our way to the Nave, and bring ourselves face to face with the gorgeous magnificence of

THE ALHAMBRA COURT.[9]

The architectural sequence is now interrupted. We have arrived at one of those offshoots from a parent stem which flourished for a time, and then entirely disappeared: leaving examples of their art which either compel our wonder by the extraordinary novelty of the details, as in the case of Nineveh, or, as in the court now before us, excite our admiration to the highest pitch, by the splendour and richness of the decorations. The Saracenic or Moresque architecture sprang from the Byzantine, the common parent of all subsequent styles, and the legitimate successor to the Roman system. We shall immediately have occasion to speak more particularly of the parent root when we cross the Nave and enter the Byzantine Court. Of the Moorish architecture which branched out from it, it will be sufficient to say here, that the solid external structure was of plain, simple masonry; whilst the inside was literally covered, from end to end, with rich arabesque work in coloured stucco, and adorned with mosaic pavements, marble fountains, and sweet-smelling flowers.

[9] See “Handbook to the Alhambra Court,” by Owen Jones.

Entrance to Alhambra Court.

Ground Plan of the Alhambra Court.

The vast fortress-palace of the Alhambra,[10] of a portion of which this court is a reproduction, was built about the middle of the thirteenth century. It rises on a hill above the city of Granada (in the south of Spain), the capital of the Moorish kingdom of that name, which, for two hundred and fifty years, withstood the repeated attacks of the Christians, and was not finally reduced until 1492, by Ferdinand and Isabella. The Alhambra, under Moorish rule, was the scene of the luxurious pleasures of the monarch, and the stage upon which many fearful crimes were enacted. Within its brilliant courts, the king fell by the hand of the aspiring chief, who, in his turn, was cut down by an equally ambitious rival. Few spots can boast a more intimate association with the romantic than the Alhambra, until the Christians ejected the Moors from their splendid home, and the palace of the unbeliever became a Christian fortress.

[10] “The Red,” probably so called either from the colour of the soil, or from the deep red brick of which it is built.

The part here reproduced is the far-famed Court of Lions, the Tribunal of Justice, and the Hall of the Abencerrages and the Divan. The outside of these courts is covered with diaper work, consisting of inscriptions in Arabic character, of conventional representation of flowers and of flowing decoration, over which the eye wanders, delighted with the harmony of the colouring and the variety of the ornament. Entering through the central archway, we see before us the fountain, supported by the lions that give name to the court; and, through the archway opposite, the splendid fringe of the stalactite roof of the Hall of the Abencerrages, composed in the original of five thousand separate pieces, which key into and support each other. The Court of Lions here is 75 feet long, just two-thirds the length of the original; the columns are the same height and size as the columns of which they are restorations, and the arches that spring from them are also of the actual size of the original arches. Over the columns is inscribed in Cufic characters, “And there is no Conqueror but God.” Round the basin of the fountain is an Arabic poem, from which we take two specimens:—

“Oh thou who beholdest these Lions crouching—fear not!
Life is wanting to enable them to show their fury!”

Less, we must think, a needless caution to the intruder, than the poet’s allowed flattery to his brother artist. In the verse of Greece and modern Italy, we find the same heightened expression of admiration for the almost animating art of sculpture. The following passage is oriental in every letter:—

“Seest thou not how the water flows on the surface,
notwithstanding the current strives to oppose its progress.
Like a lover whose eyelids are pregnant with tears, and
who suppresses them for fear of a tale-bearer.”

Through this brilliant court, the visitor will proceed or linger as his spirit directs. There are no statues to examine, for the religion of the Moors forbade the representation of living objects; in truth, the exquisitely wrought tracery on every side, upon which the Moorish mind was thus forced to concentrate all its artistic power and skill, is in itself sufficient exclusively to arrest and to enchain the attention. A curious infringement, however, of the Mahommedan law just now mentioned, which proscribes the representation of natural objects, is observable in the lions supporting the fountain, and in three paintings, which occupy a portion of the original ceilings in the Tribunal of Justice and the two alcoves adjoining. It is also to be remarked that, although the followers of Mahommed scrupulously avoid stepping upon a piece of paper, lest the name of God should be written thereon, yet that name is found repeatedly upon the floor of the same tribunal. However, during the State visit of the Princes of Oude to the Crystal Palace in 1858, while they were inspecting this Court it was noticed that they, and many of their attendants, avoided as much as possible stepping upon the inscribed pavement. From these circumstances it would seem that the Mahommedans of the West were more lax in their observances than their brethren of the East, having in all probability imbibed some of the ideas and feelings of the Spanish Christians with whom they came in contact.

Passing through the archway opposite to that at which we entered, we find ourselves in a vestibule which in the Alhambra itself leads from the Court of Lions to the Tribunal of Justice. This is, however, only a portion of the original passage. The arches opening from the central to the right and left divisions of the vestibule are of the size of the originals, the patterns on the Avails and ceilings being taken from other portions of the Alhambra. It should also be remembered that the different apartments here brought together do not stand in the same relation to each other as in the Moorish Palace, the object of the architect in the Crystal Palace being to give the best examples of this style of architecture in the smallest possible space.

The visitor may now proceed through the left-hand arch into the division next the Roman Court. On the right of this division he will find a small room devoted to models, and specimens of the original casts of ornaments of the Alhambra, brought by Mr. Owen Jones from Spain, from which this Court has been constructed. Returning to the central division, he sees on his left the Hall of the Abencerrages, with its beautiful stalactite roof, already spoken of. All the Courts on this side of the building, up to this point, were erected under the superintendence of Mr. Owen Jones. Proceeding onward, we quit the Alhambra, and emerge into the north transept.

The visitor passing into the Tropical division now crosses the Transept, immediately in front of the colossal sitting figures, which he will be able to examine with more effect when he commences a tour through the nave, which we propose that he shall shortly make. Passing these figures then for a moment, he directs his attention to

Pillar from the arcade of the Court.

THE ASSYRIAN COURT,[11]

which faces him. This Court is larger than any other appropriated to the illustration of one phase of art. It is 120 feet long, 50 feet wide, and has an elevation of 40 feet from the floor line. Its chief interest, however, consists in the fact of its illustrating a style of art of which no specimen has hitherto been presented in Europe, and which, indeed, until the last few years, lay unknown even in the country where its remains have been unexpectedly brought to light. It is little more than ten years ago that M. Botta, the French Consul at Mossul, first discovered the existence of sculptural remains of the old Assyrian empire at Khorsabad: and since that time the palace, now known to have been erected about the year 720 B.C. by Sargon, the successor of Shalmaneser, has been mainly explored, as well as the palace of his son Sennacherib at Koyunjik, and that of Esarhaddon and Sardanapalus, at Nimroud, besides other older palaces in the last-named locality. In addition to the explorations that have been made on these sites, extensive excavations and examinations also within the last few years have been made into the ruins of the palaces of Nebuchadnezzar at Babylon, and of Darius and Xerxes at Susa.

[11] See “Handbook to the Nineveh Court,” by Austen Henry Layard.

It is from the immense mass of new materials, so suddenly revealed, that Mr. James Fergusson, assisted by Mr. Layard, has erected the court before which the visitor now stands—an architectural illustration which, without pretending to be a literal copy of any one building, most certainly represents generally the architecture of the extinct but once mighty kingdoms of Mesopotamia, during the two centuries that elapsed between the reign of Sennacherib and that of Xerxes, viz., from about B.C. 700 to B.C. 500.

The oldest form of architecture in these Eastern parts was probably that which existed in Babylon: but the absence of stone in that country reduced the inhabitants to the necessity of using bricks only, and for the most part bricks burnt by the sun, though sometimes fire-burnt brickwork is also found. The face of the walls so constructed was ornamented with paintings, either on plaster or enamelled on the bricks, whilst the constructive portions and roofs were of wood. All this perishable material has of course disappeared, and nothing now remains even of the Babylon built by Nebuchadnezzar but formless mounds of brickwork. In the more northern kingdom of Assyria, the existence of stone and marble secured a wainscoting of sculptured slabs for the palace walls, whilst great winged bulls and giant figures, also in stone, adorned the portals and façades. The pillars, however, which supported the roofs, and the roofs themselves, were all of wood, generally of cedar, and these having been destroyed by fire or by the lapse of ages, nothing remains to tell of their actual size and form. Yet we are not left entirely to conjecture in respect of them. Susa and Persepolis in Persia—the followers and imitators of Nineveh—arose in districts where stone was abundant, and we find that the structures in these cities had not only stone pillars to support the roof, but also stone jambs in the doorways, thus affording an unmistakeable clue to the nature of such portions of building as are wanting to complete our knowledge of the architecture of the Assyrian people.

As now laid bare to us, the Assyrian style of architecture differs essentially from any other with which we have hitherto been made acquainted. Its main characteristics are enormously thick mud-brick walls, covered with painted bas-reliefs, and roofs supported internally by slight but elegant wooden columns, ornamented with volutes (spiral mouldings), and the elegant honeysuckle ornament which was afterwards introduced through Ionia into Greece—this Assyrian style being, according to some, the parent of the Ionic order, as the Egyptian was of the Doric order, of Greece. The very greatest interest attaches to these architectural remains, and to the records cut in enduring stone, which they have handed down to us, inasmuch as they corroborate, in a most remarkable manner, certain statements in the Bible connected with Jewish History. There can be little doubt that the Assyrians and Jews sprang from the same stock; and no one can fail to remark that the physiognomy of the Assyrians, as pourtrayed in these sculptures, bears a strong resemblance to the Israelitish visage. As far as we can judge from descriptions, the architecture of ancient Jerusalem was almost identical with that of Assyria.

Entrance to the Nineveh Court.

The whole of the lower portion of the exterior front and sides of this Court is taken from the palace at Khorsabad, the great winged bulls, the giants strangling the lions (supposed to represent the Assyrian Hercules), and the other features, being casts from the objects sent from the site of the palace, to the Louvre, and arranged, as far as circumstances admit, in the relative position of the original objects as they were discovered. The dwarf columns on the walls, with the double bull capitals, are modelled from details found at Persepolis and Susa, whilst the cornice and battlements above have been copied from representations found in one of the bas-reliefs at Khorsabad. The painting of the cornice is in strict accordance with the recent discoveries of that place.

Plan of the Assyrian Court.

Entering through the opening in the side, guarded by colossal bulls, the visitor finds himself in a large hall, in the centre of which stand four great columns copied literally from columns found at Susa and Persepolis. The walls of the hall are covered with sculpture, cast from originals brought to this country by Mr. Layard from his excavations at Nimroud, and deposited in the British Museum. Upon the sculptures are engraved the arrow-headed inscriptions which have been so recently, and in so remarkable a manner, deciphered by Colonel Rawlinson and Dr. Hincks. Above these is a painting of animals and trees, copied from one found at Khorsabad. The roof crowning the hall represents the form of ceiling usual in that part of Asia, but is rather a vehicle for the display of the various coloured patterns of Assyrian art than a direct copy of anything found in the Assyrian palaces. In the centre of the great hall the visitor will notice a decorated archway at the back of the Court. The very recent discovery of this highly ornamented arch at Khorsabad, and also of a pointed example, proves—somewhat unexpectedly—that the Assyrian people were far from ignorant of the value of these beautiful features of architecture. A complete detailed account of this interesting department will be found in Mr. Layard’s valuable Handbook to the Nineveh Court.

Having completed his survey of the interior of this Court, the visitor may at once quit the Court by the central entrance, and turning to the left cross the north end of the Nave, stopping for one moment on his passage to look from end to end of the magnificent structure within which he stands, and to glance at the exterior of the Court he has just quitted, the bright colouring of which, the bold ornaments, the gigantic bulls, and colossal features, present as novel and striking an architectural and decorative display as the mind can imagine.

Having crossed the building, past the avenue of Sphinxes, without stopping at the colossal Egyptian figures to be noticed hereafter, the visitor will continue the architectural illustrations with

THE BYZANTINE AND ROMANESQUE COURT.[12]

Before the visitor is conducted through the architectural Courts on this side of the Nave, which have all been erected by Mr. Digby Wyatt, it is necessary he should understand that they differ considerably in arrangement and treatment from those on the opposite side, which have already been described. In the Egyptian, Greek, and other Courts through which he has passed, the forms or characteristics of some one distinctive structure have, to a greater or less extent, been given; but the Courts into which we are now about to penetrate are not architectural restorations, but rather so many collections of ornamental details stamped with unmistakeable individuality, and enabling us at a glance to recognise and distinguish the several styles that have existed and succeeded each other, from the beginning of the 6th down to the 16th century. In each Court will be found important details, ornament, and even entire portions, taken from the most remarkable or beautiful edifices of the periods they illustrate. Thus the palaces and Christian temples of Italy, the castles and churches of Germany, the hôtels-de-ville and châteaux of Belgium and France, and the cathedrals and mansions in our own country, have all been laid under contribution, so that here, for the first time in the history of architecture, we have the opportunity of acquiring a perceptive and practical knowledge of the beautiful art during the period of its later progress.

[12] See “Handbook to the Byzantine Court,” by M. Digby Wyatt and J. B. Waring.

Byzantine Court (entrance from North Transept).

The regular architectural sequence on the other side of the Nave finds its termination in the Roman Court, and we now resume the order of history with the “Byzantine” Court. Art, as we have already indicated, declined during the Roman Empire; but the general adoption of Christianity gave the blow that finally overthrew it; for the introduction of this faith was, unfortunately, accompanied with bitter and violent enmity against all Pagan forms of beauty. An edict of Theodosius, in the early part of the 5th century, ordered that pagan art should be utterly annihilated, and the primitive Christians demolished with frantic zeal the temples, bronzes, paintings, and statues that adorned the Romish capital.

To complete the work of destruction, it is related that Gregory (A.D. 590), one of the celebrated “Fathers” of the Roman Church, gave orders that every vestige of Pagan Rome should be consigned to the Tiber; and thus was ancient Art smitten and overthrown, and the attempt made to efface its very foot-prints from the earth; so that, indeed, men had now to proceed as best they might, by painful and laborious efforts, towards the formation of a new and essentially Christian style of architecture, which, however feeble and badly imitated from ancient models at its commencement, was finally productive of the most original and beautiful results.

Constantine the Great, in the early part of the 4th century, embraced Christianity. The new religion required structures capable of holding large assemblages of people at certain periods; and notwithstanding the magnificence of some of the Roman structures, none could be found appropriate to the required use, save the Basilicas, or Halls of Justice, at Rome. The form of these structures was oblong, and the interior consisted of a central avenue and two side aisles, divided from the centre by a double row of columns, the central avenue terminating in a semicircular recess with the roof rounded off. It will be at once apparent that such buildings were admirably adapted to the purposes and observances of the new religion; and, accordingly, in A.D. 323, when Constantine removed the seat of empire from the West to the East, from Rome to Byzantium (Constantinople), the Roman Basilica probably served as a model for the Christian churches which he rapidly raised in his new city.

But on this point we have little authentic information; time, the convulsions of nature, and the destructive hand of man, have long since lost to us the original churches built on Constantine’s settlement at Byzantium, and the oldest monument with which we are acquainted, that of Santa Sophia, built in the early part of the 6th century by Justinian, bears no relation in its plan to the long basilica of the Western Empire.

Greek Cross.

Latin Cross.

Greek Cross.

Latin Cross.

The great characteristic of Byzantine church architecture was a plan formed on the Greek cross, and surmounted at its points of intersection by a central dome. The direct imitation of the antique capitals was eschewed, and a foliated capital was introduced in its place, varying considerably in pattern even in the same building: the arch was in general semicircular, and the use of mosaic ornament universal, but it was some time before the Byzantine style received its full development; for the earlier Christians generally maintained a profound antipathy to all Art, as ostentatious, and savouring overmuch of worldly delights. It is not, however, in the nature of man to exist for any length of time in this world, wondrously adorned as it is by its Divine Creator, without imbibing a love for the adornment so profusely displayed around him. This natural feeling, which St. Augustine and the stricter Christians vainly sought to decry and repress, was strengthened and aided by the more forcible notion of holding out some attraction to the pagans, who, accustomed to the ceremonies and charms of their old rites, might be repelled by the apparent gloominess of the new creed. As the number of converts increased, a demand for church ornament made itself felt, and Art once more awoke, not in the excelling beauty of its former life, but rude, unpolished, and crippled by religious necessity, which placed, as in Egypt of old, a restriction upon the forms of nature, lest by copying them the people should relapse into the idolatrous worship of graven images. In the Eastern or Greek Church, even the rude and grotesque sculpture first allowed was speedily forbidden and banished for ever. The mosaic painting, however, was continued by Greek artists, and this peculiar style of ornamentation is one of the most distinctive features of Byzantine architecture. Not only were the walls and ceilings covered with extraordinarily rich examples of glass mosaic work, formed into pictures illustrative of Scripture subjects and saintly legends, or arranged in elaborate patterns of geometrical and other ornament, but columns, pulpits, &c., were rendered brilliant with its glowing colours. Mosaic work also is at times found on the façades of the Byzantine buildings; whilst the pavement, if less gorgeous, was at least as richly ornamented with coloured inlay of marble mosaic. As we have, however, just observed, the fear of idolatry led to the comparative neglect of sculpture, and the edict forbidding the sculpture of images for religious purposes became one cause of the separation of the Latin Church in Rome from the Greek Church in Constantinople, and thenceforth the two churches remain distinct. In the former, sculpture continued to exist, not as an independent art, but as a mere architectural accessory.

Byzantine Court—Arches from the Nave.

Byzantine architecture flourished from A.D. 328 to 1453; but the Byzantine proper can be said to extend only from the 6th to the 11th centuries. Romanesque architecture in its various developments was more or less impressed with the Byzantine character, and in its general features resembles the source from which it was in a great measure derived; although the dome is generally absent in the churches of northern Europe, which retained the plan of the old Roman basilica in preference to that of the Greek cross, for a long time peculiar to the Eastern Church.

It would not be hazarding too much to assert that Byzantine architecture was generally adopted throughout most European countries from the 6th to the 11th century, with such modifications as the necessities of climate, the differences of creed, and the means of building necessitated.

Ground Plan of Byzantine Court.

Before entering this court the visitor will do well to examine its external decoration, affording, as it does, not only an excellent notion of the splendid mosaic ornament, we have already alluded to as peculiarly Byzantine, but for its paintings of illustrious characters of the Byzantine period, taken from valuable illuminations and mosaics still in existence; such as the fine portraits of Justinian and his consort Theodora, from Ravenna (by the entrance from the Nave), and those of Charles the Bald of France, and the Emperor Nicephorus Botoniates of Constantinople, copied from valuable existing authorities; whilst an allegorical representation of Night, on the return side, is a proof that the poetry of Art was not altogether dead in the 10th century, to which date it belongs.

In front of all the courts facing the Nave, are placed many very interesting examples of Mediæval and Renaissance Art, a brief notice of which will be found later in this volume.

The entrance to the gallery at the back of the Byzantine Court is formed by the Chancel Arch of Tuam Cathedral in Ireland, built about the beginning or middle of the 13th century, a most interesting relic of art in the Sister Isle.

Arch and Column from Cloister.

Entering through the arches from the North Transept, we turn to the right into a cool cloister of the Romanesque school, a restored copy of a cloister at the church of Santa Maria in Capitolo, at Cologne, an ancient edifice said to have been commenced about the year 700. The cloister is, however, of the close of the 10th century. The restoration gives us an excellent notion of the arches, columns, and capitals of this period, and shows the difference that exists between Byzantine and ancient Greek or Roman art. Proceeding through the cloister, the roof of which is beautifully decorated with Byzantine ornament, in imitation of the glass mosaic work, we remark various pieces of sculpture, chiefly from Venice: at the extreme end, to the left, having our back to the Nave, is a recumbent effigy of Richard Cœur de Lion, from Rouen; at the farthest end, to the right, is placed the Prior’s doorway from Ely, in a late Norman style; and next to this, to the right, a representation of the Baptism of Christ, from St. Mark’s, at Venice. We enter the court itself. The marble fountain in the centre is an exact copy of one at Heisterbach on the Rhine. We may now obtain some notion of the different features which mark the Byzantine, the German Romanesque, and Norman styles; all agreeing in general character, but all varying in treatment. The cloister we have just quitted, with the cubical capitals of its external columns and its profuse mosaics, presents a strongly marked impress of the Byzantine style, the same influence being also remarked in the external mosaic work of the small but beautiful portion of the cloisters of St. John Lateran at Rome; on each side of which are fine examples of German Romanesque, which is frequently also called the Lombard style, as indicative of its origin; and beyond these again, in the extreme angles, are interesting specimens of the Norman style as practised in England during the 12th century. These examples will enable the visitor to judge in some measure of the differences that characterise the three. To the left is a very curious Norman doorway, from Kilpeck Church, in Herefordshire; the zigzag moulding around it is peculiar to the Norman; and in the sculptured reliefs which surround the doorway a symbolism is hidden, for the meaning of which we must refer our readers to the Handbook of this Court. Next to this is a doorway from Mayence Cathedral, the bronze doors within it, which are from Augsburg Cathedral, in Germany, being interesting examples of the art of bronze-casting in the latter half of the 11th century. The rudely-executed subjects in the panels are mostly taken from the Old Testament, but no attempt at chronological arrangement has been made. Above the St. John Lateran cloister is an arcade from Gelnhausen in Germany, a good specimen of grotesque and symbolic sculpture quite in the style of the early Lombard work in Northern Italy. The doorway on the opposite side of the St. John Lateran cloister is a composition showing the general characteristics of the Romanesque style; the doors are from Hildesheim Cathedral, and were executed in 1015, by order of Bishop Bernwardus. They contain sixteen panels, arranged in proper order, eight representing scenes in the Old Testament, commencing with the creation of man, and eight representing subjects from the New Testament, beginning with the Annunciation. Next to this, and corresponding to the Kilpeck doorway, is a second side door from Shobdon Church, Herefordshire. The circles ornamented with foliage over the Shobdon Chancel Arch, are from Moissac. On the side wall next to the Arch, is the monument, from Salisbury Cathedral, of Bishop Roger, who died A.D. 1139; it is transitional in style, from the Norman to the Early English.

On either side of the fountain in this court are placed the celebrated effigies of Fontevrault Abbey (the burying-place of the Plantagenets), consisting of Henry II. and his Queen Eleonora; Richard I.; and Isabella, wife of King John. These date from the 13th century, and they are not only interesting as works of art, but valuable as portraits, and as evidences of costumes of that period. The effigy of Henry II. is the earliest-known statue of any English king. An effigy of King John from Worcester, and another of Berengaria, wife of Richard I., from the Abbey of L’Espan, near Mans, in France, are also to be found here.

The inlaid marble pavement of the Court is copied from churches in Florence, and is of the beginning of the 13th century.

Having thoroughly examined the various contents of this Court, we pass through the opening in the arcade of St. John Lateran, before mentioned, and enter a vestibule, the vaulting of which is from the convent of the Franciscans, at Assisi, in Central Italy, with the paintings in the four compartments of the vault, from their originals by Cimabue.

Door from Birkin Church.

In the centre of this compartment is a large black marble Norman font from Winchester Cathedral: the date of which has given rise to much controversy; those assigned, ranging from 630 to 1150. Next to this font is another from Eardsley Church, Herefordshire, of the 12th century.

Passing now to the left, we see on the back wall, looking towards the Garden, three openings, the central one of which is a doorway from the church of Freshford, in Kilkenny, of about the latter end of the 11th or beginning of the 12th century, and on either side of it are windows from the church of Tuam, in Ireland. Above the Freshford doorway is a large circular window from Rathain Church, remarkable for its great antiquity, and said to have been erected as early as the middle of the 8th century. In this compartment are also placed Irish crosses, affording examples of the sculptural antiquities of the Sister Isle; and some interesting crosses from the Isle of Man. On the shaft of the Kilcrispeen Cross, which stands in the centre of the gallery, amongst other ornamental pieces of enlacement, will be seen four human figures platted together. The influence of Byzantine Art in these Irish antiquities is clearly marked. Having examined this compartment, we proceed for a short distance southwards, down the corridor or gallery, and pass, on the back wall of the Byzantine Court, first, a doorway composed principally from an existing example at Romsey Abbey, the bas-relief in the door-head being from Shobdon: and on the other side of the St. John Lateran arcade, a beautiful Norman doorway from Birkin Church, Yorkshire: after which we reach the smaller division of the Mediæval Court, dedicated to works of German Mediæval Art, the entrance to which is beneath the Pointed arcade on our right. Before passing from this Court, the visitor should step into the large chamber on the left of the vestibule which contains the Irish antiquities of Byzantine art, where he will find an unique collection of modern ecclesiastical sculpture, consisting of the original models from the study of the late Charles Geerts, the famous sculptor of Louvain, the originals of which are mostly existing in the churches of Belgium, but some are in England. These beautiful and masterly productions will repay the careful student of art, as well as all lovers of the beautiful, for a special inspection.

THE GERMAN MEDIÆVAL COURT.[13]

This small Court is devoted exclusively to examples of Gothic art and architecture in Germany, and, taken with the English and French Mediæval Courts,—which we shall presently reach,—gives an excellent idea of the style and character of architecture in these three countries during the Middle Ages. Such remarks as are required to explain the transition from the Romanesque and Byzantine to the Pointed style of architecture, we shall defer until we find ourselves in the Mediæval Court of our own country. We, therefore, without preface, conduct the visitor from the gallery of the Byzantine Court, through the side arches, directly into the German Mediæval Court. The large doorway in the centre at once attracts attention. This is cast from a celebrated church doorway at Nuremberg, and is especially worthy of notice. On the wall to the right is a doorway leading into the Byzantine Court. This is not copied from any one particular example, but is a composition displaying the elements of the German style. The equestrian statue of St. George is from the Cathedral square at Prague, a work of the 14th century. The seven round bas-reliefs at the top of the doorway, representing scenes from the life of Christ, are fac-simile copies of the originals by Veit Stoss, at the Church of St. Lawrence, in Nuremberg. On either side of this doorway are two monuments, of Bishops Siegfrid von Epstein and Peter Von Aspelt, opposite to which are the fine monuments of Albert of Saxony, and of Bishop Von Gemmingen; all of these are cast from the originals, in Mayence Cathedral. Above the arches, and all round the Court, is a small arcade, the capitals, brackets, and other monuments of which are taken from various German churches, but more especially from the Cathedral of Cologne. Immediately over the arches through which we have entered, and between the columns of the arcade, are four bosses with the symbols of the Evangelists, also from Cologne Cathedral.

[13] See “Handbook to the Mediæval Court,” by M. Digby Wyatt and J. B. Waring.

Plan of the German Mediæval Vestibule.

Passing through the Nuremberg doorway, in the centre, we see immediately before us, and over the arches leading to the nave, eight dancing mummers, from the Town-hall at Munich; they are represented as exhibiting before an audience, probably at some civic festival, and are full of grotesque drollery. Beneath the mummers are placed consoles or brackets, from the hall of Gurzenich, at Cologne, remarkable for the humour displayed in their conception. On the wall to the right are three large reliefs, from the church of St. Sebald, at Nuremberg. They are the work of Adam Krafft, and represent:—1. The Betrayal of our Saviour; 2. The Mount of Olives; 3. The Last Supper;—and in their execution show great power and much less stiffness than is generally found in Mediæval works. Adam Krafft was an excellent sculptor, who flourished at the close of the 15th century. His works, which are chiefly to be found at Nuremberg, possess great merit both in their search after truth and the unusual manual ability they display. Immediately beneath these reliefs is another by the same artist, taken from the Frauen-Kirche, or Church of our Lady, at Nuremberg. It represents an Adoration of the Virgin, and shows even more vigorous handling than the other three. On the other side of the adjoining doorway, from the Monastery of Denkendorf, in Wurtemburgh, is another piece, representing the “Coronation of the Virgin,” also by Krafft. The monument beneath is from Munich, and is of the 16th century. On the left-hand wall, next to the Nuremberg door, is a bas-relief of “Justice with the Rich and Poor,” by Veit Stoss, from the Town-hall at Nuremberg. Above and below this are others by Krafft. The upper, the “Meeting of Christ and St. Veronica,” from the Via Crucis, Nuremberg; the lower, another “Coronation of the Virgin,” from the Frauen-Kirche, Nuremberg. Under this last are two ascribed to Albert Durer—a “Circumcision,” and “Christ teaching in the Temple;” and on the other side of the doorway, leading into the English Mediæval Court, is the celebrated garland representing the triumph of the Church, by Veit Stoss, from the church of St. Lawrence, at Nuremberg, which deserves especial examination as one of the master-pieces of that sculptor, and on account of its very peculiar arrangement. Other subjects in this Court present excellent examples of German Mediæval Art down to the time of Peter Vischer, whose works evince an evident influence derived from the Renaissance School of Italy, at the close of the 15th and at the commencement of the 16th centuries.

We now emerge into the Nave, and turning to the left, find ourselves in front of

THE ENGLISH MEDIÆVAL COURT.[14]

It will have been remarked in the German Mediæval Court, that architecture has undergone another change. No sooner had the Lombard or Romanesque style become systematised, than features arose which contained the germs of yet more important changes.

[14] See “Handbook to the Mediæval Court,” by M. Digby Wyatt and J. B. Waring.

The Horizontal line principle of antique Art was gradually given up, and a marked inclination towards the Vertical line principle took its place. The full change was not yet by any means complete, and it remained for the introduction of the Pointed arch, under Norman influence in England and France, in the 12th century, to effect a gradual revolution in the whole system of construction and ornamentation, until nearly every trace of the preceding style was lost, and another essentially distinct in all its characteristics arose in its stead.

Entrance to English Mediæval Court.

As we are now standing before the ecclesiastical architecture of our own country, it may be interesting to notice briefly, and in chronological order, the progress of Pointed architecture in England, and to specify a few of those leading features which serve to distinguish the style of one period from that of another.

Prior to our doing this, it will be well briefly to notice the Norman style which preceded the Pointed, and which was extensively practised by the Normans and English in this country, after the successful invasion by William in 1066. Its leading features are extreme solidity, absence of ornament (at its earliest period), semicircular or horse-shoe arches, and the peculiar zigzag mouldings before noted. The buttresses or supports placed against walls to give them strength are broad, but project very little. The pillars are short, massive, and frequently circular, whilst the capitals are usually cubical and channeled in a peculiar manner, sometimes being quite plain, and at others carved with grotesque and symbolic figures and foliage.

Side niche of Tintern door.

The Norman lasted until the 13th century, when it made way for the first pointed style, which is known as Early English. The arches in this style are lancet-shaped; the pillars consist frequently of small shafts clustering round a circular pier, and are much slighter and taller than the Norman: the capitals are frequently without ornament, being simply plain mouldings. When the capital is carved with foliage, the work is boldly executed. Spires, too, although originating in the later Norman, rose in the Early English high into the air, like landmarks to the people, to point out where they might congregate to worship their Divine Creator. The buttresses are bold, generally rising in diminishing stages, and either terminating in a triangular head or sloping off into the wall. Windows, two or three in number, were often grouped together under a moulded arch, between the point of which and the tops of the windows an intervening space was formed. This space, pierced with one or more openings, gave rise to that most distinctive and beautiful element of the Gothic style—Tracery.

