Chapter 6

THE POMPEIAN COURT.

From this point, the “Peristyle” is also visible, with its columns coloured red some way up, a Xystus or flower-garden, and a back wall, upon which are curious specimens of perspective decoration, in which the Romans seem to have delighted. This court was always open to the sky in the middle. Passing through the “tablinum,” and turning to the right, we come to a small doorway which admits us into the “triclinium,” or winter dining-room. The Roman dining-room generally contained three couches, each large enough to hold three persons. In feeding, the Roman was accustomed to lie on his left side and to stretch out his hand towards the table in order to serve himself. Re-entering the “Peristyle,” we proceed on our way, still to the right, and pass a summer triclinium used in warm weather, on the walls of which fruits are painted, some hanging in golden clusters on a wreath of foliage, supported by Cupids. Next to this is the “porta postica,” or back door, and adjoining it a small recess, which served as kitchen. Crossing the “Peristyle,” near one end of which is the domestic altar, we turn to the left, and after passing a small chamber, the “vestiarium,” or dressing-room, reach the “balneum,” or bath-room—that chamber so essential to the luxurious Roman. Close to this is theæcus, or saloon, and beyond this again, and corresponding with the “triclinium,” is the “thalamus” or bed-chamber of the master of the house. Quitting this, we once more gain the “atrium” by means of narrowfauces, or passages, and return to the Nave, through the door of the house at which we originally entered. The visitor has seen the extremes of decorative art, when, after sating his eyes with the profuse and dazzling embellishment of the Alhambra, he has also dwelt upon the delicate work of colours gracing the walls of Pompeii. From the gallery above the visitor may see the form of the ancient tiled roof made of the peculiar tiles still occasionally used in Italy. This court was erected by Mr. Digby Wyatt. The paintings were executed under the superintendence of Sig. Giuseppe Abbate, of the Museum, at Naples. The mosaic floor was manufactured by Minton from drawings after antique Mosaic by Mr. Wyatt; and the bronze groups in thetablinum, and the Venus in thelararium, were electrotyped and presented by Messrs. Elkington and Co.

Upon quitting the Pompeian Court the visitor, still walking southwards, crosses the south transept and enters that division of the building which is devoted to geographical groupings of men, animals, and plants. The illustrations of the animal and vegetable kingdoms in the Crystal Palace have been arranged upon a specific principle and plan. Although the British Museum contains nearly all the examples of animals and birds known in the world, and Kew Gardens exhibit specimens of the majority of trees and plants known to botanists, still neither of these collections affords the visitor any accurate idea of the manner in which these numerous objects are scattered over the earth. Nor do they assist his conjectures as to the nature or the general aspect of their native countries. Here an attempt has been made to remove the confusion; and it is believed that the associations of those two branches of Natural Science, in groupings arranged in such amanner as the nature of the building will permit, coupled with illustrations of the human variety belonging to the same soil (a collection which has never before been attempted in any country), will prove both instructive and amusing, and afford a clearer conception than can be obtained elsewhere of the manner in which the varieties of man, animals, and plants, are distributed over the globe.

Zoology (fromZoön, an animal) is, strictly speaking, that science which investigates the whole animal kingdom, comprehending man as well as the inferior animals. Zoology, therefore, in a wide sense, includes Ethnology, or so much of that science as considers the different varieties or races of men in a physical point of view, instituting comparisons between them, and carefully pointing out the differences or affinities which characterise the physical structure of various branches of the great human family. In more confined use, the term zoology relates only to the consideration and study of the mammalia, or suckling animals; the requirements of scientific research having occasioned a new nomenclature in order to distinguish the different branches of the same study. Hence the natural history of birds is particularised as Ornithology, and that of fish as Ichthyology, whilst the investigation of those characters in man which serve to distinguish one race from another is, as previously remarked, called Ethnology (from the GreekEthnos, “nation”). This last-named science is subdivided again into different branches, but, in a limited and inferior sense, and as illustrated by the various groups in the Palace, it may be described as that science which distinguishes the differences in skin, hair, bone, and stature that exist between the various races of men. This zoological branch of Ethnology relates to the physical history of man as opposed to his mental history, and, following up the course of his wanderings, endeavours by the above-mentioned physical peculiarities to ascend to the source from which the several migrating races have proceeded.

