THE EXTERIOR.
NOTE.--The arrangement of the following Division assumes the visitor
to enter the Garden from the Central Transept, whence he proceeds to
inspect the _Terraces_ and the _Italian Garden_. Passing down the
central steps from the second Terrace, and round the _Great Circular
Fountain_, he proceeds to the left, and continuing the path, explores
the _English Landscape Garden_, and the _Archery Ground_, beyond which
is the _Park_, the _Cricketing Ground_, from which, proceeding half
round the basin of one of the _Great Fountains_, he reaches the _Grand
Plateau_, and examines the _Geological Restorations and the Extinct
Animals on the Islands in the Lake_. Leaving the _Plateau_, he skirts
the basin of the second _Great Fountain_, and proceeding by the
_Rosary_, completes the circuit of the grounds. An account of the
_Great Water Towers_, in connection with the system of _Fountains_,
and of the _Artesian Well_ and the _Water Supply_ is then added.
[Illustration: PLAN OF THE GARDENS AND PARK
PRINTED BY R.K. BURT, HOLBORN HILL, CITY.
A. GREAT CIRCULAR FOUNTAIN
B. B. WATER TEMPLES AND CASCADES
C. THE ENGLISH LANDSCAPE GARDEN]
[Illustration: The Park and Gardens.]
THE SITE.
The Crystal Palace stands in the county of Surrey, immediately on the
confines of Kent, bordered on one side by Sydenham, and on the other by
Norwood and Anerley, whilst Penge lies at the foot of the hill, and
Dulwich Wood at the top. No particular topographical or historical facts
are associated with these places. Sydenham, however, is invested with
some literary interest as having been the residence of the poet
Campbell, the author of the “Pleasures of Hope,” who passed, as he says
in one of his letters, the happiest years of his life in this suburban
village, and who wrote here the whole of “Gertrude of Wyoming.”
THE PARK AND GARDENS.
The Crystal Palace and its grounds occupy two hundred acres, and it is
of importance to note that, in the formation of the gardens, the same
uniformity of parts is adhered to as in the building itself; that is to
say, the width of the walks, the width and length of the basins of the
fountains, the length of the terraces, the breadth of the steps, are all
multiples and sub-multiples of the one primary number of eight. By this
symmetrical arrangement perfect harmony prevails, unconsciously to the
looker-on, in the structure and in the grounds.
As the visitor quits the building from the Central Transept, let him
pause at the top of the broad flight of steps leading to the first
terrace, and notice the prospect before him. At his feet are the upper
and lower terraces, bordered by stone balustrades, the long lines of
which are broken by steps and projecting bastions. Along these
balustrades, at intervals, the eye is attracted by the statues that
surmount them. Straight before him runs the broad central walk, and, on
either side of it, on the second terrace, the ground is covered with
green turf, now relieved by beds filled with gay-coloured flowers, and
further heightened in effect by fountains which throw water high up into
the air. As a side boundary to the foreground of this picture, the wings
of the building stretch out in their blue colouring, their cheerful,
light aspect, harmonising with the rest of the scene. Looking straight
forward, below the level of the second terrace, we see the large
circular fountain, surrounded by white marble statues, which stand out
sharp and clear against the dark landscape beyond. On either side, on a
yet lower level, a glimpse is caught of the glistening waters in the two
largest fountains, backed by embankments of turf; and beyond these
again, if we could only lift our vision over the plateau, we should see
the waters of the large lake, whose islands are peopled by monsters that
inhabited the earth when the world was young. To the right, and to the
left, in the grounds, are pleasant sloping lawns, dotted here and there
with trees, and thickly planted shrubs; and then, beyond the Palace
precincts, stretching away into the far distance, is visible the great
garden of Nature herself, a picture of rural loveliness, almost
unmatched by any scene so close as this to the great London city.
Undulating scenery prevails: here it is rich with bright verdure, there
dark with thick wood: here, the grass field; there, the grey soil,
which, in the spring time, is covered with the delicate green of young
wheat; and, in the autumn, waves thick with golden corn. Across the
fields run long lines of hedgerows, telling plainly of the country in
which they are found; and in the very heart of all, the village church
spire shoots through the trees, surrounded by clusters of cottages,
whose modest forms are almost hidden by the dark foliage in which they
are nestled. The exquisite scene is completed by a long line of blue
hills that ranges at the back of all.
[Illustration: VIEW OF GREAT TRANSEPT.]
Gardening, as an art, has flourished in all countries; and has possessed
in each such distinctive features as the climate, the nature of the
soil, and its physical formation, as well as the character of the
people, have created. In the Gardens before us two styles are seen, THE
ITALIAN and THE ENGLISH LANDSCAPE. A few words may be sufficient to
describe the leading characteristics of both.
In Italy, during the middle ages, internal warfare confined men to their
fortresses, and no gardens existed save those “pleasaunces” cultivated
within the castle’s quadrangle. When times grew more peaceful, men
became more trustful, ventured forth, enjoyed the pleasures of a country
life, and gardening prospered. In monasteries especially, the art
received attention; but it was not until the beginning of the 16th
century that a decided advance was manifest, and then we have to note a
return to the style of gardening that flourished in ancient Rome itself.
Lorenzo de’ Medici possessed a garden laid out in the revived classical
manner, and this style, which is recognised as the Italian, has existed
in Italy with certain modifications ever since. Its chief features are
the profuse use of architectural ornaments--the grounds being subdivided
into terraces, and adorned with temples, statuary, urns, and vases, beds
cut with mathematical precision, formal alleys of trees, straight walks,
hedges cut into fantastic devices, jets of water, elaborate rock-work,
and fish-ponds dug into squares or other geometrical forms. Everything
in these gardens is artificial in the extreme, and in set opposition to
the wild luxuriance of nature; and although the trees and shrubs are
planted with a great regard to precision, they are too frequently devoid
of all artistic effect. During the last century, the Italian style
became blended with English landscape-gardening, but without much
success; for the formality of the original style clings to all Italian
gardening at the present day.