The Decorated style, which succeeded to the Early English, flourished during the 14th century, and the Court we are now about to enter possesses numerous examples of this, the best and brightest period of English Gothic; for in the Early English the style had not yet reached its highest point of beauty, and in the later Perpendicular it already suffered decline. Tracery, as we have stated, was the chief characteristic of the Decorated style; and it consists either of geometrical forms or of flowing lines. As an example of the former, the visitor may examine the arches of the cloister, containing the two figures now before us, on the side niche of the Tintern door. The foliated details and carvings, which also give character to this style, may, in like manner, be studied with advantage in this Court. The pillars are either clustered or single, and generally of octangular or circular form; the capitals are sometimes carved with foliage, at other times they are plain. The buttress is in stages and terminated occasionally with Decorated pinnacles. The execution of the details of this style was admirable, and the variety and beauty of the ornaments, founded chiefly on natural subjects, gives to the Decorated style an effect which has seldom, if ever, been surpassed.

From the latter part of the 14th to the beginning of the 16th century the Perpendicular style was in vogue. It derives its name from the tracery, which, instead of taking flowing forms, consists chiefly of vertical lines. The arches became depressed in form, the Tudor arch being distinctive of its later phase, whilst the ornaments were crowded, and departed more from natural models. The more important buildings were covered throughout with shallow panelled work and profuse ornament, over which the eye wanders in vain for much-needed repose, and the effect of breadth and grandeur of parts is lost and frittered away.

These few observations, imperfect as they are, may perhaps assist the visitor’s appreciation of the Court we are about to examine. Without further preface, then, we proceed through the archway, as usual, from the Nave.

Arcade from Guisborough.

We are in a cloister of the Decorated period, founded in its arches and columns on the Abbey of Guisborough, Yorkshire. Looking through the cloister to the left, we see before us a doorway from the Chapel of Prince Arthur, son of Henry VII., in Worcester Cathedral, which will enable us to test in a measure the truth of our summary of the Perpendicular style. On the extreme right we see the door of Bishop West’s Chapel, from Ely, a capital example of the Later Perpendicular style as it began to feel the influence of the coming Renaissance period. Crossing the cloister we enter the Mediæval Court, which contains architectural specimens taken from our ancient churches and magnificent cathedrals.

The upper portion of the Court is formed of arches, containing, in the spandrels, figures of angels illustrative of the gradual unfolding of Divine revelation, taken from the “Angels’ Choir,” in Lincoln Cathedral. The sculptures in the tympanum are mostly from Tewkesbury, and the figures under the canopies are from Wells Cathedral.

Ground Plan of English Mediæval Court.

Entering the Court from the Nave, we find, immediately facing us, the magnificent doorway from Rochester Cathedral, coloured so as to give an idea of its appearance when first erected. The different faces, “making mouths,” introduced amongst the tracery of this door, afford a good example of the grotesque spirit which forms so strong an element of Gothic architecture. We may remark here that the practice of colouring and gilding was carried to an almost extravagant extent in the Gothic style, although the effacing hand of Time has left comparatively few examples in a perfect state.

Doorway from Rochester Cathedral.

On the left of the door is a portion of the arcading from the Chapter House of Wells Cathedral, and next is the richly-decorated Easter sepulchre, from Hawton Church, Nottinghamshire, representing the Resurrection and Ascension of Christ,—a very remarkable monument of the 14th century. At the foot are the soldiers on guard at the Sepulchre, sleeping, and in the centre (the altar-table) the Resurrection of our Lord, bearing his cross; the three Marys in adoration at his feet. Above is the Ascension, the Apostles standing around. This last subject is treated in an original and ingenious manner, to come within the lines of the architecture. This monument was used as an altar; various rites being performed before it, between Good-Friday and Easter-day. A seated figure, from the front of Lincoln Cathedral, is the next subject; and further on, in the angle, is a Virgin and Child, in a niche,—a beautiful piece of early 14th century work from York Minster; and next is a portion of Bishop Alcock’s chantry chapel, from Ely Cathedral; on the other side of the adjoining doorway, which is a composition chiefly from the triforium of Lincoln Cathedral, we remark the very beautiful oriel window of John o’Gaunt, at Lincoln, and next to it a portion of the elaborate altar-screen of Winchester Cathedral.

On the right of the Rochester door is the finely designed monument of Humphrey de Bohun, from Hereford Cathedral, with the effigy of the knight in complete armour. Next to this, in the angle, we see the recumbent figure of the “Boy Bishop” from Salisbury Cathedral. It used to be the custom in the Catholic Church, annually to elect a bishop from the children of the choir, who, throughout the year, kept all the state of a regular bishop; and, in the event of his dying within the period of his office, had his effigy erected as here we see. For further particulars of this singular custom, see the “Handbook of the Mediæval Court.” The door beyond corresponds to the one opposite; and further on, near the cloister, is one of the doors of Lichfield Cathedral, with its beautiful ironwork, the painting of which, to represent oak, is remarkably clever; and a portion of Bishop Bubwith’s monument from Wells. The exquisite niches and canopies round the walls of the court are from Southwell Minster, Ely Cathedral, Beverley Minster, &c. The statues on a line with, and corresponding to those on the monument of Bishop Bubwith, are excellent examples of late Gothic work, from Armagh Cathedral. The upper tier, consisting principally of sculpture, presents valuable examples of that art. The large statues beneath the canopies are from the façade of Wells; they are all of the highest interest with reference to the history of sculpture in England. The floor presents a remarkable and interesting series of the best sepulchral monuments of the Gothic period which England possesses, viz., those of Queen Eleanor, from Westminster; Edward II., from Gloucester; the celebrated monument of William of Wykeham, from Winchester; and that of Edward the Black Prince, in gilt armour and emblazoned surcoat, from Canterbury Cathedral. The individuality observable in most of the faces indicates that they are portraits. The very lovely face of the good Queen Eleanor should not escape the notice of the visitor.

Elevation of English Mediæval Court towards the cloister.

Indeed all the subjects in this Court are full of value and interest, and the numerous examples of Gothic art here collected, which we have not space to describe in detail, form a museum in which the visitor may obtain no inadequate idea of the rich treasures in this wise of our country. Passing beneath the Rochester doorway, we enter a vaulted and groined vestibule, the window of which is a beautiful example of the Decorated style, from Holbeach, in Lincolnshire, filled in with rich stained glass. Beneath the window is the painted monument of John of Eltham, son of Edward II., from Westminster Abbey, on either side statues from Wells Cathedral. In the centre is the very richly-decorated font, from Walsingham, in Norfolk, an excellent example of the Perpendicular style. The walls of the gallery are lined with statues and monuments; those on the Garden side are all English, principally from the façade of Wells Cathedral; those on the side of the Court are chiefly from Germany and France. Amongst the latter, we draw particular attention to the bas-reliefs on the walls, from Notre-Dame, Paris, as excellent examples of early French Gothic. Amongst the central monuments should be particularly remarked, behind the German Mediæval Court, the Arderne tomb, from Elford church, Staffordshire; the monument of Henry IV., and Joan of Navarre (his queen), from Canterbury Cathedral; the tombs of Sir Giles Daubeny, Richard II., and Anne of Bohemia (his queen), from Westminster Abbey, of about the year 1507; and behind the French and Italian Mediæval Court, the splendid monument of Richard Beauchamp, Earl of Warwick, from Warwick, one of the finest Gothic sepulchral monuments remaining in England. Passing beneath the arcade, near the Beauchamp monument, we enter the next architectural illustration of the series.

THE FRENCH AND ITALIAN MEDIÆVAL COURT,[15]

On the walls of which, on the ground row, are ranged a series of arches from the choir of Notre-Dame, at Paris, the greater number of the canopies which surmount them being taken from the Cathedral of Chartres, both fine examples of early French Gothic art. The very excellent statues, bosses, &c., are from various French churches. The statue on the floor is by the great Italian sculptor, Giovanni Pisano (13th century), and serves as a lectern, or reading-stand. The subject towards the nave is composed of portions of the celebrated altar-piece of Or San Michele, at Florence, by Andrea Orgagna (14th century). One of the two statues nearest the gallery is by Nino Pisano, son of Giovanni. The very elaborate example of iron-work near the nave entrance is from one of the great west doors of the Cathedral of Notre-Dame, Paris, and evinces such consummate skill in workmanship as to have obtained for its artist, when first made public, the unenviable credit of being in close league with the Evil One. The exact date of this iron-work is not ascertained, but it is of the best period of the French Pointed style.

[15] See “Handbook to the Mediæval Court,” by M. Digby Wyatt and J. B. Waring.

Plan of the French and Italian Mediæval Vestibule.

Once more regaining the Nave, we proceed on our journey southward, until a few steps bring us to

THE RENAISSANCE COURT.[16]

Man had wrought for centuries patiently and laboriously at Gothic architecture, and had advanced, by regular stages, to the perfection of that style, which, after reaching its zenith in the 14th century, as regularly and decidedly declined in excellence, until the indispensable principles of true art—simplicity and good taste—were, towards the close of the 15th century, overwhelmed by excess of ornament. Whilst this downward road was followed by most European artists, various causes led to the revival of the Antique in Italy, and at the commencement of the 15th century, the celebrated Brunelleschi produced a work founded on the Antique Roman style, of the highest merit, viz., the Dome of Florence Cathedral. In the year 1420, Ghiberti executed his wonderful bronze doors; and from thenceforward the new style of the revived art, or the Renaissance, as it is now usually called, advanced rapidly, first throughout Italy, and, in the succeeding century, throughout Europe. Amongst the causes which led to this revival may be included the decline of the feudal system, the growing freedom of thought, the recent discoveries of the New World, and of the art of Printing. With the rise of the spirit of personal independence was created a thirst for ancient literature and art; and a search for the hidden fountains of antiquity was enthusiastically persevered in, until in the end it proved eminently successful.

[16] See “Handbook to the Renaissance Court,” by M. Digby Wyatt and J. B. Waring.

Monastic libraries, in obedience to the demands of the public voice, yielded up their treasures of ancient literature, whilst the soil of Italy was made to disgorge its mutilated fragments of antique art. The effects of these sudden, unexpected, and precious acquisitions may readily be imagined; they created a complete revolution in literature and art throughout Italy, which spread thence into other countries. The two beautiful arts of Painting and Sculpture saw with emulative shame their present inferiority in the ranks of Art; and in their noble aspirations towards the perfection newly placed before them, they assumed their position as distinct and legitimate creations. But if the Gothic system was now dying out, it had left at least one valuable legacy to the future, in its appreciation and adoption of natural models. The Italian artists of the 15th century received the gift joyfully, and, combining it with what treasures antiquity afforded them, produced a style which, in sculpture especially, has all the freshness of nature and the refinement of the antique, as both were capable of being united by the gifted men whose names have come down in glory to our own day, and will command the admiration of the latest posterity.

Entrance to Renaissance Court.

On no branch of art did the revival of the antique more strongly act than on the art of architecture; the Gothic style, which had never taken deep root in the soil of classic Italy, speedily fell altogether in that country before the recent discovery and imitation of the Roman antiquities. No powerful body of Freemasons was there, as in England, France, and Germany, to oppose the progress of the new style; and the individual energy of such men as Brunelleschi, Bramante, and the great architects of the northern states, soon established it on an indestructible basis. And, however much a partisan spirit may decry this or that particular style, the productions influenced by the revival of the antique, throughout the 15th century, especially in architecture and sculpture, will never fail to excite our astonishment and emulation.

Arcade of Hôtel Bourgtheroulde at Rouen.

The façade before us is a restored copy of a portion of the Hôtel Bourgtheroulde, at Rouen. It was built at the end of the 15th and the beginning of the 16th centuries. The bas-relief before us represents the Field of the Cloth of Gold, and the memorable meeting (in 1520) of Francis I. of France and our own Henry VIII. The frieze above, by members of the “della Robbia” family, is from the Hospital of the Poor, at Pistoia, in Tuscany, and shows monks or priests relieving the poor; the original is in coloured porcelain. Entering the court, we find in the lunettes under the ceiling of the small loggia, or gallery, portraits of twelve of the most celebrated patrons of art in the Renaissance period of Italy, Spain, France, and Germany, containing in the central compartment Francis I. of France and Catherine de’ Medici, in the compartment to the right, Lorenzo de’ Medici and Lucrezia Borgia, and in that to the left, Mary of Burgundy and Maximilian of Germany. In the centre of the court we find a fountain of the Renaissance period, from the Château de Gaillon, in France; and on either side of the fountain are two bronze wells, from the Ducal Palace at Venice, the one to the right surmounted by a statue from the goose-market, Nuremberg, that to the left by the figure of a Cupid, with a dolphin, from Florence. Both these wells have been arranged as fountain basins. Directing our steps to the right, we may first examine the decorations on the lower part of the interior of the façade, the bas-relief of which is taken from the high altar at Granada Cathedral, in Spain. The statue in the centre is that of the wife of Louis de Poncher, the original of which is now in the Louvre; its date may be assigned to the early portion of the 16th century. The altar on which the statue is placed is from the Certosa, near Pavia, in Northern Italy. The first object on the side wall is a door, by Jean Goujon (a French sculptor who executed many works at the Louvre), from the Church of Saint Maclou, at Rouen; then a doorway from the Doria Palace at Genoa, a fine specimen of the cinque-cento; above this are five bas-reliefs from the museum at Florence, representing Faith, Prayer, Wisdom, Justice, and Charity; and beyond it, one of the most beautiful objects in the Palace, a copy of the far-famed gates from the Baptistery at Florence, executed by Lorenzo Ghiberti, who was occupied upon his work for the space of twenty-one years. One glance is sufficient to assure the spectator that sculpture had indeed advanced to an extraordinary degree of excellence at the period which we have now reached. The visitor having sufficiently admired these “Gates of Paradise,” as Michael Angelo termed them, will proceed on his way, passing another doorway, which, like that on the other side, already seen, is from Genoa. Close to it is a door by Goujon, corresponding to the door in the opposite corner.

Plan of the Renaissance Court.

On the back wall we first notice a composition made up from various examples of cinque-cento work from the Certosa at Pavia. Adjoining it is a portion of an altar also from the same Certosa—a beautiful specimen of sculptural art of the time. Next to this is another piece of cinque-cento composition, from specimens obtained from this prolific source, Milan, &c. The sculptured figures of angels, and other figures in high and low relief in this composition, are worthy of a careful study. In the centre, two colossal figures (Caryatides), from the Louvre, by Jean Goujon, support a large cast of the Nymph of Fontainebleau, executed for Francis I., by the celebrated Benvenuto Cellini. Next to the Caryatides we see an exquisite specimen of a portion of the interior of the principal entrance to the Certosa most elaborately carved, and the panels filled in with bas-reliefs; the doorway by its side is from the Hôtel de Ville, of Oudenarde, in Belgium. Above is a composition of French Renaissance art. It stands out from the wall, and looks very like an antique cabinet or screen. Another architectural example from the Certosa follows, being a sort of military monument erected to the memory of Gian Galeazzo Visconti, Duke of Milan; the date of its execution is the end of the 15th century. Within it are bas-reliefs by Luca della Robbia and Donatello. On the side next the French Mediæval Court is first another oak door from Saint Maclou, by Jean Goujon, and then a doorway from Genoa; and, above it, the frieze of “The Singers,” by Luca della Robbia, the original of which is at Florence, a most charming work, fall of life and animation. In the centre of this—the northern—side of the court, is a cast from one of the windows of the façade of the Certosa, a remarkably fine example of cinque-cento; next to it, another doorway, from the Doria Palace at Genoa; and in the corner a fourth door from Saint Maclou, by Goujon, the central bas-relief of which represents the Baptism of Christ. The lower part of the interior of the façade is devoted to examples of Italian sculpture of the 15th century, including a head of St. John by Donatello.

Ground Plan of Elizabethan Court.

The monument placed against the wall is that of Ilaria di Caretto, from Lucca Cathedral, executed by Jacopo della Quercia, of Sienna, early in the 15th century: it is a very fine example of the cinque-cento style.

Two statues by Donatello cannot fail to be noticed—his Saint John in marble, and David in bronze, both of which display great power and study of nature.

We now pass out through the doorway under the Nymph of Fontainebleau, and enter a vestibule in the Renaissance style. Here, on the ceiling, is a copy of a painting from the Sala del Cambio (Exchange) at Perugia, in Italy, by Perugino, the master of Raffaelle, who assisted Perugino in the work. The painting represents the Seven Planets, with Apollo in the centre, as the personification of the Sun. The wall of the Renaissance Court to the left of the entrance is decorated with arches, and a frieze from the terra-cotta originals in the Certosa; the singing boys in the frieze are of great merit. The bronze monument in the centre of this wall is that of Lewis of Bavaria, a very interesting example of late German Gothic, remarkable for the finish of its details. In the centre of the gallery are placed Germain Pilon’s “Graces,” a charming example of the French school of sculpture. The four angles under the Perugia ceiling are occupied by four statues, also by Pilon; these statues are all now in the Louvre, and the very remarkable bronze monumental effigy in the centre, against the garden, is from the Museum at Florence; it is ascribed to Vecchietta of Sienna. On either side of the doorway are parts of Goujon’s doors from St. Maclou, at Rouen.

On the back wall, to the right of the doorway, are richly ornamented arches, from the large cloisters in terra-cotta of the Certosa, and also bas-reliefs and specimens of the Renaissance style from various parts of Italy. The central monument of Bernard von Gablenz is an exceedingly fine example of the style as practised in Germany, at the close of the 16th century. After examining these objects, we turn into the narrow court adjoining the Renaissance Court, and find ourselves in

THE ELIZABETHAN COURT.

The architectural details in this Court are taken from Holland House, at Kensington, a fine old mansion made interesting to us by many associations. Elizabethan architecture, which was in its flower during the latter half of the 16th century—more than a hundred years after the revival of classical architecture in Italy—shows the first symptoms of the adoption of the new style in England. The Elizabethan style—the name reaches back over the century—is characterised by much-pierced stonework, rectangular ornamentation, and a rough imitation of antique detail applied to masses of building, in which many Gothic features were still retained as regards general form, but altered as to ornament. The style being in its very nature transitory, it gradually gave way, although characterised by a certain palatial grandeur and striking picturesqueness, before the increasing knowledge which England obtained of Italian architecture, until we find it entirely displaced in the first half of the 17th century by the excellent style of building introduced by Inigo Jones. We must add, that, although it has no pretensions to the character of a regular or complete system, yet few who have visited the great Elizabethan mansions scattered over England can have failed to admire their picturesque and solid appearance, their stately halls, corridors, staircases, and chimney-pieces, and the beautiful garden terraces, which form so important a feature in their general design.

Façade from Elizabethan Court.

The kneeling effigies in the gallery at the back of this court are from the Hertford monument in Salisbury Cathedral, and represent the sons of the Countess of Norfolk, who lay on either side of her. The Court contains several tombs of the period. The first is that of Sir John Cheney, from Salisbury Cathedral: a soldier who distinguished himself in the wars of the Roses, and was attached to the party of Henry VII. The original effigy is in alabaster, a material much used during the early part of the 16th century. The next monument is that of Mary Queen of Scots from Westminster Abbey, executed in the beginning of the 17th century, and displaying in its treatment all the characteristics of the Elizabethan style. Under the arch in the centre is the bust of Shakspeare, from his monument in Stratford-on-Avon Church. The succeeding monument is that of Queen Elizabeth, also from Westminster, constructed at about the same period as that of Queen Mary; the original effigy is of white marble. The last monument is that of Margaret, Countess of Richmond and Derby (the mother of Henry VII.), at Westminster. It is the work of the Florentine sculptor Torrigiano; the original is in copper, and its date the early part of the 16th century; it is of unusual merit. Advancing a few paces, the visitor again reaches the Nave, and turning still southward, finds himself before

THE ITALIAN COURT,[17]

Which, as will be at once remarked, closely resembles the style of antique Roman art, on which, indeed, the modern is professedly founded. Although Brunelleschi, as we have before observed, revived the practice of antique architecture as early as the year 1420, yet various causes combined to delay a thorough investigation of the antique remains until the close of the century; and it even is not until the commencement of the 16th century that we find the Italian style, or modernised Roman, regularly systematised and generally received throughout Italy; from whence it gradually extended, first to Spain and to France, and at a somewhat later period into England and Germany. The power and excellence of the style are nobly exhibited in a large number of buildings, amongst which may be noted the ancient Library at Venice; St. Peter’s, at Rome; the Pitti Palace, Florence; the Basilica of Vicenza, the great Colonnade of the Louvre, Paris; St. Paul’s Cathedral, London; and the Escurial Palace, near Madrid.

[17] See “Handbook to the Italian Court,” by M. Digby Wyatt and J. B. Waring.

In this style, architecture rests chiefly on its own intrinsic excellence, or on proportion, symmetry, and good taste. The arts of sculpture and painting, in a great measure, become independent of architecture; and their absence in buildings of a later period (the 17th and 18th centuries, for instance) led to a coldness of character, which happily promises at the present day to find its remedy.

The Court before which we stand is founded on a portion of the finest palatial edifice in Rome,—the Farnese Palace, commenced by the architect Antonio Sangallo, for Cardinal Farnese, and finished under the direction of Michael Angelo. A curious fact in connexion with the original building is, that the stones which compose it were taken from the ancient Coliseum, within whose mighty walls the early Christians suffered martyrdom; so that, in truth, the same stones which bore witness to the faith and courage of the early devotees, served afterwards to build for the faith triumphant a palace in which luxury, worldliness, and pride found a genial home.

Ground Plan of Italian Court.

Prior to entering the Court, we may remark, in the niches, the bronze statues by Sansovino, from the Campanile Loggia at Venice, amongst which Apollo is conceived quite in the old Roman spirit. Passing beneath, the columns in the centre of the court, we see the fountain of the Tartarughe, or “of the Tortoises,” at Rome, designed by Giacomo della Porta: the copies of the bronze statues by Taddeo Landini belonging to it are, for the present, placed in front of the Vestibule of the Italian Court. Turning to the right, the first object that attracts our attention is a statue of the Virgin and Child, by Michael Angelo, the original of which is in the Church of Lorenzo, Florence. Advancing to the south side, we enter a loggia or arcade, the interior of which is richly ornamented with copies of Raffaelle’s celebrated frescoes in the Loggie of the Vatican palace at Rome. They consist of a most fanciful, yet tasteful, combination of landscape figures, architecture and foliage, founded on antique models, and bearing a close resemblance to the ornamental work discovered in various Roman ruins, having been imitated by Raffaelle from the baths of Titus, discovered about this time. The towns of Pompeii and Herculaneum, which have so much enlarged our knowledge of ancient arabesque ornament, were at that time unknown. In the centre of the arcade, towards the Court, is the monument of Giuliano de’ Medici, from San Lorenzo, Florence. On each side of his statue are the reclining figures Night and Day (part of the same monument). The face of the right-hand figure is left rough-hewn by the poet-sculptor to indicate the indistinct aspect of Night. The face of Twilight, on the opposite monument, though still in the rough, is more clearly expressed, as it should be. This is one of Michael Angelo’s masterpieces, and is remarkably characteristic of the sculptor’s style. At the back of it, in the Loggia, is a fine specimen of bronze casting, from the gates of the enclosure at the foot of the Campanile, Venice. On each side of the entrance to the gallery are two groups of a Virgin with the dead Christ, that to the right being by Bernini, the other to the left by Michael Angelo, both especially interesting as serving to indicate the state of art in the 16th and 17th centuries respectively. The remaining statues, viz.,—the Slave, now in the Louvre, the Christ in the Church of S. Maria Minerva, Rome, and the Pietà in St. Peter’s, Rome, are by Michael Angelo. The visitor may now enter the loggia, which, like its companion on the other side of the Court, is ornamented with copies of Raffaelle’s frescoes from the Vatican; in the centre of this side of the Court is placed Michael Angelo’s celebrated monument of Lorenzo de’ Medici, from the church of San Lorenzo at Florence; the reclining figures on each side of the statue of Lorenzo represent Dawn and Twilight. At the back of this monument within the arcade is the fine bronze door by Sansovino from St. Mark’s, Venice, on which he is said to have laboured from twenty to thirty years. The projecting heads are supposed to be portraits; amongst them are those of Titian, Aretino, and of the sculptor himself. Proceeding onwards, the beautiful composition of Jonah and the Whale, by Raffaelle, is from the Chigi Chapel at Rome. Passing into the gallery on the Garden side, we remark in the four angles portions of the pedestals of the Venetian standards, from the Piazza of St. Mark, Venice. The painted ceilings of this gallery deserve special attention. The first on entering the gallery is from an existing example at the “Old Library,” Venice; the last is from the “Camera della Segnatura,” by Raffaelle, at the Vatican; beneath which is the wonderful statue of Moses, by Michael Angelo,—a production the grandeur of which amounts to sublimity, expressing in every line, with, the noblest conception, the inspired lawgiver and appointed leader of a nation.

VESTIBULE TO THE ITALIAN COURT.[18]

The decoration of the vestibule is founded on the very elegant Casa Taverna at Milan, by Bernardino Luini, a pupil of Leonardo da Vinci, and affords an excellent idea of the peculiar painted mural ornament prevailing in Italy at the commencement of the 16th century. The doors are from the Palace of the Cancellaria at Rome, by Bramante, the famous designer of St. Peter’s in that city, and the immediate predecessor of the great architects of the 16th century. The vestibule itself is rich in very beautiful water-colour drawings after the old masters, by Mr. West. These drawings are well worthy of study, since they afford admirable specimens of the manner of many old masters, who are but poorly represented in the National Gallery.

[18] See “Handbook to the Italian Court,” by M. Digby Wyatt and J. B. Waring.

Monument of
Lancino Curzio.

Madonna
della Scarpa.

Sacrarium of the
Maddelena from
Certosa.

Monument of
Lancino Curzio.

Madonna
della Scarpa.

Sacrarium of the
Maddelena from
Certosa.

Ground Plan of Italian Vestibule.

We now pass out of the gallery into the Vestibule, by turning through the pillars to the right. The monuments on the external wall of the vestibule afford excellent examples of the later Renaissance style. Amongst them may be particularly noted the monument of Lancino Curzio (nearest the gallery), from Milan, by Agostino Busti, evincing that delicate execution for which the sculptor was famous; underneath is the tomb of St. Pelagius Martyr, from Genoa; and, in the centre of the wall, the central altar of La Madonna della Scarpa, from the Leno Chapel in the Cathedral of St. Mark, Venice—an elaborate specimen of bronze casting, completed early in the 16th century by Pietro Lombardo and others. The upper part of the monument nearest the Nave is an excellent example of the Renaissance style, being the Sacrarium of the Chapel of the Maddelena at the Certosa, Pavia; the bas-relief in the centre is by Donatello, and the remaining portions of the composition are from Sansovino.

Façade of Italian Vestibule.

We have now completed our survey of one of the most interesting features of the Crystal Palace. We have performed our promise to guide the visitor through the various Fine Art Courts, bringing before his notice some of the principal objects that have adorned his road, and endeavouring, by our brief remarks, to heighten the pleasure he must necessarily have experienced from the sight of so noble an assemblage of architectural and sculptural examples. Much however requires patient examination and study—examination that will yield fresh beauty, and study that will be rewarded by permanent and useful knowledge. For guidance and help we refer the visitor to the handbooks of the several Courts. The mission of this little work, as far as the Fine Art Courts are concerned, is accomplished: and “The Guide Book” now only waits until the visitor has sufficiently recovered from his fatigue, in order to resume, in other parts of the building, the part of cicerone.

COURT OF MONUMENTS OF ART.

We enter this Court (which is formed in one angle of the Great Transept with the Nave), as with the other Courts, from the Nave. The first objects that attract our notice are some beautiful statues of the Italian school, amongst which will be found many of Canova’s, several beautiful works by Richard Wyatt, and some from the chisel of Gibson. The statues at the garden end of the Court are mostly French. Some of the most conspicuous objects however in the Court are the very interesting crosses of the early Irish Church, and the richly sculptured bronze column from Hildesheim Cathedral in Germany, a fine example of the Byzantine period. Also a very interesting cross, from Pocklington, in Yorkshire,—a fine example of the monumental art of the latter part of the 15th century. This specimen has been liberally presented by Samuel Leigh Sotheby, Esq.

Beyond these are monuments of the Gothic period, amongst which are conspicuous the Cantilupe shrine from Hereford Cathedral, and the effigy of Edward III., from Westminster; the central tombs, of Bishop Wakeman, from Tewkesbury, and of Bishop Bridport, from Salisbury (the last-named being that to the left).

The tomb of Henry VII., an interesting example of the Italian Renaissance style in England, at an early period of its introduction, and the fine bronze monument of Cardinal Zeno from Venice, occupy the further end; and the equestrian statue of Gattamelata, by Donatello, forms a conspicuous feature in this portion of the Court, where also is a fine bust of Cosmo de’ Medici, by Benvenuto Cellini. Under the gallery at the further end are two fine equestrian groups in bronze of Castor and Pollux, by San Giorgio of Milan. The originals stand in that beautiful city. Here also, in a corresponding position to the statue of Gattamelata, but nearer towards the nave, is the superb statue of Colleone. In the glass cases on the side next the Transept may be seen a most interesting collection of casts from ivory carvings, from the 2nd to the 15th century. These have been published by the Arundel Society.[19]

[19] The Arundel Society has been formed by a number of gentlemen, lovers of the Fine Arts, for the laudable purpose of publishing such works as, however valuable in themselves, are not likely by an extensive sale to repay a publisher; its means for this purpose being provided by such annual subscriptions as it may secure.

For minute and interesting information respecting the monuments, and all the statues on this side of the Palace, the visitor is referred to the Handbooks of the Mediæval and Italian Courts (by Messrs. M. D. Wyatt and J. B. Waring), where they are fully described.

Crossing the great transept to the west, we proceed towards the south end of the building, and, keeping to the right-hand, commence our pilgrimage through the Industrial Courts. The first that we arrive at is

THE STATIONERY COURT.[20]

In the formation of this and of the other Industrial Courts, the several architects have been solicitous to express, both in the construction and the decoration, as far as possible, the specific destination; with the view of maintaining some harmony between the objects exhibited and the building in which they are contained. The Stationery Court was designed and erected by Mr. J. G. Crace. The style of this Court is composite, and may be regarded as the application of cinque-cento ornamental decoration to a wooden structure. Externally the aim has been to furnish certain coloured surfaces, which shall harmonise with the plants around and with the general aspect of the Palace. In the interior of the Court, the colour on the lower level will be seen to serve as an admirable background to the objects exhibited; whilst the panels covered with cinque-cento decoration, combined with the elegant imitation of marquetrie work, produce an effect which deserves the highest praise. Over the opening through which we enter this Court, and between the stained glass windows let into the wall, have been introduced allegorical figures of the arts and sciences applied in the manufacture of the articles exhibited in the Court, and over the opening at the back the artist has depicted the Genii of Manufacture, Commerce, &c. In the centre of the panels throughout the Court representations are painted of the processes which the objects exhibited undergo during their manufacture.

[20] See “[Exhibitors’ Descriptive Catalogue],” Part IV. of this book.

As the visitor passes round this Court, let him step out at one of the entrances on the north side, close to which he will find erected “The Crystal Palace Medal Press.” This machine, which is official, and worked on behalf of the Company by Messrs. T. R. Pinches & Co., is employed from time to time in striking commemorative medals, designed by Mr. Pinches or other artists connected with the Palace. The machine is worked by four men, one of whom adjusts the metal to be stamped between the sunk dies: as soon as the metal is fixed, the other workmen swing the lever rapidly round, and the great pressure produces impressions of the dies on the metal, which is turned out sharp and distinct, and then put into a lathe and completed. In the glass cases placed near, the visitor will have an opportunity of inspecting numerous specimens of the medals produced by the machine, amongst which those in frosted silver deserve especial notice for the beauty of their appearance.