Within the Palace itself, we have been enabled to remark the works of man, and the gradual development of his ideas, especially in Art, leading to a variety of so-called “styles,” which answer in a measure to the variedspeciesof Divinely created life. We have now an opportunity of attentively considering the more marvellous and infinite creations of the Deity in the organisation and development of that greatest of all mysteries—life itself; and of obtaining a vivid idea of those peculiar varieties of mankind, that have hitherto not fallen under our personal observation. If the visitorshould feel astonishment in the presence of some of the phases of human existence here presented to him, he may do well to bear in mind, that they are representations of human beings endowed with immortal souls; to whose capabilities we may not place a limit, and that it is not yet two thousand years since the forefathers of the present European family tattooed their skins, and lived in so savage a state, that late archæological researches induce us to suspect they were not wholly free from one of the worst charges that is laid to savage existence; viz. the practice of cannibalism.[24]

[24]Archæol. Journ., p. 207. Sept. 1853.

Entering upon the path immediately before him, the visitor will commence the examination of the groups arranged on the western side of the nave. Turning up the right-hand path, we find on the right a general illustration of Australia. The men here represented are copied from living natives of Cape York, North Australia, and strike us at once, by their half-starved, lanky, and ill-proportioned bodies, curiously tattooed; they may be looked upon as savages, hunters, and inhabitants of the forest; they possess that excessive projection of the jaw, which ethnologists make one of the distinguishing traits in the most degraded forms of man. These figures were modelled from some living natives who were brought to England in 1853, and who were kept for some weeks by the Company on purpose that these portraits should be accurately rendered.

Amongst the animals will be noticed that most characteristic form, the Kangaroo, of which there are several species, and the Opossum, or Fox Phalangister, with a young one in its pouch. There are likewise specimens of the Duck-billed Platypus, Cook’s Phalangister, a Flying Opossum, an Emu, and a large rat called Hydromys. Some fine cases of Australian birds stand in the Transept close by. Here the visitor will find numerous plants, with which he is acquainted in conservatories; theBanksia, theAcacias, and the different kinds ofEpacrisandEriostemon, are amongst the most conspicuous. He will see also specimens of three other kinds ofAraucaria, the most elegant of which is the Norfolk Island Pine.

Nearer to the staircase, and adjoining the Australians, is a group of Papuans from the Louisiade Archipelago, remarkable by their curious frizzled hair; they are neither Malays nor Negroes, but a mixed race between these two, retaining the characteristics of the tribes from which they have sprung; hence they may be calledMalay-Negroes. Behind them is a fine Cassowary, a curious bird, indigenous to the Indian Archipelago.

On the left-hand of the visitor, as he stands opposite the Australian figures, is arranged a group of Botocudos, inhabitants of that district in South America watered by the rivers Doce and Pardo. They have been regarded as the fiercest of American savages; they are yellow in colour, their hair is long and lank, their eyes are small, their cheek-bones prominent, the expression of their countenance excessively savage; and they give themselves a still wilder appearance by the insertion of pieces of hard wood in the under lip and in the ears, distending the flesh in a peculiar and strange manner. From this barbarous practice they derived their appellation of Botocudos, from the Portuguese. The operation of thus distending the lip is not, of course, carried out at once, but from infancy by the gradual increase in size of the piece of wood inserted. This may be noticed in the model of the child as compared with the adult natives. Missionary efforts, it is consolatory to think, have done something towards civilising these savages, who have been induced to become industrious, and to turn their attention to the cultivation of the soil. On the summit of the rockwork, over where three of the natives appear to be in council, are two fine specimens of the Black Jaguar and the Ocelot.

We now pass a case of birds belonging to North America, and at this point the illustrations of that country commence. In the centre of this case will be remarked a fine specimen of the Wild Turkey, from which our domestic breed is derived. On the left of this path is a group of North American Red Indians engaged in a war-dance, and surrounded by trees and shrubs indigenous to North America. The Indians of the valley of the Mississippi, and of thedrainageof the Great Lakes, supply us with our current ideas of the so-called Red Man, or the Indian of the New World. In stature they are above the middle height, and exhibit great muscular force, their powers of endurance being very great; in temper they are harsh, stoical, and unsociable, whilst in warfare they are savage and cruel. The general physiognomy of the Red Indians is the same from the Rocky Mountains to the Atlantic. Between the Alleghanies and the Atlantic, the first-known country of these tribes, the variety is now nearly extinct. The most conspicuous plants are the American Rhododendrons, the Kalmias, the Andromedas, and the American Arbor Vitæ. Amongst the foliage we see the Black Bear, the Otter, the Beaver, the Grey Squirrel, and other animals indigenous to the country.

