Within the quadrangular area between the Canadian Court and the Central

Transept, is to be found the Reading Room of the Library, which contains

works of reference for those studies and Fine Arts which are exemplified

in the Crystal Palace, as well as works of high class and general

literature. The books are obtained for use in the Reading Room, by means

of a small slip to be filled up from the catalogue. Round the room fit

space is allotted to publishers, on which are exhibited the title-pages

and announcements of new books, the new volumes themselves being

exhibited during the season for immediate reference in an open book-case

in the room. The publishers’ catalogues lie upon the table. The

operation of the plan also extends to Continental literature, and the

announcements of new books by Foreign publishers, as well as their

catalogues, with the books themselves, will be noticed as an interesting

feature not to be found elsewhere. A valuable Library has been already

formed by the purchases of the Company, the free gifts of individuals,

and by the addition of the new works which, having been exhibited by the

publishers in the Room during the season, are then added to the

catalogue. Amongst several very splendid works, the magnificent gifts of

both Continental and British publishers, which enrich the Library, one

deserves special notice on account of its very great rarity and value,

as well as of its beauty. This is a copy of “Das Neue Testament” which

was printed in 1851 for His Majesty the King of Prussia. As a specimen

of Gothic typography the work is perhaps without a peer, while as a work

of art, and a record of what can be achieved by the printing press in

these days, it is to be highly valued. Five exquisite designs from the

rich and original pencil of Kaulbach illustrate the volume; they

represent the Deity, and the four Evangelists, severally, being single

allegorical figures. There is also one illustration to the Revelations,

by Peter Cornelius. These are printed from wood blocks. Twenty-five

copies only of the book were printed when the type was broken up. Of

these, five exist in England. One in the possession of Her Majesty the

Queen, to whom the work is dedicated, one in the Bodleian Library at

Oxford, one in the Syndicate Library at Cambridge, one presented to the

Bishop of London, by Prince Frederick William, on the occasion of the

recent Royal Marriage, and the present copy. This magnificent volume is

the production of Herr Rudolf Decker of Berlin, Printer to the King of

Prussia, by whom it was presented to the Company’s Library. In that

portion of the room devoted to news, more than 100 _newspapers_ can be

found, upwards of fifty of which are London papers; the British country

press is very completely represented, constituting a feature of the

Room, and several leading Foreign Journals are supplied; there are 18

Magazines, and 7 Reviews (as well Foreign as English), besides

Periodicals and Pamphlets, Directories, Gazetteers, Maps, &c. &c. The

very latest news, by special telegraph, is exhibited immediately on its

receipt, and a regular Daily Telegram is received from Paris, with the

state of the French Funds, and Money Market. A Register for

Appointments and Messages is kept, and a glass case in which unclaimed

letters, and letters for visitors, are exhibited. There is a postage-box

upon the reading-table, and one outside, from which letters are

collected several times in the course of the day; and paper, envelopes,

and postage-stamps can always be obtained from the attendants at a

moderate charge.

THE GREAT CENTRAL TRANSEPT.

Passing along in front of the Reading Room, we return to the Nave, and

enter the Transept, the arch of which rises nearly 175 feet high in a

light and graceful span. From the first terrace, however, to the summit

of the Transept is 197 feet 10 inches. There are five galleries here,

one above the other, the topmost of which runs entirely round the

Transept, and the third of which extends round the whole length of the

building on each side. In the second of these galleries, on the garden

side, is the Industrial Museum and Technological Collection, of which we

shall treat presently.

Not far from the angle of the Transept and Nave, towards the Stationery

Court, stands a cast from the colossal statue of Rubens, by Geefs, of

Brussels, erected in the cathedral square at Antwerp, of which city

Rubens was a native: the original is in bronze, and a fine example of

the modern Romantic school of sculpture. Opposite the statue of Rubens,

on the other side of the Nave, is placed a cast of the fine bronze

statue, by Dantan, which has been erected at Dieppe, in honour of the

great French Admiral Duquesne. It is remarkable for its noble

expression, and the spirited romance of its treatment. The celebrated

Farnese Hercules and the Farnese Flora, both colossal antique statues

from the Museum at Naples, occupy the corresponding positions across the

Transept. The Hercules is a fine and artistic example, characterised by

a massive and somewhat exaggerated muscular development, not, however,

altogether inappropriate to the hero of physical force. The whole of

this the western end of the Great Transept is occupied by the great

orchestra, capable of accommodating 4,000 performers, which has been

erected for the Great Handel Festival. In the centre of the orchestra is

the great organ which has been built by Messrs. Gray and Davison

expressly for the position.[26] The eastern end of the Transept is

occupied by a handsome orchestra for musical and choral performances. On

the northern side of this end of the Great Transept are ranged some

choice statues of the modern schools; the graceful Amalthæa by Julien

(113); Psyche (103*); Veritas (150), a veiled figure by Monti; and

Endymion (129), the Graces (125), and Paris (129), by the late famous

sculptor Canova.

[26] The organ contains 66 stops, viz., 20 on the great organ, 12 on

the choir, 5 on the solo, 17 on the swell, and 12 on the pedals. It

has four separate rows of keys, with couplers, combination pedals, and

complete pedal board. The instrument contains 4568 sounding-pipes.

We must now cross over the Nave and enter the open court, which is close

to the colossal Farnese Hercules, and which corresponds in position to

the Canadian Court, which we examined before entering the Transept. This

Court is filled with specimens of antique sculpture of the Greek and

Roman schools. Among these we would draw attention to the colossal

Velletri Pallas (351), so called from having been discovered at

Velletri, near Rome, and now preserved in the Louvre, at Paris; the

Dying Gladiator (309); a Boy with a Dolphin; a colossal head of Pallas

(328). A Boy extracting a Thorn from his Foot, from the Capitoline

Museum at Rome; and the fine head of Antoninus Pius (381).

A collection of Greek ideal and portrait-busts will also be noticed in

this Court; amongst which the colossal heads of Vespasian (332), Trajan

(354), Pertinax (379), Lucius Verus (361), and Titus (333), are

particularly deserving of notice. The visitor should not quit this

compartment without noticing the collection of antique vases which it

contains, amongst which the Medicean Vase (343) is a peculiarly elegant

example of antique art. The elegant tripod (211), and the antique

fountain (357), are also worthy of attention. Here also we find the

celebrated group known as the Toro Farnese, or Farnese Bull. The

original of this beautiful group, which is now preserved in the Museum

at Naples, was discovered in the Baths of Caracalla at Rome, and derives

its name from having been placed in the Farnese Palace in that city. The

subject is the revenge of Queen Antiope and her two sons, Zethus and

Amphion, on Dirce, for seducing the affections of her husband, Syeres,

King of Thebes. The sons, enraged at the insult offered to their mother,

are represented as about to revenge themselves by tying the unfortunate

Dirce to the horns of a bull, when their mother, moved with womanly

pity, intercedes for her rival, and induces them to forego the intended

punishment. According to Pliny, the Toro Farnese was the work of the

Rhodian artists, Apollonius and Tauriseus.

Conspicuous also in this compartment, from its high position and great

beauty, is the Choragic Monument of Lysicrates. This beautiful example

of ancient Greek architecture is usually styled the Lantern of

Demosthenes, on account of a tradition which ascribes its erection to

that celebrated orator. No weight, however, can be attached to this

supposition, although it may be, and in all probability is, due to the

time of Demosthenes.

An inscription on the architrave informs us that this monument was

erected by Lysicrates of Kikyna, at his own expense, in order to

commemorate a musical triumph obtained by various members of his tribe

or clan, the Akamantis. The ancient Greeks were in the habit of holding

a species of musical tournament, in which the most celebrated masters of

the art vied with each other; in this particular case, the palm was

awarded to Theon, the flute-player, and the chorus of boys led by

Lysiades; the magistrate for the year being Evanectus. It was to

celebrate this triumph that the monument was erected. On the monument

was sculptured the story of Bacchus transforming the Tyrrhenian pirates

into dolphins, which was the subject of the music. A tripod was the

usual prize granted in these contests, and the victor either placed it

in one of the temples, or, as in the present instance, consecrated a

monument specially for its reception. It was placed on the summit.

Retracing our steps, we once more regain the Nave, and as we advance,

still keeping on the left side, past the front of the Egyptian Court, we

remark several antique statues, including the Antinous as Mercury, from

the Capitol at Rome (316), the Antinous as a Good Genius (314), and the

Adonis, from Capua (213).

From this point, extending throughout the façade of the Greek Court, are

ranged excellent examples of Greek sculpture, which the visitor may

compare with the subsequent works of the Roman sculptors, or of Greeks

settled at Rome, placed before the walls of the Roman Court. Amongst the

Greek statues we select the group of Silenus and a youthful Bacchus

(306), excellently treated and full of life; seated statues of

Demosthenes the Philosopher (308), and of Posidonius (307), on each side

of the first entrance to the Court; the Borghese Silenus (306); a

Bacchus and Faun (305); the fine group of the Wrestlers, from Florence

(304), the well-known Drunken Faun (295), from the Museum at Naples; and

the Apollo Sauroctonos (298), from the Vatican. Nor must we omit the

excellent seated statues (290, 291). On either side of the principal

entrance to the Greek Court will be found the beautiful Ceres (130), a

Vestal (142), the Amazon (302), and Polymnia (297).

In front of the Roman Court will be first noticed Meleager and his Dog

(289); the celebrated Antinous (288); the fine Mercury, from the Vatican

(287), and the same subject (288), from Naples. Before the first

entrance to the Court are placed the seated statues of Trajan (286), and

Agrippina (281).