The visitor, proceeding round the Stationery Court, from right to left, will find amongst the works of industry exhibited, specimens of Bank-note Engraving and Medallion Line-engraving, book-binding, and printing, including the new art of Nature-printing, paper manufacture, and Artists’ colours, also stereoscopic views and other articles of the kind. Outside this Court, between it and the Birmingham Court, are some beautiful and interesting specimens of artistic printing in colours. At the back of this and of the Birmingham Court, or towards the west front of the building, is situated “The Hardware Court,” in which are placed household utensils, iron and zinc bronzes, gas-fittings, refrigerators, and numerous articles in metals.

Immediately behind the Hardware and Stationery Courts, is a Court dedicated to New Inventions. This very interesting department is filled with ingenious contrivances of all kinds, and is well worthy of a visit.

Beyond this Court again, and flanking the Hardware Court, is a large space extending in a southerly direction to the Pompeian Court (at which the visitor will presently arrive), divided into several large chambers which are devoted to the exhibition of furniture. Here will be found not only useful articles of household furniture, but specimens of tapestry work, wood carving, picture frames, and other ornamental articles which give grace to our rooms, and which, by means of our great mechanical excellence, are daily becoming more and more within the reach of the great body of the people. The visitor will do well, in examining these Courts, to view them in sections, so as not to miss those Industrial Courts which face the Nave.

Next in order of the Industrial establishments, comes

THE BIRMINGHAM COURT.[21]

This Court has been designed by Mr. Tite, and the architect has considered that the purpose to which the Court is applied might best be expressed by showing some of the principal ornamental uses of iron in architecture. With this intention, he has designed for the façade of the court a restoration, in modern work, of the English ornamental iron enclosures of the 17th century, which differed but slightly from those prevailing at the same time in France in the style of Louis XIV. The English, however, are generally richer in foliage, while the latter are more fanciful in scroll-work. At the period referred to, the whole of those enclosures were of wrought and hammered iron, cast-iron being at that time little known; but in the enclosure before us, although it has been executed on much the same principle as the old work, the ornaments are cast, in order to secure greater durability, cast-iron not being so easily destroyed as wrought iron, by the oxidation which proceeds with such enormous rapidity in this country. The castings have been most admirably executed, and so sharp and distinct were the outlines of the patterns, that they required but little after-finishing. The pilasters are of enamelled slate, excellent for their imitation of marble, surmounted by iron capitals. Entering through the gates in the centre, the visitor finds the interior of the court panelled in the style of the same period, and decorated by Mr. Sang with emblematical paintings and other appropriate ornamentation in encaustic.

[21] See “[Exhibitors’ Descriptive Catalogue],” Part IV. of this book.

In this Court will be found specimens of plate, articles in nickel silver, seal-presses, gilt toys, curious locks, and similar manufactured goods of universal use, from the multifarious productions of the busy town which gives its name to the Court. On leaving the court, we notice some splendid specimens of bronze casting, and other works of artistic metal manufacture, belonging to Messrs. Elkington & Co. Quitting this department, we approach next in succession,

THE SHEFFIELD COURT.[22]

The architect of this Court is Mr. G. H. Stokes, whose structure compels attention by the novelty of its design, and by its generally striking effect. Although there is a considerable admixture of styles in the Court, the parts have been so well selected, and their blending is so excellently contrived, that they yield a harmonious result in every way pleasing to the eye. The materials used in the construction are plate-glass and iron, an appropriate and happy selection for a court intended to receive the productions of Sheffield. The panels on the outer walls are of plate-glass, inclosed within gilt-mouldings; the pilasters and the frieze over the large panels are likewise of plate-glass. The iron columns above, forming an arcade, are in a composite Moresque-Gothic style, and elaborately ornamental in design. Entering the Court from the Nave, we find the interior decorations identical with those of the exterior—with two differences, viz., the large lower panels, instead of being of plate-glass, are of red cloth, which serves as a background to throw up and display the articles exhibited. The frieze or space above the columns is covered with painted decorations. The articles exhibited in this Court present an excellent representation of the important manufactures for which Sheffield is so celebrated, and which are sought by all the world. It is impossible not to extol the beauty and curiosity, as well as the completeness, of these manufactures.

[22] See “[Exhibitors’ Descriptive Catalogue],” Part IV. of this book.

Having made our way to the Nave, a step brings us at once before the exquisite restoration of

THE POMPEIAN COURT.[23]

Seventeen hundred and seventy-five years ago, the cities of Herculaneum and Pompeii, beautifully situated on the shores of the Bay of Naples, were buried beneath the lava and ashes vomited forth by Vesuvius. The horrors of this calamity are recorded in the writings of Pliny, and of other Roman historians of the period. So sudden was the outbreak and general convulsion that, as we learn, many of the inhabitants of those cities were caught in their terrible doom before the thought of escape occurred to them. The dread event completed, nature resumed her former aspect. The mountain flames ceased, the intense blue sky again looked down upon the dancing waters, and there was nothing to tell of the general havoc, but a vast desolate tract covered with white ashes, under which man and his works lay entombed.

[23] See “Handbook to the Pompeian Court,” by George Scharf, jun.

For upwards of sixteen hundred years these cities remained buried. But about the middle of the last century, curiosity with respect to them was stirred, inquiry commenced, and excavations were attempted. As in the more recent case of Nineveh, but with still more satisfactory results, success at once crowned investigation. The material that had destroyed Herculaneum and Pompeii had also preserved them. That which had robbed them of life had also perpetuated their story in death. The cities were redelivered to man so far undecayed, that he obtained actual visible knowledge of the manner of life of one of the most remarkable people that ever governed the world. To the insight thus obtained, the visitor is indebted for the reproduction of the Pompeian house before which he now stands—a habitation of the time, complete in every respect. It is not asserted that the visitor beholds the actual ground-plan of any one specific house, but he sees the type of a Pompeian villa, made up of many fragments that have been found. The paintings and decorations are copies of originals found in the destroyed cities.

The doorway of this house stands fronting the Nave. Entering it, we pass through the narrow prothyrum or passage, on either side of which is a room devoted to the door-keeper and slaves, and on its pavement the representation in mosaic of a savage dog, and the words “cave canem”—beware of the dog—meet the eye. It is the usual notice found on the threshold of these Roman houses. Emerging from the passage, we are at once in the “atrium,” or outer court of the edifice. The eye is not attracted here, as in other restorations of the palace, by the architectural design alone; the attention is also secured and charmed by the decorations. The bright coloured walls, the light fanciful character of the ornaments, the variety of patterns, and the excellent method of colouring,—which at the lower part is dark, and graduates upwards, until it becomes white on the ceiling,—constitute some of the beautiful features that give individuality to Pompeian houses, and cause them to differ most essentially from every other style.

Ground Plan of Pompeian Court.

This entire court, or “atrium,” was the part of the building common to all visitors. The opening above is the “compluvium,” and the marble basin beneath, the “impluvium,” which received the rain that fell from the roof. In the actual houses at Pompeii, the size of the “impluvium” corresponds, of course, with the dimensions of the opening above. Here the “compluvium” has been widened in order to admit more light into the court. The flooring consists of tesselated pavement, and near the two other doorways leading into the “atrium” is inscribed the well-known word “Salve”—“welcome”—announcing the profuse hospitality of the owner. Two out of the three entrances mentioned are formed here for convenience of egress and ingress, and are not copied from actual buildings, in which there are sometimes to be found, however, a porta postica, or back door.

As soon as we have entered the Court, we turn to the right, and proceed round it, stepping into the “cubicula,” or bed-chambers, to admire the figures that seem to be suspended in the intensely fine atmosphere, and—with our English experiences—to wonder how, whether by day or by night, comfort could be attained in such close dormitories. We reach the side entrance, next to which is an open recess corresponding with a second recess on the other side of the “atrium.” These recesses were called “alæ” or wings, and were used for the transaction of business with visitors. On the central panel of the first recess is painted a scene from the story of “Perseus and Andromeda,” and on the side panel are again exquisite figures, painted not in the centre of the panel, producing a stiff formality, but nearer to the top than to the bottom, so that the forms still seem to float before us. Continuing our way, we turn into the large apartment opposite the door at which we entered. This is the “tablinum,” and was used for the reception of the family archives, pictures, and objects of art. Across the “tablinum” a curtain was sometimes drawn, to separate the private dwelling-house from the more public “atrium,” although it is a remarkable fact that no remains of hooks or rings, or of anything else, has been discovered to convey an idea of the means by which such a curtain could be attached. In order to enter within the “tablinum” a special invitation was required.

THE POMPEIAN COURT.

From this point, the “Peristyle” is also visible, with its columns coloured red some way up, a Xystus or flower-garden, and a back wall, upon which are curious specimens of perspective decoration, in which the Romans seem to have delighted. This court was always open to the sky in the middle. Passing through the “tablinum,” and turning to the right, we come to a small doorway which admits us into the “triclinium,” or winter dining-room. The Roman dining-room generally contained three couches, each large enough to hold three persons. In feeding, the Roman was accustomed to lie on his left side and to stretch out his hand towards the table in order to serve himself. Re-entering the “Peristyle,” we proceed on our way, still to the right, and pass a summer triclinium used in warm weather, on the walls of which fruits are painted, some hanging in golden clusters on a wreath of foliage, supported by Cupids. Next to this is the “porta postica,” or back door, and adjoining it a small recess, which served as kitchen. Crossing the “Peristyle,” near one end of which is the domestic altar, we turn to the left, and after passing a small chamber, the “vestiarium,” or dressing-room, reach the “balneum,” or bath-room—that chamber so essential to the luxurious Roman. Close to this is the æcus, or saloon, and beyond this again, and corresponding with the “triclinium,” is the “thalamus” or bed-chamber of the master of the house. Quitting this, we once more gain the “atrium” by means of narrow fauces, or passages, and return to the Nave, through the door of the house at which we originally entered. The visitor has seen the extremes of decorative art, when, after sating his eyes with the profuse and dazzling embellishment of the Alhambra, he has also dwelt upon the delicate work of colours gracing the walls of Pompeii. From the gallery above the visitor may see the form of the ancient tiled roof made of the peculiar tiles still occasionally used in Italy. This court was erected by Mr. Digby Wyatt. The paintings were executed under the superintendence of Sig. Giuseppe Abbate, of the Museum, at Naples. The mosaic floor was manufactured by Minton from drawings after antique Mosaic by Mr. Wyatt; and the bronze groups in the tablinum, and the Venus in the lararium, were electrotyped and presented by Messrs. Elkington and Co.

NATURAL HISTORY DEPARTMENT.

Upon quitting the Pompeian Court the visitor, still walking southwards, crosses the south transept and enters that division of the building which is devoted to geographical groupings of men, animals, and plants. The illustrations of the animal and vegetable kingdoms in the Crystal Palace have been arranged upon a specific principle and plan. Although the British Museum contains nearly all the examples of animals and birds known in the world, and Kew Gardens exhibit specimens of the majority of trees and plants known to botanists, still neither of these collections affords the visitor any accurate idea of the manner in which these numerous objects are scattered over the earth. Nor do they assist his conjectures as to the nature or the general aspect of their native countries. Here an attempt has been made to remove the confusion; and it is believed that the associations of those two branches of Natural Science, in groupings arranged in such a manner as the nature of the building will permit, coupled with illustrations of the human variety belonging to the same soil (a collection which has never before been attempted in any country), will prove both instructive and amusing, and afford a clearer conception than can be obtained elsewhere of the manner in which the varieties of man, animals, and plants, are distributed over the globe.

Zoology (from Zoön, an animal) is, strictly speaking, that science which investigates the whole animal kingdom, comprehending man as well as the inferior animals. Zoology, therefore, in a wide sense, includes Ethnology, or so much of that science as considers the different varieties or races of men in a physical point of view, instituting comparisons between them, and carefully pointing out the differences or affinities which characterise the physical structure of various branches of the great human family. In more confined use, the term zoology relates only to the consideration and study of the mammalia, or suckling animals; the requirements of scientific research having occasioned a new nomenclature in order to distinguish the different branches of the same study. Hence the natural history of birds is particularised as Ornithology, and that of fish as Ichthyology, whilst the investigation of those characters in man which serve to distinguish one race from another is, as previously remarked, called Ethnology (from the Greek Ethnos, “nation”). This last-named science is subdivided again into different branches, but, in a limited and inferior sense, and as illustrated by the various groups in the Palace, it may be described as that science which distinguishes the differences in skin, hair, bone, and stature that exist between the various races of men. This zoological branch of Ethnology relates to the physical history of man as opposed to his mental history, and, following up the course of his wanderings, endeavours by the above-mentioned physical peculiarities to ascend to the source from which the several migrating races have proceeded.

Within the Palace itself, we have been enabled to remark the works of man, and the gradual development of his ideas, especially in Art, leading to a variety of so-called “styles,” which answer in a measure to the varied species of Divinely created life. We have now an opportunity of attentively considering the more marvellous and infinite creations of the Deity in the organisation and development of that greatest of all mysteries—life itself; and of obtaining a vivid idea of those peculiar varieties of mankind, that have hitherto not fallen under our personal observation. If the visitor should feel astonishment in the presence of some of the phases of human existence here presented to him, he may do well to bear in mind, that they are representations of human beings endowed with immortal souls; to whose capabilities we may not place a limit, and that it is not yet two thousand years since the forefathers of the present European family tattooed their skins, and lived in so savage a state, that late archæological researches induce us to suspect they were not wholly free from one of the worst charges that is laid to savage existence; viz. the practice of cannibalism.[24]

[24] Archæol. Journ., p. 207. Sept. 1853.

Entering upon the path immediately before him, the visitor will commence the examination of the groups arranged on the western side of the nave. Turning up the right-hand path, we find on the right a general illustration of Australia. The men here represented are copied from living natives of Cape York, North Australia, and strike us at once, by their half-starved, lanky, and ill-proportioned bodies, curiously tattooed; they may be looked upon as savages, hunters, and inhabitants of the forest; they possess that excessive projection of the jaw, which ethnologists make one of the distinguishing traits in the most degraded forms of man. These figures were modelled from some living natives who were brought to England in 1853, and who were kept for some weeks by the Company on purpose that these portraits should be accurately rendered.

Amongst the animals will be noticed that most characteristic form, the Kangaroo, of which there are several species, and the Opossum, or Fox Phalangister, with a young one in its pouch. There are likewise specimens of the Duck-billed Platypus, Cook’s Phalangister, a Flying Opossum, an Emu, and a large rat called Hydromys. Some fine cases of Australian birds stand in the Transept close by. Here the visitor will find numerous plants, with which he is acquainted in conservatories; the Banksia, the Acacias, and the different kinds of Epacris and Eriostemon, are amongst the most conspicuous. He will see also specimens of three other kinds of Araucaria, the most elegant of which is the Norfolk Island Pine.

Nearer to the staircase, and adjoining the Australians, is a group of Papuans from the Louisiade Archipelago, remarkable by their curious frizzled hair; they are neither Malays nor Negroes, but a mixed race between these two, retaining the characteristics of the tribes from which they have sprung; hence they may be called Malay-Negroes. Behind them is a fine Cassowary, a curious bird, indigenous to the Indian Archipelago.

On the left-hand of the visitor, as he stands opposite the Australian figures, is arranged a group of Botocudos, inhabitants of that district in South America watered by the rivers Doce and Pardo. They have been regarded as the fiercest of American savages; they are yellow in colour, their hair is long and lank, their eyes are small, their cheek-bones prominent, the expression of their countenance excessively savage; and they give themselves a still wilder appearance by the insertion of pieces of hard wood in the under lip and in the ears, distending the flesh in a peculiar and strange manner. From this barbarous practice they derived their appellation of Botocudos, from the Portuguese. The operation of thus distending the lip is not, of course, carried out at once, but from infancy by the gradual increase in size of the piece of wood inserted. This may be noticed in the model of the child as compared with the adult natives. Missionary efforts, it is consolatory to think, have done something towards civilising these savages, who have been induced to become industrious, and to turn their attention to the cultivation of the soil. On the summit of the rockwork, over where three of the natives appear to be in council, are two fine specimens of the Black Jaguar and the Ocelot.

We now pass a case of birds belonging to North America, and at this point the illustrations of that country commence. In the centre of this case will be remarked a fine specimen of the Wild Turkey, from which our domestic breed is derived. On the left of this path is a group of North American Red Indians engaged in a war-dance, and surrounded by trees and shrubs indigenous to North America. The Indians of the valley of the Mississippi, and of the drainage of the Great Lakes, supply us with our current ideas of the so-called Red Man, or the Indian of the New World. In stature they are above the middle height, and exhibit great muscular force, their powers of endurance being very great; in temper they are harsh, stoical, and unsociable, whilst in warfare they are savage and cruel. The general physiognomy of the Red Indians is the same from the Rocky Mountains to the Atlantic. Between the Alleghanies and the Atlantic, the first-known country of these tribes, the variety is now nearly extinct. The most conspicuous plants are the American Rhododendrons, the Kalmias, the Andromedas, and the American Arbor Vitæ. Amongst the foliage we see the Black Bear, the Otter, the Beaver, the Grey Squirrel, and other animals indigenous to the country.

Passing now round the right-hand path, we find on our right the men, plants, and animals of Central America; amongst the latter, on the top of the rock-work, a fine male Puma grey with age. The Puma may be regarded as the American representative of the Lion of the old world, the distribution of both these animals throughout their respective hemispheres having originally been very general. Like most of the cat tribe, the Puma is a good climber, and usually chooses trees, rocks, and other elevated positions from which it can dart upon its prey. Before reaching this, the visitor will note a large specimen of Agave Americana, one of the most striking plants of Central America; he will also note that this is the land of the justly-admired Verbenas and Fuchsias, amongst which he will find a specimen of the large prehensile-tailed Porcupine. The men are representatives of the Indians of Mexico generally, rather than of any particular tribes.

On the left of the visitor are two groups of men; the two reclining figures are characteristic of Guiana, and beyond them is the Amazonian group. At the back, to the left of these two groups, is a large group of Caribs, some using blowpipes, others shooting fish with bows and arrows. These three are intended to serve as types of the northern varieties of South American Indians. And if we institute a comparison between the various races of North and South America, it will be found that the latter possess more delicate features, rounder forms, and are of smaller stature. Their habits and pursuits also differ. The Red Indian of North America gives himself up entirely to hunting, whilst the South American devotes his life to fishing, guiding his light canoe down the rapid-rolling rivers of his country, in search of the means of subsistence. In front of the Carib group are two Agoutis, and one unfortunate Marmoset Monkey in the clutches of a Skunk, while another is making his escape; also a small Fox, and a Tayra; and beyond the Amazon group is a little prehensile-tailed Porcupine.

The two cases of Birds which we now pass are especially brilliant, as they contain the Humming Birds and others of the splendid species of Tropical America. The specimens are not only remarkable for their magnificent plumage, but in many instances (as with the Toucan) for their peculiar conformation as fitted to their habits of subsistence. The long and slender bills of the Humming Birds, who probe the flowers in search of food, contrast with the apparent unwieldiness of the Toucan’s bill, adapted to tear from the branches the fruit upon which it feeds. Passing round, we notice a Jaguar about to devour a Brocket Deer. As the Leopard is found only in the Old World, so is the Jaguar peculiar to the New World, and each may be regarded as a representative of the other, on opposite sides of the Atlantic ocean; the Jaguar having greatly the advantage in size and muscular strength.

We now come to the Arctic illustrations, commencing with a case of Birds, many of which were collected by Captain Inglefield during one of the recent Arctic expeditions, and presented by him to the Crystal Palace. The specimens are arranged to represent some of the changes of plumage which, at various seasons of the year, are incident to the birds in these remote and extreme climates. The Snowy Owls, the Eider Duck, the Gannet, and various birds frequenting the sea-coast, are beautiful and prominent specimens in the collection.

It has been attempted in this illustration to present the visitor with some idea of the peculiar features of this region. It was necessary here, in the absence of all botanical specimens so attractive in the other departments, to attempt the representation of icebergs, and the snowy aspect of the country. The Ethnological group in the further recess is formed of two Samoiedes, or natives of Arctic Russia in their winter dresses of fur. The male native holds in his hand a pair of the very peculiar snow-shoes which are used by these people. The group nearest to the spectator consists of two males, a female, and child of the Lapland race, in their curious national dress. The scarlet costume of one of the male figures is, however, the summer dress, but is placed here for contrast with the other example, which is the kind of clothing adopted in the rigorous winter. On the right appears a Greenlander in his skin canoe, and armed with the implements of chase, by which he captures Whales, Seals, Birds, and other animals. The largest Polar or White Bear was killed by Captain Inglefield with a single pistol shot, when he was closely and dangerously attacked by the monster. The other animals consist chiefly of the Reindeer, Arctic Foxes, Esquimaux Dogs, Seals, &c. This illustration has been arranged and designed by Mr. A. D. Bartlett, under whose superintendence the Natural History Department is now placed.

Before leaving this side of the Palace to proceed in the examination of the Natural History Department on the other side of the Nave, we must not omit to particularly notice the interesting illustrations of aquatic natural history, which will be found in the various positions which are indicated. Most of these differ from the other objects in the department, inasmuch as they are living specimens; but they will all tend to give us some idea of how vast and how wonderful are the works of Nature, how various and how marvellously fitted each to its own function in the great universe. On the right-hand side of the path by which we entered the department from the Transept, is a case filled with West Indian sponges, arranged to represent, as far as may be, the aspect of the bottom of the sea in that region, and the form of growth of these curious marine productions. This rare collection of sponges is the property of J. S. Bowerbank, Esq., who has kindly lent them to the Crystal Palace Company, and arranged them himself.

We should now return to the staircase, near where the Botocudos and Australian illustrations are. Here two large tanks are fitted up as marine aquaria. The specimens are arranged in real sea-water. In the tank under the staircase, and nearest to the Botocudos, are placed specimens of the swimming fish most generally found on the coasts of Great Britain. It is not necessary here to particularise any of the various kinds, as a system has been adopted of affixing the specific names to the tank itself, for the readier and more effective identification of these interesting objects.

In the other tank, on the left-hand, those species of Crustaceæ which may be most properly designated active Crustaceæ are exhibited. A similar plan for the identification of the specimens is adopted as with the other tanks. Amongst these interesting specimens, the curious movements of the Soldier Crab, or, as called by some, the Hermit Crab, are very noticeable. This peculiar animal is not himself gifted with a shell upon his body, although his legs and claws are covered with the usual protection. To remedy this want, his habit is to attack some univalve, most generally the common Whelk, and having devoured the inmate, to adopt the shell as his own, moving about with it from place to place with great apparent convenience. He is not, however, always left in undisturbed possession of his stolen tenement, for the Actinea parasitica frequently attaches himself, with apparent purpose, to the shell, and thus, as it were, enslaves the inmate. The crab can, however, easily adapt himself to a new habitation, and may be frequently induced to the operation, if tempted by the introduction of a better shell. The tanks containing the Madrepores, Actineæ, and those species of Molluscous animals, which from their habits may be termed inactive, will be described in the proper positions on the other side of the Nave.

Crossing the Nave in front of the screen of Kings and Queens, we continue our examination of the various Natural History illustrations on the garden side of the Palace. Keeping then to the extreme right of this division, the first group we come to illustrates generally the Bushmen of South Africa. These have been variously designated by travellers as Bosjesmen and Earthmen, but are of one race. The group represents an entire family. This singular race of beings are persecuted and despised not only by Europeans but by the other tribes. They are migratory, and fix their abodes on unappropriated tracts of land, which frequently separate hostile tribes. The race is fast disappearing. The animals of this division (South Africa) are the Hippopotamus, the Bubaline Antelope, a large Crocodile, and on the rocks opposite to the Hippopotamus is the Cape Hyrax, or Rock Rabbit, a curious animal, much more nearly related to the Rhinoceros than to the Rabbit.

Further on we come to Eastern Africa, which is here represented by a group of Danakils, who inhabit the country between Abyssinia and the sea, leading a camel to water. The Danakils are a nomade or wandering tribe; they are of a chocolate-coloured complexion, and have long, coarse, wavy hair, which they often dress in a fantastic manner; they are of slender make, tall, and differ widely in appearance from the Negro. The Danakils are transitional between the Negro and the Arab, possess a Jewish physiognomy, and have acquired the Negro element from their intercourse with the neighbouring members of that race. The Negro form and physiognomy are much more strongly developed in the man on the right of the Dromedary, who belongs to the Msegurra tribe. In this district will also be found a fine natural historical group, representing a Leopard attacking a Duyker-bok.

On the right hand of the path in which we now are is a group of Zulu Kaffres. This fine people are far advanced before the rest of the South African races; they are in a measure civilised; some of them build houses and towns, and pay considerable attention to arts and manufactures. Thousands of them have lately entered the service of Europeans as farm-servants and labourers; in these capacities they are most honest and trustworthy. In general they are tall, strong, and well-proportioned; their skin is usually of a brown colour, but this varies in intensity; their hair is woolly; their foreheads high, and cheek-bones prominent. They are an active and warlike race, and of a predatory disposition. Having inspected this group, we should return and proceed down the path, then to our left. We shall pass, on our left, amongst other animals, three specimens of the Chimpanzee, the animal whose form most nearly resembles that of man (excepting the Gorilla). These are found on the western coast of Africa, though they may probably also exist in the far interior where no European as yet has penetrated. Though somewhat similar to the Ourang Outang of Sumatra in general form, the Chimpanzee is a smaller animal. It lives in woods, builds huts, or rather a protection from the sun and rain; uses clubs for attack as well as for defence; and in many ways exhibits an intelligence that presses with rather uncomfortable nearness upon the pride of the sole rational animal.

The Chimpanzees.

Turning then to the left, the first group we come to is one which illustrates an episode in the wild life of the savage. Two native Mexicans appear to have come suddenly upon a Jaguar, who has struck down a small deer for his prey, and to have attacked him with the bow and arrow; the wounded and infuriated animal is about to spring from the rock upon his adversary, whose footing has slipped, when the other native advances boldly with a spear to receive the attack and to rescue his companion.

Beyond this is represented a battle between two Leopards, forcibly reminding us of a quarrel between two cats, which, in fact, it is. Any one who has seen one cat advancing towards another, must have observed that there is always a desire to receive the assault lying on the back, with the four legs upwards. The motive is to be in a position to have free use of the claws of all the legs; and in the group before us, though the smaller animal appears to have the advantage both by position and by the grip he has taken on the throat of the other, yet the laceration he is receiving underneath from the hind legs of the larger animal will soon oblige him to release his hold. Close by are two Gazelles, as well as some Mediterranean animals, such as the Barbary Ape, the Corsican Goat, and two specimens of the Mouflon Sheep. The vegetation includes Orange and Lemon trees, the Date Palm, the Oleander, the Sweet Bay tree, and the Laurustinus. If the visitor here turns round to his right, a little further on, he will find a beautiful case, containing some superb specimens of the Game birds which are found in the Himalayan districts.

In this path he will pass, on his left, some illustrations of the most eastern part of temperate Asia. Two Tibetans represent the general physiognomy of the inhabitants. The animals are all rare: amongst them is the Chiru, a curious sheep-like Antelope; the Siberian Marmot; the Yaks, or grunting oxen, which are used by the Tartars for riding or driving, as well as for food or clothing; the tail being very much in request in India for brushing away flies, no less than as an emblem of authority; of these Yaks there are two specimens here, the largest being the animal in its wild state, the smaller one as it is domesticated by the Tartars; and the Ounce, a species of Leopard peculiar to the Himalayan Mountains, an animal which three hundred years ago was comparatively well known, but whose skin has since become so rare that the very existence of the animal has been questioned. European travellers have lately visited its haunts in Central Asia, and satisfactorily proved that it still lives. In the glass case further on, are two specimens of the great horned sheep of Chinese Tartary. The Botany here is from various sources: China, Siberia, Japan, and Nepaul have each contributed a few plants, amongst the most conspicuous of which are the Camellias and the Oriental Arbor Vitæ, which is the Asiatic representative of the similar plant in the new world. Amongst this botanical group will be found also specimens of the black and green Tea-plants.

The Yak.

Facing the visitor at this point under the staircase, and in corresponding positions to those described on the other side of the building, are two more large sea-water tanks. Those classes of Molluscous animals, which, we have termed, for the sake of distinction, inactive, are located here. Several of these are beautiful Actineæ, more commonly called Sea Anemones, from their similitude both in form and colour to flowers. There are numerous species of these animals, and an endless variety of beautiful colouring may be noticed on them. They are found in every sea, but those in warm latitudes usually surpass in beauty the denizens of more temperate or colder waters. Here also are some Madrepores, which, however, must be spoken of more as an assemblage of multitudes of minute animals than as one. The curious little long-shaped shell, from which the inmate emerges like a scarlet blossom, and into which he darts when disturbed, must also be noticed.[25]

[25] A very large fresh-water aquarium, on a comprehensive plan, is in course of preparation, and will shortly be added to this department.

Near the carriages is a Case containing a Sun Fish, presented by Edmund Calvert, Esq., and the rest of the specimens (which are all British) are, like those in the two Australian Cases which stand outside the glass doors leading to the staircase, the property of J. S. Bowerbank, Esq., by whom they have been personally arranged to represent the appearance of the sea-bottom. The Birds in the two Cases at the foot of the stairs belong to Africa.

With these we complete our rapid survey of the Natural History department of the Crystal Palace. It remains to mention that the Ethnological section was formed under the direction of Dr. Latham; that the Zoological Collection was formed by Mr. G. R. Waterhouse; that Mr. Gould formed the Ornithological Collection, and that Sir Joseph Paxton supplied the plants to illustrate the Botany. The whole of the natural history arrangements were effected under the general direction of Professor Edward Forbes, and the personal superintendence of Mr. Wm. Thomson.

Turning now to the left, a few paces bring us to the first Industrial Court on this side.

FOREIGN GLASS MANUFACTURES.

This Court has been allotted for the exhibition and sale of Bohemian and Bavarian glass manufactures. The magnificent specimens which are ranged around worthily exemplify the rich taste and fancy which have long been considered a characteristic of these productions, and form a most interesting comparison with the contents of the two succeeding Courts in this series, where are displayed the similar productions of the English manufactories, and, in the Ceramic Court, the richest specimens of all ages.

BRITISH PORCELAIN MANUFACTURES.

The contents of this Court somewhat differ in character from the works we have just quitted, inasmuch as the English Ceramic Art-manufactures of the highest class, and Porcelain from the best English potteries, will be found, as well as glass. The Parian statuettes, a branch of Art-manufacture of comparatively recent introduction, and in which the English excel, form a very beautiful and interesting feature.

CERAMIC COURT.