Passing now round the right-hand path, we find on our right the men, plants, and animals of Central America; amongst the latter, on the top of the rock-work, a fine male Puma grey with age. The Puma may be regarded as the American representative of the Lion of the old world, the distribution of both these animals throughout their respective hemispheres having originally been very general. Like most of the cat tribe, the Puma is a good climber, and usually chooses trees, rocks, and other elevated positions from which it can dart upon its prey. Before reaching this, the visitor will note a large specimen ofAgave Americana, one of the most striking plants of Central America; he will also note that this is the land of the justly-admired Verbenas and Fuchsias, amongst which he will find a specimen of the large prehensile-tailed Porcupine. The men are representatives of the Indians of Mexico generally, rather than of any particular tribes.

On the left of the visitor are two groups of men; the two reclining figures are characteristic of Guiana, and beyond them is the Amazonian group. At the back, to the left of these two groups, is a large group of Caribs, some using blowpipes, others shooting fish with bows and arrows. These three are intended to serve as types of the northern varieties of South American Indians. And if we institute a comparison between the various races of North and South America, it will be found that the latter possess more delicate features, rounder forms, and are of smaller stature. Their habits and pursuits also differ. The Red Indian of North America gives himself up entirely to hunting, whilst the South American devotes his life to fishing, guiding his light canoe down the rapid-rolling rivers of his country, in search of the means of subsistence. In front of the Carib group are two Agoutis, and one unfortunate Marmoset Monkey in the clutches of a Skunk, while another is making his escape; also a small Fox, and a Tayra; and beyond the Amazon group is a little prehensile-tailed Porcupine.

The two cases of Birds which we now pass are especially brilliant, as they contain the Humming Birds and others of the splendid species of Tropical America. The specimens are not only remarkable for their magnificent plumage, but in many instances (as with the Toucan) for their peculiar conformation as fitted to their habits of subsistence. The long and slender bills of the Humming Birds, who probe the flowers in search of food, contrast with the apparent unwieldiness of the Toucan’s bill, adapted to tear from the branches the fruit upon which it feeds. Passinground, we notice a Jaguar about to devour a Brocket Deer. As the Leopard is found only in the Old World, so is the Jaguar peculiar to the New World, and each may be regarded as a representative of the other, on opposite sides of the Atlantic ocean; the Jaguar having greatly the advantage in size and muscular strength.

We now come to the Arctic illustrations, commencing with a case of Birds, many of which were collected by Captain Inglefield during one of the recent Arctic expeditions, and presented by him to the Crystal Palace. The specimens are arranged to represent some of the changes of plumage which, at various seasons of the year, are incident to the birds in these remote and extreme climates. The Snowy Owls, the Eider Duck, the Gannet, and various birds frequenting the sea-coast, are beautiful and prominent specimens in the collection.

It has been attempted in this illustration to present the visitor with some idea of the peculiar features of this region. It was necessary here, in the absence of all botanical specimens so attractive in the other departments, to attempt the representation of icebergs, and the snowy aspect of the country. The Ethnological group in the further recess is formed of two Samoiedes, or natives of Arctic Russia in their winter dresses of fur. The male native holds in his hand a pair of the very peculiar snow-shoes which are used by these people. The group nearest to the spectator consists of two males, a female, and child of the Lapland race, in their curious national dress. The scarlet costume of one of the male figures is, however, the summer dress, but is placed here for contrast with the other example, which is the kind of clothing adopted in the rigorous winter. On the right appears a Greenlander in his skin canoe, and armed with the implements of chase, by which he captures Whales, Seals, Birds, and other animals. The largest Polar or White Bear was killed by Captain Inglefield with a single pistol shot, when he was closely and dangerously attacked by the monster. The other animals consist chiefly of the Reindeer, Arctic Foxes, Esquimaux Dogs, Seals, &c. This illustration has been arranged and designed by Mr. A. D. Bartlett, under whose superintendence the Natural History Department is now placed.

Before leaving this side of the Palace to proceed in the examination of the Natural History Department on the other side of the Nave, we must not omit to particularly notice the interesting illustrations of aquatic natural history, which will be found in the various positions which are indicated. Most of these differ fromthe other objects in the department, inasmuch as they are living specimens; but they will all tend to give us some idea of how vast and how wonderful are the works of Nature, how various and how marvellously fitted each to its own function in the great universe. On the right-hand side of the path by which we entered the department from the Transept, is a case filled with West Indian sponges, arranged to represent, as far as may be, the aspect of the bottom of the sea in that region, and the form of growth of these curious marine productions. This rare collection of sponges is the property of J. S. Bowerbank, Esq., who has kindly lent them to the Crystal Palace Company, and arranged them himself.