[Illustration: View from the Terrace.]
English gardening does not seem to have been regularly cultivated until
the reign of Henry VIII.; although previously to his time, parks and
gardens had been laid out. Bluff King Hal formed the gardens of Nonsuch
Palace in Surrey on a most magnificent scale, decking them out with many
wonderful and curious contrivances, including a pyramid of marble with
concealed holes, which spirted water upon all who came within reach,--a
practical joke which our forefathers seem to have relished highly, for
the ingenious engine was imitated in other gardens after that period. In
this reign also were first laid out by Cardinal Wolsey the Hampton Court
Gardens, containing the labyrinth, at that period an indispensable
device of a large garden. The artificial style in James I.’s time called
forth the indignation of the great Lord Bacon, who, although content to
retain well-trimmed hedges and trees, pleaded strongly in the interest
of nature. He insisted that beyond the highly dressed and embellished
parts of the garden, should ever lie a portion sacred from the hand of
man--a fragment of wild nature! He calls it “the heath, or desert.”
During Charles II.’s reign, landscape-gardening received an impulse. It
was in his time that Chatsworth was laid out, and that buildings were
introduced into gardens. During his reign, too, lived Evelyn--a spirit
devoted to the service of the rural genius. In his Diary, Evelyn makes
mention of several noblemen’s and gentlemen’s gardens which he visited,
and some of which indeed he himself devised. His remarks convey an idea
of the state of gardening during the reign of the merry monarch.
“Hampton Park, Middlesex,” he says, “was formerly a flat, naked piece of
ground, now planted with sweet rows of lime trees, and the canal for
water now near perfected; also the hare park. In the garden is a rich
and noble fountain, with syrens, statues, &c., cast in copper by
Fanelli, but no plenty of water. There is a parterre which they call
Paradise, in which is a pretty banqueting-house set over a cave or
cellar.” It was under Charles too that St. James’s Park was formed, a
labour upon which the king employed Le Nôtre, the celebrated gardener of
Versailles,--an artist of singular good taste, and with an admirable eye
for the picturesque.
During the reign of William and Mary, Hampton Court was considerably
improved. Some Dutch features were introduced into gardening, and
vegetable sculpture, and parterres in lace, came into vogue.
To the Dutch must be conceded the earliest manifestation of a love for
gardening, in Northern Europe--a feeling possessed by them even before
the thirteenth century. The taste owed its origin, no doubt, partly to
the general monotony of their country, partly to the wealth of their
merchants, and partly to an extended commerce, which enabled the Dutch
to import from the East those bulbous roots which have long been
cultivated in Holland, and were once valued at fabulous prices. Dutch
gardening soon acquired a peculiar character of its own. The gardens of
Loo, laid out in the time of William III., were excellent examples of
the symmetrical Dutch style; a canal divided the upper from the lower
garden; the beds were cut in squares, and filled at various seasons of
the year with tulips, hyacinths, poppies, sun-flowers, &c.; straight
walks intersected the grounds, which were adorned with numerous statues,
grotto-work, and fountains, some exceedingly whimsical and curious; the
trees and shrubs were cut into devices, principally in pyramidal forms,
whilst hedges separated the different parts of the garden, and were not
allowed to grow above a certain height. Straight rows and double rows of
trees constitute another characteristic of the Dutch style, and
elaborate lace-like patterns for parterres were much in vogue during the
latter part of the seventeenth century. The influence of this style upon
English gardens may still be perceived in the clipped hedgerows and
trees, green terraces, and now only prim, now magnificent avenues, so
frequent in our country.
It would appear that from William down to George II., gardening in
England suffered sad deterioration as an art. Formality prevailed to
the most deadening and oppressive extent. The shapes of men and animals
were cut in trees, and the land was threatened with a vast and hideous
collection of verdant sculpture. Pope and Addison came to the rescue of
nature, and ridiculed the monstrous fashion. Pope, in one of his papers
in “The Guardian,” details an imaginary set of plants for sale,
including a “St. George, in box, his arm scarce long enough, but will be
in condition to stick the dragon next April;” and a “quickset hog shot
up into a porcupine by being forgot a week in rainy weather.” Addison,
in “The Spectator,” says, “Our British gardeners, instead of humouring
nature, love to deviate from it as much as possible. Our trees rise in
cones, globes, and pyramids. We see the marks of the scissors upon every
plant and bush.” Pope himself laid out his grounds in his villa at
Twickenham; and his gardens there, which still bear the impress of his
taste, attest to his practical skill as a gardener.
The satire of these great writers contributed not a little to a
revolution in English gardening. Bridgeman seems to have been the first
to commence the wholesome work of destruction, and to introduce
landscape gardening; and it is said that he was instigated to his labour
by the very paper of Pope’s, in “The Guardian,” to which we have
alluded. But Kent, at a later period, banished the old grotesque and
ridiculous style, and established the new picturesque treatment. He laid
out Kensington Gardens, and probably Claremont. Wright and Brown were
also early artists in the new style, and deserve honourable mention for
their exertions in the right direction. The former displayed his skill
at Fonthill Abbey, the seat of Mr. Beckford; Brown was consulted at
Blenheim, where he constructed the earliest artificial lake in the
kingdom,--the work of a week. Nor must Shenstone, the poet, be
forgotten. His attempt, towards 1750, to establish the rights of nature
in his own ornamental farm at the Leasowes, places him fairly in the
front rank of our rural reformers. Mathematical precision and the yoke
of excessive art were thus cast off, and nature was allowed a larger
extent of liberty and life. She was no longer tasked to imitate forms
that detracted from her own beauty without giving grace to the
imitation; but she was questioned as to the garb which it chiefly
delighted her to wear, and answer being given, active steps were taken
to comply with her will. Then came Knight and Price to carry out the
goodly work of recovery and restoration. To them followed Mr. Humphrey
Repton, the accomplished scholar under whose eye the gardens of Cobham
Hall were planned, and under whose influence all the celebrated
landscape-gardens of his time were fashioned. And as the result of the
united labours of one and all, we have the irregularly-bounded pieces of
water which delight the English eye, the shrubberies, the noble groups
of trees, the winding walks, the gentle undulations, and pleasant
slopes,--all which combined give a peculiar charm to our island
landscapes, that is looked for in vain in fairer climates and on a more
extended soil.