The next Court is appropriated to a most valuable collection of Ceramic productions, illustrating the art of Pottery, from the earliest to the latest time. This art has always been esteemed as curious and instructive, as it is an enduring record of a nation. From the earliest times, specimens have come down to us, and they doubtless speak with singular accuracy of the phase of civilisation in which they were fashioned, and of the manners which required them. Thus a survey of the Ceramic Court will, it is thought, bear with it more than the mere inspection of curious, beautiful, or splendid objects affords. The specimens are mostly arranged in the glass cases round the walls. In these will be found some curious Mexican examples, early Greek and Etruscan, and early stone pottery, as well as articles in terra cotta. Many very fine pieces of Lustrous and Italian-painted Majolica ware are arranged in the cases on the garden side of the Court. Of Sèvres china there are several splendid pieces of the renowned jewelled ware, as well as modern productions. The Dresden, Berlin, Viennese, Chinese, and Oriental manufactures are worthily illustrated, while amongst the productions of our own country may be pointed out the specimens of early Worcester and Chelsea ware, as well as the splendid works of the most modern manufacturers. Several of the magnificent pieces of continental manufacture have been graciously lent for exhibition by Her Majesty the Queen.

FANCY MANUFACTURES.

This is the last Industrial Court of the series on this side. It will be found to contain a most varied and rich collection of all those essentials of use and ornament for which both the Continent and this country are famous, comprising articles of bijouterie, vertù, papier maché, and an endless variety of things for presents or mementos; all the articles being for sale on the spot.

Quitting this Court, and turning to the right towards the garden, we reach the Photographic Department, entrusted to Messrs. Negretti and Zambra, the photographers to the Crystal Palace Company. Photographic portraits are also taken here in a room fitted for the purpose.

At the back of the series of Courts on this side, and along the whole of this part of the garden front, is arranged an exhibition of Carriages by most of the best makers, as well as harness, and many new inventions in connection with these things.

The visitor, having explored all the Fine Art Courts as well as the several Courts of Manufacture, may now give his exclusive attention to the chefs-d’œuvre and valuable examples of ancient and modern sculpture, which he has not found in the Fine Art Courts; but which will arrest his eye from point to point, as he accompanies us in a walk through

THE NAVE AND TRANSEPTS.

Our starting-point shall be the screen of the kings and queens of England, at the south end of the building, containing casts of the regal statues at the new Houses of Parliament, Westminster, executed by Mr. John Thomas.

SCREEN OF THE KINGS AND QUEENS OF ENGLAND.

The screen itself is from the design of Mr. M. D. Wyatt, and is characterised by much originality and appropriateness of treatment. The series of monarchs is placed in chronological order, commencing, on the return side to the left (as we face the screen), with the kings of the Saxon heptarchy; and beneath them the Saxon kings, the first on the left being Egbert, by whom the greater number of the petty kingdoms were first consolidated. The Norman series commences, on the principal front, with William I. and his queen, above whom are the statues of St. George and St. Andrew. Amongst the various rulers of the state may be noticed as of great excellence, in that style of sculpture which has been termed the “Romantic,” Henry II., Berengaria, Henry V., Henry VI., Richard III., Edward VI., Charles I., Queen Henrietta, and Cromwell; this last was rejected by the Committee of the Houses of Parliament, but is clearly necessary for completing the historical series, which is concluded on the return side, to the right, with the royal personages of the reigning Guelph family, and a lower row of Saxon kings. An equestrian statue of her Majesty, by Baron Marochetti, stands here in the centre.

Quitting the screen, we are first attracted on our road by the Crystal Fountain, which occupied so conspicuous a place in the Great Exhibition in Hyde Park. We will now, however, proceed on our tour, entering first the western end of

THE SOUTH TRANSEPT.

It is preferable, in order not to overlook any of the important objects which are stored in the several Transepts, to examine each Transept completely, as we enter it on our interesting tour, and after passing round both ends to resume our walk in the Nave, advancing up toward the north end of the Palace on the left-hand side, and returning down the right-hand or garden side. Turning then to the left, we proceed round this Transept, from left to right, noticing on our course the statues and other objects which are placed in the open space at each end. The first conspicuous one of these which we find is, a cast of the well-known equestrian statue of Charles I., from the original at Charing Cross. It was designed and executed, in 1633, by Hubert Le Sueur, a French sculptor, pupil of the celebrated John of Bologna, but was not at the time raised on its intended site. During the civil wars, the Parliament, wanting men more than statues, sold it to John Rivet, a brazier, living in Holborn; by whom it was kept concealed until the restoration of Charles II., when it returned again into the hands of the government, and was finally erected at Charing Cross in 1674. The pedestal is a work of the celebrated sculptor, Grinling Gibbons.

Beyond the statue of Charles I. in the central line, is placed that of James II. by Grinling Gibbons, cast from the original now in the court at the back of Whitehall. It is an excellent example of a portrait-statue treated in the classical style; and affords us a proof of the higher reach of Gibbons’s genius; whose well-earned reputation in the seventeenth century, we may remark, rested more especially on his works in ornamental carving, of which the exquisitely cut fruits, flowers, wreaths, and other ornaments on the façade of St. Paul’s, London, are examples.

Between these two Royal Statues is a Mosaic picture of the Ruins of Pæstum, executed in modern Roman Mosaic, every shade and tint being composed of separate pieces of vitreous material; and in front of the statue of James, a model of a Chinese Junk carved in ivory, which is lent to the Crystal Palace Company by Her Majesty.

A selection from the best productions of various English sculptors surrounds this portion of the Transept. At the angle is a colossal statue of Peel by Marochetti, and between this and the Screen of Kings and Queens in the nave is the statue of the great Earl of Chatham (449), forming a portion of his monument in Westminster Abbey. It was executed by J. Bacon, R.A., a contemporary sculptor, who was celebrated for the truth and vigour of his portraits. Bacon should also be mentioned with honour, as one of the first native artists who founded the English school of sculpture in the last half of the 18th century. Amongst the statues in the Transept itself, we would notice Macdonald’s excellent compositions of Ulysses recognised by his Dog (48), and Andromeda (47); the very gracefully designed figure of a Bather (36), by Lawlor; and a group of Boys Contending for a Prize, with some other statues by the same artist.

The statues on the north side of this end of the Transept are by Spence and Theed; amongst them will be remarked the Highland Mary (58), and the statue of Flora (59), both by Spence; Narcissus at the Fountain (60), and Psyche (61), by Theed.

At the junction of the Transept and the Nave is placed the colossal statue of Dr. Johnson, from his monument at St. Paul’s, the first that was erected in that Cathedral. This portrait-statue, as well as that of Chatham, is by Bacon; but composed, as will be remarked, on a diametrically opposite principle; the great writer being half clad in a classic toga, whilst the great statesman is brought more vividly to our minds by being represented in the costume of his period and his order.

We now cross over to that junction of the Transept and Nave, which is marked by a colossal statue of Lessing, the great German writer; a noble and dignified portrait-statue by Rietschel of Dresden.

In this portion of the Transept are several works of the English School of Sculpture, amongst which may be particularly remarked a statue of Shakspeare (407), by John Bell; the Maid of Saragossa (6b), a very picturesque and vigorous ideal figure of a heroine who has also inspired the pencil of Wilkie; the Dorothea (5a), so well known to the public by small copies in Parian marble; a graceful statue of Andromeda (7), and Jane Shore (6a). All these specimens of Bell’s talents are on the north side of this part of the Transept. Opposite to them, or close by, will be found the Mercury (55), a Dancing Girl (50), by Calder Marshall, R.A.; the First Whisper of Love (49), Zephyr and Aurora (52), and an excellent portrait-statue of Geoffrey Chaucer (53), the father of the school of English Poetry, also by Marshall. Nearer the Nave is an ideal statue of Shakspeare by Roubilliac, cast from the original, still preserved in the vestibule of the British Museum. The colossal statue at the angle is that of William Huskisson (462), the first statesman to pioneer the way to free trade. It is a noble work in the classic style, by Gibson. Along the centre of the Transept are placed the Eagle Slayer (6), by Bell, a work remarkable for its vigorous treatment; the well-known and graceful composition, also by Bell, of Una and the Lion; and the fine monument erected by the good citizens of Frankfort to the memory of the first printers, Gutenberg, Faust, and Schœffer. The central statue represents Gutenberg, who rests with an arm on the shoulder of each of his fellow-workmen. The original is by Baron Launitz of Frankfort, and is a creditable instance of the public spirit, which does not, after the lapse of centuries, forget the originators of The Press—that mighty power, which performs at this day so grand a part in the governance and for the benefit of the civilised world, and by means of which the reader studies this record. On the right of the Gutenberg monument is a stately equestrian statue of Francis I. by Clesinger of Paris. The countenance is strikingly like the authentic portraits of the king, and well exemplifies the character of the man. In a corresponding position on the other side is Marochetti’s statue of Richard Cœur de Lion, calling to mind a curious contrast in the chivalry of the two kings.

Having now regained the Nave, we proceed along in front of the Pompeian Court, where will be found various works mostly illustrative of modern German sculpture; amongst which we notice a group of Minerva protecting a Warrior (162), by Blaeser, of Berlin; also a charming little composition, by Brugger, of a Centaur instructing the young Achilles (164). The original model of a Nymph, with an Urn (167), by Dannecker, executed as a fountain at Stuttgard. An allegorical figure of Medicine (171), by Hahnel of Dresden. A Violin Player, by Steinhauser (201*). Two seated statues, in the Greek style, of Thucydides and Homer (176), by Mayer. A statue of a Magdalen (261), by Wagner. A very spirited group of a Hunter defending his family against a Panther (264), by Widnmann of Munich. A statue of Hector (166), by Dannecker. Next to this is a pretty statue of Diana (270), by G. G. Wolff, and near it Telephus suckled by a Hind (266), with several other beautiful examples. The statue of a Hunter (263) is a chef-d’œuvre by Wittich. Opposite the Stationery Court are excellent life-size statues of stags (193*), by Professor Rauch, of Berlin, excellent examples of that difficult branch of the sculptor’s art—the study of animal nature; and near these, Debay’s exquisite group of the First Cradle (96), and a magnificent vase by Drake (169), with Thorwaldsen’s beautiful Venus (217) and Aurora (18), by John Gibson, R.A. The fine statues of Victory (184 to 188), by Professor Rauch, are characteristic examples of that great sculptor’s style, and of the successful variety of treatment in five designs for one and the same subject. And the statue of a Nymph holding a Basket of Fruits and Flowers (160), by Professor Drake, is a picturesque example of the “Romantic” school of sculpture. We now approach the Great Transept, before entering which we will turn to the left and explore the open Court which is formed at this point by the angle of the Transept with the Nave.

THE CANADIAN COURT.

This position has been appropriated for the display of a most interesting collection of the staple and manufacturing products of Canada. The colonial government have undertaken to form and maintain such a collection as shall completely represent the commercial resources of that important colony, and have voted a sum of money for its permanent maintenance. Such an exhibition presents invaluable information to the intending emigrant, and to all an interesting sign of the progress, polish, and prosperity of our brethren in the Atlantic colony.

A prominent object at the further end of this Court is the noble colossal head of Bavaria, by Ludwig Schwanthaler, of Munich, who enjoyed an European celebrity. The original bronze statue to which it belongs, erected outside the city of Munich, is fifty feet in height, the pedestal on which it stands being thirty feet high. For ten years did the great artist, weak and broken in health, still devote himself with a true artist’s love to the progress of his task: but he was not destined to witness its perfect completion; and when the statue of the Genius of Bavaria was cast in bronze, its author had passed from amongst us. The statue was first publicly exhibited in 1850.

Corresponding in position on the side next the Nave, is another example of those embodiments of towns and nations, which are so frequently to be found on the Continent. The present colossal statue allegorises Franconia, a province of Germany; it is characterised by much nobility of conception, and worthily sustains the reputation of the modern German sculptors. The original, by Professor Halbig, is erected at Kilheim, in Bavaria.

The south wall of the Court, and the passage from it through which we pass to the front of the Reading Room, will be found to be decorated by some beautiful bas-reliefs, amongst which may be particularised, Westmacott’s Paolo and Francesca (72); Lough’s Apotheosis of Shakspeare; some very interesting bas-reliefs by Rauch, from the tomb of Marshal Bulow; they will be found on the base of the colossal head of Bavaria; and the Triumph of Alexander (226), executed by Thorwaldsen to decorate the Pope’s palace for the reception of Napoleon I. in 1812,—one of the most celebrated works of the great sculptor. Chantrey’s beautiful group of Sleeping Children stands in the passage, and claims special attention.

THE LIBRARY READING ROOM.

Within the quadrangular area between the Canadian Court and the Central Transept, is to be found the Reading Room of the Library, which contains works of reference for those studies and Fine Arts which are exemplified in the Crystal Palace, as well as works of high class and general literature. The books are obtained for use in the Reading Room, by means of a small slip to be filled up from the catalogue. Round the room fit space is allotted to publishers, on which are exhibited the title-pages and announcements of new books, the new volumes themselves being exhibited during the season for immediate reference in an open book-case in the room. The publishers’ catalogues lie upon the table. The operation of the plan also extends to Continental literature, and the announcements of new books by Foreign publishers, as well as their catalogues, with the books themselves, will be noticed as an interesting feature not to be found elsewhere. A valuable Library has been already formed by the purchases of the Company, the free gifts of individuals, and by the addition of the new works which, having been exhibited by the publishers in the Room during the season, are then added to the catalogue. Amongst several very splendid works, the magnificent gifts of both Continental and British publishers, which enrich the Library, one deserves special notice on account of its very great rarity and value, as well as of its beauty. This is a copy of “Das Neue Testament” which was printed in 1851 for His Majesty the King of Prussia. As a specimen of Gothic typography the work is perhaps without a peer, while as a work of art, and a record of what can be achieved by the printing press in these days, it is to be highly valued. Five exquisite designs from the rich and original pencil of Kaulbach illustrate the volume; they represent the Deity, and the four Evangelists, severally, being single allegorical figures. There is also one illustration to the Revelations, by Peter Cornelius. These are printed from wood blocks. Twenty-five copies only of the book were printed when the type was broken up. Of these, five exist in England. One in the possession of Her Majesty the Queen, to whom the work is dedicated, one in the Bodleian Library at Oxford, one in the Syndicate Library at Cambridge, one presented to the Bishop of London, by Prince Frederick William, on the occasion of the recent Royal Marriage, and the present copy. This magnificent volume is the production of Herr Rudolf Decker of Berlin, Printer to the King of Prussia, by whom it was presented to the Company’s Library. In that portion of the room devoted to news, more than 100 newspapers can be found, upwards of fifty of which are London papers; the British country press is very completely represented, constituting a feature of the Room, and several leading Foreign Journals are supplied; there are 18 Magazines, and 7 Reviews (as well Foreign as English), besides Periodicals and Pamphlets, Directories, Gazetteers, Maps, &c. &c. The very latest news, by special telegraph, is exhibited immediately on its receipt, and a regular Daily Telegram is received from Paris, with the state of the French Funds, and Money Market. A Register for Appointments and Messages is kept, and a glass case in which unclaimed letters, and letters for visitors, are exhibited. There is a postage-box upon the reading-table, and one outside, from which letters are collected several times in the course of the day; and paper, envelopes, and postage-stamps can always be obtained from the attendants at a moderate charge.

THE GREAT CENTRAL TRANSEPT.

Passing along in front of the Reading Room, we return to the Nave, and enter the Transept, the arch of which rises nearly 175 feet high in a light and graceful span. From the first terrace, however, to the summit of the Transept is 197 feet 10 inches. There are five galleries here, one above the other, the topmost of which runs entirely round the Transept, and the third of which extends round the whole length of the building on each side. In the second of these galleries, on the garden side, is the Industrial Museum and Technological Collection, of which we shall treat presently.

Not far from the angle of the Transept and Nave, towards the Stationery Court, stands a cast from the colossal statue of Rubens, by Geefs, of Brussels, erected in the cathedral square at Antwerp, of which city Rubens was a native: the original is in bronze, and a fine example of the modern Romantic school of sculpture. Opposite the statue of Rubens, on the other side of the Nave, is placed a cast of the fine bronze statue, by Dantan, which has been erected at Dieppe, in honour of the great French Admiral Duquesne. It is remarkable for its noble expression, and the spirited romance of its treatment. The celebrated Farnese Hercules and the Farnese Flora, both colossal antique statues from the Museum at Naples, occupy the corresponding positions across the Transept. The Hercules is a fine and artistic example, characterised by a massive and somewhat exaggerated muscular development, not, however, altogether inappropriate to the hero of physical force. The whole of this the western end of the Great Transept is occupied by the great orchestra, capable of accommodating 4,000 performers, which has been erected for the Great Handel Festival. In the centre of the orchestra is the great organ which has been built by Messrs. Gray and Davison expressly for the position.[26] The eastern end of the Transept is occupied by a handsome orchestra for musical and choral performances. On the northern side of this end of the Great Transept are ranged some choice statues of the modern schools; the graceful Amalthæa by Julien (113); Psyche (103*); Veritas (150), a veiled figure by Monti; and Endymion (129), the Graces (125), and Paris (129), by the late famous sculptor Canova.

[26] The organ contains 66 stops, viz., 20 on the great organ, 12 on the choir, 5 on the solo, 17 on the swell, and 12 on the pedals. It has four separate rows of keys, with couplers, combination pedals, and complete pedal board. The instrument contains 4568 sounding-pipes.

We must now cross over the Nave and enter the open court, which is close to the colossal Farnese Hercules, and which corresponds in position to the Canadian Court, which we examined before entering the Transept. This Court is filled with specimens of antique sculpture of the Greek and Roman schools. Among these we would draw attention to the colossal Velletri Pallas (351), so called from having been discovered at Velletri, near Rome, and now preserved in the Louvre, at Paris; the Dying Gladiator (309); a Boy with a Dolphin; a colossal head of Pallas (328). A Boy extracting a Thorn from his Foot, from the Capitoline Museum at Rome; and the fine head of Antoninus Pius (381).

A collection of Greek ideal and portrait-busts will also be noticed in this Court; amongst which the colossal heads of Vespasian (332), Trajan (354), Pertinax (379), Lucius Verus (361), and Titus (333), are particularly deserving of notice. The visitor should not quit this compartment without noticing the collection of antique vases which it contains, amongst which the Medicean Vase (343) is a peculiarly elegant example of antique art. The elegant tripod (211), and the antique fountain (357), are also worthy of attention. Here also we find the celebrated group known as the Toro Farnese, or Farnese Bull. The original of this beautiful group, which is now preserved in the Museum at Naples, was discovered in the Baths of Caracalla at Rome, and derives its name from having been placed in the Farnese Palace in that city. The subject is the revenge of Queen Antiope and her two sons, Zethus and Amphion, on Dirce, for seducing the affections of her husband, Syeres, King of Thebes. The sons, enraged at the insult offered to their mother, are represented as about to revenge themselves by tying the unfortunate Dirce to the horns of a bull, when their mother, moved with womanly pity, intercedes for her rival, and induces them to forego the intended punishment. According to Pliny, the Toro Farnese was the work of the Rhodian artists, Apollonius and Tauriseus.

Conspicuous also in this compartment, from its high position and great beauty, is the Choragic Monument of Lysicrates. This beautiful example of ancient Greek architecture is usually styled the Lantern of Demosthenes, on account of a tradition which ascribes its erection to that celebrated orator. No weight, however, can be attached to this supposition, although it may be, and in all probability is, due to the time of Demosthenes.

An inscription on the architrave informs us that this monument was erected by Lysicrates of Kikyna, at his own expense, in order to commemorate a musical triumph obtained by various members of his tribe or clan, the Akamantis. The ancient Greeks were in the habit of holding a species of musical tournament, in which the most celebrated masters of the art vied with each other; in this particular case, the palm was awarded to Theon, the flute-player, and the chorus of boys led by Lysiades; the magistrate for the year being Evanectus. It was to celebrate this triumph that the monument was erected. On the monument was sculptured the story of Bacchus transforming the Tyrrhenian pirates into dolphins, which was the subject of the music. A tripod was the usual prize granted in these contests, and the victor either placed it in one of the temples, or, as in the present instance, consecrated a monument specially for its reception. It was placed on the summit.

Retracing our steps, we once more regain the Nave, and as we advance, still keeping on the left side, past the front of the Egyptian Court, we remark several antique statues, including the Antinous as Mercury, from the Capitol at Rome (316), the Antinous as a Good Genius (314), and the Adonis, from Capua (213).

From this point, extending throughout the façade of the Greek Court, are ranged excellent examples of Greek sculpture, which the visitor may compare with the subsequent works of the Roman sculptors, or of Greeks settled at Rome, placed before the walls of the Roman Court. Amongst the Greek statues we select the group of Silenus and a youthful Bacchus (306), excellently treated and full of life; seated statues of Demosthenes the Philosopher (308), and of Posidonius (307), on each side of the first entrance to the Court; the Borghese Silenus (306); a Bacchus and Faun (305); the fine group of the Wrestlers, from Florence (304), the well-known Drunken Faun (295), from the Museum at Naples; and the Apollo Sauroctonos (298), from the Vatican. Nor must we omit the excellent seated statues (290, 291). On either side of the principal entrance to the Greek Court will be found the beautiful Ceres (130), a Vestal (142), the Amazon (302), and Polymnia (297).

In front of the Roman Court will be first noticed Meleager and his Dog (289); the celebrated Antinous (288); the fine Mercury, from the Vatican (287), and the same subject (288), from Naples. Before the first entrance to the Court are placed the seated statues of Trajan (286), and Agrippina (281).

The Mercury disguised as a Shepherd (285), and the Adonis (282), are characteristic specimens of the ordinary Roman style.

Passing the façade of the Alhambra Court, we arrive at the Fountains, which at this end of the Nave correspond to those of the south end in position, and generally with respect to the aquatic plants which live in the water of the long basin. The two fountains here are designed and executed by Monti the sculptor. The figures of Syrens, supporting the large shells, typify by their colour four races of men: the Caucasian, white; the Nubian, black; the North American Indian, red; and the Australian, olive. The smaller figures above these bear fruit indigenous to various soils. The design of the Fountains is most appropriate, and the entire composition very artistic. The bronze colour of these statues, and of many others in the building, is produced by means of the electrotype process, with signal success. In the water which surrounds this fountain many interesting plants will be found, in addition to the lilies and other varieties which adorn the basin of the Crystal Fountain at the south end of the Nave. The Papyrus plant will be recognised by its tall green stems topped with fibrous leaves. The manuscripts of the Egyptians and many ancient nations were inscribed upon sheets made from the stalks of this plant. Many of the Egyptian architectural ornaments are derived from the form of the Papyrus, which grows in large quantities along the banks of the Nile. Rice, sugar-canes, and other interesting plants, grow along the margin of the water; the most curious of which, as indeed it is one of the rarest in the whole collection, is the Lattice Plant. This specimen was but lately brought from Madagascar by the Rev. Mr. Ellis. The remarkable form of the plant, from which it is named, will ensure its easy recognition. The gold fish, of which there are many thousands in the fountain basins of the Nave, have all been bred there from a few fish which have now grown to a great size, and may often be noticed steadily sailing amongst their multitudinous progeny. The temperature of the water, which is heated by water pipes beneath the surface, is peculiarly favourable to the growth of these fish.

THE NORTH TRANSEPT, AND TROPICAL END OF THE BUILDING.

It has been found that the valuable collection of Palms and other specimens of Eastern vegetation, which have been collected in this Transept and beyond, could only be kept healthy by isolating the department devoted to them, and raising its temperature to a degree which would not be pleasant in all parts of the building, or favourable to the equable growth and seasonable cultivation of the other various botanical specimens. During the greater part of the season, a curtain divides this portion of the Palace from the more temperate regions. The temperature suits so well the plants that some, which on their arrival appeared not to grow well, have become quite acclimated, wearing a rich and luxuriant growth of verdure.

Having entered the North Transept, we find the whole of the western end occupied by the colossal Egyptian Figures from Aboo Simbel. We shall view these to the best advantage from the further end of the Transept, in front of the Mammoth Tree; we will, therefore, first make the circuit of the fountain, examining the surrounding objects, and inspect them from that point, and thence commence our return journey down the Nave.

The two semicircular extensions at this the upper end of the fountain basin have been separated from the main body of the water by a perforated partition, and contain some curious and interesting animals. In that to the right, or immediately in front of the Assyrian Court, sports one of the most remarkable of the animal creation—the Lepidosiren. It is remarkable as being an animal organised with both lungs and gills, which are generally assumed to be distinctive organizations in the reptile and the fish; but this, it will be seen, like most of such wonders in natural history, is a conformation of the animal to its habits of subsistence, place of residence, and the exigencies of its life. It is found in the river Gambia, in Western Africa. During a great portion of the year this river is dried up, and the mud in its bed is baked under an ardent tropical sun till it is of immense hardness, and shines when cut with a knife. When the river subsides, and parches up, the Lepidosiren burrows into the mud, where it remains during the dry period, till when the rains come, and the river swells, it issues from the softened mud and sports in the water again. It is considered by the most able naturalists to belong to the reptilia rather than the fish. The exact nature of its food is not accurately known, but it is a voracious feeder on animal substances; this specimen regales himself upon raw beef, frogs, and snails, with the occasional delicacy of a gold fish. He is himself eaten as a delicacy by people in Africa.

In the corresponding compartment on the other side of the basin are two species of fresh-water tortoises, Emys Caspia and Emys Gambiensis, one an European and one an African species, which may be identified by its larger size and lighter colour. The Emys Caspia is found commonly in the rivers of most of the warmer countries in Europe. When, after the Crimean war, the troops garrisoning the Ionian Islands returned to England, one of the officers brought with him two eggs of this variety; for safety he put them into his pistol-case. On his arrival in England the eggs were found to be hatched, and the two small animals were presented to the Crystal Palace Company, and placed in this basin. One has since died, after living some months; the other is still here.

The Visitor should not omit to inspect the Aviaries, of which there are several, in this end of the building. These contain Weaver Birds, Grenadiers, Grosbeaks, Mocking Birds, and Paroquets, most of them inhabitants of warm climates. There are also some Nightingales, whose rich song is frequently heard, even when the people crowd round them. The Weaver Birds, in the spring, may be seen constructing their curiously woven nests of grass, which hang from the branches like so many stockings; others of the feathered tribe build their habitations fearlessly in the presence of the visitor, with all the art of the basket-maker; here, indeed, bird-architecture of the most unique kind may be studied by the naturalist with delight and advantage. The Australian Paroquets have this spring again reared their young in these Aviaries with great success. It has been generally supposed that it was not possible to induce these birds to rear their young in this climate; but in 1856, the experiment was most successfully carried out in this Aviary. It has been repeated here since, each year; and in the present spring (1859), there are two healthy young birds which have been hatched in one nest, and there is promise of others. These observations more especially apply to the large species of Ground-paroquet (Platycercus hermalonotus), the smaller Shell-paroquet (Melopsittacus undulatus) having repeatedly bred in this country.

Besides the birds mentioned, there are several of the British varieties, as well as some others of greater rarity or interest which may be specially mentioned. There are several Canaries which should be noticed, as they have been trapped in the Islands and forwarded direct, in their wild state. These must not, however, be confounded with those of the tame varieties in the same Aviary; they may be distinguished readily not only by the general carriage of the bird, but by their green plumage. The collection of Sparrows is also interesting: there are the common house and tree Sparrows of England (this last, however, is not to be confounded with the Hedge-sparrow), the Rice-sparrow of Java, and the Diamond-sparrow of Australia. The Diamond and Java Sparrows have successfully constructed nests; which is an additional evidence of how suitable the Tropical end of the Crystal Palace is for the Tropical birds. Here also are two or three specimens of the Californian Quail (Ortyx Californicus). These birds were brought from the Zoological Gardens at Antwerp. They breed freely, and are well adapted to thrive in a wild state in this climate, rearing from fifteen to twenty young ones in a brood; they are a great table delicacy, and it is probable at no distant period may enrich the list of British Game birds.

In a glass case, on the right hand as we approach the Aviaries, are some beautiful and interesting Lizards (Lacerta agilis). These perfectly harmless little reptiles are found in all the warm parts of Europe, frequenting dry, stony places, and old ruined buildings. Their food is flies, beetles, moths, and other like insects. The present specimens are from Guernsey, in which island they greatly abound.

Near to these, in the centre of the Transept, are some of the most curious of the reptiles, and which are perhaps better known by repute than even the most common species daily under our feet. These are the Chameleons. The changes of colour in this animal, so often spoken of, are not generally so rapid as is supposed, nor do they possess so great distinctions as are popularly ascribed to them. In all their habits they are so slow as to be generally almost immovable, save in respect of their restless eyes, and the tongue, which is very long and adapted peculiarly to its purpose, which is to secure their food; they can dart it with almost invisible rapidity upon a passing fly or insect, which is immediately thus drawn into the mouth. They appear most generally to assimilate their colour to the objects on which they rest, or which surround them. This may be a means of protection to them, but it is most probably only a method of concealment for the more effectual capture of their prey. It, however, answers the double purpose.

If we now proceed by the extreme end of the building toward the eastern end of the North Transept, we shall find both on our right and left hand a complete set of casts from the Ægina Marbles.

These most interesting monuments of ancient Greek art are now in the Glyptothek at Munich.

They were discovered in the Island of Ægina, and are supposed to have ornamented the tympana of the east and west fronts of the temple of Minerva in that island. The group, representing the Contest over the Body of Patroclus, belonged to the western, and the five figures descriptive of the Battle of Hercules and Telamon against the Trojan king Laomedon, were in the eastern tympanum. They are most remarkable examples of Greek sculpture during its second period, or from the close of the 6th to the middle of the 5th century B.C.

The conception, the anatomy, and beauty of form found in these statues denote a highly cultivated artistic taste and power, to which the peculiar faces, the invariable smile on the mouth, and a certain stiff angularity of treatment, form a marked contrast. We observe in them that turning-point in the history of Greek sculpture, when the conventionalities of an earlier system were receding before that love of nature and extraordinary perception of the Beautiful, which subsequently rendered the Greeks so pre-eminent in art.

The originals, which had, as may be supposed, suffered considerably from the effects of time, were restored by Thorwaldsen, the Dane, whose conscientious spirit and thorough appreciation of the antique give assurance of the correctness of the interesting examples now before us.

THE LECTURE ROOM.

Through the doorway which is in the corner to the right of the first set of Ægina marbles, is fitted up a spacious Lecture Room, with every accommodation for Dissolving Views and other illustrations. It comprises the whole of the “Queen’s Corridor,” so called from the private apartments of Her Majesty, which are to the left.

Continuing onwards, we obtain a fine view of the North Transept, with its noble avenue of sphinxes and palm-trees, terminating with

THE COLOSSAL EGYPTIAN FIGURES,

which are from the temple of Rameses the Great at Aboo Simbel, in Nubia. These immense seated statues towering to the roof of the Transept afford us some adequate idea of the stupendous magnitude and passive grandeur which characterise the monuments of ancient Egyptian art. Their height is sixty-five feet.

It may be remembered that in the Egyptian Court we directed the attention of the visitor to a model of the temple at Aboo Simbel; on the façade of which were four statues of Rameses the Great. Two of these statues are here reproduced on the scale of the originals, the smaller figures around them representing the mother, wife, and daughter of the king.

The temple of Aboo Simbel, in Nubia, is excavated from the rock, and was first discovered by Burckhardt, the traveller; the accumulated sand of centuries, which then covered it, was removed by order of Belzoni, the first, with Captains Irby and Mangles, to pass its long-closed entrance. The interior was covered with paintings and hieroglyphics relating to Rameses the Great, and the date of the temple has been consequently placed at about 1560 B.C.