We should now return to the staircase, near where the Botocudos and Australian illustrations are. Here two large tanks are fitted up as marine aquaria. The specimens are arranged in real sea-water. In the tank under the staircase, and nearest to the Botocudos, are placed specimens of the swimming fish most generally found on the coasts of Great Britain. It is not necessary here to particularise any of the various kinds, as a system has been adopted of affixing the specific names to the tank itself, for the readier and more effective identification of these interesting objects.

In the other tank, on the left-hand, those species of Crustaceæ which may be most properly designatedactive Crustaceæare exhibited. A similar plan for the identification of the specimens is adopted as with the other tanks. Amongst these interesting specimens, the curious movements of the Soldier Crab, or, as called by some, the Hermit Crab, are very noticeable. This peculiar animal is not himself gifted with a shell upon his body, although his legs and claws are covered with the usual protection. To remedy this want, his habit is to attack some univalve, most generally the common Whelk, and having devoured the inmate, to adopt the shell as his own, moving about with it from place to place with great apparent convenience. He is not, however, always left in undisturbed possession of his stolen tenement, for theActinea parasiticafrequently attaches himself, with apparent purpose, to the shell, and thus, as it were, enslaves the inmate. The crab can, however, easily adapt himself to a new habitation, and may be frequently induced to the operation, if tempted by the introduction of a better shell. The tanks containing the Madrepores, Actineæ, and those species of Molluscous animals, which from their habits may be termedinactive, will be described in the proper positions on the other side of the Nave.

Crossing the Nave in front of the screen of Kings and Queens, we continue our examination of the various Natural History illustrations on the garden side of the Palace. Keeping then to the extreme right of this division, the first group we come to illustrates generally the Bushmen of South Africa. These have been variously designated by travellers as Bosjesmen and Earthmen, but are of one race. The group represents an entire family. This singular race of beings are persecuted and despised not only by Europeans but by the other tribes. They are migratory, and fix their abodes on unappropriated tracts of land, which frequently separate hostile tribes. The race is fast disappearing. The animals of this division (South Africa) are the Hippopotamus, the Bubaline Antelope, a large Crocodile, and on the rocks opposite to the Hippopotamus is the Cape Hyrax, or Rock Rabbit, a curious animal, much more nearly related to the Rhinoceros than to the Rabbit.

Further on we come to Eastern Africa, which is here represented by a group of Danakils, who inhabit the country between Abyssinia and the sea, leading a camel to water. The Danakils are a nomade or wandering tribe; they are of a chocolate-coloured complexion, and have long, coarse, wavy hair, which they often dress in a fantastic manner; they are of slender make, tall, and differ widely in appearance from the Negro. The Danakils are transitional between the Negro and the Arab, possess a Jewish physiognomy, and have acquired the Negro element from their intercourse with the neighbouring members of that race. The Negro form and physiognomy are much more strongly developed in the man on the right of the Dromedary, who belongs to the Msegurra tribe. In this district will also be found a fine natural historical group, representing a Leopard attacking a Duyker-bok.

On the right hand of the path in which we now are is a group of Zulu Kaffres. This fine people are far advanced before the rest of the South African races; they are in a measure civilised; some of them build houses and towns, and pay considerable attention to arts and manufactures. Thousands of them have lately entered the service of Europeans as farm-servants and labourers; in these capacities they are most honest and trustworthy. In general they are tall, strong, and well-proportioned; their skin is usually of a brown colour, but this varies in intensity; their hair is woolly; their foreheads high, and cheek-bones prominent. They are an active and warlike race, and of a predatory disposition. Having inspected this group, we should return and proceed down the path, then to our left. We shall pass, on our left, amongst other animals,three specimens of the Chimpanzee, the animal whose form most nearly resembles that of man (excepting the Gorilla). These are found on the western coast of Africa, though they may probably also exist in the far interior where no European as yet has penetrated. Though somewhat similar to the Ourang Outang of Sumatra in general form, the Chimpanzee is a smaller animal. It lives in woods, builds huts, or rather a protection from the sun and rain; uses clubs for attack as well as for defence; and in many ways exhibits an intelligence that presses with rather uncomfortable nearness upon the pride of the sole rational animal.

The Chimpanzees.