The Mercury disguised as a Shepherd (285), and the Adonis (282), are

characteristic specimens of the ordinary Roman style.

Passing the façade of the Alhambra Court, we arrive at the Fountains,

which at this end of the Nave correspond to those of the south end in

position, and generally with respect to the aquatic plants which live in

the water of the long basin. The two fountains here are designed and

executed by Monti the sculptor. The figures of Syrens, supporting the

large shells, typify by their colour four races of men: the Caucasian,

white; the Nubian, black; the North American Indian, red; and the

Australian, olive. The smaller figures above these bear fruit indigenous

to various soils. The design of the Fountains is most appropriate, and

the entire composition very artistic. The bronze colour of these

statues, and of many others in the building, is produced by means of the

electrotype process, with signal success. In the water which surrounds

this fountain many interesting plants will be found, in addition to the

lilies and other varieties which adorn the basin of the Crystal Fountain

at the south end of the Nave. The Papyrus plant will be recognised by

its tall green stems topped with fibrous leaves. The manuscripts of the

Egyptians and many ancient nations were inscribed upon sheets made from

the stalks of this plant. Many of the Egyptian architectural ornaments

are derived from the form of the Papyrus, which grows in large

quantities along the banks of the Nile. Rice, sugar-canes, and other

interesting plants, grow along the margin of the water; the most curious

of which, as indeed it is one of the rarest in the whole collection, is

the Lattice Plant. This specimen was but lately brought from Madagascar

by the Rev. Mr. Ellis. The remarkable form of the plant, from which it

is named, will ensure its easy recognition. The gold fish, of which

there are many thousands in the fountain basins of the Nave, have all

been bred there from a few fish which have now grown to a great size,

and may often be noticed steadily sailing amongst their multitudinous

progeny. The temperature of the water, which is heated by water pipes

beneath the surface, is peculiarly favourable to the growth of these

fish.

THE NORTH TRANSEPT, AND TROPICAL END OF THE BUILDING.

It has been found that the valuable collection of Palms and other

specimens of Eastern vegetation, which have been collected in this

Transept and beyond, could only be kept healthy by isolating the

department devoted to them, and raising its temperature to a degree

which would not be pleasant in all parts of the building, or favourable

to the equable growth and seasonable cultivation of the other various

botanical specimens. During the greater part of the season, a curtain

divides this portion of the Palace from the more temperate regions. The

temperature suits so well the plants that some, which on their arrival

appeared not to grow well, have become quite acclimated, wearing a rich

and luxuriant growth of verdure.

Having entered the North Transept, we find the whole of the western end

occupied by the colossal Egyptian Figures from Aboo Simbel. We shall

view these to the best advantage from the further end of the Transept,

in front of the Mammoth Tree; we will, therefore, first make the circuit

of the fountain, examining the surrounding objects, and inspect them

from that point, and thence commence our return journey down the Nave.

The two semicircular extensions at this the upper end of the fountain

basin have been separated from the main body of the water by a

perforated partition, and contain some curious and interesting animals.

In that to the right, or immediately in front of the Assyrian Court,

sports one of the most remarkable of the animal creation--the

_Lepidosiren_. It is remarkable as being an animal organised with both

_lungs_ and _gills_, which are generally assumed to be distinctive

organizations in the reptile and the fish; but this, it will be seen,

like most of such wonders in natural history, is a conformation of the

animal to its habits of subsistence, place of residence, and the

exigencies of its life. It is found in the river Gambia, in Western

Africa. During a great portion of the year this river is dried up, and

the mud in its bed is baked under an ardent tropical sun till it is of

immense hardness, and shines when cut with a knife. When the river

subsides, and parches up, the Lepidosiren burrows into the mud, where it

remains during the dry period, till when the rains come, and the river

swells, it issues from the softened mud and sports in the water again.

It is considered by the most able naturalists to belong to the reptilia

rather than the fish. The exact nature of its food is not accurately

known, but it is a voracious feeder on animal substances; this specimen

regales himself upon raw beef, frogs, and snails, with the occasional

delicacy of a gold fish. He is himself eaten as a delicacy by people in

Africa.

In the corresponding compartment on the other side of the basin are two

species of fresh-water tortoises, _Emys Caspia_ and _Emys Gambiensis_,

one an European and one an African species, which may be identified by

its larger size and lighter colour. The _Emys Caspia_ is found commonly

in the rivers of most of the warmer countries in Europe. When, after the

Crimean war, the troops garrisoning the Ionian Islands returned to

England, one of the officers brought with him two eggs of this variety;

for safety he put them into his pistol-case. On his arrival in England

the eggs were found to be hatched, and the two small animals were

presented to the Crystal Palace Company, and placed in this basin. One

has since died, after living some months; the other is still here.

The Visitor should not omit to inspect the Aviaries, of which there are

several, in this end of the building. These contain Weaver Birds,

Grenadiers, Grosbeaks, Mocking Birds, and Paroquets, most of them

inhabitants of warm climates. There are also some Nightingales, whose

rich song is frequently heard, even when the people crowd round them.

The Weaver Birds, in the spring, may be seen constructing their

curiously woven nests of grass, which hang from the branches like so

many stockings; others of the feathered tribe build their habitations

fearlessly in the presence of the visitor, with all the art of the

basket-maker; here, indeed, bird-architecture of the most unique kind

may be studied by the naturalist with delight and advantage. The

Australian Paroquets have this spring again reared their young in these

Aviaries with great success. It has been generally supposed that it was

not possible to induce these birds to rear their young in this climate;

but in 1856, the experiment was most successfully carried out in this

Aviary. It has been repeated here since, each year; and in the present

spring (1859), there are two healthy young birds which have been hatched

in one nest, and there is promise of others. These observations more

especially apply to the large species of Ground-paroquet (Platycercus

hermalonotus), the smaller Shell-paroquet (Melopsittacus undulatus)

having repeatedly bred in this country.

Besides the birds mentioned, there are several of the British varieties,

as well as some others of greater rarity or interest which may be

specially mentioned. There are several Canaries which should be noticed,

as they have been trapped in the Islands and forwarded direct, in their

wild state. These must not, however, be confounded with those of the

tame varieties in the same Aviary; they may be distinguished readily

not only by the general carriage of the bird, but by their green

plumage. The collection of Sparrows is also interesting: there are the

common house and tree Sparrows of England (this last, however, is not to

be confounded with the Hedge-sparrow), the Rice-sparrow of Java, and the

Diamond-sparrow of Australia. The Diamond and Java Sparrows have

successfully constructed nests; which is an additional evidence of how

suitable the Tropical end of the Crystal Palace is for the Tropical

birds. Here also are two or three specimens of the Californian Quail

(Ortyx Californicus). These birds were brought from the Zoological

Gardens at Antwerp. They breed freely, and are well adapted to thrive in

a wild state in this climate, rearing from fifteen to twenty young ones

in a brood; they are a great table delicacy, and it is probable at no

distant period may enrich the list of British Game birds.

In a glass case, on the right hand as we approach the Aviaries, are some

beautiful and interesting Lizards (Lacerta agilis). These perfectly

harmless little reptiles are found in all the warm parts of Europe,

frequenting dry, stony places, and old ruined buildings. Their food is

flies, beetles, moths, and other like insects. The present specimens are

from Guernsey, in which island they greatly abound.

Near to these, in the centre of the Transept, are some of the most

curious of the reptiles, and which are perhaps better known by repute

than even the most common species daily under our feet. These are the

Chameleons. The changes of colour in this animal, so often spoken of,

are not generally so rapid as is supposed, nor do they possess so great

distinctions as are popularly ascribed to them. In all their habits they

are so slow as to be generally almost immovable, save in respect of

their restless eyes, and the tongue, which is very long and adapted

peculiarly to its purpose, which is to secure their food; they can dart

it with almost invisible rapidity upon a passing fly or insect, which is

immediately thus drawn into the mouth. They appear most generally to

assimilate their colour to the objects on which they rest, or which

surround them. This may be a means of protection to them, but it is most

probably only a method of concealment for the more effectual capture of

their prey. It, however, answers the double purpose.

If we now proceed by the extreme end of the building toward the eastern

end of the North Transept, we shall find both on our right and left hand

a complete set of casts from the Ægina Marbles.

These most interesting monuments of ancient Greek art are now in the

Glyptothek at Munich.

They were discovered in the Island of Ægina, and are supposed to have

ornamented the tympana of the east and west fronts of the temple of

Minerva in that island. The group, representing the Contest over the

Body of Patroclus, belonged to the western, and the five figures

descriptive of the Battle of Hercules and Telamon against the Trojan

king Laomedon, were in the eastern tympanum. They are most remarkable

examples of Greek sculpture during its second period, or from the close

of the 6th to the middle of the 5th century B.C.

The conception, the anatomy, and beauty of form found in these statues

denote a highly cultivated artistic taste and power, to which the

peculiar faces, the invariable smile on the mouth, and a certain stiff

angularity of treatment, form a marked contrast. We observe in them that

turning-point in the history of Greek sculpture, when the

conventionalities of an earlier system were receding before that love of

nature and extraordinary perception of the Beautiful, which subsequently

rendered the Greeks so pre-eminent in art.

The originals, which had, as may be supposed, suffered considerably from

the effects of time, were restored by Thorwaldsen, the Dane, whose

conscientious spirit and thorough appreciation of the antique give

assurance of the correctness of the interesting examples now before us.