The sphinxes which formed the avenue are cast from one preserved in the Louvre, the writing engraved on which presents us with a curious but not uncommon instance of a custom that prevailed amongst the Egyptian monarchs, and to which we referred when describing the Egyptian Court. On one side of the shoulder the name “Pthalomen Miotph” is written in hieroglyphics, and on the other shoulder is the name of Shishak I. The last-named lived about 1000 B.C., and the first nearly two hundred years before him. Other instances occur where the name of the original founder has been erased altogether, in order to make way for the name of some comparatively modern king.

We are now standing at the foot of what represents one of the largest-known trees in the world. This tree grew, one of a group of such monsters, on the Sierra Nevada in California. When flourishing, it rose to the astounding height of nearly 400 feet. Several in the same district which are now standing are 300 feet in height. The bark of this tree has been arranged and fitted up as it grew, to give us some idea of its gigantic proportions by the view of a part. The wood is a particularly light cedar; and has been considered as of the same kind as that cedar of Lebanon employed by Solomon in the building of the Jewish temple. Dr. Lindley has named it the Wellingtonia gigantea, and has fixed its age at 4000 years. This then must have been a great tree before the ancient rock tombs of Aboo Simbel were hewn for the great Rameses.

Leaving the fountain on our right, we arrive almost immediately in front of the Byzantine Court, where, resting beneath the foliage, are eight effigies of knights from the Temple Church, London. They are clad, with one exception, in ring-mail, and afford us perfect representations of military costume in the early part of the 13th century. They are usually called the Knights Templar; but without evidence: the cross-legged statues are probably crusaders. The entire series has been carefully restored by Mr. Richardson. The first two statues in front of the German Mediæval Court, as we face the entrance, are fine examples of German Gothic sculpture, from Cologne and Nuremberg: the three subjects beyond them are from Langen Church, Germany. The two first statues on our right are from the façade of Wells Cathedral, and next to them are various examples of German sculpture. Facing the English Mediæval Court, will be noticed, on each side of the entrance, the effigies of Bishop Kilkenny from Ely Cathedral, Henry III. from Westminster, and of Longespée from Salisbury Cathedral: the two last being especially interesting monuments of the 13th century.

On the right of the entrance, and nearest to the Nave, are two statues from Wells Cathedral, noticeable as fine examples of Early English sculpture, and the effigy of Bishop Northwold from Ely. Nearer the façade is placed the remarkable effigy of Queen Philippa, the wife of Edward III., from Westminster Abbey, belonging to the last half of the 14th century. Beyond this again, will be noticed the effigy from Salisbury Cathedral, of Bishop Poer, who died in 1228, one of the earliest monumental statues in England. In front of the façade of the French Mediæval Court, will be found several pieces of Gothic sculpture of the early period of the Pointed style, from Chartres Cathedral; on the right of the entrance from the Nave are placed the busts of Henry II. and Diana of Poictiers, Henry III., Bayard and Louis XII., and nearer to the Nave will be seen the Virgin “de Trumeau,” from Notre Dame, at Paris; and a fine picturesque bronze statue of a knight from the monument of Maximilian, of Innspruck, in the Austrian Tyrol, a remarkable work of art, executed by native artists in the early part of the 16th century. Close to this is placed the fine bronze statue of Albert of Bavaria, from the tomb of Lewis of Bavaria, at Munich, remarkable as serving to illustrate the very rich and characteristic costume of the close of the 16th century. Opposite to it is the very fine St. George, by Donatello, from Florence, one of the master-pieces of that celebrated sculptor, whilst another Innspruck statue occupies a position nearer the Nave. Advancing onwards, still in front of the Renaissance Court, we recognise amongst the busts, those of Francis I., Sully, and Henry IV. of France, Shakspeare, Machiavelli, Ben Jonson, Cosmo de’ Medici, and Lord Bacon. The bronze statues on each side of the path are from the Tartarughe fountain, at Rome, the extreme figure being the celebrated Bacchus, by Michael Angelo. Amongst the works of Italian art placed in front of the Italian Court, we remark the Bacchus by Sansovino, from Florence, the Triton from the gardens of the Doria palace, Genoa, the Tartarughe statues from Rome, and at the angle, in front of the Italian vestibule, the beautiful statue of Mercury, by John of Bologna, a chef-d’œuvre of the 16th century school. Among the busts will be remarked those of Raffaelle and Michael Angelo, Inigo Jones, Mazarin, Richelieu, Charles I., and other celebrities of the Renaissance period.

A little further on in front of the Court of Monuments of Art, we remark two statues of Perseus; one by Cellini, and the other by Canova. That by Cellini is characterised by a grandeur of conception and power of execution, which place his name among those of the greatest sculptors of his day. Cellini’s description of the casting of this statue is, in the highest degree, interesting. Not having sufficient metal to complete it, he threw into the furnace his metal dishes and porringers, amounting to upwards of two hundred; after offering up a prayer to heaven in company with his workmen, he uncovered his statue and found it thoroughly cast, with the exception of one foot. The plaster cast in the Crystal Palace is, we believe, the only one in the world, and was obtained through the liberality of the Duke of Sutherland, the owner of the only bronze cast of the original, which stands in the grand square at Florence.

We now cross the Central Transept, still keeping to the left hand or garden side of the Nave. At the angle of the Transept will be found the Concert Room, for the special performance of vocal, chamber, and classical music. The room is quadrangular, but open towards the Nave, and on three sides is surrounded by galleries. The space appropriated to visitors on the ground floor, and which is fitted with seats, is 96 feet square, and with the galleries is capable of accommodating about 3000 people. The Orchestra, built on the garden side of the room, will easily accommodate 60 performers.

Around the outside of the Concert Room will be found many most interesting busts belonging to the Portrait Gallery, mostly of the illustrious men and women of France. Amongst them we remark Jean Goujon (196), Félibien (203), Rachel (216), Corneille (218), Lafontaine (220 a), Molière (221), Racine (225), Voltaire (233), Le Sage (230), Buffon (245), Cuvier (256), Bayard (257), Gaston (258), Coligny (260), Turenne (266), Massena (279), Ney (283); busts of nearly all the generals and statesmen of the Consulate and Empire, and of the leading men of the Republic of 1848; three busts of Napoleon Buonaparte, which may be advantageously compared together, and the present Emperor Louis Napoleon (312). Close to this compartment is one of Mr. Rimmel’s fountains, executed from a design by Mr. John Thomas. The crystal basin, Parian marble figures, ebony pedestal, and natural flowers, harmonise excellently. Similar scent fountains, designed with great taste by the same artist, and supplied by Mr. Rimmel, will be found in the North and South Transepts.

Quitting the Concert Room, we continue our examination of the statues, which extend along this side of the Nave. The most notable of the succeeding subjects are the Prodigal Son (145), by San Giorgio; David (147), by Magni, an artist whose studies of every-day life are remarkable for their truth to nature; Cain (99), by Etex; Geefs’s Malibran (108); a colossal group of the Murder of the Innocents (142); an Italian Mower; the Horse and Dead Knight (46), by Lough; Sampson, by Legrew; and also the charming statues of Eve, and Eve Listening, by Bailey. On our way towards the Queen’s screen we pass several works of statuary art, amongst which may be noticed, A Faun with Cymbals (66), by R. Westmacott, R.A., and a David (67*), by the same sculptor; an Ancient Briton as a Scout, and the Massacre of the Innocents, by J. E. Adams, and a fine statue of Erato (174), by Launitz.

THE BOTANY OF THE PALACE.

However beautiful and perfect may be the works of art by which we are surrounded, there is a Hand whose meanest work outvies them all, yet whose silent and beneficent wonders are going on around us. To the unobservant man nature is silent. He knows not the rich treasure he neglects, and the eloquent teachings, the more loved the more they are known, which he never listens to. Of all nature’s developments, perhaps not one is so universal or so important as that of which we are now going to treat. The character, the habits, the civilisation, almost the very existence of men is determined by the vegetation of the countries they inhabit, and where no vegetation is, the land is desert indeed. Our kindliest memories of foreign lands, and of our own country’s beautiful spots, are inseparably linked with the foliage and verdure which adorns the rugged earth, and is, as it were, the handwriting of the Almighty’s blessing and distinction. It is not the burning sun alone that makes the tropical island appear so different to our own: there seems a wider difference still, between the rank and tangled luxuriance of the tropical forest, and the stately glades of England—or between the prodigal wealth of almost wild fertility, and the field surrounded by hedgerows, whose riches are the reward of patient and necessary cultivation. There is indeed beautiful instruction in all nature’s phases and mysteries, but none more beautiful than that conveyed by plants and flowers. The greatest minds have turned their strength to the culture of the field or garden, and the gentlest and best hearts seem to be the most fitting home for the love of beauty so pure and true.

It is impossible in the pages of this book to do more than point out some of the most interesting and beautiful of the specimens which constitute the rich botanical collection of the Crystal Palace. Amongst such a multitude of examples many of the greatest interest necessarily find no mention here, but they are not the less to be observed. The smallest and most unobtrusive plant may be the most worthy of notice, and in its relations with human life the most deadly, the most medicinal, or the most grateful. The history and attributes of almost every one will lead us on a course fraught with knowledge, and a pleasure which study unveils more and more.

The Borders, which range along each side of the Nave fronting the façades of the various Courts, are all numbered, as will be seen by a reference to the [plan]. The South and North Transepts are filled with trees and flowers. The divisions of the Natural History Illustrations are also filled with examples to represent, as much as possible, the flora of the various countries. We propose to accompany the visitor from Border No. 1, close to the Screen of Kings and Queens, and following the arrangement of the Borders up this, the South-Western side of the Palace, to return on the opposite or garden side.

In Border No. 1, we first notice an example of one of the finest and largest timber trees of New Zealand, the native name of which is the Kakaterre (Dacrydium taxifolium). This is a tree of giant growth. Just beyond the statue of Chatham are two specimens of the Melaleuca, some of the species of which furnish the Australian aborigines with a kind of tea; this beautiful species of tree is almost exclusively peculiar to Australia, and contributes much to form the character of Australian vegetation. Against the Column, and adjacent in this Border, are also several fine plants, some of which are 30 feet high, of the Australian Acacia (Acacia foliosa). The early foliage of this tree, it is interesting to observe, is characterised by a larger development than it assumes with more advanced growth; these differences can easily be distinguished in the plants before us, which may be identified by their light-coloured and elegant leaves. Another large Acacia (Melanoxylon) is near the angle of the South Transept, and on the left of it perhaps one of the finest specimens of the Rhododendron arboreum from Nepaul. This magnificent tree was one of the first of this species sent out after its introduction into this country, and when only five inches high was purchased for five guineas. It bears rich scarlet flowers.

Turning now into the South Transept, one of the first specimens we notice, in Border No. 3, is a noble tree of the Camellia reticulata, perhaps the finest kind ever introduced of this magnificent flower; it is indigenous to China and Japan. Beyond this, as we pass from left to right down the Transept, is a tree of the New Zealand Spruce (Dacrydium cupressimum), whose delicate form and drooping foliage claim admiration; and almost behind this is a most interesting specimen of the Paraguay Tea Tree (Ilex Paraguayensis). The Maté, a curious Brazilian tea, is obtained from the prepared leaves of this plant. Immediately succeeding this in our course is the Camphor-tree (Cinnamomum camphora), from which the valuable drug of commerce is procured. This specimen is from China, but it also grows in Japan. Passing on a few steps, we find the Ceratonia Siliqua. This plant is eminently curious, as being that which bears the “locusts” on which it is presumed St. John fed, as mentioned in the Gospel; it has thus obtained the name of “St. John’s Bread.” The last great tree in this border is a magnificent Norfolk Island Pine (Araucaria excelsa), 40 feet high. This stately and beautiful tree grows in its own country to the height of 200 feet. On the other side of the Transept, in Border No. 5, which we now proceed to inspect, will be found a corresponding specimen, and many of the same kinds of plants as those we have just examined; but we may notice here, almost in the centre, a noble specimen of a beautiful new Fuchsia, called Dominiana; behind which may be seen the largest tree in this country of that species of Camellia known as “Lady Hume’s Blush.” In the centre of the Transept is placed a gigantic specimen of the American Aloe, which, for its magnificence of growth, is perhaps unequalled in this country. This specimen was brought in 1828, a small plant, from the ruins of the palace of the Cæsars at Rome, where it grew wild.

We now resume our tour up the Nave with Border No. 7. At this corner stands a most elegant and beautiful tree, the Acacia dealbata, a native of New Holand. This tree is perhaps the finest of its kind to be found in the kingdom. In the centre of this border rises a rare specimen of the Yucca stricta; its beautifully variegated and lance-shaped leaves constitute it a prominent object easy of recognition. Close to the column, a little further on, is the Aralia trifoliata, from New Zealand; a plant which possesses the peculiarity of shortening its curiously-formed leaf as its age advances.

Surrounding the Pompeian Court at the back of these borders, are specimens of the Azalea. On either side of the entrance to this Court are luxuriant Orange-trees, and near to them some Citron-trees.

In Border 7 a, at which we have now arrived, is a beautiful tree, called the Araucaria Bidwillii, the rigid foliage of which much resembles the imbricated Pine of Chili. The aborigines of Australia make a favourite article of food of the seeds from the large cones of this tree, which attain the size of a child’s head. But one of the most prominent of the trees in this compartment stands a little nearer the column. This is the Bottle-Brush plant of Australia, and when in bloom with its red bosses of flowers, from which it has been named, it bears a very curious appearance. The Japan Cedar (Cryptomeria japonica) is also here. This tree was brought from China by Mr. Fortune. The Borders opposite the Sheffield Court are filled with many rare and beautiful specimens; but those Borders which are close to the glass façade contain some plants of the highest curiosity and beauty. In the centre of the left-hand Border will be found the Socotrine Aloe, from which is procured the medicine which bears its name. On either side of the entrance to the Court are two magnificent specimens of the Tree Ferns of Tasmania and Australia, whose luxuriant crowns make them objects of the highest beauty. These plants are without doubt the finest specimens of this luxuriant Fern in this country. At either extremity of the Borders are most interesting specimens of Bromeliaceous plants, with which, till lately, the pine-apple was classed. The Fuchsias here are upwards of 40 feet high.

Returning now to the Nave, we find in Border No. 9 a, a beautiful silver-leaved Acacia, grouped with other plants of the greatest interest, amongst which may be pointed out a New Zealand Palm (Areca sapida), and an Agnostis sinuatis, recognisable by its peculiar leaf. At the end of this Border will also be found the Botany Bay Fig-tree, and the Olea Europea, from which the olive-oil of Commerce is procured. The succeeding Borders Nos. 11 and 11 a, opposite the Birmingham Court, contain selections of most valuable and interesting plants, similar in many respects to those we have described; amongst them may be noticed the Freycinetia Baueriani from Norfolk Island. Close to the entrance of the Birmingham Court, in Border 11 b, is the new and beautiful Mitraria Coccinea from South America.

We now arrive at Border No. 13, opposite the Stationery Court, the largest and most prominent tree in which is the Eucalyptus globulosus, or Blue Gum-tree of Australia. This plant has already attained the height of 80 feet, and is but five years’ growth. In its natural state this is a Mammoth tree. Mr. Backhouse, the traveller, has described one of this kind, which was nearly as high as the great Water Towers at the Crystal Palace, being 250 feet, with a circumference at the base of 70 feet. But this was most probably an exceptional specimen. They are most frequently not more than half that size. The common Myrtle is the type of the class to which this tree belongs; but it is the largest of the myrtaceous plants. The Eucalypti constitute four-fifths of the forests of New Holland. Gum is procured from this tree in large quantities.

Round the column, in the corner of Border No. 13 a, is a fine plant of the Cape Gooseberry, which bears a beautifully acid fruit, much esteemed by some. The fruit is curiously inclosed in an inflated capsule. Although called the Cape Gooseberry, this plant is originally from Australia. In this Border are various specimens of New Zealand and Australian plants. The remaining Border, before we enter the Central Transept, is filled mostly with a collection of large Acacia. Having crossed the Central Transept, as we proceed toward Border No. 19, which is in front of the Egyptian Court, we pass Border No. 17, which is filled with Eucalypti, as that in a corresponding position on the other side of the Transept is with Acaciæ.

In Borders Nos. 19 and 19 a, will be found large specimens of the Sparmannia Africana, an old conservatory favourite, indigenous to the Cape. It was named in honour of Dr. Sparman, the Swedish physician and botanist, who accompanied Captain Cook in his second voyage round the world. These fine trees were presented by Her Majesty the Queen. Close to the Sparmannia is a large India-Rubber-tree, the sap of which constitutes the article now so extensively known and used. It will easily be recognised by its broad, handsome, and glossy leaves. This tree belongs to the Fig tribe, all kinds of which bear sap with more or less the same properties. A plant close to this is the Loquat, or Japan Medlar, which is curious from its peculiarity of shedding its bark. A little nearer to the Court will be found a most elegant plant of the Grass tribe, the Himalayan Bamboo, a small and delicate cane, which is found high up the Himalayas, and consequently flourishes in a lower degree of temperature than the common tropical Bamboo. The remaining examples to be noticed in these Borders are amongst the most curious in the collection. The first is the Rhipidodendron plicatile, so named from the fan-like growth of the leaves. The common lily is the type of the order to which this plant belongs. The next are the curious African plants, like rough blocks of wood, which are called “Elephant’s Foot.” These remarkable plants are calculated as being 3000 years old: they were imported from the Cape of Good Hope. The Casuarina stricta, of Australia, is also here, with its curiously jointed foliage. The wood of this plant, from its peculiar conformation and colour, has gained for the tree the name of Beef-wood. In its native state it attains a great size. Several kinds of the temperate Palms, Ferns, and Aloes are also arranged in this position.

The most noticeable tree in Border No. 21, is a luxuriant specimen of the Moreton Bay Pine (Araucaria Cunninghamii). In the succeeding Border, No. 21 a, is another of the Eucalypti, the leaves of which, it is curious to remark, change from round to lance-shaped as the tree advances in growth; and in the further corner is the Geitonoplesium, a trailing plant of the same order as the common Asparagus. In Border No. 23 a, just opposite the column, is the Peppermint tree, of Australia (Epyclautus piperata).

We now pass through the division into the Tropical end of the building, where necessarily many of the most interesting and beautiful of trees and plants are congregated. Most of the examples we have hitherto examined have borne, more or less, some resemblance, if not in detail yet in character, to the vegetation which we everywhere see around us in England. But here we notice a new form, reputed to surpass them all, and at least very rich in those glories which have won its repute,—we mean the Palms. This form of vegetation gives more distinctive character to tropical and eastern scenery, than any other natural feature. The stem often rising to the altitude of 100 feet, in a stately column, crowned with a capital of beautiful leaves, radiating from its summit, or gracefully drooping; sometimes of a feathery form, sometimes fan-shaped of broader growth; some of dark, shining verdure, and others of a delicate silvery aspect: they constitute one of the most beautiful families of the vegetable kingdom. The leaves of some kinds are gigantic; those of the Manicaria saccifera, of Brazil, are 20 feet in length, and six feet in breadth. Humboldt has described the Wax Palm of the Cordilleras growing to the majestic height of 180 feet. Nearly all varieties are most prolific in fruit, and with most, scarcely a portion but what is applied to some use by the natives of the countries they inhabit. Their great importance, then, to many of the human family entitles them to particular study and attention, beyond the brief mention we can give them here; and the pleasant task will be well repaid.

The Borders in the Tropical Division are numbered distinctively from the other part of the building, commencing with Border No. 1, in which is a plant of the India-Rubber-tree, which is probably the largest of its kind in the building, and nearer to the corner is a specimen of the Wine Palm (Caryota Urens). On the side opposite the Court will be found the silk Cotton-tree of India (Bombax Ceiba), and, further round, the Sandbox-tree of India (Hernandia Sonora). In Border No. 3, which corresponds in position on the other side of the Alhambra Court, is an Egyptian Date Palm, and also a Wax Palm from South America. In Border No. 5 we notice a group of Musæ, amongst which beautiful class of plants are the Banana and Plantain, perhaps the commonest and most nutritious of tropical fruits. Hemp and flax are obtained from the fibrous leaves, which are also used for thatching and basket-making. A sort of wine is made from the juice of the trunk. The fruit is eaten both raw and cooked, while the young shoots are consumed as vegetables. In the centre of this Border, which runs along parallel with the Alhambra Court, is one of the species of Sago (Saguerus sacchifera); another kind (Cycas revoluta) is near the column. The Indians as well as Chinese procure Sago from this tree. The Sago is prepared from the pith of the trunk, selected however at a proper season; it is made into bread by the natives who prepare it, and from this it has received its name, which in the language of the Papuas means bread. It is more prolific in nutritious matter than perhaps any agricultural plant, a single trunk sometimes yielding as much as 600lbs. of Sago. Round these Sago Palms is arranged a collection of various specimens of the Fig tribe (Ficus) from South America. Between the centre columns is a plant of the Jatropha Manihot, whose root is one of the most important articles of food in the tropics; it is made into bread called Cazavi or Cassava, which is very nutritious; and Tapioca is also obtained from it. A very poisonous juice has first to be extracted by pressure, or eliminated by heat, before the root can be prepared for food. In the corner of the Border we are now inspecting is another tree, from which also bread is made; this is the Caffre Bread-tree (Encephalortus.) The natives remove the bark and make flour from the trunk.

We may now turn into the Avenue of Sphinxes, between which is arranged a rich collection of beautiful Palms—Cocos, Date-Palms, Wine-Palms, Cabbage-Palms, and many other varieties. At the corner as we turn again into the Nave stands the Cocos plumosa, a peculiarly beautiful specimen, which may be remembered as having adorned the Great Exhibition in 1851.

We now arrive at Borders No. 7 and 9, opposite the Assyrian Court. In this position is arranged a selection of tropical fruit plants, and of those bearing articles of food. It will not be necessary to do much more than enumerate most of these, as their produce is so well known, and forms the daily or occasional food of most. At this end of the Border will be found the Tamarind-tree, the Pepper-plant, the Sea-side Grape, from the West Indies, the Coffee-tree, the Chili-Capsicum, the fruit of which makes a delicious pickle, the Jujube, the Assam Tea-plant, so extensively cultivated by the East India Company, the Cow-tree of the Caraccas, and, advancing up the front of the Border, two kinds of Ginger, the common and a spurious kind, the Rose-apple of the East Indies, the Avocado Pear, and the Peruvian Custard-apple, at the back of which is the Castor-oil plant, the Jack-tree, and the Malabar Nut. We continue the collection with the Star-apple of the West Indies, the Madagascar Nutmeg, the Allspice, and the Cassia Bark. We here meet a fine group of fruiting Bananas, beyond which we shall notice with interest the Indian Mimusops, and the plant from which our common Black Pepper is derived (Piper nigrum). The Dimocarpus Longan, and the Chinese Litchi-Fruit tree, are near, as well as a most interesting plant called the Ordeal-tree, from Madagascar. The fruit is a sort of bean, and deadly poisonous. When the priests in Madagascar wish to rid themselves of a state enemy, or to remove a rich man for the sake of his goods, recourse is had to some pretence, and an ordeal is instituted which consists in eating the fruit of this tree, harmless of course to the innocent, but to the guilty, poisonous. The crafty priests carry out their views by substituting an innocuous berry similar in appearance, excepting where they wish the pretended guilt to manifest itself with death.

The arrangement of the corresponding Border, No. 9, is very similar to that which we now quit, but we shall find here in addition, the Cinnamon-tree, the Peruvian Bark, the Bohea Tea-tree, the leaves of which we daily consume as plain black tea, another kind of Allspice (Myrtus pimenta longifolia), the Guava of West India, a most delicious and well-known fruit, the Sapodilla Plum, and the Chinese Paper Plant. In the small Border near the aviary, which terminates the series on this side, is an interesting specimen called the Looking Glass Plant, from the silvery appearance of the underside of the leaf. Here also is a magnificent example of the Black Bamboo, the canes of which are used for a great variety of useful purposes, and for ornament as well. The rapid growth of this plant is astounding, the shoots of the present specimen having often increased in height at the rate of more than 12 inches daily.

In the centre of this, the northern extremity of the Nave, rises one of the finest specimens to be met with in this country of the noble Sabal Palmetto. This tree represents the extensive group of Palms, having palmate or fan-shaped leaves. A curious fibre hangs in graceful ringlets from the foliage. On the right hand of this splendid tree, we commence our return down the garden side of the Nave with Border No. 10. In the corner stands a large group of Bamboos. This species attains a much greater size than its cogener on the other side: in its native wilds the stems often exceed the height of 100 feet, the growth of a single season. The stems seldom grow higher after the first year, but become densely clothed with delicate leafy branches. This may almost be called the domestic Bamboo, as it furnishes material for an almost infinite variety of domestic articles. In this Border are two other large varieties of Palm. The first Corypha sylvestris, from New Holland, is, like the Sabal Palmetto, a Fan-Palm. The Coryphæ are so called from Koryphe, the summit, as the leaves branch only from the top of the trunk, making a very stately and beautiful form. This tree surmounts a group of root-work, upon which are planted rare Orchids, Ferns, and a variety of other beautiful exotics. The large Borders on this side of the Tropical Department are mostly made in this picturesque manner. If we now pass on we find close to the column a large Coffee-tree, from Yemen, which in the autumn bears its interesting berries. Close to this is a lofty Screw Pine (Pandanus odoratissimus) from the East Indies. The flowers of this tree are so deliciously fragrant that in Egypt and Arabia it is often cultivated for their sake; the fruit somewhat resembles the pine-apple, but is not so good. In the South Sea Islands, where this species grows in great plenty, the natives convert its leaves and products into a variety of uses and ornaments. It has received its name from the screw-like arrangement of its foliage, and not from the appearance of the trunk. It will be noticed that the roots are partially above ground, and constitute a kind of support which strengthens according to the peculiarities of position in which the tree grows. The roots from some of the Pandani descend thus, like tightly strained cords, from a height of 12 or 15 feet. The great Palm-tree in the centre of this bed is upwards of 40 feet high. It is from the Isle of Bourbon (Latania Borbonica), and once formed part of the renowned collection at Fontainebleau of the Empress Josephine. We are now standing under the luxuriant branches of the Ficus Roxburgii, a curious Fig-tree which bears its fine fruit on the stem close to the ground. Further back, on the left of the great Palm, is a Mahogany-tree from Honduras, and a fine fruit-bearing specimen, 14 feet high, of the delicious Guava. But it is impossible here to particularise the rich contents of these Borders; as in our progress through the whole collection we are forced almost casually to choose from so many objects of interest; but it is hoped that the mention only of these may awake an interest which investigation will increase.

At the back of the Border just mentioned, is arranged a large collection of exotic plants in pots, amongst which will be found the Gamboge tree, and the Bread Fruit tree, from the South Sea Islands. Also the Strychnine plant (Strychnos Nux vomica), the nuts of which contain the deadly poison of that name.

At the corner of the succeeding Border, No. 8, next the garden, is one of the most valuable and rare specimens in the kingdom, of the beautiful Araucaria Cookii from New Caledonia. The soft and luxuriant foliage of this tree, and the surpassing beauty of its form, every branch, with its rich pendulous load falling most symmetrically in a regular gradation of graceful positions, constitute it one of the most beautiful of its kind in the whole vegetable kingdom. Numerous specimens of Palms and of the beautiful flowering plants and shrubs of the Tropics adorn this division. A splendid example of the Gum Dragon tree of Teneriffe (Dracæna Draco), the same kind as the famous tree of Oratova; also a New Holland Palm (Seaforthia robusta), are found here. Here also is the Traveller’s tree from Madagascar, the grateful shade it affords having gained it its name. The Palm bearing the highest position in this bed is the Sabal Blackburnianum, the leaves of which are amongst the largest of their kind. Against the column at the south-west corner of the bed, in the Nave, hangs the curious Elk’s Horn Fern (Platycerum grande), from Australia. This parasite abounds on the rocks and the bark of the large trees in the forests of Moreton Bay.

Before quitting the Tropical Department we will now continue our inspection of the Borders on the east side of the Nave. It is unnecessary to particularise the plants in these Borders, as they have been purposely arranged in as much uniformity as possible with the corresponding collection on the other side. Opposite the Byzantine Court may however be noticed four funereal Cypresses from the Vale of Tombs, in North China, and in Border No. 4 a graceful plant of the Fig tribe (Ficus Pumila) from China, and the handsome New Zealand Laurel (Carynocarpus lævigatus). On the northern side of the South Transept, in Border No. 6, is the Nepaul Berbery (Berberis Nepaulensis). This specimen is remarkable for its height and beauty of foliage. It is a newly introduced species. At the back of this tree will also be found a fine example of the New Zealand Flax (Phormium tenax). In Border No. 6, at the end of the Transept, is the Brazilian Pine (Araucaria Braziliensis). A remarkable specimen of the Australian Fig tree (Ficus macrophylla), is in Border No. 2.

In the Natural History Department the most noticeable plants have been selected to represent as far as it was possible the flora of the respective countries. Thus, in the Australian division the Araucaria, Tree Ferns, and Eucalypti, or Gum Trees, are most conspicuous. The other divisions contain many most interesting plants, such as the Tea trees, which are all arranged geographically in their respective positions, and can be readily identified. In the division on the western side of the Nave, many of the beautiful plants are very well known, though indigenous to South, Central, or North America. The Fuchsias, Cacti, Yuccas, Aloes, and some Araucariæ, are amongst these.

It remains now to speak of the splendid collection of Orange and Pomegranate trees which form the noble vista of the Nave, and are principal features amongst the beauties of the Crystal Palace. Some of these are four hundred years old. They once belonged to the Orleans family, and in the latter times of the late dynasty in France were collected by Louis Philippe to decorate his favourite château at Neuilly. Shortly after the accession of the Emperor Napoleon, the property of the Orleans family was sold by public auction, and these matchless natural productions were then purchased by Sir Joseph Paxton for the Crystal Palace Company; there are 110 of these trees in all.

The hanging baskets, which form so delightful an array high up on either side of the Nave, and around each Transept, cannot fail to attract the notice of the visitor. The creeping plants, which cover the columns and cross-ties on each side of the walks, are of great luxuriance and beauty, while at the corner of the South Transept will be noticed a gigantic specimen of the lovely Westeria which is rapidly covering the wide span of the Nave at this part. This was one of the first trees of the kind which was introduced into this country, and it thrives here exceedingly well.

It must have been apparent to the reader how very cursory has been the notice given to the most interesting plants and trees in these pages, and how few of the many specimens have been referred to. Such was a necessity. Yet it is hoped that as the Crystal Palace calls all the aids of Art to the teachings which it conveys, so Nature (a greater teacher still) may side by side yield her lesson too. To the lover of the beautiful it needs small prompting to explore her mysteries, and the rich expression she bears of that he seeks.

Mr. George Eyles is the chief superintendent of the whole Interior Garden.

THE GALLERIES.
THEIR FINE ART, AND OTHER COLLECTIONS.

