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.