THE LECTURE ROOM.

Through the doorway which is in the corner to the right of the first set

of Ægina marbles, is fitted up a spacious Lecture Room, with every

accommodation for Dissolving Views and other illustrations. It comprises

the whole of the “Queen’s Corridor,” so called from the private

apartments of Her Majesty, which are to the left.

Continuing onwards, we obtain a fine view of the North Transept, with

its noble avenue of sphinxes and palm-trees, terminating with

THE COLOSSAL EGYPTIAN FIGURES,

which are from the temple of Rameses the Great at Aboo Simbel, in Nubia.

These immense seated statues towering to the roof of the Transept afford

us some adequate idea of the stupendous magnitude and passive grandeur

which characterise the monuments of ancient Egyptian art. Their height

is sixty-five feet.

It may be remembered that in the Egyptian Court we directed the

attention of the visitor to a model of the temple at Aboo Simbel; on the

façade of which were four statues of Rameses the Great. Two of these

statues are here reproduced on the scale of the originals, the smaller

figures around them representing the mother, wife, and daughter of the

king.

The temple of Aboo Simbel, in Nubia, is excavated from the rock, and was

first discovered by Burckhardt, the traveller; the accumulated sand of

centuries, which then covered it, was removed by order of Belzoni, the

first, with Captains Irby and Mangles, to pass its long-closed entrance.

The interior was covered with paintings and hieroglyphics relating to

Rameses the Great, and the date of the temple has been consequently

placed at about 1560 B.C.

The sphinxes which formed the avenue are cast from one preserved in the

Louvre, the writing engraved on which presents us with a curious but not

uncommon instance of a custom that prevailed amongst the Egyptian

monarchs, and to which we referred when describing the Egyptian Court.

On one side of the shoulder the name “Pthalomen Miotph” is written in

hieroglyphics, and on the other shoulder is the name of Shishak I. The

last-named lived about 1000 B.C., and the first nearly two hundred years

before him. Other instances occur where the name of the original founder

has been erased altogether, in order to make way for the name of some

comparatively modern king.

We are now standing at the foot of what represents one of the

largest-known trees in the world. This tree grew, one of a group of such

monsters, on the Sierra Nevada in California. When flourishing, it rose

to the astounding height of nearly 400 feet. Several in the same

district which are now standing are 300 feet in height. The bark of this

tree has been arranged and fitted up as it grew, to give us some idea of

its gigantic proportions by the view of a part. The wood is a

particularly light cedar; and has been considered as of the same kind as

that cedar of Lebanon employed by Solomon in the building of the Jewish

temple. Dr. Lindley has named it the _Wellingtonia gigantea_, and has

fixed its age at 4000 years. This then must have been a great tree

before the ancient rock tombs of Aboo Simbel were hewn for the great

Rameses.

Leaving the fountain on our right, we arrive almost immediately in front

of the Byzantine Court, where, resting beneath the foliage, are eight

effigies of knights from the Temple Church, London. They are clad, with

one exception, in ring-mail, and afford us perfect representations of

military costume in the early part of the 13th century. They are usually

called the Knights Templar; but without evidence: the cross-legged

statues are probably crusaders. The entire series has been carefully

restored by Mr. Richardson. The first two statues in front of the German

Mediæval Court, as we face the entrance, are fine examples of German

Gothic sculpture, from Cologne and Nuremberg: the three subjects beyond

them are from Langen Church, Germany. The two first statues on our right

are from the façade of Wells Cathedral, and next to them are various

examples of German sculpture. Facing the English Mediæval Court, will be

noticed, on each side of the entrance, the effigies of Bishop Kilkenny

from Ely Cathedral, Henry III. from Westminster, and of Longespée from

Salisbury Cathedral: the two last being especially interesting monuments

of the 13th century.

On the right of the entrance, and nearest to the Nave, are two statues

from Wells Cathedral, noticeable as fine examples of Early English

sculpture, and the effigy of Bishop Northwold from Ely. Nearer the

façade is placed the remarkable effigy of Queen Philippa, the wife of

Edward III., from Westminster Abbey, belonging to the last half of the

14th century. Beyond this again, will be noticed the effigy from

Salisbury Cathedral, of Bishop Poer, who died in 1228, one of the

earliest monumental statues in England. In front of the façade of the

French Mediæval Court, will be found several pieces of Gothic sculpture

of the early period of the Pointed style, from Chartres Cathedral; on

the right of the entrance from the Nave are placed the busts of Henry

II. and Diana of Poictiers, Henry III., Bayard and Louis XII., and

nearer to the Nave will be seen the Virgin “de Trumeau,” from Notre

Dame, at Paris; and a fine picturesque bronze statue of a knight from

the monument of Maximilian, of Innspruck, in the Austrian Tyrol, a

remarkable work of art, executed by native artists in the early part of

the 16th century. Close to this is placed the fine bronze statue of

Albert of Bavaria, from the tomb of Lewis of Bavaria, at Munich,

remarkable as serving to illustrate the very rich and characteristic

costume of the close of the 16th century. Opposite to it is the very

fine St. George, by Donatello, from Florence, one of the master-pieces

of that celebrated sculptor, whilst another Innspruck statue occupies a

position nearer the Nave. Advancing onwards, still in front of the

Renaissance Court, we recognise amongst the busts, those of Francis I.,

Sully, and Henry IV. of France, Shakspeare, Machiavelli, Ben Jonson,

Cosmo de’ Medici, and Lord Bacon. The bronze statues on each side of the

path are from the Tartarughe fountain, at Rome, the extreme figure being

the celebrated Bacchus, by Michael Angelo. Amongst the works of Italian

art placed in front of the Italian Court, we remark the Bacchus by

Sansovino, from Florence, the Triton from the gardens of the Doria

palace, Genoa, the Tartarughe statues from Rome, and at the angle, in

front of the Italian vestibule, the beautiful statue of Mercury, by John

of Bologna, a _chef-d’œuvre_ of the 16th century school. Among the busts

will be remarked those of Raffaelle and Michael Angelo, Inigo Jones,

Mazarin, Richelieu, Charles I., and other celebrities of the Renaissance

period.

A little further on in front of the Court of Monuments of Art, we remark

two statues of Perseus; one by Cellini, and the other by Canova. That by

Cellini is characterised by a grandeur of conception and power of

execution, which place his name among those of the greatest sculptors of

his day. Cellini’s description of the casting of this statue is, in the

highest degree, interesting. Not having sufficient metal to complete it,

he threw into the furnace his metal dishes and porringers, amounting to

upwards of two hundred; after offering up a prayer to heaven in company

with his workmen, he uncovered his statue and found it thoroughly cast,

with the exception of one foot. The plaster cast in the Crystal Palace

is, we believe, the only one in the world, and was obtained through the

liberality of the Duke of Sutherland, the owner of the only bronze cast

of the original, which stands in the grand square at Florence.

We now cross the Central Transept, still keeping to the left hand or

garden side of the Nave. At the angle of the Transept will be found the

Concert Room, for the special performance of vocal, chamber, and

classical music. The room is quadrangular, but open towards the Nave,

and on three sides is surrounded by galleries. The space appropriated to

visitors on the ground floor, and which is fitted with seats, is 96 feet

square, and with the galleries is capable of accommodating about 3000

people. The Orchestra, built on the garden side of the room, will easily

accommodate 60 performers.

Around the outside of the Concert Room will be found many most

interesting busts belonging to the Portrait Gallery, mostly of the

illustrious men and women of France. Amongst them we remark Jean Goujon

(196), Félibien (203), Rachel (216), Corneille (218), Lafontaine (220

a), Molière (221), Racine (225), Voltaire (233), Le Sage (230), Buffon

(245), Cuvier (256), Bayard (257), Gaston (258), Coligny (260), Turenne

(266), Massena (279), Ney (283); busts of nearly all the generals and

statesmen of the Consulate and Empire, and of the leading men of the

Republic of 1848; three busts of Napoleon Buonaparte, which may be

advantageously compared together, and the present Emperor Louis Napoleon

(312). Close to this compartment is one of Mr. Rimmel’s fountains,

executed from a design by Mr. John Thomas. The crystal basin, Parian

marble figures, ebony pedestal, and natural flowers, harmonise

excellently. Similar scent fountains, designed with great taste by the

same artist, and supplied by Mr. Rimmel, will be found in the North and

South Transepts.

Quitting the Concert Room, we continue our examination of the statues,

which extend along this side of the Nave. The most notable of the

succeeding subjects are the Prodigal Son (145), by San Giorgio; David

(147), by Magni, an artist whose studies of every-day life are

remarkable for their truth to nature; Cain (99), by Etex; Geefs’s

Malibran (108); a colossal group of the Murder of the Innocents (142);

an Italian Mower; the Horse and Dead Knight (46), by Lough; Sampson, by

Legrew; and also the charming statues of Eve, and Eve Listening, by

Bailey. On our way towards the Queen’s screen we pass several works of

statuary art, amongst which may be noticed, A Faun with Cymbals (66), by

R. Westmacott, R.A., and a David (67*), by the same sculptor; an Ancient

Briton as a Scout, and the Massacre of the Innocents, by J. E. Adams,

and a fine statue of Erato (174), by Launitz.

THE BOTANY OF THE PALACE.