The main Galleries around the Central Transept, and to the south with the exception of that on the western side toward the road, are devoted to the exhibition and sale of articles of industry. The Picture Gallery is in the gallery which runs over the Stationery Court and the series on that side. The galleries on the eastern side next the garden, with the South Gallery at the end of the building, are devoted to the exhibition of those articles which are for sale on the spot. Amongst these will be found precious metals and jewellery, miscellaneous ornaments, perfumery, toys, and other articles both of use and luxury. The gallery presents a pleasing and animated appearance, the stalls are fitted up on an elegant and uniform plan, and the traffic at them is very considerable. At the western end of the Great Transept the gallery is allotted for the exhibition of manufactured articles, which are not for sale on the spot. The collection is of a miscellaneous, though most interesting character. On the first gallery above this will be found a most interesting collection of drawings and models for the fountains in the Crystal Palace, which have been furnished by Mr. M. D. Wyatt, Mr. Owen Jones (the figures on whose designs were modelled by Signor Monti), Mr. John Thomas, Mr. John Bell, Baron Marochetti, Baron Launitz, and Mr. Hector Horreau. The models display much artistic treatment and inventive fancy.

If we now descend the spiral staircase to the main gallery, and proceed through the industrial exhibition to the right-hand we shall enter the main gallery, on this side, running toward the south end. Here is formed

THE PICTURE GALLERY.

The first portion which we enter, before reaching that part of the gallery immediately over the Stationery Court, is appropriated to the exhibition of photographic pictures both British and foreign, several important water-colour pictures by the most eminent members of the two Societies, and a selection of remarkable pastel pictures.

The long gallery which stretches from this point to the south end of the building has been properly fitted for the exhibition of pictures. The glass wall toward the road has been covered, and a partition wall erected on the opposite side over the courts, excepting over the passage ways between the courts. The light comes from the roof with duly modified intensity, and the effect on the pictures is singularly beneficial and clear. Thus a magnificent gallery of pictures is formed, sweeping in one uninterrupted line, from the centre to the end of the building, or for a distance of 700 feet. The effect is very grand and at the same time beautiful, while the convenience and ample space will be noticed as a contrast to many picture galleries. There are upwards of 900 pictures of the British, French, Dutch, Belgian, and German Schools, being all by living artists, and for sale; the titles, prices, and Painters’ names are affixed to each picture.

As we near the south end we shall notice some very fine examples of the ancient masters, several of them being from the galleries of Marshal Soult, and the Lucca, Orleans and other celebrated collections. The specimens of the Gothic art of Flanders and Germany are very remarkable, and many of the early Italian pictures most worthy of particular notice. The early Gothic collection is one of the finest ever seen in England, and is only surpassed by the Boisserée and Ertborn galleries of Munich and Antwerp. These curious works keep the full lustre of their original colouring, and in this respect form a great distinction to many modern works. Mr. C. W. Wass is intrusted with the management of this department.

We may now proceed through the South Gallery and the Industrial Bazaar on the other side to the garden end of the Great Transept, where, in the gallery above, which we may reach by the spiral staircase, we shall find one of the most interesting departments in the Palace, as it is one of the most instructive—

THE INDUSTRIAL MUSEUM AND TECHNOLOGICAL COLLECTION.

The object of this collection is to convey by means of actual illustration that instruction in the modes and various stages of industrial manufactures, and of the arts, which cannot be so accurately gained from books or descriptions; as well as, by the same plan, to trace the original plants, ores, or annuals, from which the material manufactured is derived, and to illustrate by products the several stages of its manufacture. This plan of arrangement therefore escapes the monotony which is usual in ordinary museum collections, and will be found equally interesting as instructive. It is not possible in this book to particularise by any long description any of the series comprised in so extensive a collection; it is not therefore attempted, but the leading features and positions of the gallery are indicated to direct the investigation of the visitor himself, who will find very accurate, and in many cases detailed notices appended for his instruction, to the objects themselves.

We enter the gallery by the spiral staircase in the Central Transept Gallery on the garden side of the building, and shall find that division devoted to the minerals, which we will explore first, at the left-hand extremity of the gallery. The vegetable division is naturally the largest, and occupies all the central cases and some portion of the right hand or northern extremity, where the third and last—the animal division—is situated. A plan detailing plainly this arrangement will be found suspended against the first case on the left as we enter. The first cases of the mineral division, which are those in front of the gallery on the left-hand, are devoted to what are commonly termed the non-metallic elements and their most important compounds, that is to say, those compounds in which the non-metallic element is the one technically important, arranged in the order in which they are generally treated in works on Chemistry. It may be necessary here to observe, that in order to avoid needless repetition in the classification of the chemical compounds, this plan has been adopted throughout. Thus, for instance, Bleaching Powder, which might be arranged under the heads of both its constituents, Chlorine and Lime, as it is used only on account of the Chlorine, is classified under that element. In these cases we find varieties of Carbon, Products of the Distillation of Coal, Peat, &c. (Naphtha, Ammoniacal Salts, Paraffin, Dyes, &c.), and a beautiful series illustrating the manufacture of Sulphur. Succeeding these are shown the varieties of Silica, under which head a rich case of English Agates from the Sussex coasts must be particularly noticed. The Silicates embrace the different manufactures of glass, amongst which are some beautiful artificial gems. Etching upon glass is also illustrated here. We now come to the Alkaline Metals,—Potassium, Sodium, and their salts. The next are the minerals of the Alkaline earths, Barium, Strontium, Calcium (Lime), and Magnesium, and their sundry preparations. The cements come under this division. The next cases are devoted to Aluminous products, and in this class will be found complete illustrations of one of the most important and interesting of British manufactures—the Ceramic. The series commences with a collection of the clays from different formations, and the process by which the Devon, Dorset, and Cornish clays, which are those used in earthenware and porcelain manufactures, are fashioned, decorated, and finished, is shown together with the materials used for glazes. The preparations of Alum by different processes, Emery, &c. are also in this division.

We now come to one of the most important series in the collection, and one in which the greatness and importance of this country is most emphatically illustrated. These are the Metals, properly so called. The arrangement adopted with these is first to show the ores from each district, next the mode of smelting those ores, the metal procured, and generally the manufacture of the metal. The Iron, of course, assumes the first importance. The Pig Iron is the first state in which the metal is obtained; it is then submitted to the refining and “puddling” processes; then rolled into bars, nails, and plates, or drawn into wire; we then see it converted into steel, by various processes including Bessemer’s, and this leads us to the manufactures of Sheffield. The series, of course, includes Copper, Zinc, Tin, Antimony, Gold, Silver, &c.

The central stands at this end of the gallery are occupied with a collection of the coals and building stones of England and Scotland, with a set of maps indicating the geological formation from which each is obtained.

The cases down the centre of the gallery are devoted to the Vegetable Kingdom. These are arranged as follows:—Products used as food, in the arts, and in manufactures, and in medicine. In the first class is a collection of British agricultural produce, made by Messrs. Peter Lawson & Son, of Edinburgh. The Cereals and Grasses will be found arranged in the upright cases, facing the garden and on the octagonal tables. In the cases beneath are the Roots and Fruits modelled in wax. The various growths and manufactures of Tobacco, of Hops, Spices, and aromatic Seeds, as well as Cocoa, Teas, Coffee, and their substitutes, and the articles used as food, should be specially noticed, being most completely illustrated. It will be noticed here, and also with most of the vegetable specimens in this collection, that reference is made upon the explanatory cards, which are in all cases affixed to specimens, to the fact that growing trees and plants of the various kinds may be found in the beds downstairs; and this will be found specially alluded to where the Botanical collection is described; it should be carefully borne in mind, and will, on being followed by inspection, yield an ample repayment of interest. We should now return down the side of the cases and commence our inspection of the other side, proceeding from the south end. We shall find the first set of cases illustrating the materia medica. The upper parts contain the plants, while in the lower divisions the drugs, seeds, and applied parts are shown. Next come the cork and other manufactures, including paper and paper-staining, those of Fats and Oils, India Rubber and Gutta Percha, with their various applications, Resins, Dyes and Dye-woods, these being further illustrated as with the materia medica by the plants from which they are procured. The illustrations of the Cotton, Flax, Hemp, the Pine Apple, China Grass and other fibres which are manufactured, will, with some other interesting articles in the cases opposite, conclude our rapid survey of the vegetable division, although we must not omit to notice a rich collection of the various woods, British, foreign, and Colonial, especially the large polished sections from Tasmania, collected and presented by the Royal Society of the Colony, arranged on stands at the North End.

The northern extremity of the gallery is occupied with the last division of the Museum—the Animal. Here will be found Furs of all kinds. Wools of British and imported varieties, Woollen and Worsted manufactures, Silk, illustrations of the preparation of different kinds of Leather, Feathers, Horn, Bone, and Tortoiseshell manufactures, &c., &c. Specimens of most of the animals from which these articles are derived are arranged in the middle of the division.

The whole Museum has been arranged by Dr. David S. Price, who has care of this department. The collection is constantly increasing, and may be expected before long to assume one of the most important positions amongst the settled features of the Crystal Palace.

In the Main Gallery on the North Eastern side of the Mediæval Court are placed four hundred French and Italian photographs, illustrative of the architectural and sculptural arts of the periods represented by the several Fine Art Courts on this side of the Nave; the photographs being arranged in the order of the courts beneath, and as nearly as possible over those which they serve to illustrate. Here also will be found the main portion of the busts constituting the

PORTRAIT GALLERY,

One of the most ennobling and instructive as well as interesting of the collections in the Crystal Palace. These busts give us the speechless, yet how eloquent, countenances of the great ones who have moved the current of the world’s life, from early times till the present moment. Each one of these busts is inscribed with the name and dates of whomever it represents; but for a notice of the lives and general information as to the claims to renown of the several notabilities, we refer the visitor to the Handbook of the Portrait Gallery. A fine collection of small works of art, consisting of statuettes, mediæval pottery and wood-work, church vessels, old English seals, medals, and architectural ornaments, exemplifying the various styles from the Byzantine down to the Italian, is also arranged here.

In the North-east Galleries, on the garden side of the North Transept, is a Naval Museum, which is intended to illustrate the naval architecture of all countries. Here will be seen models of boats and ships, from the first rude canoe to the patent collapsing boats; and from the huge high-pooped ship of war of the time of Henry the Eighth, and Philip of Spain, to the long screw steamer of the present day; or the gigantic paddle and screw “Leviathan,” lately launched at Millwall, together with various inventions for marine purposes. In the first gallery, at the extreme north end of the Nave, a collection is exhibited of engineering and architectural models, including those of bridges, docks, viaducts, churches, and other structures.

Entering the gallery by the stairs from the garden end of the North Transept, one of the first models we meet is in illustration of Mr. Fergusson’s System of Fortification. The great principle of this system is the power of placing in position on a fortified place a greater number of guns than the enemy can bring to bear upon any point of it. For this purpose, Mr. Fergusson proposes to erect simple mounds of earth, bearing two or three tiers of guns, where the place is large and the curve flat, and four or even five tiers, where the space is confined. The model represents a small confined space surrounded by five tiers; ensuring in his opinion, a superiority of fire over anything that can be brought against it. Mr. Fergusson proposes to employ wet ditches wherever water is available; but on dry or uneven ground, a ditch of fifty or sixty feet, with a loop-holed wall at the bottom, not less than thirty feet high, thoroughly flanked in every part by musketry and artillery from the small bastions placed at intervals along its fronts. The model represents upon its different faces, suggestions for various methods of arming the ramparts and of flanking defences.

Amongst the various ingenious and beautiful objects in this part of the gallery will be remarked models of the Kieff Suspension Bridge, the original of which is nearly half-a-mile long, over the river Dneiper; the Britannia Tubular Bridge; the Wrought Iron Bridge over the Wye, at Chepstow; and one of a similar construction over the river Tamar, at Saltash. Most of these, as also the fine Viaducts, of which many are represented, are due to the giant enterprise which steam traffic raised in our country. There are two crystal models here of the Great Exhibition Palace in Hyde Park; one, the largest, by Mr. Dighton, of London, on the scale of half an inch to the foot, is especially beautiful and complete.

THE INDIAN COURT.

Passing on in this gallery, at the back of the Assyrian Court, we enter a department appropriated as an Indian Court. The first object which we notice is a stand covered on both sides with a fine collection of Indian arms and armour arranged with other objects of interest. On the wall near is ranged a collection of most interesting paintings, lent to the Crystal Palace by the Hon. East India Company. They are copies of some frescoes found on the walls of a series of caverns at Adjunta, in Western India, and were made at the instance of the Indian Government by Captain Gill, of the Madras army. The subjects are scenes in the life of Buddha and of Buddhist saints, and various historical events connected with the rise and progress of the Buddhist religion in India. The date of their execution extends from about the Christian era to the tenth or twelfth century; and in style they closely resemble the contemporary works of painters in Europe, possessing nearly the same amount of artistic merit, and displaying the like absence of chiar’-oscuro, and the same attempt to copy with literal exactness the object represented, excepting where certain conventionalities are apparent. The collection is valuable as affording the means of comparing the state of art in the East with that in the West during the same period.

On the next stand are several Burmese idols and other curious objects, mostly belonging to the religious ceremonial of this people; among these will be noticed some very curious wood-carving; and we must not omit to notice in connection with these things, a very peculiar pagoda, or idol shrine, which stands close by. Placed along the floor are some very curious musical instruments, drums or tom-toms of various sizes, some instruments formed of pieces of hard wood, which on being struck sound the notes, and some having metal vessels, which produce a peculiar tone. Further on is a case filled with magnificently embroidered garments, saddle-cloths, &c., which display that craving after splendour which appears to be part of Oriental nature. In this case are also some other choice articles of very great beauty and value, amongst which may be pointed out a small Japanese cabinet; a hookah, a dagger and sheath wrought with silver, a pair of slippers embroidered with pearls, and other rare objects from Persia. Here also are some specimens of Chinese work. On the right of this case is a chamber devoted to Chinese curiosities. The walls are hung with paintings, representing the manufacturing and other industrial occupations of this truly curious people. In the centre is the figure of a Mandarin in his richly embroidered dress. Quitting this chamber the visitor will remark on either side of him some fine models of Indian Mosques, carved in wood, which will amply repay a careful inspection. They belong to the close of the 15th century. After examining the curious model of the encampment of an Indian prince, which now faces him, the visitor will notice a case containing a splendid collection of Javanese arms, some highly wrought with great beauty in gold and silver. This case also contains some wonderful carvings in ivory and pith, as well as other objects of great interest.

Immediately beyond the case which we have just examined will be found a model of the celebrated so-called gates of Somnauth. History and tradition have invested these gates with much interest. Nine centuries since, the temple of Somnauth was perhaps the richest shrine of rich India, and the splendid stronghold of its idolatry. There are many records of its unequalled riches—the revenues of 2000 villages are said to have been allotted for the maintenance of its establishment. In 1025, the sultan Mahmoud crossed the Indus from Ghuznee, and after many battles advanced to the temple and sacked it. In the adulations of the conqueror Hindoo paganism was said to have then irrecoverably bowed before the sword and faith of Mahomet. The avarice, however, of Mahmoud probably received greater gratification than his religious fervour. He is traditionally said to have carried the carved sandal-wood gates of the temple with him to Ghuznee, and to have made them the doors of the splendid mausoleum which he built for himself. When Ghuznee was taken by the British under the presidency of Lord Ellenborough, the doors (of which the present models are copies) were taken from the tomb, and invested with high interest on account of their traditional origin, but the style of art and inscriptions upon the gates themselves prove that in all probability they formed part of the tomb from which they were taken and were built with it. Near to this model will also be found some very finely carved furniture, and a case filled with a magnificent collection of Indian works, amongst which may be specially pointed out the beautiful and rich specimens of jewellery from Delhi and other provinces, some elaborate carvings in pearl, ivory, and tortoiseshell, and the gold-worked muslins for which, through many ages, India has been renowned.

The gallery over the Egyptian, Greek, and Roman Courts contains an interesting collection of Photographs, &c., illustrative of Oriental Architecture, and the various styles exemplified below, amongst which the Egyptian remains are particularly to be remarked. The full-sized casts from the original wall sculptures, which, are copied in the Egyptian Court below, will be found along this Gallery, as also various architectural and sculptural remains of classic times.

We should now descend the staircase to the left, and, crossing over to the eastern end of the Great Transept, we can reach the basement story of the building, which is on a level with the first Terrace. The Basement has been divided into two departments: that to the north is allotted to the exhibition of Agricultural Implements, &c.; in that to the south is arranged the important exhibition of Machinery in Motion.

THE AGRICULTURAL IMPLEMENT DEPARTMENT.

The application of science to farming, and the great necessity that there is at the present day of availing ourselves of every mechanical improvement for the sake of economy, and for the better carrying out of the various agricultural operations, render the use of improved machinery an absolute necessity. And when we compare the flail of a few years ago with our present threshing-machines, and note how mechanical power has, in a very few years, almost entirely taken the place of hand-labour in this, as in every other art, we shall see that the improvement in agricultural machinery has been making most rapid strides, and that the manufacture of agricultural implements has grown to a most important industry.

The collection of these implements at the Crystal Palace supplies a desideratum that has been felt and acknowledged both by the public and by the manufacturers themselves—an emporium where the various machines of every maker may be brought together, so as to be seen at one glance and their respective merits examined; thus facilitating the selection by purchasers, and in some measure preventing the possibility of inferior implements being sent out. This has been partially effected by the exhibitions of the Smithfield Club, and by the periodical gathering of the Royal Agricultural Society; but it is only with the present attempt that the same thing on a permanent footing has been offered to the public. In the Crystal Palace are now exhibited and sold the principal machines made by nearly all the first manufacturers; indeed, each firm has sent those machines for which it is chiefly noted, so that everything exhibited in this department must be of the very best; such, in short, as the manufacturers are most proud of. All the machines, &c., are sold by the Superintendent on the spot, at the same prices as at the makers.

These machines comprise a large collection of prize, portable, and fixed steam-engines; a large assortment of drill machines, both for drilling seed and manure; several reaping machines are also exhibited.

The threshing-machines are numerous, and are of very excellent construction. The improvements that have been made in them are very striking. It is really a curious sight to see the sheaves of wheat placed in at one end, and the winnowed grain passing out ready sorted into bags at the other; while the straw is carried by a mechanical contrivance to carts to be taken away. Here also we see digging machines, to perform wholesale the ancient duty of the plough, which was at all times an imperfect implement. The ploughs, however, that are shown are of the very best description, with many useful improvements. Portable houses for emigrants and others, and an immense assortment of entrance gates, and of poultry, sheep, and cattle fencing are also here to be found.

Haymaking machines for scattering the hay, and horse-rakes, are important substitutions for hand-labour. Draining-ploughs, for preparing a pathway for the pipes, and for laying the tiles, and draining levels are also exhibited. A large collection of chaff-cutters, bruising and grinding mills, oilcake breakers, steaming apparatus and pulping machines (the pulping machines are for preparing food, such as turnips or carrots, for cattle), grass-mowing machines, both for hand and horse-power, carts of every description, liquid manure carts, field rollers, and several descriptions of clodcrushers, brick and the machines, mortising and boring machines very well suited for making gates and hurdles, makes up the sum of this interesting exhibition.

THE MACHINERY IN MOTION.

Machinery is the most important feature in the modern history of our country. How it has enriched and extended our commerce, and built up the greatness of the nation, is an interesting and instructive reflection. It thus justly claims the important position which it here occupies. The long array of busy engines, which stretches almost as far as the eye can reach, forcibly reminds the visitor of this department in the old Crystal Palace of Hyde Park. Indeed, the most interesting set of machinery, that employed in cotton spinning, which instructed so many thousands in Hyde Park as to the manner in which the huge bale of cotton was transformed into the perfect woven fabric, is now to be seen here in full work. The set includes Beating Frames, Carding Engines, Drawing, Slubbing, and Roving Frames, Throstle Spinning Frames and self-acting Mules. Near at hand to this most perfect and beautiful collection of machinery, which was manufactured by Walker and Hacking, and Harrison & Co., are placed the rude wooden engines invented and used by Arkwright for the same purpose; thus we are enabled to measure at a glance the immense progress we have made in the course of less than a century. Proceeding lower down the gallery, the visitor is struck with astonishment at the massive machinery by which iron is hammered, drilled, punched, and planed as easily as so much deal. Messrs. Whitworth, Muir, and Harrison & Co., are the principal exhibitors of these ponderous engines. Advancing still further, the visitor witnesses a sugar-cane crusher in motion. Centrifugal pumps, Drying Machines, together with Steam Engines of all descriptions in full work form the next most important features, whilst innumerable other inventions and machines of a smaller character make this part of the palace one of the most interesting. The visitor can, if he choose, reach the South Wing through this department, and pass from thence down the Colonnade to the Railway Station; but he will most probably pass from the door under the Central Transept on to the first Terrace, and proceed to the inspection of the Gardens and Park, of which we treat in the next division.

PART III.

THE EXTERIOR.

Note.—The arrangement of the following Division assumes the visitor to enter the Garden from the Central Transept, whence he proceeds to inspect the Terraces and the Italian Garden. Passing down the central steps from the second Terrace, and round the Great Circular Fountain, he proceeds to the left, and continuing the path, explores the English Landscape Garden, and the Archery Ground, beyond which is the Park, the Cricketing Ground, from which, proceeding half round the basin of one of the Great Fountains, he reaches the Grand Plateau, and examines the Geological Restorations and the Extinct Animals on the Islands in the Lake. Leaving the Plateau, he skirts the basin of the second Great Fountain, and proceeding by the Rosary, completes the circuit of the grounds. An account of the Great Water Towers, in connection with the system of Fountains, and of the Artesian Well and the Water Supply is then added.

PRINTED BY R.K. BURT, HOLBORN HILL, CITY.

[Large plan.]

PLAN of the GARDENS and PARK

A. GREAT CIRCULAR FOUNTAIN

B. B. WATER TEMPLES and CASCADES

C. the ENGLISH LANDSCAPE GARDEN

The Park and Gardens.

THE SITE.

The Crystal Palace stands in the county of Surrey, immediately on the confines of Kent, bordered on one side by Sydenham, and on the other by Norwood and Anerley, whilst Penge lies at the foot of the hill, and Dulwich Wood at the top. No particular topographical or historical facts are associated with these places. Sydenham, however, is invested with some literary interest as having been the residence of the poet Campbell, the author of the “Pleasures of Hope,” who passed, as he says in one of his letters, the happiest years of his life in this suburban village, and who wrote here the whole of “Gertrude of Wyoming.”

THE PARK AND GARDENS.

The Crystal Palace and its grounds occupy two hundred acres, and it is of importance to note that, in the formation of the gardens, the same uniformity of parts is adhered to as in the building itself; that is to say, the width of the walks, the width and length of the basins of the fountains, the length of the terraces, the breadth of the steps, are all multiples and sub-multiples of the one primary number of eight. By this symmetrical arrangement perfect harmony prevails, unconsciously to the looker-on, in the structure and in the grounds.

As the visitor quits the building from the Central Transept, let him pause at the top of the broad flight of steps leading to the first terrace, and notice the prospect before him. At his feet are the upper and lower terraces, bordered by stone balustrades, the long lines of which are broken by steps and projecting bastions. Along these balustrades, at intervals, the eye is attracted by the statues that surmount them. Straight before him runs the broad central walk, and, on either side of it, on the second terrace, the ground is covered with green turf, now relieved by beds filled with gay-coloured flowers, and further heightened in effect by fountains which throw water high up into the air. As a side boundary to the foreground of this picture, the wings of the building stretch out in their blue colouring, their cheerful, light aspect, harmonising with the rest of the scene. Looking straight forward, below the level of the second terrace, we see the large circular fountain, surrounded by white marble statues, which stand out sharp and clear against the dark landscape beyond. On either side, on a yet lower level, a glimpse is caught of the glistening waters in the two largest fountains, backed by embankments of turf; and beyond these again, if we could only lift our vision over the plateau, we should see the waters of the large lake, whose islands are peopled by monsters that inhabited the earth when the world was young. To the right, and to the left, in the grounds, are pleasant sloping lawns, dotted here and there with trees, and thickly planted shrubs; and then, beyond the Palace precincts, stretching away into the far distance, is visible the great garden of Nature herself, a picture of rural loveliness, almost unmatched by any scene so close as this to the great London city. Undulating scenery prevails: here it is rich with bright verdure, there dark with thick wood: here, the grass field; there, the grey soil, which, in the spring time, is covered with the delicate green of young wheat; and, in the autumn, waves thick with golden corn. Across the fields run long lines of hedgerows, telling plainly of the country in which they are found; and in the very heart of all, the village church spire shoots through the trees, surrounded by clusters of cottages, whose modest forms are almost hidden by the dark foliage in which they are nestled. The exquisite scene is completed by a long line of blue hills that ranges at the back of all.

VIEW OF GREAT TRANSEPT.

Gardening, as an art, has flourished in all countries; and has possessed in each such distinctive features as the climate, the nature of the soil, and its physical formation, as well as the character of the people, have created. In the Gardens before us two styles are seen, The Italian and The English Landscape. A few words may be sufficient to describe the leading characteristics of both.

In Italy, during the middle ages, internal warfare confined men to their fortresses, and no gardens existed save those “pleasaunces” cultivated within the castle’s quadrangle. When times grew more peaceful, men became more trustful, ventured forth, enjoyed the pleasures of a country life, and gardening prospered. In monasteries especially, the art received attention; but it was not until the beginning of the 16th century that a decided advance was manifest, and then we have to note a return to the style of gardening that flourished in ancient Rome itself. Lorenzo de’ Medici possessed a garden laid out in the revived classical manner, and this style, which is recognised as the Italian, has existed in Italy with certain modifications ever since. Its chief features are the profuse use of architectural ornaments—the grounds being subdivided into terraces, and adorned with temples, statuary, urns, and vases, beds cut with mathematical precision, formal alleys of trees, straight walks, hedges cut into fantastic devices, jets of water, elaborate rock-work, and fish-ponds dug into squares or other geometrical forms. Everything in these gardens is artificial in the extreme, and in set opposition to the wild luxuriance of nature; and although the trees and shrubs are planted with a great regard to precision, they are too frequently devoid of all artistic effect. During the last century, the Italian style became blended with English landscape-gardening, but without much success; for the formality of the original style clings to all Italian gardening at the present day.

View from the Terrace.

English gardening does not seem to have been regularly cultivated until the reign of Henry VIII.; although previously to his time, parks and gardens had been laid out. Bluff King Hal formed the gardens of Nonsuch Palace in Surrey on a most magnificent scale, decking them out with many wonderful and curious contrivances, including a pyramid of marble with concealed holes, which spirted water upon all who came within reach,—a practical joke which our forefathers seem to have relished highly, for the ingenious engine was imitated in other gardens after that period. In this reign also were first laid out by Cardinal Wolsey the Hampton Court Gardens, containing the labyrinth, at that period an indispensable device of a large garden. The artificial style in James I.’s time called forth the indignation of the great Lord Bacon, who, although content to retain well-trimmed hedges and trees, pleaded strongly in the interest of nature. He insisted that beyond the highly dressed and embellished parts of the garden, should ever lie a portion sacred from the hand of man—a fragment of wild nature! He calls it “the heath, or desert.” During Charles II.’s reign, landscape-gardening received an impulse. It was in his time that Chatsworth was laid out, and that buildings were introduced into gardens. During his reign, too, lived Evelyn—a spirit devoted to the service of the rural genius. In his Diary, Evelyn makes mention of several noblemen’s and gentlemen’s gardens which he visited, and some of which indeed he himself devised. His remarks convey an idea of the state of gardening during the reign of the merry monarch. “Hampton Park, Middlesex,” he says, “was formerly a flat, naked piece of ground, now planted with sweet rows of lime trees, and the canal for water now near perfected; also the hare park. In the garden is a rich and noble fountain, with syrens, statues, &c., cast in copper by Fanelli, but no plenty of water. There is a parterre which they call Paradise, in which is a pretty banqueting-house set over a cave or cellar.” It was under Charles too that St. James’s Park was formed, a labour upon which the king employed Le Nôtre, the celebrated gardener of Versailles,—an artist of singular good taste, and with an admirable eye for the picturesque.

During the reign of William and Mary, Hampton Court was considerably improved. Some Dutch features were introduced into gardening, and vegetable sculpture, and parterres in lace, came into vogue.

To the Dutch must be conceded the earliest manifestation of a love for gardening, in Northern Europe—a feeling possessed by them even before the thirteenth century. The taste owed its origin, no doubt, partly to the general monotony of their country, partly to the wealth of their merchants, and partly to an extended commerce, which enabled the Dutch to import from the East those bulbous roots which have long been cultivated in Holland, and were once valued at fabulous prices. Dutch gardening soon acquired a peculiar character of its own. The gardens of Loo, laid out in the time of William III., were excellent examples of the symmetrical Dutch style; a canal divided the upper from the lower garden; the beds were cut in squares, and filled at various seasons of the year with tulips, hyacinths, poppies, sun-flowers, &c.; straight walks intersected the grounds, which were adorned with numerous statues, grotto-work, and fountains, some exceedingly whimsical and curious; the trees and shrubs were cut into devices, principally in pyramidal forms, whilst hedges separated the different parts of the garden, and were not allowed to grow above a certain height. Straight rows and double rows of trees constitute another characteristic of the Dutch style, and elaborate lace-like patterns for parterres were much in vogue during the latter part of the seventeenth century. The influence of this style upon English gardens may still be perceived in the clipped hedgerows and trees, green terraces, and now only prim, now magnificent avenues, so frequent in our country.

It would appear that from William down to George II., gardening in England suffered sad deterioration as an art. Formality prevailed to the most deadening and oppressive extent. The shapes of men and animals were cut in trees, and the land was threatened with a vast and hideous collection of verdant sculpture. Pope and Addison came to the rescue of nature, and ridiculed the monstrous fashion. Pope, in one of his papers in “The Guardian,” details an imaginary set of plants for sale, including a “St. George, in box, his arm scarce long enough, but will be in condition to stick the dragon next April;” and a “quickset hog shot up into a porcupine by being forgot a week in rainy weather.” Addison, in “The Spectator,” says, “Our British gardeners, instead of humouring nature, love to deviate from it as much as possible. Our trees rise in cones, globes, and pyramids. We see the marks of the scissors upon every plant and bush.” Pope himself laid out his grounds in his villa at Twickenham; and his gardens there, which still bear the impress of his taste, attest to his practical skill as a gardener.

The satire of these great writers contributed not a little to a revolution in English gardening. Bridgeman seems to have been the first to commence the wholesome work of destruction, and to introduce landscape gardening; and it is said that he was instigated to his labour by the very paper of Pope’s, in “The Guardian,” to which we have alluded. But Kent, at a later period, banished the old grotesque and ridiculous style, and established the new picturesque treatment. He laid out Kensington Gardens, and probably Claremont. Wright and Brown were also early artists in the new style, and deserve honourable mention for their exertions in the right direction. The former displayed his skill at Fonthill Abbey, the seat of Mr. Beckford; Brown was consulted at Blenheim, where he constructed the earliest artificial lake in the kingdom,—the work of a week. Nor must Shenstone, the poet, be forgotten. His attempt, towards 1750, to establish the rights of nature in his own ornamental farm at the Leasowes, places him fairly in the front rank of our rural reformers. Mathematical precision and the yoke of excessive art were thus cast off, and nature was allowed a larger extent of liberty and life. She was no longer tasked to imitate forms that detracted from her own beauty without giving grace to the imitation; but she was questioned as to the garb which it chiefly delighted her to wear, and answer being given, active steps were taken to comply with her will. Then came Knight and Price to carry out the goodly work of recovery and restoration. To them followed Mr. Humphrey Repton, the accomplished scholar under whose eye the gardens of Cobham Hall were planned, and under whose influence all the celebrated landscape-gardens of his time were fashioned. And as the result of the united labours of one and all, we have the irregularly-bounded pieces of water which delight the English eye, the shrubberies, the noble groups of trees, the winding walks, the gentle undulations, and pleasant slopes,—all which combined give a peculiar charm to our island landscapes, that is looked for in vain in fairer climates and on a more extended soil.