In the Crystal Palace Gardens, the Italian style has not been servilely
copied, but rather adapted and appropriated. It has been taken, in fact,
as the basis of a portion of our garden, and modified so as to suit
English climate and English taste. Thus, we have the terraces and the
architectural display, the long walks, the carefully cut beds, and the
ornamental fountains: but the undulations of greensward, that bespeak
the English soil, give a character to the borrowed elements which they
do not find elsewhere. The violent juxtaposition of the two styles of
gardening--the Italian and the English--it may readily be conceived,
would produce a harsh and disagreeable effect. To avoid the collision,
Sir Joseph Paxton has introduced, in the immediate vicinity of the
terraces and the broad central walk, a mixed or transitional style,
combining the formality of the one school with the freedom and natural
grace of the other; and the former character is gradually diminished
until, at the north side of the ground, it entirely disappears, and
English landscape-gardening is looked upon in all its beauty.
THE TERRACES.
Descending the steps we reach the first terrace, on the parapet of which
are placed twenty-six allegorical statues of the most important
commercial and manufacturing countries in the world, and of the chief
industrial cities of England and France. The length of the upper terrace
is 1576 feet, and its width 48 feet; the terrace wall is of Bath-stone.
The granite pedestals on each side of the steps, leading from the Great
Transept, are 16 feet by 24 feet. The width of the central flight of
steps is 96 feet; and this is also the width of the grand central walk.
The lower terrace, along which are ranged the first six fountains of the
upper series, is 1664 feet long between the wings of the building, or
nearly one-third of a mile, and 512 feet wide, the basins for the
fountains on this terrace being, in their measurements, as before
stated, all multiples of eight. The total length of the garden front of
the wall of this terrace, which is formed into alcoves, is 1896 feet.
The length of the broad central gravel walk from the building to the end
of the garden in a direct line is 2660 feet. Such are a few of the
principal measurements connected with the Palace Gardens, as these are
seen on the surface. But although the work that is above ground may be
recognised and calculated with little trouble by the visitor, there is
beneath the surface an amount of labour and capital expended, of which
he can with difficulty form an accurate idea. Drain pipes spread under
his feet like a net-work, and amount in length to several miles; he
treads on thousands of bundles of faggots which have formed his path; he
walks over ten miles of iron piping which supply the fountains for his
amusement.
On each side of the great central staircase are statues representing
Mulhouse, Glasgow, and Liverpool (to the right as we face the gardens),
the two first by Calder Marshall, the third by Spence. On the left side
are personifications of Paris, Lyons, and an allegorical statue of
French art, the first by Etex.
The next bastion, on the Sydenham side, is surmounted by statues of
Spain and Italy, admirably executed by Monti; the succeeding bastion
forms a pedestal for the very characteristic figures of California and
Australia, by Bell. The staircase at this end of the terrace is
ornamented at the first angle with representations of South America, by
Monti, and of Turkey and Greece by Baron Marochetti; the second group
consists of India and Egypt, also by Marochetti, and of China, by Monti.
The first bastion, on the Norwood side of the central staircase,
supports allegorical statues of Manchester, by Theed, and Belfast, by
Legrew. On the succeeding one are placed those of Sheffield and
Birmingham, by Bell.
On each side of the staircase, at this point, are very excellent
representations of the Zollverein and Holland, by Monti, and of Belgium,
by Geefs.
The last group consists of a fine allegorical statue of the United
States, by Powers, and of Canada and Russia, by Launitz.
All these figurative subjects are more or less composed in the style of
the modern Romantic school of sculpture, and afford excellent
illustrations of the character, nature, and chief occupations of the
countries and cities they represent.
[Illustration: The Arcade and Rosary.]
Proceeding in a northerly direction, we pass on until we reach a flight
of steps, by which we gain the lower terrace, or Italian flower-garden.
At the bottom of these steps are stone recesses, built under the terrace
above, in which streams of water fall from dolphins’ mouths into bronze
basins. Crossing the terrace by the path facing the steps, the visitor
turns to the right, examining the flowers and the fountains, until he
arrives at the central steps leading to the circular basin, from which
point a most admirable view of the whole crystal structure is obtained.
