Here is a very pretty contribution; it is a model of the house of the great play-writer, Shakspeare,—of whom, perhaps, you may have heard,—and it is surrounded by figures representing different beautiful scenes from Shakspeare's plays. It was made by a workman in his leisure time: and it certainly does him credit. It is called the Shakspeare Jubilee.
Yonder is another piece of ingenious industry; it is a group of figures showing all the various Scotch games; there is one figure dancing the Highland fling, another throwing the beam, and all the others engaged in similar sports. That came from Scotland, of course.
Let us now go on to look at that splendid design embroidered in gold, and intended for a communion cloth. Oh! here it is; does it not look beautiful? But here are several lovely specimens of china, and earthenware, which would grace the sideboards of the richest house in the land, I think. Here is a fine marble font, made of Devonshire marble, which is very nicely carved, as well as I can judge. Further on, we have some less showy, but more solidly useful articles. Various kinds of iron, copper, zinc, lead, silver, and gold ores are displayed, with oils, quartz, stones, coal, &c. There are lanterns on a new plan, microscopes, barometers, optical and philosophical instruments, farming implements, machines for melting metals;—besides hundreds of other articles which we cannot stop to notice more particularly. There are two or three very interesting models of mines, with mining machinery, and plans for improving the air of the mines, so as to make the poor miners more comfortable. And there are other models of ships, printing presses, looms, and machines for making gas, which deserve some degree of attention. There is also a new machine for printing cotton on both sides, which will be very useful, as the cotton printed with it will be as ornamental on one side as the other.
There are four splendid and very powerful organs, and several beautiful piano fortes, in the Exhibition; and there is an accurate model of Plymouth Breakwater, with a very very little ship attached to it, and all complete, even to the smallest rope ladder. Plymouth Breakwater is a vast heap of stones built across the entrance of the Sound, so as to leave a passage for ships at each end, but preventing the heavy waves of the Atlantic Ocean from dashing into the harbour. It has cost more than a million of pounds in money.
Here we have a beautiful writing table for ladies, which is one of the most splendid things in the Exhibition, and which came from that land of ingenuity and industry, Switzerland. It is made of two kinds of wood, white and red, the Swiss national colours; and is cleverly managed by machinery, so that by merely pressing a spring, the whole contents of the desk is laid before the spectator, while, at the same time, a stand for writing on, and a seat, are produced. It is covered with figures of men and animals, and with ornaments most exquisitely carved; and it is a writing table which the greatest lady in England might use.
Along the centre of the aisle, or chief walk, are arranged colossal statues, pillars of marble, beautiful fountains, magnificent feathers, crystals of alum, crystals of spermaceti oil, specimens of silk manufactures, from Spitalfields; and fine cutlery, from Sheffield. There is also an immense dome of iron and glass, forty feet high which looks very astonishing; and a curious Russian chain bridge, which is very ingeniously made. Besides these, we have a gigantic telescope, which attracts a great deal of attention from the crowd of people who are walking down the aisle.
In the nave there are several beautiful pieces of sculpture. One is a colossal group, representing St. Michael conquering Satan; another is a figure of the celebrated warrior, Godfrey of Bouillon, mounted on horseback; and a third, is an Amazon, who is just about to hurl her javelin at a ferocious tiger, who has fastened on the neck and shoulders of her frightened horse. Here is also a figure of Mazeppa on the wild horse, which is extremely well made, and, perhaps, reminds those of my little friends who have seen the play of "Mazeppa" at Astley's Amphitheatre, of the scenes where poor Mazeppa was carried along on the terrible horse's back, through brambles, thorns, and crashing boughs. But what have we here? A grim-looking growling bronze lion, from Bavaria, who glares at us as if he would be only too glad to eat us up if he were alive, and does not seem at all the kind of beast one would like to shake hands, or rather paws, with.
We have a charming representation of Reinecke Fox's adventures, by means of stuffed animals, in the German portion of the Exhibition. The expression of the different animals is very funny, and makes us laugh to almost an inconvenient degree. The first group represents the fox, with his rosary in his hand, confessing his sins to the cock, who is listening very gravely, and reading him a sermon on his wickedness.
The next group shows the tom-cat, coming to summon Master Reinecke to court, to answer the accusations brought against him; the fox sets out, and on his way wounds a poor hare, whom he carries with him. But we cannot stay to notice all the groups now; only we must just glance at the fox lying on the sheep's skin, after his repast, for here Master Reinecke's expression shows him to be so well satisfied and comfortable that it is very droll.