A few statistics of the quantities of different parts of the work not already mentioned will complete this portion of our subject. The whole amount of iron-work in the building is stated at about 4000 tons; and about 1,200 loads of timber were required for the wood-work. There are 2,941 trussed gutters in the roof, and 1,495 glazed sashes were required to inclose the sides of the building. As many as 316 iron girders were cast, in one week, and 442 lengths of the Paxton's gutters were cut out by the machinery in the same time. No less than 18,392 squares of glass, containing 62,508 feet superficial, or about one-and-a-half acres, were also fixed in one week.
It may be further mentioned that the weight of the different parts forming the flat ridge-and-furrow roofing amounts to three-and-a-quarter pounds per foot superficial, on the whole surface; the weight of the arched roof of the transept, including the ribs, amounts to five-and-three-quarter pounds per superficial foot; and the timbers and boards of the gallery floor weigh eight-and-a-half pounds to the superficial foot: from these data the actual weight on the different girders may be calculated.
The light iron-work, with the exception of some of the gallery railing, was cast at the works of the contractors near Birmingham; and the remainder, including the columns, girders, &c., was distributed between their own foundry, and those of the Messrs. Cochrane, of Wood Side, and Mr. Jobson, of Holly Hall, both near Dudley. The wrought-iron was supplied by Messrs. Fothergill, and the timber by Messrs. Dowson and Co.
HE coloured decoration introduced in finishing the painting of the building is a subject which has been much discussed, and many suggestions have been made by persons generally received as authorities on the subject. The system adopted was proposed by Mr. Owen Jones, under whose active superintendence it has been carried out. That gentleman explained his reasons for its adoption, and the effect which he expected it to produce, in a lecture at the Institute of British Architects, on the 16th of December, 1850, some portions of which are submitted to our readers:—
"It is not necessary for me to describe the building, the painting of which we are now about to discuss, as it is well known to most of you by its marvellous dimensions, the simplicity of its construction, and the advantage which has been taken of the power which the repetition of simple forms will give in producing grandeur of effect; and I wish now to show that this grandeur may be still further enhanced by a system of colouring which, by marking distinctly every line in the building, will increase the height, the length, and the bulk.
"The very nature of the material of which this building is mainly constructed, viz., iron, requires that it should be painted. On what principle shall we do this? Should we be justified in adopting a simple tint of white or stone colour, the usual method of painting iron? Now, it must be borne in mind that this building will be covered on the south side, and over the whole of the roof, with canvass, so that there can be but little light and shade. The myriads of similar lines, therefore, of which the building is composed, falling one before the other, would lose all distinctness, and form, in fact, one dull cloud overhanging the Exhibition.
"A line of columns (as it may be seen even now at the building) would present the effect of a white wall, and it would be impossible, in the distance, to distinguish one column from another. This mode of painting would have the further disadvantage of rendering the building totally unconnected with the various objects it is to contain.
"May the building be painted of a dark colour, like the roofs of some of our railway-stations? This, equally with the white method, would present one mass of indistinctness; the relief of the cast-iron would disappear, and each column and girder would present to the eye but a flat silhouette.