Turning then to the left, the first group we come to is one which illustrates an episode in the wild life of the savage. Two native Mexicans appear to have come suddenly upon a Jaguar, who has struck down a small deer for his prey, and to have attacked him with the bow and arrow; the wounded and infuriated animal is about to spring from the rock upon his adversary, whose footing has slipped, when the other native advances boldly with a spear to receive the attack and to rescue his companion.

Beyond this is represented a battle between two Leopards, forcibly reminding us of a quarrel between two cats, which, in fact, it is. Any one who has seen one cat advancing towards another, must have observed that there is always a desire to receive the assault lying on the back, with the four legs upwards. The motive is to be in a position to have free use of the claws of all the legs; and in the group before us, though the smaller animal appears to have the advantage both by position and by the grip he has taken on the throat of the other, yet the laceration he is receiving underneath from the hind legs of the larger animal will soon oblige him to release his hold. Close by are two Gazelles, as well as some Mediterranean animals, such as the Barbary Ape, the Corsican Goat, and two specimens of the Mouflon Sheep. The vegetation includes Orange and Lemon trees, the Date Palm, the Oleander, the Sweet Bay tree, and the Laurustinus. If the visitor here turns round to his right, a little further on, he will find a beautiful case, containing some superb specimens of the Game birds which are found in the Himalayan districts.

In this path he will pass, on his left, some illustrations of the most eastern part of temperate Asia. Two Tibetans represent the general physiognomy of the inhabitants. The animals are all rare: amongst them is the Chiru, a curious sheep-like Antelope; the Siberian Marmot; the Yaks, or grunting oxen, which are used by the Tartars for riding or driving, as well as for food or clothing; the tail being very much in request in India for brushing away flies, no less than as an emblem of authority; of these Yaks there are two specimens here, the largest being the animal in its wild state, the smaller one as it is domesticated by the Tartars; and the Ounce, a species of Leopard peculiar to the Himalayan Mountains, an animal which three hundred years ago was comparatively well known, but whose skin has since become so rare that the very existence of the animal has been questioned. European travellers have lately visited its haunts in Central Asia, and satisfactorily proved that it still lives. In the glass case further on, are two specimensof the great horned sheep of Chinese Tartary. The Botany here is from various sources: China, Siberia, Japan, and Nepaul have each contributed a few plants, amongst the most conspicuous of which are the Camellias and the Oriental Arbor Vitæ, which is the Asiatic representative of the similar plant in the new world. Amongst this botanical group will be found also specimens of the black and green Tea-plants.

The Yak.

Facing the visitor at this point under the staircase, and in corresponding positions to those described on the other side of thebuilding, are two more large sea-water tanks. Those classes of Molluscous animals, which, we have termed, for the sake of distinction,inactive, are located here. Several of these are beautiful Actineæ, more commonly calledSea Anemones, from their similitude both in form and colour to flowers. There are numerous species of these animals, and an endless variety of beautiful colouring may be noticed on them. They are found in every sea, but those in warm latitudes usually surpass in beauty the denizens of more temperate or colder waters. Here also are some Madrepores, which, however, must be spoken of more as an assemblage of multitudes of minute animals than as one. The curious little long-shaped shell, from which the inmate emerges like a scarlet blossom, and into which he darts when disturbed, must also be noticed.[25]

[25]A very large fresh-water aquarium, on a comprehensive plan, is in course of preparation, and will shortly be added to this department.

Near the carriages is a Case containing a Sun Fish, presented by Edmund Calvert, Esq., and the rest of the specimens (which are all British) are, like those in the two Australian Cases which stand outside the glass doors leading to the staircase, the property of J. S. Bowerbank, Esq., by whom they have been personally arranged to represent the appearance of the sea-bottom. The Birds in the two Cases at the foot of the stairs belong to Africa.

With these we complete our rapid survey of the Natural History department of the Crystal Palace. It remains to mention that the Ethnological section was formed under the direction of Dr. Latham; that the Zoological Collection was formed by Mr. G. R. Waterhouse; that Mr. Gould formed the Ornithological Collection, and that Sir Joseph Paxton supplied the plants to illustrate the Botany. The whole of the natural history arrangements were effected under the general direction of Professor Edward Forbes, and the personal superintendence of Mr. Wm. Thomson.

Turning now to the left, a few paces bring us to the first Industrial Court on this side.