In the Crystal Palace Gardens, the Italian style has not been servilely copied, but rather adapted and appropriated. It has been taken, in fact, as the basis of a portion of our garden, and modified so as to suit English climate and English taste. Thus, we have the terraces and the architectural display, the long walks, the carefully cut beds, and the ornamental fountains: but the undulations of greensward, that bespeak the English soil, give a character to the borrowed elements which they do not find elsewhere. The violent juxtaposition of the two styles of gardening—the Italian and the English—it may readily be conceived, would produce a harsh and disagreeable effect. To avoid the collision, Sir Joseph Paxton has introduced, in the immediate vicinity of the terraces and the broad central walk, a mixed or transitional style, combining the formality of the one school with the freedom and natural grace of the other; and the former character is gradually diminished until, at the north side of the ground, it entirely disappears, and English landscape-gardening is looked upon in all its beauty.

THE TERRACES.

Descending the steps we reach the first terrace, on the parapet of which are placed twenty-six allegorical statues of the most important commercial and manufacturing countries in the world, and of the chief industrial cities of England and France. The length of the upper terrace is 1576 feet, and its width 48 feet; the terrace wall is of Bath-stone. The granite pedestals on each side of the steps, leading from the Great Transept, are 16 feet by 24 feet. The width of the central flight of steps is 96 feet; and this is also the width of the grand central walk. The lower terrace, along which are ranged the first six fountains of the upper series, is 1664 feet long between the wings of the building, or nearly one-third of a mile, and 512 feet wide, the basins for the fountains on this terrace being, in their measurements, as before stated, all multiples of eight. The total length of the garden front of the wall of this terrace, which is formed into alcoves, is 1896 feet. The length of the broad central gravel walk from the building to the end of the garden in a direct line is 2660 feet. Such are a few of the principal measurements connected with the Palace Gardens, as these are seen on the surface. But although the work that is above ground may be recognised and calculated with little trouble by the visitor, there is beneath the surface an amount of labour and capital expended, of which he can with difficulty form an accurate idea. Drain pipes spread under his feet like a net-work, and amount in length to several miles; he treads on thousands of bundles of faggots which have formed his path; he walks over ten miles of iron piping which supply the fountains for his amusement.

On each side of the great central staircase are statues representing Mulhouse, Glasgow, and Liverpool (to the right as we face the gardens), the two first by Calder Marshall, the third by Spence. On the left side are personifications of Paris, Lyons, and an allegorical statue of French art, the first by Etex.

The next bastion, on the Sydenham side, is surmounted by statues of Spain and Italy, admirably executed by Monti; the succeeding bastion forms a pedestal for the very characteristic figures of California and Australia, by Bell. The staircase at this end of the terrace is ornamented at the first angle with representations of South America, by Monti, and of Turkey and Greece by Baron Marochetti; the second group consists of India and Egypt, also by Marochetti, and of China, by Monti.

The first bastion, on the Norwood side of the central staircase, supports allegorical statues of Manchester, by Theed, and Belfast, by Legrew. On the succeeding one are placed those of Sheffield and Birmingham, by Bell.

On each side of the staircase, at this point, are very excellent representations of the Zollverein and Holland, by Monti, and of Belgium, by Geefs.

The last group consists of a fine allegorical statue of the United States, by Powers, and of Canada and Russia, by Launitz.

All these figurative subjects are more or less composed in the style of the modern Romantic school of sculpture, and afford excellent illustrations of the character, nature, and chief occupations of the countries and cities they represent.

The Arcade and Rosary.

Proceeding in a northerly direction, we pass on until we reach a flight of steps, by which we gain the lower terrace, or Italian flower-garden. At the bottom of these steps are stone recesses, built under the terrace above, in which streams of water fall from dolphins’ mouths into bronze basins. Crossing the terrace by the path facing the steps, the visitor turns to the right, examining the flowers and the fountains, until he arrives at the central steps leading to the circular basin, from which point a most admirable view of the whole crystal structure is obtained. The deep recesses in the transepts, the open galleries, the circular roof to the nave, the height of the Central Transept, the great length of the building, and the general aërial appearance of the whole crystal fabric, produce an effect which, for novelty and lightness, surpasses every other architectural elevation in the world. Turning his back upon the building, the visitor beholds on either side of him green undulating lawns, beds planted with rhododendrons and other flowers, and winding gravel walks. He now surveys the mixed garden, before mentioned, which extends throughout the south side. To the right is a mound, surrounded by an arcade of arabesque iron-work, around which innumerable roses are twined; and, to the left, two spreading cedar trees—of a kind familiar to this neighbourhood—attract attention by their thick, spreading, sombre foliage. Descending the steps, and walking down the broad gravel path, the visitor reaches the large Circular Fountain. Round the basin of the fountain are white marble statues, copies from the antique, and of works by Thorwaldsen and Canova. Amongst them will be found the celebrated Farnese Hercules, the free and graceful Mercury by Thorwaldsen, the Venus of Milo, and the Paris by Canova. On either hand, and a little below the Central Fountain, will be remarked two temples of beautiful iron-work, called the Temples of the Cascades, which, with the fountains, will be more fully described hereafter. Having made one half of the circle, the visitor, instead of proceeding down the central avenue, turns to the left, round the other side of the Central Fountain, and passing the first outlet, finds his way through the second, and descends the steps into a gently rising walk, which leads him to a smaller fountain.

The Cedar Trees.

Keeping to the left-hand side, we make half the circle of this smaller fountain, and then enter upon a pleasant path, on the right side of which stands one of the noble cedar-trees before mentioned. We are now quitting the mixed Italian and English gardens for the pure English landscape. Trees wave their long branches over our heads, the paths wind, and art recedes before nature. Travelling for a short distance, we come to a junction of two roads. Selecting the left, we journey on through a path, still gently rising, bordered on one side by trees, and on the other by a lawn, until we approach a valley at the bottom of which is a small piece of water, lying close to a thicket forming a pleasant summer shade. Leading out of this small piece of water is seen a large lake, which forms the second or intermediate reservoir for the supply of the fountains. Under the hand of Sir Joseph Paxton the lake is made to serve for ornament as well as use.

View in Grounds.

THE ARCHERY GROUND.

On the slope, which is here picturesquely bordered with trees, is the Archery Ground. The targets are fixed at various distances on the lawn, and in a marquee, pitched in a proper position, are kept bows and arrows and all needful appliances of the noble pastime of archery—once the military stay and boast of the English nation, now, in these days of gunpowder, the pleasing and vigorous recreation of ladies and civilians.

Pursuing our way along the path, and which is now open on both sides, we descend towards the east, and on either side of us are beds filled with American rhododendrons. Our road takes us along the edge of the lake. Bearing to the right, we presently reach the junction of two paths. If the visitor turns to the left, he enters the Park, which occupies this side of the ground, and forms not one of the least agreeable features of the place.

THE STONE ARCADE.

THE CRICKET GROUND.

In the Park, a little to the right of the Sydenham entrance, and between that and the Great Central Walk, is a spacious level of green turf, which is specially laid out as a cricketing ground, and which is one of the best and largest in England. Every necessary arrangement is made, during the season, for the interesting matches and practice of this essentially English game. Close by is a ground for Rifle practice.

Quitting the Cricket Ground, the visitor returns on the same path by which he has approached, to the Great Fountain Basin, proceeding round the left-hand margin of which he will arrive where the broad Central Walk divides the two basins, from which point he obtains an excellent view of the stone Arcades, over which the water from the Temples and Cascades rushes in a glittering span of many feet, and forms splendid falls into the basins below. The pathway passes under the stone Arcades, and, when the water is pouring over, a curious and beautiful effect is noticeable from the open balustrade, in front of which the water passes. Having inspected the Arcades, the visitor continues his walk, partly round the next fountain basin, till he reaches a flight of steps on the left hand, passing up which he gains the Grand Plateau, which is 47 feet above the level of the Lake, which lies below.

THE GEOLOGICAL ILLUSTRATIONS AND THE EXTINCT ANIMALS.[27]

From our stand on the Grand Plateau, which is fifty feet in width, we obtain a general view of a tract of several acres of ground occupied by Geological illustrations, and including a number of islands partly covered by strange figures, the restored forms of various animals which for many ages have ceased to exist as living tribes.

[27] See “Handbook to the Extinct Animals and Geological Illustrations described,” by Professor Owen.

The wonders of geology are not confined to grand mountain chains piercing the clouds, burning mountains vomiting steam and hot ashes, and vast accumulations of animal and vegetable remains found imbedded everywhere around us. They extend to facts connected with the structure of the earth’s crust, the existence of stores of mineral wealth, and strange results derived from the comparison of existing races with the fragments of other races formerly occupying the surface. The form of the surface depends on the internal structure; the scenery is due to the circumstances of the prevailing rock and soil; and the sea-cliff and naked mountain side are the places where nature teaches her first great lesson of the natural history of the Mineral Kingdom. To illustrate geology, it was necessary to perform the same kind of task as that which has been so successfully performed in the Architectural Courts, and the result is now before the visitor, as he looks down from this plateau and prepares to enter on the new course of investigation open to him. The ground forming the cliffs, shores, banks, and islands in this part of the Park are so constructed as to give, in a series of views, a number of practical lessons in geology, tending to make the essential facts of the science easily understood, while, at the same time, they add to the picturesque beauty of the scenery. The plan may be recognised in the fine expanse of cliff now at our feet; to do justice to which we must descend and place ourselves on the tongue of land below, or on the rustic bridge a little to the left. From hence may be seen the full length of the present cliff, and a few words of explanation will be sufficient to indicate the succession of rocks and the geological phenomena.

On this cliff, the part immediately facing the bridge represents a section nearly vertical of part of a coal-field, all the beds dipping (or inclining) at a moderate angle to the right-hand, so that those to the left are lower in geological position, though they gradually become higher in point of actual elevation, and at a little distance further to the left overtop the coal itself. Besides this illustration, we also see in the same equal part of the cliff instances of faults or troubles, throwing a part of the coal-measures into a different position from the rest, and lifting up portions of a series of deposits. In the case before us, the older rocks are also thrown up on the left side of the fault.

The coal-cliff consists of two beds or seams of coal, two of ironstone, and some sandstone. The part not consisting of projecting stone is supposed to represent softer rocks, clays, or shales. There are placed here about twenty-five tons of coal, twenty tons of grit or sandstone, and five tons of ironstone, all from the neighbourhood of Clay Cross.

In order to produce a marked contrast, the carboniferous limestone is placed next in order, and as if brought up to its position by a considerable fault. The millstone grit, appearing on the top of the plateau above the limestone, would have occupied naturally and without disturbance, a position below the lowest part of the coal measures. The fault is therefore called, technically, an upthrow or upcast to the south. The millstone grit consists of about 30 tons of rock from Crick, near Matlock, and from Bramley Fall quarries, in Yorkshire. The carboniferous limestone (of which there is 100 tons) is from the neighbourhood of Matlock, and is placed nearly in its natural position.

In this cliff of carboniferous limestone the bedding may be very distinctly traced, and systems of fissures, or joints, may also be observed. One of these fissures, wider than the rest and communicating with several smaller ones, is partly filled with spar, and has an opening into a cavern constructed behind the cliff. The main fissure represents a mineral vein or lode, and the smaller ones are strings or feeders. Within the cavern the spectator sees some of the peculiar and interesting appearances of natural limestone grottoes.

Coming out below the limestone, hard beds of the old red sandstone are seen. These have the same dip as the limestones, and are seen at intervals further to the left towards the railway. It is intended to continue the series of older and altered rocks in this direction. The old red sandstone on the ground consists of about twenty tons from near Bristol.

Overlying this whole series of old (or palæozoic) rocks, which are inclined to the north, is a horizontal, and therefore unconformable capping of new red sandstone. This also is from near Bristol, and the quantity provided was fifty tons.

The new red sandstone, thus capping the old rock on the high ground of the plateau, re-appears at the extremity of the nearest of the adjacent islands at a much lower level, and having a different mechanical position.

It is right to mention that these geological sketches are the result of careful consideration, and have not been effected without much constructive ingenuity. The original plan of the whole was suggested by Professor Ansted, and arranged with Sir Joseph Paxton at an early period of the laying out of the grounds; and as soon as the state of affairs permitted and the actual earthworks of the Plateau were in progress, a model of the intended structure was completed and coloured geologically by Professor Ansted. The works have been ably constructed from this model by Mr. James Campbell, who also procured the stone and other minerals from different parts of the country.

The Labyrinthodons.

Let us now return to the Plateau, from whence we can obtain the best view of the islands and their singular tenants. Before describing them, however, we will remind the visitor that the lowest or oldest rocks, which we have shown him, were the old red sandstone; next above them were the carboniferous limestone, the millstone grit, the coal-measures, and then the new red sandstone. It is with this last formation that the restorations of the extinct animals commence. Before that period fossil remains indicate that fish inhabited the waters of the earth, but there are no traces of the existence of any reptiles or higher animals. Reptiles first appear in the new red sandstone, and as the extreme right of the islands is arranged to represent this formation, it is there that we shall find the Labyrinthodon and the Dicynodon, of each of which there are two species. The strata which overlie the new red sandstone will be now mentioned in the order of their super-position, each successive formation bringing us nearer to the forms of animal life which are at present living upon the earth.

Next above the new red sandstone comes the lias, the general direction of the inclination of the beds being the same as in the coal-cliff, and the newer beds covering up the old ones as we advance in the direction of the larger islands. The lias animals are here represented by three very dissimilar forms; there are three species of Ichthyosaurus, or Fish Lizard; three species of Plesiosaurus, or Serpent Lizard, and a crocodilian beast called Teleosaurus, which much resembles the fish-eating Gavial of the river Ganges. This crocodile and the fish lizards formerly inhabited the neighbourhood of Whitby in Yorkshire, where their remains are found in good condition. Dr. Buckland describes the Plesiosaurus as the most singular and monstrous of the relics of the former world, having the head of a lizard, the teeth of a crocodile, a neck like the body of a serpent, the trunk and tail of an ordinary quadruped, the ribs of a chameleon, and the paddles of a whale.

The next formation in ascending order is the oolite. To this stratum, as well as to the succeeding one, belongs the Megalosaurus, or Gigantic Lizard, which measures 39 feet from snout to top of tail, and 22 feet 6 inches round the body, and the smaller Pterodactyles.

Still proceeding to the left, we pass next to the Wealden formation so well known in Kent, Surrey, and Sussex. Here we see the gigantic Iguanodons, and the Hylæosaurus, or Great Spiny Lizard of the Wealden. It is with these creatures that the name of the late distinguished palæontologist, Dr. Mantell, will ever be connected, since to his labours in Tilgate Forest and other parts we are indebted for our knowledge of these animals.

Above the Wealden formation come those of the lower greensand and the chalk. Both of these also contain fragments of singular reptiles of large size, the Mosasaurus and great Pterodactyles (most probably the fabled dragon of old) restored from Mr. Bowerbank’s specimens.

With these we quit the Secondary Island, and may next turn our attention to the island beyond, which contains the principal forms characterising the strata belonging to the tertiary period. Hitherto we have shown the visitor nothing but reptiles—now, upon the Tertiary Island, he will find a higher order of animal life, and meet with forms more nearly resembling our living animals. Next in procession are the animals restored by Baron Cuvier from fragments found in the Gypsum beds of the Paris basin: the Palæotherium, or Ancient Beast, might be justly called the first triumph of comparative anatomy, as from a few detached pieces of bone Cuvier was enabled to construct the entire animal, which, by his drawings, appears to have resembled the Tapir of the present day. After these come the more elegant pachydermatous animal called the Anoplotherium commune and the Anoplotherium gracilis, and not far off we see the Megatherium, or Gigantic Sloth, in the act of pulling down a tree to obtain the leaves, upon which it was accustomed to feed, as its smaller analogies do at the present day. These, with the Irish Elks, first found in the Isle of Man, are grouped upon this island, and present a scene equally remarkable and instructive to all those who are interested in the natural history of the earlier periods of the earth.

Great Pterodactyles.

No one can look upon all these singular and bulky productions, so unlike the comparatively familiar forms of even the rarer living animals, and yet with so much appearance of reality, without at once becoming sensible that a series of illustrations is before him, of a nature altogether different from any he has been accustomed to.

The footmarks, the bones, the very skin in some cases, of animals long since extinct, have been preserved by being buried in mud which has afterwards been converted into solid rock. From these obscure guides, the comparative anatomist has ventured to describe the general form, the habits, and the peculiarities of the race. From such descriptions, penned chiefly by Cuvier, Mantell, and Owen, has Mr. Waterhouse Hawkins restored and by degrees built up the animals. Possessing a great knowledge of the peculiarities of many living species; and being strong in his own feeling of what was probable and natural in the numerous details that required consideration, he has skilfully and cautiously constructed these restorations, and his embodiments of the opinions of the greatest palæontologists are indeed equally bold and conscientious. Professor Owen, the most eminent living authority upon these subjects, has kindly rendered Mr. Hawkins every assistance in his undertaking.

Re-descending from the Plateau once more to the large fountain, the visitor turns to the left, and proceeds round its margin until he arrives at the further end of the basin, where he will notice an ornamental cataract is contrived. On the left-hand of the path which winds from this point, is a high bank constructed of roots of the trees which grew in the woods once covering a great part of the Crystal Palace gardens. The effect is very striking and picturesque, being greatly aided by the wild flowers which grow so luxuriantly on all parts. It will have been noticed that round the confines of the lake we have just quitted, where the geological restorations are, the flowers are purposely nearly all wild ones, and they give a singularly natural and fit appearance to this interesting district. It must be mentioned that the whole of the Crystal Palace Exterior Gardens are under the personal superintendence of Mr. Edward Milner, and it will be confessed their beautiful condition answers to his assiduous care. A few steps further, and the visitor arrives at the junction of two roads. Selecting that to the left, he will speedily gain the foot of the Rosary, and the mound, at the top of which is an ornamental arabesque arcade designed by Mr. Owen Jones. He will here find roses of every variety, besides other plants which climb the sides and around the roof of the arcade.

The Secondary Island.

[Large illustration.]

1. Mosasaurus.
2. & 3. Pterodactyles.
4. & 5. Iguanodons.
6. The Hylæosaurus.
7. The Megalosaurus.
8. & 9. The Teleosauri.
10. The Ichthyosaurus Communis.
11. The Ichthyosaurus Platyodon.
12. Plesiosaurus Macrocephalus.
13. The Labyrinthodon Salamandroides.
14. & 15. Dycynodons.
16. Labyrinthodon Pachygnathus.

Proceeding round the Rosary to the right, we quit the mound at the second outlet, and journey along a path, on either side of which are flower-beds and groups of Rhododendrons and Azaleas. Bearing to the right we reach the basin of a fountain. Choosing the left-hand side of this basin, we turn into the broad walk which leads us by means of a flight of steps to the second terrace, crossing which we make our way by the steps to the upper terrace.

At this point the visitor can either re-enter the Palace under the Central Transept, or by proceeding to the left-hand down the terrace, enter the south wing and pass down the colonnade to the Railway Station.

THE CRYSTAL TOWERS.

The high towers, of which there are two, one at each end of the building, have been erected for the purpose of raising the tanks from which the high jets of the great fountains in the lower basins are played, and are, with the exception of the tank and stays, constructed of cast iron.

The foundation upon which this enormous mass of material rests, is necessarily very strong, and consists, in the first place, of a ring of concrete, sixty feet in external diameter, and three feet deep; upon this is built a circular wall of brick-work, laid in cement, fifty-six feet in diameter, and eighteen feet deep. This forms the bed on which rests the base pieces of the columns.

The columns, 1 foot in diameter, and 24 in number, are placed in pairs, 4 feet apart, and are connected together by solid vertical girders or filling-in frames, each pair thus forming one continuous broad column, extending from the base to the bottom of the tank by which the tower is surmounted; the whole rising to a height of 202 feet. The space between each pair of columns (8 feet) is filled in with glazed sashes and face-work, corresponding with those in the building, and completing the shell of the tower. Behind these sashes, and spanning these spaces, extending from floor to floor, are series of round wrought-iron diagonal bracing, continued from the bottom to the top of the tower; and, under each of the ten landing-floors, is a strong horizontal bracing-plate, termed a diaphragm, forming, with the diagonal bracing above referred to, a system of vertical and horizontal trussing.

Up the centre of each tower is carried a perpendicular brick shaft (the internal diameter of which is 7 ft. 9 in.), resting upon a separate foundation, and serving the double purpose of carrying off the smoke from the heating apparatus, from the boilers connected with the Machinery Department, the upper engine-house, and kitchen, and forming the core or spiral staircase by which the various floors, and gallery at the top of the tower, are reached. These floors arise at intervals of twenty feet from the level of the floor of the main building. The tank noticed above is of boiler-plate, and is formed of an inner and outer wall, the former of which encircles the chimney-shaft; the bottom, which is dome-shaped, is carried upon wrought-iron girders radiating from the chimney, and is secured to the tops of the external columns. This description will be more readily understood when the depths of the tank at its outer and inner walls are given. The former, or that resting upon the external columns, being 38 feet, while the latter, next the chimney-shaft, is about 26 feet. These tanks are calculated to hold, when filled, a body of water of the enormous weight of 1,576 tons, or a bulk of 57,228 cubic feet, equal to 357,675 gallons.

The supply is forced from the upper reservoir by the same engines that raise the water to the lower water-tanks and the building; and the same pipes form also the means of conveying the water to the fountains. They are arranged within the outer columns, forming an interior circle, apparently of columns, but rendering in reality no assistance towards the stability of the structure.

On a level with the base of the tank, projecting from the exterior of the tower, and carried on strong and elegant cast-iron brackets, is the gallery six feet in width, from the outer edge of which, on light iron columns, is carried the many-gabled conical Paxton roof which covers the tower. The total height of these stupendous edifices, from the ground line to the top ornaments on the roof, is 284 feet. From the same ground line to the floor of the projecting gallery is 214 feet, involving to the persevering visitor an ascent of no fewer than 400 steps, with only ten landings or rests on the floors previously mentioned. The reward in the prospect afforded will, however, amply repay the toil incurred, embracing as it does an horizon including part of six counties—viz., Middlesex, Kent, Essex, Bedfordshire, and Bucks—and including a panorama possessing, amongst other objects of interest, the Towers of London and Windsor, the woodlands of Essex, and the Downs of Epsom. The vision of the visitor from this height is also lifted over the grand plateau, or ridge, which separates the great lake with its antediluvian animals from the rest of the garden.

These magnificent towers, each of which contains 800 tons of iron, were designed by Mr. Brunel.

From the above simple statement it will be seen, that the arrangements for supplying the fountains with water are at once simple, complete, and based upon the most economical principles. The engine power employed is that of three hundred and twenty horses; the water itself is conveyed to and from the reservoirs in pipes varying from three feet to one inch in diameter; and the total weight of piping may be set down at 4000 tons, its length, roughly estimated, at ten miles.

THE ARTESIAN WELL, AND THE WATER SUPPLY.

In July, 1852, the supply of water for the fountains and other great works in connexion with the Crystal Palace, first seriously engaged the attention of the Directors. Various proposals were made, and suggestions offered: some were at once rejected; others, although not free from difficulties, were taken into consideration. The most feasible of these was that which involved the extension to Sydenham of the pipes of one of the nearest London water-work companies,—a measure that would at once secure a sufficient supply of tolerably good water. Against the proposition for sinking a well on the grounds, it was urged that the neighbourhood is almost destitute of water; that wells already excavated to the depth of two hundred feet had yielded but a small supply; and that even if a sufficient supply could be secured by digging, the water obtained could never be raised to the top of the hill.

Acting, however, upon sound advice, and after due consideration, the company commenced the sinking of an artesian well at the foot of the hill on which the Palace stands, and after proceeding to a depth of 250 feet, their efforts were rewarded.

In the present case, the water which appears in the well comes from a reservoir lying between the London clay and the greensand as its upper and lower envelopes. This reservoir is supplied by rain-water, which, percolating the London clay, sand, and chalk, and finding an impediment to its downward progress on reaching the greensand, flows into the space between the hard clay and greensand, as into a cistern. The process by which the reservoir is supplied is continuous, the water finding its way down to it as if by a series of small tubes, and pressing against the lower surface of the clay with a force which, if unresisted, would raise it to the level from which it descended. When the clay is pierced by the augur it is evident that this force is free to act, the resistance of the clay at the point where it is pierced being removed, and accordingly the water rises in the bore to the level from which it is supplied, and will continue to do so as long as the percolation lasts. The chief difficulty to be overcome was the great thickness of the substratum of chalk, which extends, probably, to a depth of about 1000 feet. The well, now completed, is a brick shaft 81⁄2 feet in diameter, 247 feet deep, from whence an Artesian bore descends 328 feet, making the entire depth 575 feet. It is situated at the bottom of the Garden, near the Cricket Ground.

An abundant supply of water having been brought to the foot of the hill from the well, and the supplies of a neighbouring water-company, it was necessary not only to raise it to the top, on a level with the building, but also to elevate it to a sufficient height for obtaining the requisite pressure for fountains to throw up water to heights varying from 5 to 280 feet. The following is a brief outline of the arrangements by which these objects are effected:—

Three reservoirs have been formed at different levels in the grounds, the lowest one being on the same level as the largest basins placed nearly at the base of the hill; the second or intermediate reservoir is higher up, and in a line with the basin in the central walk; whilst the third or upper reservoir stands on the top of the hill immediately adjoining the north end of the building. Next to the Artesian Well, an engine is placed which raises the water required to be permanently maintained in the reservoirs and in the basins of the fountains, and which supply or keep up the water that is lost by waste and evaporation.

The reservoir on the summit of the hill contains the water required for the use of the building, and for the fountains throughout the grounds. Close to this reservoir is an engine-house, containing the steam-engines that raise part of the water into two large tanks erected on columns at the north end of the building close to the junction of the Sydenham and Dulwich roads. The columns, twenty-four in number, are of hollowed cast-iron, one foot in diameter. The central column, which is two feet in diameter, supporting a portion of the superincumbent weight, and making up the number, twenty-five, is the water-pipe, by which the tank is fed, and which forms also the conduit to the fountains in the building, and on the terraces. These two distinct actions of filling the tank and working the fountains proceed simultaneously through the same pipe. On the top of these columns are massive girders which support the plates, forming the bottom of the tank. The height from the stone curb of the reservoir to the bottom of the tank is 65 feet; the tanks are each 47 feet square by 15 feet deep, and capable of containing 207,000 gallons or about 900 tons of water. They supply also the water required in the building for the plants and kitchens, and charge the pipes provided against casualties from fire. The vast residue of the water in the great upper reservoir, in consequence of the sloping character of the ground, does not need any help from the engines, but flows direct to fountains on a lower level, and plays smaller jets. Through the same convenience, the waste water from the upper fountains is used a second time in the lower fountains.

The central or intermediate reservoir collects the waste water from the displays which take place on ordinary days, and which include all the fountains, save the two largest, and the cascades. Attached to this reservoir are also engines which pump the water back to the upper reservoir. The lowest reservoir collects similarly the waste water from the displays which take place in the two largest fountains on the days of great exhibition, and its engines return the water at once to the top level.

THE FOUNTAINS.

The great system of fountains in the grounds of the Crystal Palace, though the most stupendous that the world has ever seen, is designed with an unity which greatly enhances, or rather fully displays, its unrivalled magnificence. The whole system is divided into two series, the upper and the lower. The upper series, which consists of the six basins adorning the long extent of the second terrace, with the great circular fountain in the centre, and the smaller ones on either side of it, in all, nine fountains, constitutes the display on ordinary occasions. Beyond these, as we advance down the central path, are the iron Water Temples, from which the water rushes down a series of twelve cascades, extending for a distance of 600 feet, till it falls over the stone arcade in the great fountain basins, forming a glittering cataract 120 feet broad, with a fall of thirty feet. The Water Temples with their cascades and falls, and the two great fountains into the basins of which they discharge, constitute the lower series, which is played only on grand occasions; but all are part of one design, and each one ministers to its completeness.

Unlike most similar works, sculpture has not been used to enhance or obtain the effect desired. Under any circumstances, water, when thrown high into the air, assumes a graceful and beautiful appearance; no ungentle curves or distortions of form mar its expression of a natural beauty, which, though it may be the roaring grandeur of a mighty stream, or the gentle grace of the smallest jet, bears with it an unspeakable charm. In the Crystal Palace Fountains the designs are carried out by the water alone, and the sculptural ornamentation is confined to the margins of the basins, and, down the sides of the cascades, to some small ornamental bronze fountains of secondary importance.

The first six fountains of the upper series which ornament the Italian Garden on the second terrace throw their highest jets to the height of 90 feet, the lower jets form graceful designs round the bases of these columns of water, and in other parts of the basins. It is so arranged that the waste water from these basins is again used for the lowest jets of the fountains which lie between these and the Water Temples, a rapid descent in the ground giving sufficient pressure for this purpose; the same is the case with the water flowing from these again, as it is once more used for the lower water designs in the great basins.

The great circular fountain, which occupies the central position below the terraces, is the principal one of the upper series. Its highest columns, which rise in an imposing mass from a gigantic cradle formed by the water, attain the altitude of 150 feet. Rising from the surface around this, are single upright streams which beautifully fill in the design, throwing their spray to almost an equal height. The whole is surrounded by a delicate trellis of water, in which the jets appear to interlace with one another. On the right and left of this, but in lower positions, are two smaller circular fountains of great beauty, which, with those already described, complete the upper series. The largest circular basin is 196 feet in diameter.

We now approach the two Water Temples which head the cascades on either side of the broad central walk. These Temples are octagonal in shape, with dome-shaped roofs, and are constructed of ornamental ironwork, gaily coloured and gilded. On the apex of each is a bronze figure, from beneath which the water, which is forced up the hollow columns, bursts in a glittering film till it falls over the roof and down the sides. The Temples are about 60 feet in height. The head or basin which surrounds each one, and from which the water flows down the cascades, is a parallelogram of 72 feet, with semicircular extensions in the two sides of 18 feet radius. Bronze fountains ornament each side of the cascades.

The great fountains are the crowning effect of the whole system, and are the largest in the world. The basins, which are designed with a graceful and diversified outline, are 784 feet each in length, having a diameter in the semicircular centre portion of 468 feet. A great central column rises in each, streaming upward to the height of 280 feet when undisturbed by wind. These columns are each composed of 50 two-inch jets, which burst forth under a pressure on the mouth of the pipes of 262 lb. to the square inch. The design is carried out by an infinite variety of water display. The effect is gained by the water alone, which assumes many forms, from the giant and stately column, to the most delicate crystal tracery. When the whole system of fountains is displayed, no less than 11,788 jets are in operation, throwing 120,000 gallons per minute. A grand display usually consumes 6,000,000 gallons of water.

These stupendous and magnificent works were designed by Sir Joseph Paxton, the engineering operations being executed by Mr. W. Shields, the resident engineer of the Company.

PART IV.