However beautiful and perfect may be the works of art by which we are

surrounded, there is a Hand whose meanest work outvies them all, yet

whose silent and beneficent wonders are going on around us. To the

unobservant man nature is silent. He knows not the rich treasure he

neglects, and the eloquent teachings, the more loved the more they are

known, which he never listens to. Of all nature’s developments, perhaps

not one is so universal or so important as that of which we are now

going to treat. The character, the habits, the civilisation, almost the

very existence of men is determined by the vegetation of the countries

they inhabit, and where no vegetation is, the land is desert indeed. Our

kindliest memories of foreign lands, and of our own country’s beautiful

spots, are inseparably linked with the foliage and verdure which adorns

the rugged earth, and is, as it were, the handwriting of the Almighty’s

blessing and distinction. It is not the burning sun alone that makes the

tropical island appear so different to our own: there seems a wider

difference still, between the rank and tangled luxuriance of the

tropical forest, and the stately glades of England--or between the

prodigal wealth of almost wild fertility, and the field surrounded by

hedgerows, whose riches are the reward of patient and necessary

cultivation. There is indeed beautiful instruction in all nature’s

phases and mysteries, but none more beautiful than that conveyed by

plants and flowers. The greatest minds have turned their strength to the

culture of the field or garden, and the gentlest and best hearts seem to

be the most fitting home for the love of beauty so pure and true.

It is impossible in the pages of this book to do more than point out

some of the most interesting and beautiful of the specimens which

constitute the rich botanical collection of the Crystal Palace. Amongst

such a multitude of examples many of the greatest interest necessarily

find no mention here, but they are not the less to be observed. The

smallest and most unobtrusive plant may be the most worthy of notice,

and in its relations with human life the most deadly, the most

medicinal, or the most grateful. The history and attributes of almost

every one will lead us on a course fraught with knowledge, and a

pleasure which study unveils more and more.

The Borders, which range along each side of the Nave fronting the

façades of the various Courts, are all numbered, as will be seen by a

reference to the plan. The South and North Transepts are filled with

trees and flowers. The divisions of the Natural History Illustrations

are also filled with examples to represent, as much as possible, the

flora of the various countries. We propose to accompany the visitor from

Border No. 1, close to the Screen of Kings and Queens, and following the

arrangement of the Borders up this, the South-Western side of the

Palace, to return on the opposite or garden side.

In Border No. 1, we first notice an example of one of the finest and

largest timber trees of New Zealand, the native name of which is the

Kakaterre (_Dacrydium taxifolium_). This is a tree of giant growth. Just

beyond the statue of Chatham are two specimens of the _Melaleuca_, some

of the species of which furnish the Australian aborigines with a kind of

tea; this beautiful species of tree is almost exclusively peculiar to

Australia, and contributes much to form the character of Australian

vegetation. Against the Column, and adjacent in this Border, are also

several fine plants, some of which are 30 feet high, of the Australian

Acacia (_Acacia foliosa_). The early foliage of this tree, it is

interesting to observe, is characterised by a larger development than it

assumes with more advanced growth; these differences can easily be

distinguished in the plants before us, which may be identified by their

light-coloured and elegant leaves. Another large Acacia (_Melanoxylon_)

is near the angle of the South Transept, and on the left of it perhaps

one of the finest specimens of the _Rhododendron arboreum_ from Nepaul.

This magnificent tree was one of the first of this species sent out

after its introduction into this country, and when only five inches high

was purchased for five guineas. It bears rich scarlet flowers.

Turning now into the South Transept, one of the first specimens we

notice, in Border No. 3, is a noble tree of the _Camellia reticulata_,

perhaps the finest kind ever introduced of this magnificent flower; it

is indigenous to China and Japan. Beyond this, as we pass from left to

right down the Transept, is a tree of the New Zealand Spruce (_Dacrydium

cupressimum_), whose delicate form and drooping foliage claim

admiration; and almost behind this is a most interesting specimen of the

Paraguay Tea Tree (_Ilex Paraguayensis_). The Maté, a curious Brazilian

tea, is obtained from the prepared leaves of this plant. Immediately

succeeding this in our course is the Camphor-tree (Cinnamomum camphora),

from which the valuable drug of commerce is procured. This specimen is

from China, but it also grows in Japan. Passing on a few steps, we find

the _Ceratonia Siliqua_. This plant is eminently curious, as being that

which bears the “locusts” on which it is presumed St. John fed, as

mentioned in the Gospel; it has thus obtained the name of “St. John’s

Bread.” The last great tree in this border is a magnificent Norfolk

Island Pine (_Araucaria excelsa_), 40 feet high. This stately and

beautiful tree grows in its own country to the height of 200 feet. On

the other side of the Transept, in Border No. 5, which we now proceed to

inspect, will be found a corresponding specimen, and many of the same

kinds of plants as those we have just examined; but we may notice here,

almost in the centre, a noble specimen of a beautiful new Fuchsia,

called _Dominiana_; behind which may be seen the largest tree in this

country of that species of Camellia known as “Lady Hume’s Blush.” In the

centre of the Transept is placed a gigantic specimen of the American

Aloe, which, for its magnificence of growth, is perhaps unequalled in

this country. This specimen was brought in 1828, a small plant, from the

ruins of the palace of the Cæsars at Rome, where it grew wild.

We now resume our tour up the Nave with Border No. 7. At this corner

stands a most elegant and beautiful tree, the _Acacia dealbata_, a

native of New Holand. This tree is perhaps the finest of its kind to be

found in the kingdom. In the centre of this border rises a rare specimen

of the _Yucca stricta_; its beautifully variegated and lance-shaped

leaves constitute it a prominent object easy of recognition. Close to

the column, a little further on, is the _Aralia trifoliata_, from New

Zealand; a plant which possesses the peculiarity of shortening its

curiously-formed leaf as its age advances.

Surrounding the Pompeian Court at the back of these borders, are

specimens of the Azalea. On either side of the entrance to this Court

are luxuriant Orange-trees, and near to them some Citron-trees.

In Border 7 _a_, at which we have now arrived, is a beautiful tree,

called the _Araucaria Bidwillii_, the rigid foliage of which much

resembles the imbricated Pine of Chili. The aborigines of Australia make

a favourite article of food of the seeds from the large cones of this

tree, which attain the size of a child’s head. But one of the most

prominent of the trees in this compartment stands a little nearer the

column. This is the Bottle-Brush plant of Australia, and when in bloom

with its red bosses of flowers, from which it has been named, it bears a

very curious appearance. The Japan Cedar (_Cryptomeria japonica_) is

also here. This tree was brought from China by Mr. Fortune. The Borders

opposite the Sheffield Court are filled with many rare and beautiful

specimens; but those Borders which are close to the glass façade contain

some plants of the highest curiosity and beauty. In the centre of the

left-hand Border will be found the _Socotrine Aloe_, from which is

procured the medicine which bears its name. On either side of the

entrance to the Court are two magnificent specimens of the Tree Ferns of

Tasmania and Australia, whose luxuriant crowns make them objects of the

highest beauty. These plants are without doubt the finest specimens of

this luxuriant Fern in this country. At either extremity of the Borders

are most interesting specimens of Bromeliaceous plants, with which,

till lately, the pine-apple was classed. The Fuchsias here are upwards

of 40 feet high.

Returning now to the Nave, we find in Border No. 9 _a_, a beautiful

silver-leaved Acacia, grouped with other plants of the greatest

interest, amongst which may be pointed out a New Zealand Palm (_Areca

sapida_), and an _Agnostis sinuatis_, recognisable by its peculiar leaf.

At the end of this Border will also be found the Botany Bay Fig-tree,

and the _Olea Europea_, from which the olive-oil of Commerce is

procured. The succeeding Borders Nos. 11 and 11 _a_, opposite the

Birmingham Court, contain selections of most valuable and interesting

plants, similar in many respects to those we have described; amongst

them may be noticed the _Freycinetia Baueriani_ from Norfolk Island.

Close to the entrance of the Birmingham Court, in Border 11 _b_, is the

new and beautiful _Mitraria Coccinea_ from South America.

We now arrive at Border No. 13, opposite the Stationery Court, the

largest and most prominent tree in which is the _Eucalyptus globulosus_,

or Blue Gum-tree of Australia. This plant has already attained the

height of 80 feet, and is but five years’ growth. In its natural state

this is a Mammoth tree. Mr. Backhouse, the traveller, has described one

of this kind, which was nearly as high as the great Water Towers at the

Crystal Palace, being 250 feet, with a circumference at the base of 70

feet. But this was most probably an exceptional specimen. They are most

frequently not more than half that size. The common Myrtle is the type

of the class to which this tree belongs; but it is the largest of the

myrtaceous plants. The _Eucalypti_ constitute four-fifths of the forests

of New Holland. Gum is procured from this tree in large quantities.

Round the column, in the corner of Border No. 13 _a_, is a fine plant of

the Cape Gooseberry, which bears a beautifully acid fruit, much esteemed

by some. The fruit is curiously inclosed in an inflated capsule.

Although called the Cape Gooseberry, this plant is originally from

Australia. In this Border are various specimens of New Zealand and

Australian plants. The remaining Border, before we enter the Central

Transept, is filled mostly with a collection of large _Acacia_. Having

crossed the Central Transept, as we proceed toward Border No. 19, which

is in front of the Egyptian Court, we pass Border No. 17, which is

filled with _Eucalypti_, as that in a corresponding position on the

other side of the Transept is with _Acaciæ_.

