“The pictures at St. Cloud are very numerous, and are lovely exhibitions of that almost creative art. They are all drawn from quiet scenes, such as must ever remain grateful to the human mind. Among the hundreds of pictures by the first masters that adorn these walls, there is not a single battle-piece. In this respect, St. Cloud presents a striking and very agreeable contrast with the carnage that crimsons the long galleries of Versailles. Louis Philippe sought, in that palace, to gratify the national avidity for glory, by multiplying battle-scenes in which the arms of France had been triumphant, and by depicting the persons of her heroes, until the tired eye that gazes on them is satiated with gorgeous costume, and the mind afflicted with human suffering. At St. Cloud a more amiable feeling was cherished, as appears by the charming pictures of rural scenery, of mild and splendid landscapes, of peaceful buildings, abodes of happy domestic life, scenes living and real, and ever grateful. As the private rooms in which the successive royal families lived, are rich in elegant simplicity, in a style of chaste beauty, they are in strong contrast with the rooms of state, which are extremely magnificent, and adorned by a profusion of princely decorations. Their domes are all alive with the imaginary beings of fabulous antiquity. Gods and goddesses, and muses and nymphs, and a multitude of creations of poetic fancy and records of old legends, decorate the ceilings. A principal ornament of the public rooms is the Gobelin tapestry, manufactured and hung by order of Louis Philippe. All that I had seen before at Windsor castle, or at Blenheim palace, fades in comparison with the rich decorations of the Gobelin looms, which adorn the public halls of St. Cloud. These textile pictures are perfectly beautiful, and from their magnitude and the august personages of the historical dramas which they present so impressively to the eye, they are sublime. No one viewing them from the distance across the room, would even suspect that they are anything else than the most perfect productions of the pencil, and even when the observer approaches them, it is not easy to convince himself that the splendid illusion is produced by the interweaving of colored woolen and silken threads. Five of the scenes here depicted in Gobelin tapestry are copied from original paintings still existing in the Louvre, executed by Rubens, for Marie de Medicis. The first is the duke of Anjou, declared king of Spain (Philip V.) The second of these pictures, which is not less than twenty-five feet square, is the birth of Marie de Medicis; the third is the presentation of her picture to Henry V.; the fourth, his marriage with her; the fifth represents his departure from his capital, and the committing of the government to the care of the queen. We saw also most magnificent vases of Sèvres porcelain: one of them was presented to Maria Antoinette; it must have been, I believe, five feet high without the pedestal, and of the capacity of a barrel or two. We have nothing in America that can convey a full impression of these superb productions of the plastic art. They are modeled after the forms of the most beautiful Etruscan vases; the most perfect purity of the porcelain material is contrasted with the finest efforts of the pencil, in the pictures, which being incorporated by the fire, are indissolubly wedded to the basis on which they are delineated, and they are resplendent with gold and blue enamel of cobalt. One is at a loss which most to admire, the productions of the Gobelin looms or those of the Sèvres furnaces.
“The floors of the palace, according to the general custom in French houses, are made of pieces of boards. They rarely exceed six inches in width, and are tastefully disposed in various geometrical figures. All the floors that we have seen in Paris, except some that are covered by carpets, are kept waxed; the waxing is renewed daily, and they are so smooth as to appear hazardous to those unaccustomed to walk upon them. The floors of the palace of St. Cloud have been, heretofore, covered by Gobelin carpets, which, at the time of our visit, were rolled and put away for safe keeping. We saw the council table of Napoleon and Louis Philippe, memorable for the deliberations which have been held over its boards. St. Cloud was the favorite place of consultation on matters of peace and war; here Napoleon planned some of his campaigns; here Louis Philippe passed much time with his family, and his daughter-in-law, the Duchess of Orleans, found a quiet retreat with her little son, the Count de Paris, whom she in person presented in the legislative hall during the revolution of 1848. Her husband, the Duke of Orleans, presumptive heir to the throne, having been killed by a mysterious providence, she naturally hoped that the legislature would acknowledge the claims of her son, founded on both those of his father and his grandfather Louis Philippe; but all the world knows that she was disappointed, and was fain to retreat and seek protection for her child and herself. There was a deep feeling of pensiveness connected with our visit to St. Cloud; closed now as it is and quite solitary, without a single individual remaining of those who formerly figured there; it was to us an instructive memento of the vanity of human glory. The splendid apartments remain, with all their furniture and decorations in perfect order. The solitary chapel, chastely elegant, although grave in its architecture, seemed all ready and waiting for the arrival of worshipers; and the entire palace, with its beautiful grounds, impresses one almost with the belief, that kings and queens, and courtiers and nobles, and guests of renown, will soon return and give life and joy to those vacant scenes; but alas, except some few members of the family of Louis Philippe and of Napoleon, all are gone to the tomb. The dreaded conqueror of nations found his second prison and his grave on a bleak rock, in the ocean, and his final tomb among those invalids whom, in their youth, he led to fields of battle and victory. Josephine, once an ornament of St. Cloud, as she was of every scene in which she presided, went with a broken heart from Malmaison to her grave. An old man, our guide through the palace, said to us, ‘I have been thirty years here, and I have seen three monarchs expelled from this palace and from their thrones.’ I have omitted to mention the large library of Louis Philippe, which still remains at St. Cloud, undisturbed and in perfect order. It is my impression that the number of volumes was stated at twelve thousand.”