This Court has been allotted for the exhibition and sale of Bohemian and Bavarian glass manufactures. The magnificent specimens which are ranged around worthily exemplify the rich taste and fancy which have long been considered a characteristicof these productions, and form a most interesting comparison with the contents of the two succeeding Courts in this series, where are displayed the similar productions of the English manufactories, and, in the Ceramic Court, the richest specimens of all ages.

The contents of this Court somewhat differ in character from the works we have just quitted, inasmuch as the English Ceramic Art-manufactures of the highest class, and Porcelain from the best English potteries, will be found, as well as glass. The Parian statuettes, a branch of Art-manufacture of comparatively recent introduction, and in which the English excel, form a very beautiful and interesting feature.

The next Court is appropriated to a most valuable collection of Ceramic productions, illustrating the art of Pottery, from the earliest to the latest time. This art has always been esteemed as curious and instructive, as it is an enduring record of a nation. From the earliest times, specimens have come down to us, and they doubtless speak with singular accuracy of the phase of civilisation in which they were fashioned, and of the manners which required them. Thus a survey of the Ceramic Court will, it is thought, bear with it more than the mere inspection of curious, beautiful, or splendid objects affords. The specimens are mostly arranged in the glass cases round the walls. In these will be found some curious Mexican examples, early Greek and Etruscan, and early stone pottery, as well as articles in terra cotta. Many very fine pieces of Lustrous and Italian-painted Majolica ware are arranged in the cases on the garden side of the Court. Of Sèvres china there are several splendid pieces of the renowned jewelled ware, as well as modern productions. The Dresden, Berlin, Viennese, Chinese, and Oriental manufactures are worthily illustrated, while amongst the productions of our own country may be pointed out the specimens of early Worcester and Chelsea ware, as well as the splendid works of the most modern manufacturers. Several of the magnificent pieces of continental manufacture have been graciously lent for exhibition by Her Majesty the Queen.

This is the last Industrial Court of the series on this side. It will be found to contain a most varied and rich collection of all those essentials of use and ornament for which both the Continent and this country are famous, comprising articles of bijouterie, vertù, papier maché, and an endless variety of things for presents or mementos; all the articles being for sale on the spot.

Quitting this Court, and turning to the right towards the garden, we reach the Photographic Department, entrusted to Messrs. Negretti and Zambra, the photographers to the Crystal Palace Company. Photographic portraits are also taken here in a room fitted for the purpose.

At the back of the series of Courts on this side, and along the whole of this part of the garden front, is arranged an exhibition of Carriages by most of the best makers, as well as harness, and many new inventions in connection with these things.

The visitor, having explored all the Fine Art Courts as well as the several Courts of Manufacture, may now give his exclusive attention to thechefs-d’œuvreand valuable examples of ancient and modern sculpture, which he has not found in the Fine Art Courts; but which will arrest his eye from point to point, as he accompanies us in a walk through

Our starting-point shall be the screen of the kings and queens of England, at the south end of the building, containing casts of the regal statues at the new Houses of Parliament, Westminster, executed by Mr. John Thomas.

SCREEN OF THE KINGS AND QUEENS OF ENGLAND.

The screen itself is from the design of Mr. M. D. Wyatt, and is characterised by much originality and appropriateness of treatment. The series of monarchs is placed in chronological order, commencing, on the return side to the left (as we face the screen), with the kings of the Saxon heptarchy; and beneath them the Saxon kings, the first on the left being Egbert, by whom the greater number of the petty kingdoms were first consolidated. The Norman series commences, on the principal front, with William I. and his queen, above whom are the statues of St. George and St. Andrew. Amongst the various rulers of the state may be noticed as of great excellence, in that style of sculpture which has been termed the “Romantic,” Henry II., Berengaria, Henry V., Henry VI., Richard III., Edward VI., Charles I., Queen Henrietta, and Cromwell; this last was rejected by the Committee of the Houses of Parliament, but is clearly necessary for completing the historical series, which is concluded on the return side, to the right, with the royal personages of the reigning Guelph family, and a lower row of Saxon kings. An equestrian statue of her Majesty, by Baron Marochetti, stands here in the centre.