In Borders Nos. 19 and 19 _a_, will be found large specimens of the

_Sparmannia Africana_, an old conservatory favourite, indigenous to the

Cape. It was named in honour of Dr. Sparman, the Swedish physician and

botanist, who accompanied Captain Cook in his second voyage round the

world. These fine trees were presented by Her Majesty the Queen. Close

to the _Sparmannia_ is a large India-Rubber-tree, the sap of which

constitutes the article now so extensively known and used. It will

easily be recognised by its broad, handsome, and glossy leaves. This

tree belongs to the Fig tribe, all kinds of which bear sap with more or

less the same properties. A plant close to this is the _Loquat_, or

Japan Medlar, which is curious from its peculiarity of shedding its

bark. A little nearer to the Court will be found a most elegant plant of

the Grass tribe, the Himalayan Bamboo, a small and delicate cane, which

is found high up the Himalayas, and consequently flourishes in a lower

degree of temperature than the common tropical Bamboo. The remaining

examples to be noticed in these Borders are amongst the most curious in

the collection. The first is the _Rhipidodendron plicatile_, so named

from the fan-like growth of the leaves. The common lily is the type of

the order to which this plant belongs. The next are the curious African

plants, like rough blocks of wood, which are called “Elephant’s Foot.”

These remarkable plants are calculated as being 3000 years old: they

were imported from the Cape of Good Hope. The _Casuarina stricta_, of

Australia, is also here, with its curiously jointed foliage. The wood of

this plant, from its peculiar conformation and colour, has gained for

the tree the name of Beef-wood. In its native state it attains a great

size. Several kinds of the temperate Palms, Ferns, and Aloes are also

arranged in this position.

The most noticeable tree in Border No. 21, is a luxuriant specimen of

the Moreton Bay Pine (_Araucaria Cunninghamii_). In the succeeding

Border, No. 21 _a_, is another of the _Eucalypti_, the leaves of which,

it is curious to remark, change from round to lance-shaped as the tree

advances in growth; and in the further corner is the _Geitonoplesium_, a

trailing plant of the same order as the common Asparagus. In Border No.

23 _a_, just opposite the column, is the Peppermint tree, of Australia

(_Epyclautus piperata_).

We now pass through the division into the Tropical end of the building,

where necessarily many of the most interesting and beautiful of trees

and plants are congregated. Most of the examples we have hitherto

examined have borne, more or less, some resemblance, if not in detail

yet in character, to the vegetation which we everywhere see around us in

England. But here we notice a new form, reputed to surpass them all, and

at least very rich in those glories which have won its repute,--we mean

the Palms. This form of vegetation gives more distinctive character to

tropical and eastern scenery, than any other natural feature. The stem

often rising to the altitude of 100 feet, in a stately column, crowned

with a capital of beautiful leaves, radiating from its summit, or

gracefully drooping; sometimes of a feathery form, sometimes fan-shaped

of broader growth; some of dark, shining verdure, and others of a

delicate silvery aspect: they constitute one of the most beautiful

families of the vegetable kingdom. The leaves of some kinds are

gigantic; those of the _Manicaria saccifera_, of Brazil, are 20 feet in

length, and six feet in breadth. Humboldt has described the Wax Palm of

the Cordilleras growing to the majestic height of 180 feet. Nearly all

varieties are most prolific in fruit, and with most, scarcely a portion

but what is applied to some use by the natives of the countries they

inhabit. Their great importance, then, to many of the human family

entitles them to particular study and attention, beyond the brief

mention we can give them here; and the pleasant task will be well

repaid.

The Borders in the Tropical Division are numbered distinctively from the

other part of the building, commencing with Border No. 1, in which is a

plant of the India-Rubber-tree, which is probably the largest of its

kind in the building, and nearer to the corner is a specimen of the Wine

Palm (_Caryota Urens_). On the side opposite the Court will be found the

silk Cotton-tree of India (_Bombax Ceiba_), and, further round, the

Sandbox-tree of India (_Hernandia Sonora_). In Border No. 3, which

corresponds in position on the other side of the Alhambra Court, is an

Egyptian Date Palm, and also a Wax Palm from South America. In Border

No. 5 we notice a group of _Musæ_, amongst which beautiful class of

plants are the Banana and Plantain, perhaps the commonest and most

nutritious of tropical fruits. Hemp and flax are obtained from the

fibrous leaves, which are also used for thatching and basket-making. A

sort of wine is made from the juice of the trunk. The fruit is eaten

both raw and cooked, while the young shoots are consumed as vegetables.

In the centre of this Border, which runs along parallel with the

Alhambra Court, is one of the species of Sago (_Saguerus sacchifera_);

another kind (_Cycas revoluta_) is near the column. The Indians as well

as Chinese procure Sago from this tree. The Sago is prepared from the

pith of the trunk, selected however at a proper season; it is made into

bread by the natives who prepare it, and from this it has received its

name, which in the language of the Papuas means bread. It is more

prolific in nutritious matter than perhaps any agricultural plant, a

single trunk sometimes yielding as much as 600lbs. of Sago. Round these

Sago Palms is arranged a collection of various specimens of the Fig

tribe (_Ficus_) from South America. Between the centre columns is a

plant of the _Jatropha Manihot_, whose root is one of the most important

articles of food in the tropics; it is made into bread called Cazavi or

Cassava, which is very nutritious; and Tapioca is also obtained from it.

A very poisonous juice has first to be extracted by pressure, or

eliminated by heat, before the root can be prepared for food. In the

corner of the Border we are now inspecting is another tree, from which

also bread is made; this is the Caffre Bread-tree (_Encephalortus_.) The

natives remove the bark and make flour from the trunk.

We may now turn into the Avenue of Sphinxes, between which is arranged a

rich collection of beautiful Palms--Cocos, Date-Palms, Wine-Palms,

Cabbage-Palms, and many other varieties. At the corner as we turn again

into the Nave stands the _Cocos plumosa_, a peculiarly beautiful

specimen, which may be remembered as having adorned the Great Exhibition

in 1851.

We now arrive at Borders No. 7 and 9, opposite the Assyrian Court. In

this position is arranged a selection of tropical fruit plants, and of

those bearing articles of food. It will not be necessary to do much more

than enumerate most of these, as their produce is so well known, and

forms the daily or occasional food of most. At this end of the Border

will be found the Tamarind-tree, the Pepper-plant, the Sea-side Grape,

from the West Indies, the Coffee-tree, the Chili-Capsicum, the fruit of

which makes a delicious pickle, the Jujube, the Assam Tea-plant, so

extensively cultivated by the East India Company, the Cow-tree of the

Caraccas, and, advancing up the front of the Border, two kinds of

Ginger, the common and a spurious kind, the Rose-apple of the East

Indies, the Avocado Pear, and the Peruvian Custard-apple, at the back of

which is the Castor-oil plant, the Jack-tree, and the Malabar Nut. We

continue the collection with the Star-apple of the West Indies, the

Madagascar Nutmeg, the Allspice, and the Cassia Bark. We here meet a

fine group of fruiting Bananas, beyond which we shall notice with

interest the Indian Mimusops, and the plant from which our common Black

Pepper is derived (_Piper nigrum_). The _Dimocarpus Longan_, and the

Chinese Litchi-Fruit tree, are near, as well as a most interesting plant

called the Ordeal-tree, from Madagascar. The fruit is a sort of bean,

and deadly poisonous. When the priests in Madagascar wish to rid

themselves of a state enemy, or to remove a rich man for the sake of his

goods, recourse is had to some pretence, and an ordeal is instituted

which consists in eating the fruit of this tree, harmless of course to

the innocent, but to the guilty, poisonous. The crafty priests carry out

their views by substituting an innocuous berry similar in appearance,

excepting where they wish the pretended guilt to manifest itself with

death.

The arrangement of the corresponding Border, No. 9, is very similar to

that which we now quit, but we shall find here in addition, the

Cinnamon-tree, the Peruvian Bark, the Bohea Tea-tree, the leaves of

which we daily consume as plain black tea, another kind of Allspice

(_Myrtus pimenta longifolia_), the Guava of West India, a most delicious

and well-known fruit, the Sapodilla Plum, and the Chinese Paper Plant.

In the small Border near the aviary, which terminates the series on this

side, is an interesting specimen called the Looking Glass Plant, from

the silvery appearance of the underside of the leaf. Here also is a

magnificent example of the Black Bamboo, the canes of which are used for

a great variety of useful purposes, and for ornament as well. The rapid

growth of this plant is astounding, the shoots of the present specimen

having often increased in height at the rate of more than 12 inches

daily.

In the centre of this, the northern extremity of the Nave, rises one of

the finest specimens to be met with in this country of the noble _Sabal

Palmetto_. This tree represents the extensive group of Palms, having

palmate or fan-shaped leaves. A curious fibre hangs in graceful ringlets

from the foliage. On the right hand of this splendid tree, we commence

our return down the garden side of the Nave with Border No. 10. In the

corner stands a large group of Bamboos. This species attains a much

greater size than its cogener on the other side: in its native wilds the

stems often exceed the height of 100 feet, the growth of a single

season. The stems seldom grow higher after the first year, but become

densely clothed with delicate leafy branches. This may almost be called

the domestic Bamboo, as it furnishes material for an almost infinite

variety of domestic articles. In this Border are two other large

varieties of Palm. The first _Corypha sylvestris_, from New Holland, is,

like the _Sabal Palmetto_, a Fan-Palm. The _Coryphæ_ are so called from

_Koryphe_, the summit, as the leaves branch only from the top of the

trunk, making a very stately and beautiful form. This tree surmounts a

group of root-work, upon which are planted rare Orchids, Ferns, and a

variety of other beautiful exotics. The large Borders on this side of

the Tropical Department are mostly made in this picturesque manner. If

we now pass on we find close to the column a large Coffee-tree, from

Yemen, which in the autumn bears its interesting berries. Close to this

is a lofty Screw Pine (_Pandanus odoratissimus_) from the East Indies.

