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

Waring.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.

[Illustration: 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.