The deep recesses in the transepts, the open galleries, the circular
roof to the nave, the height of the Central Transept, the great length
of the building, and the general aërial appearance of the whole crystal
fabric, produce an effect which, for novelty and lightness, surpasses
every other architectural elevation in the world. Turning his back upon
the building, the visitor beholds on either side of him green undulating
lawns, beds planted with rhododendrons and other flowers, and winding
gravel walks. He now surveys the mixed garden, before mentioned, which
extends throughout the south side. To the right is a mound, surrounded
by an arcade of arabesque iron-work, around which innumerable roses are
twined; and, to the left, two spreading cedar trees--of a kind familiar
to this neighbourhood--attract attention by their thick, spreading,
sombre foliage. Descending the steps, and walking down the broad gravel
path, the visitor reaches the large Circular Fountain. Round the basin
of the fountain are white marble statues, copies from the antique, and
of works by Thorwaldsen and Canova. Amongst them will be found the
celebrated Farnese Hercules, the free and graceful Mercury by
Thorwaldsen, the Venus of Milo, and the Paris by Canova. On either hand,
and a little below the Central Fountain, will be remarked two temples of
beautiful iron-work, called the Temples of the Cascades, which, with the
fountains, will be more fully described hereafter. Having made one half
of the circle, the visitor, instead of proceeding down the central
avenue, turns to the left, round the other side of the Central Fountain,
and passing the first outlet, finds his way through the second, and
descends the steps into a gently rising walk, which leads him to a
smaller fountain.
[Illustration: The Cedar Trees.]
Keeping to the left-hand side, we make half the circle of this smaller
fountain, and then enter upon a pleasant path, on the right side of
which stands one of the noble cedar-trees before mentioned. We are now
quitting the mixed Italian and English gardens for the pure English
landscape. Trees wave their long branches over our heads, the paths
wind, and art recedes before nature. Travelling for a short distance, we
come to a junction of two roads. Selecting the left, we journey on
through a path, still gently rising, bordered on one side by trees, and
on the other by a lawn, until we approach a valley at the bottom of
which is a small piece of water, lying close to a thicket forming a
pleasant summer shade. Leading out of this small piece of water is seen
a large lake, which forms the second or intermediate reservoir for the
supply of the fountains. Under the hand of Sir Joseph Paxton the lake is
made to serve for ornament as well as use.
[Illustration: View in Grounds.]
THE ARCHERY GROUND.
On the slope, which is here picturesquely bordered with trees, is the
Archery Ground. The targets are fixed at various distances on the lawn,
and in a marquee, pitched in a proper position, are kept bows and arrows
and all needful appliances of the noble pastime of archery--once the
military stay and boast of the English nation, now, in these days of
gunpowder, the pleasing and vigorous recreation of ladies and civilians.
Pursuing our way along the path, and which is now open on both sides, we
descend towards the east, and on either side of us are beds filled with
American rhododendrons. Our road takes us along the edge of the lake.
Bearing to the right, we presently reach the junction of two paths. If
the visitor turns to the left, he enters the Park, which occupies this
side of the ground, and forms not one of the least agreeable features of
the place.
[Illustration: THE STONE ARCADE.]
THE CRICKET GROUND.
In the Park, a little to the right of the Sydenham entrance, and between
that and the Great Central Walk, is a spacious level of green turf,
which is specially laid out as a cricketing ground, and which is one of
the best and largest in England. Every necessary arrangement is made,
during the season, for the interesting matches and practice of this
essentially English game. Close by is a ground for Rifle practice.
Quitting the Cricket Ground, the visitor returns on the same path by
which he has approached, to the Great Fountain Basin, proceeding round
the left-hand margin of which he will arrive where the broad Central
Walk divides the two basins, from which point he obtains an excellent
view of the stone Arcades, over which the water from the Temples and
Cascades rushes in a glittering span of many feet, and forms splendid
falls into the basins below. The pathway passes under the stone Arcades,
and, when the water is pouring over, a curious and beautiful effect is
noticeable from the open balustrade, in front of which the water passes.
Having inspected the Arcades, the visitor continues his walk, partly
round the next fountain basin, till he reaches a flight of steps on the
left hand, passing up which he gains the Grand Plateau, which is 47 feet
above the level of the Lake, which lies below.
THE GEOLOGICAL ILLUSTRATIONS AND THE EXTINCT ANIMALS.[27]
From our stand on the Grand Plateau, which is fifty feet in width, we
obtain a general view of a tract of several acres of ground occupied by
Geological illustrations, and including a number of islands partly
covered by strange figures, the restored forms of various animals which
for many ages have ceased to exist as living tribes.
[27] See “Handbook to the Extinct Animals and Geological Illustrations
described,” by Professor Owen.
The wonders of geology are not confined to grand mountain chains
piercing the clouds, burning mountains vomiting steam and hot ashes, and
vast accumulations of animal and vegetable remains found imbedded
everywhere around us. They extend to facts connected with the structure
of the earth’s crust, the existence of stores of mineral wealth, and
strange results derived from the comparison of existing races with the
fragments of other races formerly occupying the surface. The form of the
surface depends on the internal structure; the scenery is due to the
circumstances of the prevailing rock and soil; and the sea-cliff and
naked mountain side are the places where nature teaches her first great
lesson of the natural history of the Mineral Kingdom. To illustrate
geology, it was necessary to perform the same kind of task as that which
has been so successfully performed in the Architectural Courts, and the
result is now before the visitor, as he looks down from this plateau and
prepares to enter on the new course of investigation open to him. The
ground forming the cliffs, shores, banks, and islands in this part of
the Park are so constructed as to give, in a series of views, a number
of practical lessons in geology, tending to make the essential facts of
the science easily understood, while, at the same time, they add to the
picturesque beauty of the scenery. The plan may be recognised in the
fine expanse of cliff now at our feet; to do justice to which we must
descend and place ourselves on the tongue of land below, or on the
rustic bridge a little to the left. From hence may be seen the full
length of the present cliff, and a few words of explanation will be
sufficient to indicate the succession of rocks and the geological
phenomena.
On this cliff, the part immediately facing the bridge represents a
section nearly vertical of part of a coal-field, all the beds _dipping_
(or inclining) at a moderate angle to the right-hand, so that those to
the left are lower in geological position, though they gradually become
higher in point of actual elevation, and at a little distance further to
the left overtop the coal itself. Besides this illustration, we also see
in the same equal part of the cliff instances of _faults_ or _troubles_,
throwing a part of the coal-measures into a different position from the
rest, and lifting up portions of a series of deposits. In the case
before us, the older rocks are also thrown up on the left side of the
fault.