The flowers of this tree are so deliciously fragrant that in Egypt and

Arabia it is often cultivated for their sake; the fruit somewhat

resembles the pine-apple, but is not so good. In the South Sea Islands,

where this species grows in great plenty, the natives convert its leaves

and products into a variety of uses and ornaments. It has received its

name from the screw-like arrangement of its foliage, and not from the

appearance of the trunk. It will be noticed that the roots are partially

above ground, and constitute a kind of support which strengthens

according to the peculiarities of position in which the tree grows. The

roots from some of the _Pandani_ descend thus, like tightly strained

cords, from a height of 12 or 15 feet. The great Palm-tree in the centre

of this bed is upwards of 40 feet high. It is from the Isle of Bourbon

(_Latania Borbonica_), and once formed part of the renowned collection

at Fontainebleau of the Empress Josephine. We are now standing under the

luxuriant branches of the _Ficus Roxburgii_, a curious Fig-tree which

bears its fine fruit on the stem close to the ground. Further back, on

the left of the great Palm, is a Mahogany-tree from Honduras, and a fine

fruit-bearing specimen, 14 feet high, of the delicious Guava. But it is

impossible here to particularise the rich contents of these Borders; as

in our progress through the whole collection we are forced almost

casually to choose from so many objects of interest; but it is hoped

that the mention only of these may awake an interest which investigation

will increase.

At the back of the Border just mentioned, is arranged a large collection

of exotic plants in pots, amongst which will be found the Gamboge tree,

and the Bread Fruit tree, from the South Sea Islands. Also the

Strychnine plant (_Strychnos Nux vomica_), the nuts of which contain the

deadly poison of that name.

At the corner of the succeeding Border, No. 8, next the garden, is one

of the most valuable and rare specimens in the kingdom, of the beautiful

_Araucaria Cookii_ from New Caledonia. The soft and luxuriant foliage of

this tree, and the surpassing beauty of its form, every branch, with

its rich pendulous load falling most symmetrically in a regular

gradation of graceful positions, constitute it one of the most beautiful

of its kind in the whole vegetable kingdom. Numerous specimens of Palms

and of the beautiful flowering plants and shrubs of the Tropics adorn

this division. A splendid example of the Gum Dragon tree of Teneriffe

(_Dracæna Draco_), the same kind as the famous tree of Oratova; also a

New Holland Palm (_Seaforthia robusta_), are found here. Here also is

the Traveller’s tree from Madagascar, the grateful shade it affords

having gained it its name. The Palm bearing the highest position in this

bed is the _Sabal Blackburnianum_, the leaves of which are amongst the

largest of their kind. Against the column at the south-west corner of

the bed, in the Nave, hangs the curious Elk’s Horn Fern (_Platycerum

grande_), from Australia. This parasite abounds on the rocks and the

bark of the large trees in the forests of Moreton Bay.

Before quitting the Tropical Department we will now continue our

inspection of the Borders on the east side of the Nave. It is

unnecessary to particularise the plants in these Borders, as they have

been purposely arranged in as much uniformity as possible with the

corresponding collection on the other side. Opposite the Byzantine Court

may however be noticed four funereal Cypresses from the Vale of Tombs,

in North China, and in Border No. 4 a graceful plant of the Fig tribe

(_Ficus Pumila_) from China, and the handsome New Zealand Laurel

(_Carynocarpus lævigatus_). On the northern side of the South Transept,

in Border No. 6, is the Nepaul Berbery (_Berberis Nepaulensis_). This

specimen is remarkable for its height and beauty of foliage. It is a

newly introduced species. At the back of this tree will also be found a

fine example of the New Zealand Flax (_Phormium tenax_). In Border No.

6, at the end of the Transept, is the Brazilian Pine (_Araucaria

Braziliensis_). A remarkable specimen of the Australian Fig tree (_Ficus

macrophylla_), is in Border No. 2.

In the Natural History Department the most noticeable plants have been

selected to represent as far as it was possible the flora of the

respective countries. Thus, in the Australian division the _Araucaria_,

_Tree Ferns_, and _Eucalypti_, or Gum Trees, are most conspicuous. The

other divisions contain many most interesting plants, such as the Tea

trees, which are all arranged geographically in their respective

positions, and can be readily identified. In the division on the western

side of the Nave, many of the beautiful plants are very well known,

though indigenous to South, Central, or North America. The Fuchsias,

Cacti, Yuccas, Aloes, and some _Araucariæ_, are amongst these.

It remains now to speak of the splendid collection of Orange and

Pomegranate trees which form the noble vista of the Nave, and are

principal features amongst the beauties of the Crystal Palace. Some of

these are four hundred years old. They once belonged to the Orleans

family, and in the latter times of the late dynasty in France were

collected by Louis Philippe to decorate his favourite château at

Neuilly. Shortly after the accession of the Emperor Napoleon, the

property of the Orleans family was sold by public auction, and these

matchless natural productions were then purchased by Sir Joseph Paxton

for the Crystal Palace Company; there are 110 of these trees in all.

The hanging baskets, which form so delightful an array high up on either

side of the Nave, and around each Transept, cannot fail to attract the

notice of the visitor. The creeping plants, which cover the columns and

cross-ties on each side of the walks, are of great luxuriance and

beauty, while at the corner of the South Transept will be noticed a

gigantic specimen of the lovely _Westeria_ which is rapidly covering the

wide span of the Nave at this part. This was one of the first trees of

the kind which was introduced into this country, and it thrives here

exceedingly well.

It must have been apparent to the reader how very cursory has been the

notice given to the most interesting plants and trees in these pages,

and how few of the many specimens have been referred to. Such was a

necessity. Yet it is hoped that as the Crystal Palace calls all the aids

of Art to the teachings which it conveys, so Nature (a greater teacher

still) may side by side yield her lesson too. To the lover of the

beautiful it needs small prompting to explore her mysteries, and the

rich expression she bears of that he seeks.

Mr. George Eyles is the chief superintendent of the whole Interior

Garden.

THE GALLERIES.

THEIR FINE ART, AND OTHER COLLECTIONS.

The main Galleries around the Central Transept, and to the south with

the exception of that on the western side toward the road, are devoted

to the exhibition and sale of articles of industry. The Picture Gallery

is in the gallery which runs over the Stationery Court and the series on

that side. The galleries on the eastern side next the garden, with the

South Gallery at the end of the building, are devoted to the exhibition

of those articles which are for sale on the spot. Amongst these will be

found precious metals and jewellery, miscellaneous ornaments, perfumery,

toys, and other articles both of use and luxury. The gallery presents a

pleasing and animated appearance, the stalls are fitted up on an elegant

and uniform plan, and the traffic at them is very considerable. At the

western end of the Great Transept the gallery is allotted for the

exhibition of manufactured articles, which are not for sale on the spot.

The collection is of a miscellaneous, though most interesting character.

On the first gallery above this will be found a most interesting

collection of drawings and models for the fountains in the Crystal

Palace, which have been furnished by Mr. M. D. Wyatt, Mr. Owen Jones

(the figures on whose designs were modelled by Signor Monti), Mr. John

Thomas, Mr. John Bell, Baron Marochetti, Baron Launitz, and Mr. Hector

Horreau. The models display much artistic treatment and inventive fancy.

If we now descend the spiral staircase to the main gallery, and proceed

through the industrial exhibition to the right-hand we shall enter the

main gallery, on this side, running toward the south end. Here is formed

THE PICTURE GALLERY.

The first portion which we enter, before reaching that part of the

gallery immediately over the Stationery Court, is appropriated to the

exhibition of photographic pictures both British and foreign, several

important water-colour pictures by the most eminent members of the two

Societies, and a selection of remarkable pastel pictures.

The long gallery which stretches from this point to the south end of the

building has been properly fitted for the exhibition of pictures. The

glass wall toward the road has been covered, and a partition wall

erected on the opposite side over the courts, excepting over the passage

ways between the courts. The light comes from the roof with duly

modified intensity, and the effect on the pictures is singularly

beneficial and clear. Thus a magnificent gallery of pictures is formed,

sweeping in one uninterrupted line, from the centre to the end of the

building, or for a distance of 700 feet. The effect is very grand and at

the same time beautiful, while the convenience and ample space will be

noticed as a contrast to many picture galleries. There are upwards of

900 pictures of the British, French, Dutch, Belgian, and German Schools,

being all by living artists, and for sale; the titles, prices, and

Painters’ names are affixed to each picture.

As we near the south end we shall notice some very fine examples of the

ancient masters, several of them being from the galleries of Marshal

Soult, and the Lucca, Orleans and other celebrated collections. The

specimens of the Gothic art of Flanders and Germany are very remarkable,

and many of the early Italian pictures most worthy of particular notice.

The early Gothic collection is one of the finest ever seen in England,

and is only surpassed by the Boisserée and Ertborn galleries of Munich

and Antwerp. These curious works keep the full lustre of their original

colouring, and in this respect form a great distinction to many modern

works. Mr. C. W. Wass is intrusted with the management of this

department.

We may now proceed through the South Gallery and the Industrial Bazaar

on the other side to the garden end of the Great Transept, where, in the

gallery above, which we may reach by the spiral staircase, we shall find

one of the most interesting departments in the Palace, as it is one of

the most instructive--

THE INDUSTRIAL MUSEUM AND TECHNOLOGICAL COLLECTION.