Quitting the screen, we are first attracted on our road by the Crystal Fountain, which occupied so conspicuous a place in the Great Exhibition in Hyde Park. We will now, however, proceed on our tour, entering first the western end of

It is preferable, in order not to overlook any of the important objects which are stored in the several Transepts, to examine each Transept completely, as we enter it on our interesting tour, and after passing round both ends to resume our walk in the Nave, advancing up toward the north end of the Palace on the left-hand side, and returning down the right-hand or garden side. Turning then to the left, we proceed round this Transept, from left to right, noticing on our course the statues and other objects which are placed in the open space at each end. The first conspicuous one of these which we find is, a cast of the well-known equestrian statue of Charles I., from the original at Charing Cross. It was designed and executed, in 1633, by Hubert Le Sueur, a French sculptor, pupil of the celebrated John of Bologna, but was not at the time raised on its intended site. During the civil wars, the Parliament, wanting men more than statues, sold it to John Rivet, a brazier, living in Holborn; by whom it was kept concealed until the restoration of Charles II., when it returned again into the hands of the government, and was finally erected at Charing Cross in 1674. The pedestal is a work of the celebrated sculptor, Grinling Gibbons.

Beyond the statue of Charles I. in the central line, is placed thatof James II. by Grinling Gibbons, cast from the original now in the court at the back of Whitehall. It is an excellent example of a portrait-statue treated in the classical style; and affords us a proof of the higher reach of Gibbons’s genius; whose well-earned reputation in the seventeenth century, we may remark, rested more especially on his works in ornamental carving, of which the exquisitely cut fruits, flowers, wreaths, and other ornaments on the façade of St. Paul’s, London, are examples.

Between these two Royal Statues is a Mosaic picture of the Ruins of Pæstum, executed in modern Roman Mosaic, every shade and tint being composed of separate pieces of vitreous material; and in front of the statue of James, a model of a Chinese Junk carved in ivory, which is lent to the Crystal Palace Company by Her Majesty.

A selection from the best productions of various English sculptors surrounds this portion of the Transept. At the angle is a colossal statue of Peel by Marochetti, and between this and the Screen of Kings and Queens in the nave is the statue of the great Earl of Chatham (449), forming a portion of his monument in Westminster Abbey. It was executed by J. Bacon, R.A., a contemporary sculptor, who was celebrated for the truth and vigour of his portraits. Bacon should also be mentioned with honour, as one of the first native artists who founded the English school of sculpture in the last half of the 18th century. Amongst the statues in the Transept itself, we would notice Macdonald’s excellent compositions of Ulysses recognised by his Dog (48), and Andromeda (47); the very gracefully designed figure of a Bather (36), by Lawlor; and a group of Boys Contending for a Prize, with some other statues by the same artist.

The statues on the north side of this end of the Transept are by Spence and Theed; amongst them will be remarked the Highland Mary (58), and the statue of Flora (59), both by Spence; Narcissus at the Fountain (60), and Psyche (61), by Theed.

At the junction of the Transept and the Nave is placed the colossal statue of Dr. Johnson, from his monument at St. Paul’s, the first that was erected in that Cathedral. This portrait-statue, as well as that of Chatham, is by Bacon; but composed, as will be remarked, on a diametrically opposite principle; the great writer being half clad in a classic toga, whilst the great statesman is brought more vividly to our minds by being represented in the costume of his period and his order.

We now cross over to that junction of the Transept and Nave, which is marked by a colossal statue of Lessing, the great German writer; a noble and dignified portrait-statue by Rietschel of Dresden.

In this portion of the Transept are several works of the English School of Sculpture, amongst which may be particularly remarked a statue of Shakspeare (407), by John Bell; the Maid of Saragossa (6b), a very picturesque and vigorous ideal figure of a heroine who has also inspired the pencil of Wilkie; the Dorothea (5a), so well known to the public by small copies in Parian marble; a graceful statue of Andromeda (7), and Jane Shore (6a). All these specimens of Bell’s talents are on the north side of this part of the Transept. Opposite to them, or close by, will be found the Mercury (55), a Dancing Girl (50), by Calder Marshall, R.A.; the First Whisper of Love (49), Zephyr and Aurora (52), and an excellent portrait-statue of Geoffrey Chaucer (53), the father of the school of English Poetry, also by Marshall. Nearer the Nave is an ideal statue of Shakspeare by Roubilliac, cast from the original, still preserved in the vestibule of the British Museum. The colossal statue at the angle is that of William Huskisson (462), the first statesman to pioneer the way to free trade. It is a noble work in the classic style, by Gibson. Along the centre of the Transept are placed the Eagle Slayer (6), by Bell, a work remarkable for its vigorous treatment; the well-known and graceful composition, also by Bell, of Una and the Lion; and the fine monument erected by the good citizens of Frankfort to the memory of the first printers, Gutenberg, Faust, and Schœffer. The central statue represents Gutenberg, who rests with an arm on the shoulder of each of his fellow-workmen. The original is by Baron Launitz of Frankfort, and is a creditable instance of the public spirit, which does not, after the lapse of centuries, forget the originators of The Press—that mighty power, which performs at this day so grand a part in the governance and for the benefit of the civilised world, and by means of which the reader studies this record. On the right of the Gutenberg monument is a stately equestrian statue of Francis I. by Clesinger of Paris. The countenance is strikingly like the authentic portraits of the king, and well exemplifies the character of the man. In a corresponding position on the other side is Marochetti’s statue of Richard Cœur de Lion, calling to mind a curious contrast in the chivalry of the two kings.