The coal-cliff consists of two beds or seams of coal, two of ironstone,
and some sandstone. The part not consisting of projecting stone is
supposed to represent softer rocks, clays, or shales. There are placed
here about twenty-five tons of coal, twenty tons of grit or sandstone,
and five tons of ironstone, all from the neighbourhood of Clay Cross.
In order to produce a marked contrast, the carboniferous limestone is
placed next in order, and as if brought up to its position by a
considerable fault. The millstone grit, appearing on the top of the
plateau above the limestone, would have occupied naturally and without
disturbance, a position below the lowest part of the coal measures. The
fault is therefore called, technically, an upthrow or upcast to the
south. The millstone grit consists of about 30 tons of rock from Crick,
near Matlock, and from Bramley Fall quarries, in Yorkshire. The
carboniferous limestone (of which there is 100 tons) is from the
neighbourhood of Matlock, and is placed nearly in its natural position.
In this cliff of carboniferous limestone the bedding may be very
distinctly traced, and systems of fissures, or _joints_, may also be
observed. One of these fissures, wider than the rest and communicating
with several smaller ones, is partly filled with spar, and has an
opening into a cavern constructed behind the cliff. The main fissure
represents a _mineral vein_ or _lode_, and the smaller ones are
_strings_ or _feeders_. Within the cavern the spectator sees some of the
peculiar and interesting appearances of natural limestone grottoes.
Coming out below the limestone, hard beds of the _old red sandstone_ are
seen. These have the same dip as the limestones, and are seen at
intervals further to the left towards the railway. It is intended to
continue the series of older and altered rocks in this direction. The
old red sandstone on the ground consists of about twenty tons from near
Bristol.
Overlying this whole series of old (or palæozoic) rocks, which are
inclined to the north, is a horizontal, and therefore unconformable
capping of _new red sandstone_. This also is from near Bristol, and the
quantity provided was fifty tons.
The new red sandstone, thus capping the old rock on the high ground of
the plateau, re-appears at the extremity of the nearest of the adjacent
islands at a much lower level, and having a different mechanical
position.
It is right to mention that these geological sketches are the result of
careful consideration, and have not been effected without much
constructive ingenuity. The original plan of the whole was suggested by
Professor Ansted, and arranged with Sir Joseph Paxton at an early period
of the laying out of the grounds; and as soon as the state of affairs
permitted and the actual earthworks of the Plateau were in progress, a
model of the intended structure was completed and coloured geologically
by Professor Ansted. The works have been ably constructed from this
model by Mr. James Campbell, who also procured the stone and other
minerals from different parts of the country.
[Illustration: The Labyrinthodons.]
Let us now return to the Plateau, from whence we can obtain the best
view of the islands and their singular tenants. Before describing them,
however, we will remind the visitor that the lowest or oldest rocks,
which we have shown him, were the old red sandstone; next above them
were the carboniferous limestone, the millstone grit, the coal-measures,
and then the new red sandstone. It is with this last formation that the
restorations of the extinct animals commence. Before that period fossil
remains indicate that fish inhabited the waters of the earth, but there
are no traces of the existence of any reptiles or higher animals.
Reptiles first appear in the new red sandstone, and as the extreme right
of the islands is arranged to represent this formation, it is there that
we shall find the Labyrinthodon and the Dicynodon, of each of which
there are two species. The strata which overlie the new red sandstone
will be now mentioned in the order of their super-position, each
successive formation bringing us nearer to the forms of animal life
which are at present living upon the earth.
Next above the new red sandstone comes the lias, the general direction
of the inclination of the beds being the same as in the coal-cliff, and
the newer beds covering up the old ones as we advance in the direction
of the larger islands. The lias animals are here represented by three
very dissimilar forms; there are three species of _Ichthyosaurus_, or
Fish Lizard; three species of _Plesiosaurus_, or Serpent Lizard, and a
crocodilian beast called _Teleosaurus_, which much resembles the
fish-eating Gavial of the river Ganges. This crocodile and the fish
lizards formerly inhabited the neighbourhood of Whitby in Yorkshire,
where their remains are found in good condition. Dr. Buckland describes
the _Plesiosaurus_ as the most singular and monstrous of the relics of
the former world, having the head of a lizard, the teeth of a crocodile,
a neck like the body of a serpent, the trunk and tail of an ordinary
quadruped, the ribs of a chameleon, and the paddles of a whale.
The next formation in ascending order is the oolite. To this stratum, as
well as to the succeeding one, belongs the _Megalosaurus_, or Gigantic
Lizard, which measures 39 feet from snout to top of tail, and 22 feet 6
inches round the body, and the smaller Pterodactyles.
Still proceeding to the left, we pass next to the Wealden formation so
well known in Kent, Surrey, and Sussex. Here we see the gigantic
_Iguanodons_, and the _Hylæosaurus_, or Great Spiny Lizard of the
Wealden. It is with these creatures that the name of the late
distinguished palæontologist, Dr. Mantell, will ever be connected, since
to his labours in Tilgate Forest and other parts we are indebted for our
knowledge of these animals.
Above the Wealden formation come those of the lower greensand and the
chalk. Both of these also contain fragments of singular reptiles of
large size, the _Mosasaurus_ and great Pterodactyles (most probably the
fabled dragon of old) restored from Mr. Bowerbank’s specimens.