The object of this collection is to convey by means of actual

illustration that instruction in the modes and various stages of

industrial manufactures, and of the arts, which cannot be so accurately

gained from books or descriptions; as well as, by the same plan, to

trace the original plants, ores, or annuals, from which the material

manufactured is derived, and to illustrate by products the several

stages of its manufacture. This plan of arrangement therefore escapes

the monotony which is usual in ordinary museum collections, and will be

found equally interesting as instructive. It is not possible in this

book to particularise by any long description any of the series

comprised in so extensive a collection; it is not therefore attempted,

but the leading features and positions of the gallery are indicated to

direct the investigation of the visitor himself, who will find very

accurate, and in many cases detailed notices appended for his

instruction, to the objects themselves.

We enter the gallery by the spiral staircase in the Central Transept

Gallery on the garden side of the building, and shall find that division

devoted to the minerals, which we will explore first, at the left-hand

extremity of the gallery. The vegetable division is naturally the

largest, and occupies all the central cases and some portion of the

right hand or northern extremity, where the third and last--the animal

division--is situated. A plan detailing plainly this arrangement will be

found suspended against the first case on the left as we enter. The

first cases of the mineral division, which are those in front of the

gallery on the left-hand, are devoted to what are commonly termed the

_non-metallic_ elements and their most important compounds, that is to

say, those compounds in which the non-metallic element is the one

technically important, arranged in the order in which they are generally

treated in works on Chemistry. It may be necessary here to observe, that

in order to avoid needless repetition in the classification of the

chemical compounds, this plan has been adopted throughout. Thus, for

instance, Bleaching Powder, which might be arranged under the heads of

both its constituents, Chlorine and Lime, as it is used only on account

of the Chlorine, is classified under that element. In these cases we

find varieties of Carbon, Products of the Distillation of Coal, Peat,

&c. (Naphtha, Ammoniacal Salts, Paraffin, Dyes, &c.), and a beautiful

series illustrating the manufacture of Sulphur. Succeeding these are

shown the varieties of Silica, under which head a rich case of English

Agates from the Sussex coasts must be particularly noticed. The

Silicates embrace the different manufactures of glass, amongst which are

some beautiful artificial gems. Etching upon glass is also illustrated

here. We now come to the Alkaline Metals,--Potassium, Sodium, and their

salts. The next are the minerals of the Alkaline earths, Barium,

Strontium, Calcium (Lime), and Magnesium, and their sundry preparations.

The cements come under this division. The next cases are devoted to

Aluminous products, and in this class will be found complete

illustrations of one of the most important and interesting of British

manufactures--the Ceramic. The series commences with a collection of the

clays from different formations, and the process by which the Devon,

Dorset, and Cornish clays, which are those used in earthenware and

porcelain manufactures, are fashioned, decorated, and finished, is shown

together with the materials used for glazes. The preparations of Alum by

different processes, Emery, &c. are also in this division.

We now come to one of the most important series in the collection, and

one in which the greatness and importance of this country is most

emphatically illustrated. These are the Metals, properly so called. The

arrangement adopted with these is first to show the ores from each

district, next the mode of smelting those ores, the metal procured, and

generally the manufacture of the metal. The Iron, of course, assumes the

first importance. The Pig Iron is the first state in which the metal is

obtained; it is then submitted to the refining and “puddling” processes;

then rolled into bars, nails, and plates, or drawn into wire; we then

see it converted into steel, by various processes including Bessemer’s,

and this leads us to the manufactures of Sheffield. The series, of

course, includes Copper, Zinc, Tin, Antimony, Gold, Silver, &c.

The central stands at this end of the gallery are occupied with a

collection of the coals and building stones of England and Scotland,

with a set of maps indicating the geological formation from which each

is obtained.

The cases down the centre of the gallery are devoted to the Vegetable

Kingdom. These are arranged as follows:--Products used as food, in the

arts, and in manufactures, and in medicine. In the first class is a

collection of British agricultural produce, made by Messrs. Peter Lawson

& Son, of Edinburgh. The Cereals and Grasses will be found arranged in

the upright cases, facing the garden and on the octagonal tables. In the

cases beneath are the Roots and Fruits modelled in wax. The various

growths and manufactures of Tobacco, of Hops, Spices, and aromatic

Seeds, as well as Cocoa, Teas, Coffee, and their substitutes, and the

articles used as food, should be specially noticed, being most

completely illustrated. It will be noticed here, and also with most of

the vegetable specimens in this collection, that reference is made upon

the explanatory cards, which are in all cases affixed to specimens, to

the fact that growing trees and plants of the various kinds may be found

in the beds downstairs; and this will be found specially alluded to

where the Botanical collection is described; it should be carefully

borne in mind, and will, on being followed by inspection, yield an ample

repayment of interest. We should now return down the side of the cases

and commence our inspection of the other side, proceeding from the south

end. We shall find the first set of cases illustrating the materia

medica. The upper parts contain the plants, while in the lower divisions

the drugs, seeds, and applied parts are shown. Next come the cork and

other manufactures, including paper and paper-staining, those of Fats

and Oils, India Rubber and Gutta Percha, with their various

applications, Resins, Dyes and Dye-woods, these being further

illustrated as with the materia medica by the plants from which they are

procured. The illustrations of the Cotton, Flax, Hemp, the Pine Apple,

China Grass and other fibres which are manufactured, will, with some

other interesting articles in the cases opposite, conclude our rapid

survey of the vegetable division, although we must not omit to notice a

rich collection of the various woods, British, foreign, and Colonial,

especially the large polished sections from Tasmania, collected and

presented by the Royal Society of the Colony, arranged on stands at the

North End.

The northern extremity of the gallery is occupied with the last division

of the Museum--the Animal. Here will be found Furs of all kinds. Wools

of British and imported varieties, Woollen and Worsted manufactures,

Silk, illustrations of the preparation of different kinds of Leather,

Feathers, Horn, Bone, and Tortoiseshell manufactures, &c., &c. Specimens

of most of the animals from which these articles are derived are

arranged in the middle of the division.

The whole Museum has been arranged by Dr. David S. Price, who has care

of this department. The collection is constantly increasing, and may be

expected before long to assume one of the most important positions

amongst the settled features of the Crystal Palace.

In the Main Gallery on the North Eastern side of the Mediæval Court are

placed four hundred French and Italian photographs, illustrative of the

architectural and sculptural arts of the periods represented by the

several Fine Art Courts on this side of the Nave; the photographs being

arranged in the order of the courts beneath, and as nearly as possible

over those which they serve to illustrate. Here also will be found the

main portion of the busts constituting the

PORTRAIT GALLERY,

One of the most ennobling and instructive as well as interesting of the

collections in the Crystal Palace. These busts give us the speechless,

yet how eloquent, countenances of the great ones who have moved the

current of the world’s life, from early times till the present moment.

Each one of these busts is inscribed with the name and dates of whomever

it represents; but for a notice of the lives and general information as

to the claims to renown of the several notabilities, we refer the

visitor to the Handbook of the Portrait Gallery. A fine collection of

small works of art, consisting of statuettes, mediæval pottery and

wood-work, church vessels, old English seals, medals, and architectural

ornaments, exemplifying the various styles from the Byzantine down to

the Italian, is also arranged here.

In the North-east Galleries, on the garden side of the North Transept,

is a Naval Museum, which is intended to illustrate the naval

architecture of all countries. Here will be seen models of boats and

ships, from the first rude canoe to the patent collapsing boats; and

from the huge high-pooped ship of war of the time of Henry the Eighth,

and Philip of Spain, to the long screw steamer of the present day; or

the gigantic paddle and screw “Leviathan,” lately launched at Millwall,

together with various inventions for marine purposes. In the first

gallery, at the extreme north end of the Nave, a collection is exhibited

of engineering and architectural models, including those of bridges,

docks, viaducts, churches, and other structures.

Entering the gallery by the stairs from the garden end of the North

Transept, one of the first models we meet is in illustration of Mr.

Fergusson’s System of Fortification. The great principle of this system

is the power of placing in position on a fortified place a greater

number of guns than the enemy can bring to bear upon any point of it.

For this purpose, Mr. Fergusson proposes to erect simple mounds of

earth, bearing two or three tiers of guns, where the place is large and

the curve flat, and four or even five tiers, where the space is

confined. The model represents a small confined space surrounded by five

tiers; ensuring in his opinion, a superiority of fire over anything that

can be brought against it. Mr. Fergusson proposes to employ wet ditches

wherever water is available; but on dry or uneven ground, a ditch of

fifty or sixty feet, with a loop-holed wall at the bottom, not less than

thirty feet high, thoroughly flanked in every part by musketry and

artillery from the small bastions placed at intervals along its fronts.

The model represents upon its different faces, suggestions for various

methods of arming the ramparts and of flanking defences.

Amongst the various ingenious and beautiful objects in this part of the

gallery will be remarked models of the Kieff Suspension Bridge, the

original of which is nearly half-a-mile long, over the river Dneiper;

the Britannia Tubular Bridge; the Wrought Iron Bridge over the Wye, at

Chepstow; and one of a similar construction over the river Tamar, at

Saltash. Most of these, as also the fine Viaducts, of which many are

represented, are due to the giant enterprise which steam traffic raised

in our country. There are two crystal models here of the Great

Exhibition Palace in Hyde Park; one, the largest, by Mr. Dighton, of

London, on the scale of half an inch to the foot, is especially

beautiful and complete.