Having now regained the Nave, we proceed along in front of the Pompeian Court, where will be found various works mostlyillustrative of modern German sculpture; amongst which we notice a group of Minerva protecting a Warrior (162), by Blaeser, of Berlin; also a charming little composition, by Brugger, of a Centaur instructing the young Achilles (164). The original model of a Nymph, with an Urn (167), by Dannecker, executed as a fountain at Stuttgard. An allegorical figure of Medicine (171), by Hahnel of Dresden. A Violin Player, by Steinhauser (201*). Two seated statues, in the Greek style, of Thucydides and Homer (176), by Mayer. A statue of a Magdalen (261), by Wagner. A very spirited group of a Hunter defending his family against a Panther (264), by Widnmann of Munich. A statue of Hector (166), by Dannecker. Next to this is a pretty statue of Diana (270), by G. G. Wolff, and near it Telephus suckled by a Hind (266), with several other beautiful examples. The statue of a Hunter (263) is achef-d’œuvreby Wittich. Opposite the Stationery Court are excellent life-size statues of stags (193*), by Professor Rauch, of Berlin, excellent examples of that difficult branch of the sculptor’s art—the study of animal nature; and near these, Debay’s exquisite group of the First Cradle (96), and a magnificent vase by Drake (169), with Thorwaldsen’s beautiful Venus (217) and Aurora (18), by John Gibson, R.A. The fine statues of Victory (184 to 188), by Professor Rauch, are characteristic examples of that great sculptor’s style, and of the successful variety of treatment in five designs for one and the same subject. And the statue of a Nymph holding a Basket of Fruits and Flowers (160), by Professor Drake, is a picturesque example of the “Romantic” school of sculpture. We now approach the Great Transept, before entering which we will turn to the left and explore the open Court which is formed at this point by the angle of the Transept with the Nave.

This position has been appropriated for the display of a most interesting collection of the staple and manufacturing products of Canada. The colonial government have undertaken to form and maintain such a collection as shall completely represent the commercial resources of that important colony, and have voted a sum of money for its permanent maintenance. Such an exhibition presents invaluable information to the intending emigrant, and to all an interesting sign of the progress, polish, and prosperity of our brethren in the Atlantic colony.

A prominent object at the further end of this Court is the noble colossal head of Bavaria, by Ludwig Schwanthaler, of Munich, who enjoyed an European celebrity. The original bronze statue to which it belongs, erected outside the city of Munich, is fifty feet in height, the pedestal on which it stands being thirty feet high. For ten years did the great artist, weak and broken in health, still devote himself with a true artist’s love to the progress of his task: but he was not destined to witness its perfect completion; and when the statue of the Genius of Bavaria was cast in bronze, its author had passed from amongst us. The statue was first publicly exhibited in 1850.

Corresponding in position on the side next the Nave, is another example of those embodiments of towns and nations, which are so frequently to be found on the Continent. The present colossal statue allegorises Franconia, a province of Germany; it is characterised by much nobility of conception, and worthily sustains the reputation of the modern German sculptors. The original, by Professor Halbig, is erected at Kilheim, in Bavaria.

The south wall of the Court, and the passage from it through which we pass to the front of the Reading Room, will be found to be decorated by some beautiful bas-reliefs, amongst which may be particularised, Westmacott’s Paolo and Francesca (72); Lough’s Apotheosis of Shakspeare; some very interesting bas-reliefs by Rauch, from the tomb of Marshal Bulow; they will be found on the base of the colossal head of Bavaria; and the Triumph of Alexander (226), executed by Thorwaldsen to decorate the Pope’s palace for the reception of Napoleon I. in 1812,—one of the most celebrated works of the great sculptor. Chantrey’s beautiful group of Sleeping Children stands in the passage, and claims special attention.

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 announcementsof 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 100newspaperscan 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 Appointmentsand 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.

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 theTransept 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.

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