With these we quit the Secondary Island, and may next turn our attention
to the island beyond, which contains the principal forms characterising
the strata belonging to the tertiary period. Hitherto we have shown the
visitor nothing but reptiles--now, upon the Tertiary Island, he will
find a higher order of animal life, and meet with forms more nearly
resembling our living animals. Next in procession are the animals
restored by Baron Cuvier from fragments found in the Gypsum beds of the
Paris basin: the _Palæotherium_, or Ancient Beast, might be justly
called the first triumph of comparative anatomy, as from a few detached
pieces of bone Cuvier was enabled to construct the entire animal, which,
by his drawings, appears to have resembled the Tapir of the present day.
After these come the more elegant pachydermatous animal called the
_Anoplotherium commune_ and the _Anoplotherium gracilis_, and not far
off we see the _Megatherium_, or Gigantic Sloth, in the act of pulling
down a tree to obtain the leaves, upon which it was accustomed to feed,
as its smaller analogies do at the present day. These, with the Irish
Elks, first found in the Isle of Man, are grouped upon this island, and
present a scene equally remarkable and instructive to all those who are
interested in the natural history of the earlier periods of the earth.
[Illustration: Great Pterodactyles.]
No one can look upon all these singular and bulky productions, so unlike
the comparatively familiar forms of even the rarer living animals, and
yet with so much appearance of reality, without at once becoming
sensible that a series of illustrations is before him, of a nature
altogether different from any he has been accustomed to.
The footmarks, the bones, the very skin in some cases, of animals long
since extinct, have been preserved by being buried in mud which has
afterwards been converted into solid rock. From these obscure guides,
the comparative anatomist has ventured to describe the general form, the
habits, and the peculiarities of the race. From such descriptions,
penned chiefly by Cuvier, Mantell, and Owen, has Mr. Waterhouse Hawkins
restored and by degrees built up the animals. Possessing a great
knowledge of the peculiarities of many living species; and being strong
in his own feeling of what was probable and natural in the numerous
details that required consideration, he has skilfully and cautiously
constructed these restorations, and his embodiments of the opinions of
the greatest palæontologists are indeed equally bold and conscientious.
Professor Owen, the most eminent living authority upon these subjects,
has kindly rendered Mr. Hawkins every assistance in his undertaking.
Re-descending from the Plateau once more to the large fountain, the
visitor turns to the left, and proceeds round its margin until he
arrives at the further end of the basin, where he will notice an
ornamental cataract is contrived. On the left-hand of the path which
winds from this point, is a high bank constructed of roots of the trees
which grew in the woods once covering a great part of the Crystal Palace
gardens. The effect is very striking and picturesque, being greatly
aided by the wild flowers which grow so luxuriantly on all parts. It
will have been noticed that round the confines of the lake we have just
quitted, where the geological restorations are, the flowers are
purposely nearly all wild ones, and they give a singularly natural and
fit appearance to this interesting district. It must be mentioned that
the whole of the Crystal Palace Exterior Gardens are under the personal
superintendence of Mr. Edward Milner, and it will be confessed their
beautiful condition answers to his assiduous care. A few steps further,
and the visitor arrives at the junction of two roads. Selecting that to
the left, he will speedily gain the foot of the Rosary, and the mound,
at the top of which is an ornamental arabesque arcade designed by Mr.
Owen Jones. He will here find roses of every variety, besides other
plants which climb the sides and around the roof of the arcade.
[Illustration: The Secondary Island.
1. Mosasaurus.
2. & 3. Pterodactyles.
4. & 5. Iguanodons.
6. The Hylæosaurus.
7. The Megalosaurus.
8. & 9. The Teleosauri.
10. The Ichthyosaurus Communis.
11. The Ichthyosaurus Platyodon.
12. Plesiosaurus Macrocephalus.
13. The Labyrinthodon Salamandroides.
14. & 15. Dycynodons.
16. Labyrinthodon Pachygnathus.]
Proceeding round the Rosary to the right, we quit the mound at the
second outlet, and journey along a path, on either side of which are
flower-beds and groups of Rhododendrons and Azaleas. Bearing to the
right we reach the basin of a fountain. Choosing the left-hand side of
this basin, we turn into the broad walk which leads us by means of a
flight of steps to the second terrace, crossing which we make our way by
the steps to the upper terrace.
At this point the visitor can either re-enter the Palace under the
Central Transept, or by proceeding to the left-hand down the terrace,
enter the south wing and pass down the colonnade to the Railway Station.
THE CRYSTAL TOWERS.
The high towers, of which there are two, one at each end of the
building, have been erected for the purpose of raising the tanks from
which the high jets of the great fountains in the lower basins are
played, and are, with the exception of the tank and stays, constructed
of cast iron.
The foundation upon which this enormous mass of material rests, is
necessarily very strong, and consists, in the first place, of a ring of
concrete, sixty feet in external diameter, and three feet deep; upon
this is built a circular wall of brick-work, laid in cement, fifty-six
feet in diameter, and eighteen feet deep. This forms the bed on which
rests the base pieces of the columns.
The columns, 1 foot in diameter, and 24 in number, are placed in pairs,
4 feet apart, and are connected together by solid vertical girders or
filling-in frames, each pair thus forming one continuous broad column,
extending from the base to the bottom of the tank by which the tower is
surmounted; the whole rising to a height of 202 feet. The space between
each pair of columns (8 feet) is filled in with glazed sashes and
face-work, corresponding with those in the building, and completing the
shell of the tower. Behind these sashes, and spanning these spaces,
extending from floor to floor, are series of round wrought-iron diagonal
bracing, continued from the bottom to the top of the tower; and, under
each of the ten landing-floors, is a strong horizontal bracing-plate,
termed a diaphragm, forming, with the diagonal bracing above referred
to, a system of vertical and horizontal trussing.