THE CRYSTAL PALACE IN NEW YORK.
Turning now from palaces constructed for the kings and monarchs of the earth, let us pass to palaces reared for the exhibition of the works of industry and art of the people. And the first of these which we will notice is the crystal palace in New York. This splendid structure, a view of which is given in the cut below, was erected for the exhibition of the industry and art of all nations. This magnificent building was erected on Reservoir square, at the northern extremity of the city of New York, from plans furnished by Messrs. Carstensen and Gildermeister. The building is now standing, and is filled with the works of industry and art from every part of the globe. Its main features are as follows. It is, with the exception of the floor, entirely constructed of iron and glass. The general idea of the edifice is that of a Greek cross, surmounted by a dome at the intersection. Each diameter of the cross is three hundred and sixty-five feet and five inches long. There are three entrances, each forty-seven feet wide, and one of which is approached by a flight of eight steps. Over each front is a large semicircular fan-light, forty-one feet wide and twenty-one feet high, answering to the arch of the nave. Each arm of the cross is on the ground-plan one hundred and forty-nine feet broad. This is divided into a central nave and two aisles, one on each side; the nave forty-one, each aisle fifty-four feet wide. The central portion or nave is carried up to the hight of sixty-seven feet, and the semicircular arch by which it is spanned, is forty-one feet broad. There are thus in effect two arched naves crossing each other at right angles, forty-one feet broad, sixty-seven feet high to the crown of the arch, and three hundred and sixty-five feet long; and on each side of these naves is an aisle fifty-four feet broad and forty-five feet high. The exterior of the ridgeway of the nave is seventy-one feet. Each aisle is covered by a gallery of its own width, and twenty-four feet from the floor. The central dome is one hundred feet in diameter, sixty-eight feet inside from the floor to the spring of the arch, and one hundred and eighteen feet to the crown; and on the outside, with the lantern, one hundred and forty-nine feet. The exterior angles of the building are ingeniously filled up with a triangular lean-to, twenty-four feet high, which gives the ground-plan an octagonal shape, each side or face being one hundred and forty-nine feet wide. At each angle is an octagonal tower eight feet in diameter, and seventy-five feet high.
THE CRYSTAL PALACE IN NEW YORK.
Ten large and eight winding staircases connect the principal floor with the gallery, which opens on the three balconies that are situated over the entrance hall, and afford ample space for flower decorations, statues, vases, &c. The ten principal staircases consist of two flights of steps with two landing-places to each; the eight winding staircases are placed in the octagonal towers, which lead also to small balconies on the tops of the towers and to the roof of the building.
The building contains on the ground-floor, one hundred and eleven thousand square feet of space, and in its galleries, which are fifty-four feet wide, sixty-two thousand square feet more, making a total area of one hundred and seventy-three thousand square feet, for the purposes of exhibition. There are thus on the ground-floor two acres and a half, or exactly two and fifty-two hundredths; in the galleries, one acre and forty-four hundredths; total, within an inconsiderable fraction, four acres.
There are on the ground-floor one hundred and ninety octagonal cast-iron columns, twenty-one feet above the floor, and eight inches in diameter, cast hollow, of different thicknesses, from half an inch to one inch. These columns receive the cast-iron girders. These are twenty-six and one-third feet long and three feet high, and serve to sustain the galleries and the wrought-iron construction of the roof, as well as to brace the whole structure in every direction. The girders, as well as the second-story columns, are fastened to the columns in the first story, by connecting pieces of the same octagonal shape as the columns, three feet and four inches high, having proper flanges and lugs to fasten all pieces together by bolts. The number of lower-floor girders is two hundred and fifty-two, besides twelve wrought-iron girders of the same hight, and forty-one feet span over a part of the nave. The second story contains one hundred and forty-eight columns, of the same shape as those below, and seventeen feet and seven inches high. These receive another tier of girders, numbering one hundred and sixty, for the support of the roofs of the aisles, each nave being covered by sixteen cast-iron semicircular arches, each composed of four pieces.
The dome will strike every one as the grand architectural feature of the building. Its diameter is one hundred feet, and its hight to the springing line is nearly seventy feet, and to the crown of the arch, one hundred and twenty-three feet. It is said to be the largest, as well as almost the only dome hitherto erected in the United States. It is supported by twenty-four columns, which rise beyond the second story, and to a hight of sixty-two feet above the principal floor. The system of wrought-iron trusses which connects them together at the top, and is supported by them, forms two concentric polygons, each of sixteen sides. They receive a cast-iron bed-plate, to which the cast-iron shoes for the ribs of the dome are bolted. The latter are thirty-two in number. They are constructed of two curves of double angle iron, securely connected together by trellis-work. The requisite steadiness is secured by tie-rods, which brace them both vertically and horizontally. At the top the ribs are bolted to a horizontal ring of wrought and cast iron, which has a diameter of twenty-feet in the clear, and is surmounted by the lantern. As in the other roofs of the building, the dome is cased with matched deal and tin sheathing. Light is communicated to the interior through the lantern, and also in part from the sides, which are pierced for thirty-two ornamental windows. These are glazed with stained glass, representing the arms of the union and of its several states, and form no inconsiderable part of the interior decoration.