THE INDIAN COURT.

Passing on in this gallery, at the back of the Assyrian Court, we enter

a department appropriated as an Indian Court. The first object which we

notice is a stand covered on both sides with a fine collection of Indian

arms and armour arranged with other objects of interest. On the wall

near is ranged a collection of most interesting paintings, lent to the

Crystal Palace by the Hon. East India Company. They are copies of some

frescoes found on the walls of a series of caverns at Adjunta, in

Western India, and were made at the instance of the Indian Government by

Captain Gill, of the Madras army. The subjects are scenes in the life of

Buddha and of Buddhist saints, and various historical events connected

with the rise and progress of the Buddhist religion in India. The date

of their execution extends from about the Christian era to the tenth or

twelfth century; and in style they closely resemble the contemporary

works of painters in Europe, possessing nearly the same amount of

artistic merit, and displaying the like absence of _chiar’-oscuro_, and

the same attempt to copy with literal exactness the object represented,

excepting where certain conventionalities are apparent. The collection

is valuable as affording the means of comparing the state of art in the

East with that in the West during the same period.

On the next stand are several Burmese idols and other curious objects,

mostly belonging to the religious ceremonial of this people; among these

will be noticed some very curious wood-carving; and we must not omit to

notice in connection with these things, a very peculiar pagoda, or idol

shrine, which stands close by. Placed along the floor are some very

curious musical instruments, drums or tom-toms of various sizes, some

instruments formed of pieces of hard wood, which on being struck sound

the notes, and some having metal vessels, which produce a peculiar tone.

Further on is a case filled with magnificently embroidered garments,

saddle-cloths, &c., which display that craving after splendour which

appears to be part of Oriental nature. In this case are also some other

choice articles of very great beauty and value, amongst which may be

pointed out a small Japanese cabinet; a hookah, a dagger and sheath

wrought with silver, a pair of slippers embroidered with pearls, and

other rare objects from Persia. Here also are some specimens of Chinese

work. On the right of this case is a chamber devoted to Chinese

curiosities. The walls are hung with paintings, representing the

manufacturing and other industrial occupations of this truly curious

people. In the centre is the figure of a Mandarin in his richly

embroidered dress. Quitting this chamber the visitor will remark on

either side of him some fine models of Indian Mosques, carved in wood,

which will amply repay a careful inspection. They belong to the close of

the 15th century. After examining the curious model of the encampment of

an Indian prince, which now faces him, the visitor will notice a case

containing a splendid collection of Javanese arms, some highly wrought

with great beauty in gold and silver. This case also contains some

wonderful carvings in ivory and pith, as well as other objects of great

interest.

Immediately beyond the case which we have just examined will be found a

model of the celebrated so-called gates of Somnauth. History and

tradition have invested these gates with much interest. Nine centuries

since, the temple of Somnauth was perhaps the richest shrine of rich

India, and the splendid stronghold of its idolatry. There are many

records of its unequalled riches--the revenues of 2000 villages are said

to have been allotted for the maintenance of its establishment. In 1025,

the sultan Mahmoud crossed the Indus from Ghuznee, and after many

battles advanced to the temple and sacked it. In the adulations of the

conqueror Hindoo paganism was said to have then irrecoverably bowed

before the sword and faith of Mahomet. The avarice, however, of Mahmoud

probably received greater gratification than his religious fervour. He

is traditionally said to have carried the carved sandal-wood gates of

the temple with him to Ghuznee, and to have made them the doors of the

splendid mausoleum which he built for himself. When Ghuznee was taken by

the British under the presidency of Lord Ellenborough, the doors (of

which the present models are copies) were taken from the tomb, and

invested with high interest on account of their traditional origin, but

the style of art and inscriptions upon the gates themselves prove that

in all probability they formed part of the tomb from which they were

taken and were built with it. Near to this model will also be found some

very finely carved furniture, and a case filled with a magnificent

collection of Indian works, amongst which may be specially pointed out

the beautiful and rich specimens of jewellery from Delhi and other

provinces, some elaborate carvings in pearl, ivory, and tortoiseshell,

and the gold-worked muslins for which, through many ages, India has been

renowned.

The gallery over the Egyptian, Greek, and Roman Courts contains an

interesting collection of Photographs, &c., illustrative of Oriental

Architecture, and the various styles exemplified below, amongst which

the Egyptian remains are particularly to be remarked. The full-sized

casts from the original wall sculptures, which, are copied in the

Egyptian Court below, will be found along this Gallery, as also various

architectural and sculptural remains of classic times.

We should now descend the staircase to the left, and, crossing over to

the eastern end of the Great Transept, we can reach the basement story

of the building, which is on a level with the first Terrace. The

Basement has been divided into two departments: that to the north is

allotted to the exhibition of Agricultural Implements, &c.; in that to

the south is arranged the important exhibition of Machinery in Motion.

THE AGRICULTURAL IMPLEMENT DEPARTMENT.

The application of science to farming, and the great necessity that

there is at the present day of availing ourselves of every mechanical

improvement for the sake of economy, and for the better carrying out of

the various agricultural operations, render the use of improved

machinery an absolute necessity. And when we compare the flail of a few

years ago with our present threshing-machines, and note how mechanical

power has, in a very few years, almost entirely taken the place of

hand-labour in this, as in every other art, we shall see that the

improvement in agricultural machinery has been making most rapid

strides, and that the manufacture of agricultural implements has grown

to a most important industry.

The collection of these implements at the Crystal Palace supplies a

desideratum that has been felt and acknowledged both by the public and

by the manufacturers themselves--an emporium where the various machines

of every maker may be brought together, so as to be seen at one glance

and their respective merits examined; thus facilitating the selection

by purchasers, and in some measure preventing the possibility of

inferior implements being sent out. This has been partially effected by

the exhibitions of the Smithfield Club, and by the periodical gathering

of the Royal Agricultural Society; but it is only with the present

attempt that the same thing on a permanent footing has been offered to

the public. In the Crystal Palace are now exhibited and _sold_ the

principal machines made by nearly all the first manufacturers; indeed,

each firm has sent those machines for which it is chiefly noted, so that

everything exhibited in this department must be of the very best; such,

in short, as the manufacturers are most proud of. All the machines, &c.,

are sold by the Superintendent on the spot, at the same prices as at the

makers.

These machines comprise a large collection of prize, portable, and fixed

steam-engines; a large assortment of drill machines, both for drilling

seed and manure; several reaping machines are also exhibited.

The threshing-machines are numerous, and are of very excellent

construction. The improvements that have been made in them are very

striking. It is really a curious sight to see the sheaves of wheat

placed in at one end, and the winnowed grain passing out ready sorted

into bags at the other; while the straw is carried by a mechanical

contrivance to carts to be taken away. Here also we see digging

machines, to perform wholesale the ancient duty of the plough, which was

at all times an imperfect implement. The ploughs, however, that are

shown are of the very best description, with many useful improvements.

Portable houses for emigrants and others, and an immense assortment of

entrance gates, and of poultry, sheep, and cattle fencing are also here

to be found.

Haymaking machines for scattering the hay, and horse-rakes, are

important substitutions for hand-labour. Draining-ploughs, for preparing

a pathway for the pipes, and for laying the tiles, and draining levels

are also exhibited. A large collection of chaff-cutters, bruising and

grinding mills, oilcake breakers, steaming apparatus and pulping

machines (the pulping machines are for preparing food, such as turnips

or carrots, for cattle), grass-mowing machines, both for hand and

horse-power, carts of every description, liquid manure carts, field

rollers, and several descriptions of clodcrushers, brick and the

machines, mortising and boring machines very well suited for making

gates and hurdles, makes up the sum of this interesting exhibition.

THE MACHINERY IN MOTION.

Machinery is the most important feature in the modern history of our

country. How it has enriched and extended our commerce, and built up the

greatness of the nation, is an interesting and instructive reflection.

It thus justly claims the important position which it here occupies. The

long array of busy engines, which stretches almost as far as the eye can

reach, forcibly reminds the visitor of this department in the old

Crystal Palace of Hyde Park. Indeed, the most interesting set of

machinery, that employed in cotton spinning, which instructed so many

thousands in Hyde Park as to the manner in which the huge bale of cotton

was transformed into the perfect woven fabric, is now to be seen here in

full work. The set includes Beating Frames, Carding Engines, Drawing,

Slubbing, and Roving Frames, Throstle Spinning Frames and self-acting

Mules. Near at hand to this most perfect and beautiful collection of

machinery, which was manufactured by Walker and Hacking, and Harrison &

Co., are placed the rude wooden engines invented and used by Arkwright

for the same purpose; thus we are enabled to measure at a glance the

immense progress we have made in the course of less than a century.

Proceeding lower down the gallery, the visitor is struck with

astonishment at the massive machinery by which iron is hammered,

drilled, punched, and planed as easily as so much deal. Messrs.

Whitworth, Muir, and Harrison & Co., are the principal exhibitors of

these ponderous engines. Advancing still further, the visitor witnesses

a sugar-cane crusher in motion. Centrifugal pumps, Drying Machines,

together with Steam Engines of all descriptions in full work form the

next most important features, whilst innumerable other inventions and

machines of a smaller character make this part of the palace one of the

most interesting. The visitor can, if he choose, reach the South Wing

through this department, and pass from thence down the Colonnade to the

Railway Station; but he will most probably pass from the door under the

Central Transept on to the first Terrace, and proceed to the inspection

of the Gardens and Park, of which we treat in the next division.