Up the centre of each tower is carried a perpendicular brick shaft (the
internal diameter of which is 7 ft. 9 in.), resting upon a separate
foundation, and serving the double purpose of carrying off the smoke
from the heating apparatus, from the boilers connected with the
Machinery Department, the upper engine-house, and kitchen, and forming
the core or spiral staircase by which the various floors, and gallery at
the top of the tower, are reached. These floors arise at intervals of
twenty feet from the level of the floor of the main building. The tank
noticed above is of boiler-plate, and is formed of an inner and outer
wall, the former of which encircles the chimney-shaft; the bottom, which
is dome-shaped, is carried upon wrought-iron girders radiating from the
chimney, and is secured to the tops of the external columns. This
description will be more readily understood when the depths of the tank
at its outer and inner walls are given. The former, or that resting upon
the external columns, being 38 feet, while the latter, next the
chimney-shaft, is about 26 feet. These tanks are calculated to hold,
when filled, a body of water of the enormous weight of 1,576 tons, or a
bulk of 57,228 cubic feet, equal to 357,675 gallons.
The supply is forced from the upper reservoir by the same engines that
raise the water to the lower water-tanks and the building; and the same
pipes form also the means of conveying the water to the fountains. They
are arranged within the outer columns, forming an interior circle,
apparently of columns, but rendering in reality no assistance towards
the stability of the structure.
On a level with the base of the tank, projecting from the exterior of
the tower, and carried on strong and elegant cast-iron brackets, is the
gallery six feet in width, from the outer edge of which, on light iron
columns, is carried the many-gabled conical Paxton roof which covers the
tower. The total height of these stupendous edifices, from the ground
line to the top ornaments on the roof, is 284 feet. From the same ground
line to the floor of the projecting gallery is 214 feet, involving to
the persevering visitor an ascent of no fewer than 400 steps, with only
ten landings or rests on the floors previously mentioned. The reward in
the prospect afforded will, however, amply repay the toil incurred,
embracing as it does an horizon including part of six counties--viz.,
Middlesex, Kent, Essex, Bedfordshire, and Bucks--and including a
panorama possessing, amongst other objects of interest, the Towers of
London and Windsor, the woodlands of Essex, and the Downs of Epsom. The
vision of the visitor from this height is also lifted over the grand
plateau, or ridge, which separates the great lake with its antediluvian
animals from the rest of the garden.
These magnificent towers, each of which contains 800 tons of iron, were
designed by Mr. Brunel.
From the above simple statement it will be seen, that the arrangements
for supplying the fountains with water are at once simple, complete, and
based upon the most economical principles. The engine power employed is
that of three hundred and twenty horses; the water itself is conveyed to
and from the reservoirs in pipes varying from three feet to one inch in
diameter; and the total weight of piping may be set down at 4000 tons,
its length, roughly estimated, at ten miles.
THE ARTESIAN WELL, AND THE WATER SUPPLY.
In July, 1852, the supply of water for the fountains and other great
works in connexion with the Crystal Palace, first seriously engaged the
attention of the Directors. Various proposals were made, and suggestions
offered: some were at once rejected; others, although not free from
difficulties, were taken into consideration. The most feasible of these
was that which involved the extension to Sydenham of the pipes of one of
the nearest London water-work companies,--a measure that would at once
secure a sufficient supply of tolerably good water. Against the
proposition for sinking a well on the grounds, it was urged that the
neighbourhood is almost destitute of water; that wells already excavated
to the depth of two hundred feet had yielded but a small supply; and
that even if a sufficient supply could be secured by digging, the water
obtained could never be raised to the top of the hill.
Acting, however, upon sound advice, and after due consideration, the
company commenced the sinking of an artesian well at the foot of the
hill on which the Palace stands, and after proceeding to a depth of 250
feet, their efforts were rewarded.
In the present case, the water which appears in the well comes from a
reservoir lying between the London clay and the greensand as its upper
and lower envelopes. This reservoir is supplied by rain-water, which,
percolating the London clay, sand, and chalk, and finding an impediment
to its downward progress on reaching the greensand, flows into the space
between the hard clay and greensand, as into a cistern. The process by
which the reservoir is supplied is continuous, the water finding its way
down to it as if by a series of small tubes, and pressing against the
lower surface of the clay with a force which, if unresisted, would raise
it to the level from which it descended. When the clay is pierced by the
augur it is evident that this force is free to act, the resistance of
the clay at the point where it is pierced being removed, and accordingly
the water rises in the bore to the level from which it is supplied, and
will continue to do so as long as the percolation lasts. The chief
difficulty to be overcome was the great thickness of the substratum of
chalk, which extends, probably, to a depth of about 1000 feet. The well,
now completed, is a brick shaft 8¹⁄₂ feet in diameter, 247 feet deep,
from whence an Artesian bore descends 328 feet, making the entire depth
575 feet. It is situated at the bottom of the Garden, near the Cricket
Ground.
An abundant supply of water having been brought to the foot of the hill
from the well, and the supplies of a neighbouring water-company, it was
necessary not only to raise it to the top, on a level with the building,
but also to elevate it to a sufficient height for obtaining the
requisite pressure for fountains to throw up water to heights varying
from 5 to 280 feet. The following is a brief outline of the arrangements
by which these objects are effected:--
Three reservoirs have been formed at different levels in the grounds,
the lowest one being on the same level as the largest basins placed
nearly at the base of the hill; the second or intermediate reservoir is
higher up, and in a line with the basin in the central walk; whilst the
third or upper reservoir stands on the top of the hill immediately
adjoining the north end of the building. Next to the Artesian Well, an
engine is placed which raises the water required to be permanently
maintained in the reservoirs and in the basins of the fountains, and
which supply or keep up the water that is lost by waste and evaporation.