EXHIBITORS’ DESCRIPTIVE CATALOGUE.

PLAN OF SPACE FOR EXHIBITION.

[Large plan.]

A -Non-Selling Division.
B
C

⁂ The Selling Division comprehending the South Gallery and the Galleries on the South-Eastern side are devoted to Miscellaneous Articles.

[Large plan.]

INDEX TO ADVERTISEMENTS.

GROUND FLOOR:—South-West Side:Page
Stationery Court.—Court of Inventions[179]
Hardware Court[180]
Birmingham Court[181]
Sheffield Court.—Mineral Manufactures Court.—Heath’s Bath Wheel Chair Department[182]
GROUND FLOOR:—South-East Side:
Foreign Glass Manufactures Court[182]
FRENCH COURT:—Carriage Department[183]
EAST GALLERY:—Central Transept[184]
SOUTH-EAST GALLERY[185]
SOUTH GALLERY:—Picture Gallery[186]
WEST GALLERY:—Central Transept[187]
NORTH TRANSEPT:—Tropical Department[189]
BASEMENT:
Machinery[189]
Agricultural Implements[190]

EXHIBITORS’ DESCRIPTIVE CATALOGUE

Stationery Court.

SPECIMENS of ORNAMENTAL DESIGN for BOOK-BINDING, &c. Exhibited by JOHN LEIGHTON, F.S.A.

GEORGE ROWNEY & Co., 51, Rathbone Place, London.—Specimens of Drawing and Painting Materials. Specimens of Chromo-Lithography.

NATURE PRINTING.—The specimens exhibited of this new process for obtaining life-like or physiotypic impressions of plants are mostly of Ferns and Mosses, but the process is still further peculiarly applicable to the representation of the Grasses, the Lichens, and the Sea-weeds. These results are obtained by placing the specimen to be copied upon a plate of soft lead, with a highly-polished surface, and passing it, at a high pressure, between hard steel rollers. The specimen leaves its impression upon the lead, and gives not only its outline, but also the most delicate elevations and depressions of its surface with that sharpness and fidelity as to present a perfect fac-simile of the original specimen in its natural size. The lead plate thus impressed—not being practically available for printing purposes—is copied by the electrotype process, by which a copper plate (the image on which is perfectly identical with the original impressed lead plate) is obtained, which can be printed from at an ordinary copper-plate press.

Nature Printing was introduced into England by Mr. Henry Bradbury, in 1853; the first application of the process has been most successfully exemplified by him in the magnificent folio Edition of “THE FERNS OF GREAT BRITAIN AND IRELAND,” Nature Printed. Descriptions by Thomas Moore, F.L.S.; Edited by Dr. Lindley. Imperial folio, with 51 Nature-Printed plates. Price £6 6s.

J. JONES & CO.,
21, SOHO SQUARE, LONDON.
First Class Pianofortes from Twenty-four
Guineas.
EXHIBITORS IN LONDON AND PARIS EXHIBITIONS.

JARRETT’S IMPROVED EMBOSSING, COPYING, and PATENT ENDORSING PRESSES.

Chief Depôt, 37, Poultry, City.

WATERLOW & SONS, London Wall, Birchin Lane, and Parliament Street, London, Stationers, Account Book and Envelope Manufacturers.

Court of Inventions.

BRYAN CORCORAN & CO.,
36, MARK LANE,

OBTAINED Prize Medal at the London Universal Exhibition, 1851, for finest Specimen of METALLIC CLOTH; and in Paris Industrial Exhibition of 1855, MODEL of IMPROVED DRYING KILN for Malt and all other Grain, on a scale of one inch to the foot. The improvements are economy of fuel, regularity of heat, and prevention of condensation of steam.

Specimens of Paper Machine Wires of all widths to 108 inches. Woven Brass Wire, No. 150 X 160, 24,000 holes to the square inch, half yard wide. Twilled Copper and Brass, 1,120 shoots in one inch, the finish woven. Iron Woven Wire, 1,000 holes in one inch. Copper Wire or Thread, 3,000 yards to one ounce. Brass Wire or Thread, 1,300 yards to one ounce. Iron Wire or Thread, 542 yards to one ounce. Improved Wire Work for Screens, Sieves, &c. Strong Woven Wire for Malt Kilns, Smut Machines, &c. Swiss Silk for dressing flour. French Millstone for grinding wheat.

AWARDED A PRIZE MEDAL UNDER CLASS XIX.

TO THE CARPET TRADE.—ROYAL VICTORIA FELT CARPETING.

The Patent Woollen Cloth. Company beg to inform the trade that their NEW PATTERNS in CARPETS and TABLE COVERS for the present season are now out, and will be found far superior to any they have hitherto produced, both in style and variety. The public can be supplied at all respectable Carpet Houses in London and the country.

The Company deem it necessary to caution the public against parties who are selling an inferior description of goods as Felted Carpets, which will not bear comparison with their manufacture, either in style or durability; and that the genuineness of the goods can always be tested by purchasers, as the Company’s carpets are all stamped at both ends of the piece, “Royal Victoria Carpeting, London,” with the Royal arms in the centre.

The Company’s Manufactories are at Elmwood Mills, Leeds, and Borough Road, London. Wholesale Warehouses at

8, LOVE LANE, WOOD STREET, CHEAPSIDE.

Hardware Court.

A FIRST-CLASS SILVER MEDAL has been awarded to NYE and Co., at the Paris Universal Exhibition, 1855, for their Improved

Patent Sausage-making and General Mincing Machine,

For private families, hotel-keepers, &c. Price £1 10s., £2 2s., and £3 3s. Also a small Mincer for the dinner table, to assist digestion, loss of teeth, &c., price from 30s. A Patent Coffee Mill, price 10s.

Testimonials sent free.

79, WARDOUR STREET, SOHO.

FLAVEL’S PRIZE KITCHENER.—The only Kitchen Range which obtained a Prize Medal and Special Approbation at the Great Exhibition. Sole Agents, BENHAM & SONS, 19, WIGMORE STREET, LONDON.

BENHAM & SONS, Manufacturers of Drawing Room and other Stoves, Fenders, Fire Irons, Gas and Hot Water Apparatus, Baths, Kitchen Ranges, and Dinner Lifts. 19, WIGMORE STREET, CAVENDISH SQUARE, LONDON.

THE PAXTON FLOWER BASKETS.—W. COGGER, Manufacturer, and Ornamental Wire Worker to the Crystal Palace Company. Garden Arches, Aviaries, Rose Temples, Flower Stands, Trainers, &c. Address, Westow Hill, Upper Norwood, Surrey, S.

JAMES RUSSELL & SONS, Crown Tube Works, Wednesbury, and 81, Upper Ground Street, Blackfriars, S. Patent Lap-Welded Tubes for Gas, Steam, and other purposes.

GEORGE JENNINGS, Engineering, Building, and Sanitary Appliances, 5, HOLLAND STREET, BLACKFRIARS ROAD, LONDON.

PATENT COOKERY STOVES, which obtained a Prize Medal from England and France. DALEY & SONS, NORTHAMPTON.

BY HER MAJESTY’S ROYAL LETTERS PATENT.

THE LOVERS’ LAMPS, price Five Shillings each. No dressing or trimming required.

EDMUND SPILLER, 98, HOLBORN HILL, LONDON.

BACHELORS’ KETTLES, from 3s. each. Self-acting Cooking Apparatus to Fit the above, 1s. 6d. each.

EDMUND SPILLER, 98, HOLBORN HILL, LONDON.

PIERCE’S IMPROVEMENTS IN FIRE-LUMP GRATES.

PIERCE’S CELEBRATED
FRESH AIR WARMING AND VENTILATING
FIRE LUMP GRATES,

FOR the production of Healthful Warmth and Continuous Ventilation—for which the Prize Medal of the Great Exhibition of 1851 was awarded to PIERCE, the INVENTOR and SOLE MANUFACTURER—at prices from 50s. to 150s. upwards.

PIERCE’S PYRO-PNEUMATIC
Warming and Ventilating STOVE GRATES,

WHICH received the SOCIETY of ARTS’ Large Bronze Medal in 1859, is now in universal use, warming Churches, Public Buildings, Halls, Banking-Houses, Schools, Warehouses, Shops, &c., &c., &c. Prices, £7 10s. to £25.

Also his IMPROVED COTTAGER’S GRATE, for warming two rooms with only one fire. Price 30s. and 35s. And his ECONOMICAL RADIATING FIRE LUMP DRAWING-ROOM GRATES, made in a Variety of Elegant Designs. Prospectuses and Testimonials will be forwarded on application to PIERCE, at his Manufactory and Warehouse,

5, JERMYN STREET, REGENT STREET.

TWO Prize Medals were Awarded, at the Paris Exhibition, for LYON’S SAUSAGE CUTTING and MAKING MACHINE, Manufactured in Four Sizes, price £1 10s. to £6 6s. Also his Small Machines for the Dinner Table, used to assist digestion, Loss of Teeth, &c. These are made to keep the cooked food hot while being cut up.

An Improved Chopping Knife, for chopping suet, parsley, &c., fitted to a strong board. Also an Improved Cucumber or Potato Slicer.

Prepared Skins for Sausages, warranted to keep in any climate. A much-approved Seasoning Mixture for Sausages, &c.

A. LYON, Patentee and Manufacturer, 32, WINDMILL STREET, FINSBURY, LONDON.

Circular, with Plates, Price, and Testimonials, sent post free.

Birmingham Court.

JOSIAH WOOLDRIDGE, Manufacturer of Cabinet Brass Foundry, Brass Fittings, Brass Toy Cannons, Mortars, Anchors, Bells, and a variety of other Brass Toys. 38, St. Paul’s Square, Birmingham.

G. B. LLOYD & Co., Manufacturers of Lapwelded Iron Tubes for Steam Boilers, Gas and Steam Tubing, &c., Berkeley Tube Works, Gas Street, Birmingham.

JOHN C. ONIONS, Manufacturer of Smiths’ Bellows for Anchor Smiths, Machinists, and others, Patent Circular, House, Library, and every description of Fancy Bellows, Patent Water and other Tue Irons, Anvils, Vices, and Hammers, Improved Blowing Machines, &c., Bradford Street, Birmingham.

CHARLES ALLDRIDGE & SON, Cabinet and Stationery Case Manufacturers, Regent Parade, Caroline Street, Birmingham.

THE PATENT CRYSTAL WINDOW BARS, adapted for Domestic Windows, Shop Fronts, Conservatories, Skylights, Verandahs, Exhibition and Counter Cases, Aquariums, Fern Cases, &c., &c., combining perfect transmission of light, durability against rust or decay, and economy in the facility with which they are kept clean.

Aquariums with Slate or Marble Bottoms of various sizes, with or without Fountains, also of glass.

Manufactured by LLOYD & SUMMERFIELD, Park Glass-Works, Birmingham.

All kinds of Flint Glass, cut and plain, Coloured Window Sheet, Optical Sheet, Coloured Lenses, &c., &c.

GEORGE HAINES PARKES, General Coach, and Harness Furniture Manufacturer, for Home and Exportation, 10 and 11, St. Mary’s Row, Birmingham.

MESSRS. ELKINGTON, MASON, & Co., Exhibit Specimens of their Electro-Plate and Fine Art Manufactures, between the Sheffield and Birmingham Courts, in the Nave.

Sheffield Court.

ÆOLIAN PITCH-PIPES, TUNING FORKS, CHROMATIC FORKS, PORTABLE METRONOMES, TUNING HAMMERS, REED METAL. EDWARD GREAVES, 76, Milton Street, Sheffield.

Mineral Manufactures Court.

TO GOLD, SILVER, ANTIMONY, STEEL, AND BRASS MELTERS AND REFINERS.

THE PATENT PLUMBAGO CRUCIBLE COMPANY,
BATTERSEA WORKS, LONDON, S.W.,

MANUFACTURERS to the Royal Mints of England, France, Russia, Prussia, Holland, Belgium, America, California, Australia, &c., and every Gold and Silver Refiner in London, direct attention to the great superiority of their Patent Plumbago and other Melting Pots and Crucibles.

PRICE LISTS AND TESTIMONIALS ON APPLICATION.

Heath’s Bath Wheel Chair Department.

J. HEATH, 4, Broad Street, Bath, Maker to the Sovereigns of England, France, Spain, &c. &c., Manufacturer of the Chair presented by Her Majesty to the Empress of the French.

Foreign Glass Manufactures Court.

FRANCIS STEIGERWALD, Bohemian and Bavarian Coloured Glass Manufacturer, Munich.—Large Assortment constantly exhibited at the Crystal Palace, Sydenham.

French Court.

JEWELLERY.—Bracelets, Brooches, Chains, Lockets, Charms, Keys, Seals, Ear-rings, Studs, Sleeve Links, Gem and Signet Rings, &c., in Gold, Silver, Pebble, Tortoiseshell, Ivory, Jet. Also in Electro-plating and Gilding.

FANS.—Bone, Ivory, Pearl, Enamelled, and Sandal Wood (with Spangles or Painting), in Paper, Linen, Battiste, Kid, Silk, &c. Pocket Opera Glass, Shade, Bouquet, and other novelties.

LEATHER GOODS.—Reticules, Etwees, Housewifes, Bags (fitted or unfitted), Dressing Cases, Desks, Blotters, Papeteries, Envelope, Stationery, and Etui Cases, Pocket Books, Porte Monnaies, City Purses, Season Ticket and Sermon Cases, Music Rolls, Needle Books, Cigar and Card Cases, &c. Papier Mache of every variety, in Plain, Inlaid, and Mediæval Work.

CABINET WARE of all descriptions, in Mahogany, Walnut, Ebony, Oak, Rosewood, Amboyna, Cedar, Coromandel, and other Woods.

SUNDRIES.—Pearl, Ivory, Scotchwood, and other works, in variety too numerous to particularise.

CUTLERY, PERFUMERY, BONBONS, PRINTS, &c., &c., CLOCKS, BRONZES, MODERATEUR LAMPS, &c., &c.
RUMSEY’S IMPROVED PLATE POWDER.

MANUFACTORIES—LONDON, BIRMINGHAM, SHEFFIELD, WHITBY, PARIS, FRANKFORT, DIEPPE, AND BERLIN.

ROBERT HOLT,
Proprietor.

Carriage Department.

CARRIAGES BY THE AID OF MACHINERY.

KINDER & McNAUGHT,
MANUFACTURERS,
WORCESTER,

BEG respectfully to invite the attention of all purchasers to the many Improvements recently introduced by them into modern Carriages. The style and excellence of their work is rarely equalled by the most expensive builders in London, and has the advantage of being produced at a moderate price,—a result mainly arrived at by an extensive adaptation of machinery, such as no other house in the trade possesses.

A communication by letter, or the favour of a call at their Works,—where, in addition to employing upwards of 100 hands, they have erected engines of 25-horse power, which, with the above, and several newly patented adjustments, may be seen in full operation,—is respectfully solicited.

SWAINE AND ADENEY, Whip Manufacturers to the Queen and Royal Family, Prize Medal awarded at the Exhibition of 1851.—No. 185, Piccadilly, London.

ROCK AND SON, Patentees of the Dioropha and other improved Carriages. Manufactory at Hastings. Export orders carefully packed.

BLACKWELL’S
PATENT SADDLERY AND HARNESS MANUFACTORY, &c.,
359, OXFORD STREET, NEAR THE MARBLE ARCH, LONDON.

AWARDED THE PRIZE MEDAL,
LONDON.		andTHE ONLY 1st CLASS SILVER MEDAL FOR
SADDLERY, PARIS.

“GUTTA PERCHA JOCKEYS,” for Breaking Horses Temperate and Easy-mouthed, with vulcanized Rubber Spring Reins of varied strengths, 54s. to 60s. Above a thousand in use; Hire, 2s. per week.

SAFETY SPRINGS FOR RIDING AND DRIVING REINS TO BOTH BITS, one Rein in hand 4s. to 6s.

STRAPS TO PREVENT CRIB-BITING, LINED WITH CLOTH, 18s. Three sorts of crib-muzzles, 18s.

VULCANIZED INDIA-RUBBER SPRINGS FOR SADDLE STRAPS, GIRTHS, ROLLERS, BELTS, ETC., 2s.

BRASS, IRON, AND GERMAN SILVER (VULCANISED RUBBER SPRING) HOOKS FOR BRIDLES, REINS, WHIPS, CHAINS, ETC., Waterproof Kersey Knee Wrappers, Driving Aprons, Loin Cloths, and Horse Clothing. Web Fetlock, Speedy, Splint, Leg, Strengthening, and Knee Boots, with Rubber Knee Caps, 8s. to 12s.

To be seen, and the utility explained, in the Carriage Department, Crystal Palace.

East Gallery—Central Transept.

GOODYEAR’S “VULCANITE” COURT,
CENTRAL TRANSEPT GALLERY, GARDEN SIDE.

VISITORS to the Crystal Palace should inspect the above beautiful Court, which is built and furnished throughout with “Vulcanite,” or hard India Rubber, and where may be purchased

Combs,Opera Glasses,Pencils,Drinking Cups,
Canes,Penholders,Rings,Paper Knives,
Brooches,Book-marks,Brushes,Surgical Instruments,
Boxes,Cigar Cases,Flasks,&c. &c.

The Patent Woollen-Surfaced Waterproof Coats and Capes, equal to finest cloth—Overshoes—the Percussion Pencil—The Musical Toys—and innumerable other things made of the same material.

This new manufacture of India Rubber excels Ivory and hard wood in beauty of polish, durability, and elasticity. The Council Medal, Great Exhibition, 1851, and Grande Medaille d’Honneur, Exposition Universelle, 1855, were awarded, and are on view as above.

Wholesale Warehouse, 47, Leicester Square, London, W.C.

South-East Gallery.

THE BEST AND CHEAPEST TEAS IN ENGLAND
ARE AT ALL TIMES TO BE OBTAINED OF
PHILLIPS AND COMPANY,
TEA MERCHANTS,
8, KING WILLIAM STREET, CITY, LONDON.

For the convenience of Visitors to the Crystal Palace, Sample Packets of Phillips & Co.’s Rare Teas, Coffees, and Chocolates may be obtained at their Stand, in the South-East Gallery.

FRENCH CHOCOLATE,

As supplied to HER MAJESTY and the ROYAL FAMILY, may be obtained of Phillips & Company, in the South-East Gallery, and at 8, King William Street, City.

TEAS, COFFEES, AND SPICES SENT CARRIAGE FREE

To any Railway Station or Market Town in England, if to the value of 40s. or upwards.

PHILLIPS & COMPANY,
TEA AND COLONIAL MERCHANTS, 8, KING WILLIAM STREET, CITY, LONDON.
SUGARS ARE SUPPLIED AT MARKET PRICES.

A Price Current is published every month, containing all the advantages of the
London Markets, and is sent free by post on application.

South Gallery.

PERAMBULATORS, ROCKING HORSES, NURSERY YACHTS, BABY JUMPERS, &c.—MEAD and POWELL, Manufacturers and Patentees of the above articles, invite the attention of Parents and Guardians to the above useful inventions for Children. They have always on hand an extensive stock to select from; with every description of FOREIGN and ENGLISH TOYS. Also, a large assortment of BAGATELLE BOARDS, FANCY GOODS, &c., &c.

Agents for the Sale of Crystal Palace Season Tickets.

SOUTH EASTERN BAZAAR, 6, 7, 9, RAILWAY ARCADE, LONDON BRIDGE.

GLASS SHADES.

CLAUDET AND HOUGHTON,
89, HIGH HOLBORN.
PAINTED, STAINED, AND ORNAMENTAL WINDOW GLASS.
CLAUDET AND HOUGHTON, 89, HIGH HOLBORN.

Picture Gallery.

Having passed through the Picture Gallery, we arrive at the

West Gallery—Central Transept.

JOSEPH MORGAN,

PLATTED CANDLE WICK MANUFACTURER for all descriptions of Hard Material Candles. PATENTEE of SELF-CONSUMING WICK for Tallow, Mould, and Dip Candles. Patent Moulding Machines for making Spermaceti, Stearine, Composite, or Tallow Candles. Pewterer and Manufacturer of all descriptions of Candle Machinery.

DUCIE WORKS, MANCHESTER.

PHILLIPS AND COMPANY’S

CELEBRATED TEAS AND COFFEES,
AS EXHIBITED HERE, MAY BE PURCHASED AT THEIR STAND, IN THE SOUTH-EAST GALLERY, OPPOSITE. SEE CATALOGUE OE S.E. GALLERY.

SAMPLES OF RARE AND CURIOUS TEAS,
EXHIBITED BY
PHILLIPS AND COMPANY,
TEA MERCHANTS,
8, KING WILLIAM STREET, CITY, LONDON.

JONAS BROOK AND BROS.,
MELTHAM MILLS, NEAR HUDDERSFIELD.

THE ONLY PRIZE MEDAL FOR SEWING COTTON, &c., AT THE LONDON EXHIBITION, 1851.

The only First-Class Prize Medal for Sewing Cotton, &c., at the Paris Exhibition, 1855.

WHITE, BLACK, AND COLOURS.

Patent Glacé—6 and 9 Cords—Patent Cord—Sewing Machine Cottons. The Name and Goat’s Head Crest is on every reel.

Embroidering and Crochet Cottons—Upholsterer’s Colours—All lengths are guaranteed.

May be obtained retail of all respectable Haberdashers in London and the Provinces.

Wholesale: 20, CANNON STREET WEST, LONDON.

See their Case as it appeared in Paris in this Gallery. Specimens of their Manufacture are on sale by E. SUMNER, South Gallery, Crystal Palace.

PERFUMERY, COMBS, BRUSHES, TURKEY SPONGE, and every requisite for the Toilet, of the very best description, and in great variety, at J. & E. ATKINSON’S, 24, Old Bond Street, London.

J. & E. ATKINSON beg leave to recommend their New Perfumes, the CRYSTAL PALACE and TURKISH BOUQUETS, samples of which, with several others, are always open for inspection.

EAU DE COLOGNE, from J. M. Farina, opposite Julliers Place, Cologne.

THE POCKET SIPHONIA,
Or WATERPROOF OVERCOAT, weight 10 oz.
NOTICE.—Name and Address stamped inside. None other are genuine.
EDMISTON & SON, WATERPROOFERS, 69, STRAND.

RUPTURES—BY ROYAL LETTERS PATENT.

WHITE’S MOC-MAIN LEVER TRUSS is allowed by upwards of 200 Medical Gentlemen to be the most effective invention in the curative treatment of Hernia.

ELASTIC STOCKINGS, KNEE CAPS, &c.
JOHN WHITE, Manufactory, 228, Piccadilly, London.

RICHARD GUNTER, Motcombe and Lowndes Street, Albert Gate. Bride Cakes.—Wedding Breakfasts furnished complete with Wines and Attendance.

WALTER EVANS & CO., Boar’s Head Cotton Manufactory,
DERBY, exhibit:—

SPOOLS IN CROCHET, GLACE THREAD, 3, 6, and 9 Cord SEWING COTTONS.

BALL COTTONS (various sizes).

SEWINGS, TAMBOURS, CORDS, AND BONNET COTTONS, in Skeins.

KNITTINGS, MENDINGS, FRENCH AND ENGLISH EMBROIDERING COTTONS.

COTTONS IN PROCESS.

STAYS SUPERSEDED.—RUMBLE’S IMPROVED ELASTIC BODICE, recommended by eminent Physicians.—This superior and much-improved Elastic Bodice can with confidence be offered to Ladies as surpassing any yet made; it fastens easily in front, retains its firmness and elasticity, and by a peculiar system adopted by Mrs. Rumble, a perfect fit is ensured. Prices of Bodices, 12s. 6d., 14s., 16s., 21s. to 42s., and upwards. To be obtained only of the Manufacturer, M. RUMBLE, 2, Welbeck-street, Cavendish-square (opposite the Savings Bank), London.

CORK SOLES.

SAMPLES of various descriptions, chiefly remarkable for thinness and durability, PATENT CORK LININGS, for the upper parts of boots and shoes, for promoting warmth without interrupting perspiration. The Sheet Cork is rendered strong by a preparation, its extreme thinness prevents any perceptible increase in bulk or weight.

W. F. COLES, 61, Paul Street, Finsbury, E.C.

JAMES CARLILE, SONS, AND CO.,
Bank End Mill, Paisley,

MANUFACTURERS of COTTON and LINEN SEWING THREADS, viz.—6, 3, and 2 Cord, Crochet, Patent Glazed, and Wire or Bonnet Threads. Embroidery Flowering. Moravian and Darning Cottons, and Linen Slop or Beat Thread.

COMFORT TO THE FEET.

EASE IN WALKING

THE PANNUS CORIUM BOOTS and SHOES are extremely soft and easy, yielding to the action of the feet, without the least pressure or painful effect in walking. A valuable relief to all who suffer from Corns, Bunions, Gout, Chilblains, or any tenderness. The Pannus Corium sold by the yard or piece.

HALL & CO., Patentees, 2, WELLINGTON STREET, STRAND, leading to Waterloo Bridge.

LIGHT, CHEAP, AND DURABLE ROOFING.

CROGGON’S PATENT ASPHALTE ROOFING FELT effects a saving of half the timber usually required; has been extensively used, and pronounced efficient, and particularly applicable for warm climates.

Price, One Penny per Square Foot.

Samples, Testimonials, and full instructions, on application to Croggon & Co., 2, Dowgate Hill, London.

LADIES, LET YOUR SERVANTS USE
RUMSEY’S IMPROVED PLATE POWDER,

Without Quicksilver—the Largest Quantity for One Shilling, and you will never desire another preparation. Also RUMSEY’S CHEMICAL POLISHING PASTE, in large 6d. and 1s. Pots, for brass, steel, and other white metals; as well as his superior URN POWDER, in 6d. and 1s. Boxes. Sold almost everywhere, and by R. HOLT, FRENCH COURT, AND SOUTH-EASTERN GALLERY, CRYSTAL PALACE, SYDENHAM. Manufactory, No. 20, Clapham Road Place, Kennington, London, S., from whence the trade is supplied on exceedingly liberal terms.

WILLIAM TONKS & SONS, Cheapside, Birmingham, General Brass-Founders and Manufacturers of every Description of Brass work.

J. SOLOMON,
WHOLESALE OPTICAL & PHOTOGRAPHIC WAREHOUSE,
22, RED LION SQUARE, LONDON.
CATALOGUES GRATIS.

North Transept—Tropical Department.

A SUNDIAL, like this, is placed on the Terrace of the Crystal Palace; it shows the time at eight different parts of the world at one sight, and also at the spot where it is placed.

Made by H. WEST, Optician and Sundial maker to the Queen, 41, Strand, opposite the Lowther Arcade.

Basement—Machinery.

ALFRED WRIGHT & CO.,

MANUFACTURERS of Smiths’ Bellows, Improved Blowing Machines, Portable Iron Forges, with bellows attached, of all descriptions, to Her Majesty’s Honourable Board of Ordnance, the Honourable East India Company, Retail and for Exportation. Also House and Fancy Bellows.

16, LITTLE ALIE STREET, WHITECHAPEL. LONDON.

REEDS OR SLAYS.

AMONG the various samples of REEDS or SLAYS, the only ones that received Honourable Mention by the Commissioners of the PARIS UNIVERSAL EXHIBITION were

A. BROWN’S, of BARNSLEY, YORKSHIRE.

RICHARD JOHNSON & BROTHER, Iron Manufacturers, Wire-Drawers and Galvanizers, 27, Dale-street, Manchester.

I. P. CLARKE, Manufacturer of Sewing Cottons, King-street Mills, Leicester. The interesting process of winding by steam power may be seen in the Machinery department.

C. A. PRELLER, 4, Lant-street, S.E., London, Specimens of Leather Lashing Laces, Twice-Stretched Machine Driving Bands, specially prepared for hot climates; Leather Ropes for grooved pullies, &c.

THORNTON & SONS, Birmingham, and 16, Fish-street Hill, London, Contractors, Merchants, and Manufacturers of all kinds of Railway Stores and General Ironmongery, exhibit Screw and Hydraulic Lifting Jacks, Railway Signals, Lamps, &c.

Agricultural Implements.

RANSOMES AND SIMS,
IPSWICH,
ENGINEERS, IRONFOUNDERS, AND MANUFACTURERS OF
AGRICULTURAL IMPLEMENTS.

MANUFACTURERS of Patent and other Iron Prize Ploughs, for Pony, One, Two, and Four Horse Power; Double Furrow Ploughs, Moulding, Subsoil, and Trenching Ploughs; Horse Hoes; Scarifiers, of two, three, and four horse power; Iron Harrows; Field Rollers; Crosskill’s and Cambridge Clod Crushers; Horse and Hand Drag Rakes; Portable and Fixed Prize Steam Engines; Prize Steam Thrashing Machines; Portable and Fixed, one, two, three, and four horse power Thrashing Machines; Barley Awners; Dressing-Machines; Chaff Cutters, for hand, horse, and steam power; Turnip Cutters and Graters; Bruising and other Mills for linseed, oats, and beans; Flour Mills; Oil Cake Breakers; Malt Mills; Saw Benches; Scotch and other Carts; Horse Gears; Cattle and other Feeding Troughs; Sack Barrows; Carriage Lifting Jacks; Grass Cutters, Hay Makers; Patent Stable Fittings; Copying Presses, &c., &c.

ILLUSTRATED CATALOGUES
MAY BE HAD ON APPLICATION TO THE WORKS, IPSWICH,
SHEPPARD RANSOME,
LONDON AGENT,
31, ESSEX STREET, STRAND, LONDON, W. C.
OR OF
C. GARROOD,
AGRICULTURAL SUPERINTENDENT, CRYSTAL PALACE, SYDENHAM.

Stand 43.—Corn and Seed Crushing Mills, Chaff Cutters, &c.

E., R., and F. TURNER have received the Royal Agricultural Society’s First Prizes for the above Mills at the Annual Exhibitions of 1853, 1854, and 1855 (the last occasion when a prize was offered). Also the 1st Prize and Gold Medal at the Paris Imperial Universal Exhibition of Agriculture, 1856; Large Silver Medal at the Grand Austrian Imperial Exhibition, Vienna, 1857. Illustrated Catalogues sent free on application to

ST. PETER’S IRON WORKS, IPSWICH.

RICHARD GARRETT & SONS, Leiston Works, Saxmundham, Suffolk; Patentees and Manufacturers of Agricultural Machinery of all kinds, and of the most approved construction.

Route to the Works: Per Eastern Counties Railway from Bishopgate-street, London, booking direct to Leiston.

MARRIOTT’S Improved Humane Bee-hives, for taking pure Honey without destroying the Bees, to be obtained of E. RIGBY and Co., 80, Gracechurch-street.

EDWARD HAMMOND BENTALL, Ironfounder, Patentee and Manufacturer of Agricultural Implements.

Works: Heybridge, near Maldon, Essex.

Warehouses: Swan Lane, Upper Thames Street, London, E.C., and 48, Rue des Marais, St. Martin, Paris.

THE
PORTRAIT GALLERY
OF THE
CRYSTAL PALACE.

BY
SAMUEL PHILLIPS.

CRYSTAL PALACE LIBRARY;
AND
BRADBURY AND EVANS, 11, BOUVERIE STREET, LONDON.
1854.

BRADBURY AND EVANS,
PRINTERS TO THE CRYSTAL PALACE COMPANY,
WHITEFRIARS.