The reservoir on the summit of the hill contains the water required for
the use of the building, and for the fountains throughout the grounds.
Close to this reservoir is an engine-house, containing the steam-engines
that raise part of the water into two large tanks erected on columns at
the north end of the building close to the junction of the Sydenham and
Dulwich roads. The columns, twenty-four in number, are of hollowed
cast-iron, one foot in diameter. The central column, which is two feet
in diameter, supporting a portion of the superincumbent weight, and
making up the number, twenty-five, is the water-pipe, by which the tank
is fed, and which forms also the conduit to the fountains in the
building, and on the terraces. These two distinct actions of filling the
tank and working the fountains proceed simultaneously through the same
pipe. On the top of these columns are massive girders which support the
plates, forming the bottom of the tank. The height from the stone curb
of the reservoir to the bottom of the tank is 65 feet; the tanks are
each 47 feet square by 15 feet deep, and capable of containing 207,000
gallons or about 900 tons of water. They supply also the water required
in the building for the plants and kitchens, and charge the pipes
provided against casualties from fire. The vast residue of the water in
the great upper reservoir, in consequence of the sloping character of
the ground, does not need any help from the engines, but flows direct to
fountains on a lower level, and plays smaller jets. Through the same
convenience, the waste water from the upper fountains is used a second
time in the lower fountains.
The central or intermediate reservoir collects the waste water from the
displays which take place on ordinary days, and which include all the
fountains, save the two largest, and the cascades. Attached to this
reservoir are also engines which pump the water back to the upper
reservoir. The lowest reservoir collects similarly the waste water from
the displays which take place in the two largest fountains on the days
of great exhibition, and its engines return the water at once to the top
level.
THE FOUNTAINS.
The great system of fountains in the grounds of the Crystal Palace,
though the most stupendous that the world has ever seen, is designed
with an unity which greatly enhances, or rather fully displays, its
unrivalled magnificence. The whole system is divided into two series,
the upper and the lower. The upper series, which consists of the six
basins adorning the long extent of the second terrace, with the great
circular fountain in the centre, and the smaller ones on either side of
it, in all, nine fountains, constitutes the display on ordinary
occasions. Beyond these, as we advance down the central path, are the
iron Water Temples, from which the water rushes down a series of twelve
cascades, extending for a distance of 600 feet, till it falls over the
stone arcade in the great fountain basins, forming a glittering cataract
120 feet broad, with a fall of thirty feet. The Water Temples with their
cascades and falls, and the two great fountains into the basins of which
they discharge, constitute the lower series, which is played only on
grand occasions; but all are part of one design, and each one ministers
to its completeness.
Unlike most similar works, sculpture has not been used to enhance or
obtain the effect desired. Under any circumstances, water, when thrown
high into the air, assumes a graceful and beautiful appearance; no
ungentle curves or distortions of form mar its expression of a natural
beauty, which, though it may be the roaring grandeur of a mighty stream,
or the gentle grace of the smallest jet, bears with it an unspeakable
charm. In the Crystal Palace Fountains the designs are carried out by
the water alone, and the sculptural ornamentation is confined to the
margins of the basins, and, down the sides of the cascades, to some
small ornamental bronze fountains of secondary importance.
The first six fountains of the upper series which ornament the Italian
Garden on the second terrace throw their highest jets to the height of
90 feet, the lower jets form graceful designs round the bases of these
columns of water, and in other parts of the basins. It is so arranged
that the waste water from these basins is again used for the lowest jets
of the fountains which lie between these and the Water Temples, a rapid
descent in the ground giving sufficient pressure for this purpose; the
same is the case with the water flowing from these again, as it is once
more used for the lower water designs in the great basins.
The great circular fountain, which occupies the central position below
the terraces, is the principal one of the upper series. Its highest
columns, which rise in an imposing mass from a gigantic cradle formed by
the water, attain the altitude of 150 feet. Rising from the surface
around this, are single upright streams which beautifully fill in the
design, throwing their spray to almost an equal height. The whole is
surrounded by a delicate trellis of water, in which the jets appear to
interlace with one another. On the right and left of this, but in lower
positions, are two smaller circular fountains of great beauty, which,
with those already described, complete the upper series. The largest
circular basin is 196 feet in diameter.
We now approach the two Water Temples which head the cascades on either
side of the broad central walk. These Temples are octagonal in shape,
with dome-shaped roofs, and are constructed of ornamental ironwork,
gaily coloured and gilded. On the apex of each is a bronze figure, from
beneath which the water, which is forced up the hollow columns, bursts
in a glittering film till it falls over the roof and down the sides. The
Temples are about 60 feet in height. The head or basin which surrounds
each one, and from which the water flows down the cascades, is a
parallelogram of 72 feet, with semicircular extensions in the two sides
of 18 feet radius. Bronze fountains ornament each side of the cascades.
The great fountains are the crowning effect of the whole system, and are
the largest in the world. The basins, which are designed with a
graceful and diversified outline, are 784 feet each in length, having a
diameter in the semicircular centre portion of 468 feet. A great central
column rises in each, streaming upward to the height of 280 feet when
undisturbed by wind. These columns are each composed of 50 two-inch
jets, which burst forth under a pressure on the mouth of the pipes of
262 lb. to the square inch. The design is carried out by an infinite
variety of water display. The effect is gained by the water alone, which
assumes many forms, from the giant and stately column, to the most
delicate crystal tracery. When the whole system of fountains is
displayed, no less than 11,788 jets are in operation, throwing 120,000
gallons per minute. A grand display usually consumes 6,000,000 gallons
of water.
These stupendous and magnificent works were designed by Sir Joseph
Paxton, the engineering operations being executed by Mr. W. Shields, the
resident engineer of the Company.