[26]The organ contains 66 stops, viz., 20 on the great organ, 12 on the choir, 5 on the solo, 17 on the swell, and 12 on the pedals. It has four separate rows of keys, with couplers, combination pedals, and complete pedal board. The instrument contains 4568 sounding-pipes.
[26]The organ contains 66 stops, viz., 20 on the great organ, 12 on the choir, 5 on the solo, 17 on the swell, and 12 on the pedals. It has four separate rows of keys, with couplers, combination pedals, and complete pedal board. The instrument contains 4568 sounding-pipes.
We must now cross over the Nave and enter the open court, which is close to the colossal Farnese Hercules, and which corresponds in position to the Canadian Court, which we examined before entering the Transept. This Court is filled with specimens of antique sculpture of the Greek and Roman schools. Among these we would draw attention to the colossal Velletri Pallas (351), so called from having been discovered at Velletri, near Rome, and now preserved in the Louvre, at Paris; the Dying Gladiator (309); a Boy with a Dolphin; a colossal head of Pallas (328). A Boy extracting a Thorn from his Foot, from the Capitoline Museum at Rome; and the fine head of Antoninus Pius (381).
A collection of Greek ideal and portrait-busts will also be noticed in this Court; amongst which the colossal heads of Vespasian (332), Trajan (354), Pertinax (379), Lucius Verus (361), and Titus (333), are particularly deserving of notice. The visitor should not quit this compartment without noticing the collection of antique vases which it contains, amongst which the Medicean Vase (343) is a peculiarly elegant example of antique art. The elegant tripod (211), and the antique fountain (357), are also worthy of attention. Here also we find the celebrated group known as the Toro Farnese, or Farnese Bull. The original of this beautiful group, which is now preserved in the Museum at Naples, was discovered in the Baths of Caracalla at Rome, and derives its name from having been placed in the Farnese Palace in that city. The subject is the revenge of Queen Antiope and her two sons, Zethus and Amphion, on Dirce, for seducing the affections of her husband, Syeres, King of Thebes. The sons, enraged at the insult offered to their mother, are represented as about to revenge themselves by tying the unfortunate Dirce to the horns of a bull, when their mother, moved with womanly pity, intercedes for her rival, and induces them to forego the intended punishment. According to Pliny, the Toro Farnese was the work of the Rhodian artists, Apollonius and Tauriseus.
Conspicuous also in this compartment, from its high position and great beauty, is the Choragic Monument of Lysicrates. This beautiful example of ancient Greek architecture is usually styledthe Lantern of Demosthenes, on account of a tradition which ascribes its erection to that celebrated orator. No weight, however, can be attached to this supposition, although it may be, and in all probability is, due to the time of Demosthenes.
An inscription on the architrave informs us that this monument was erected by Lysicrates of Kikyna, at his own expense, in order to commemorate a musical triumph obtained by various members of his tribe or clan, the Akamantis. The ancient Greeks were in the habit of holding a species of musical tournament, in which the most celebrated masters of the art vied with each other; in this particular case, the palm was awarded to Theon, the flute-player, and the chorus of boys led by Lysiades; the magistrate for the year being Evanectus. It was to celebrate this triumph that the monument was erected. On the monument was sculptured the story of Bacchus transforming the Tyrrhenian pirates into dolphins, which was the subject of the music. A tripod was the usual prize granted in these contests, and the victor either placed it in one of the temples, or, as in the present instance, consecrated a monument specially for its reception. It was placed on the summit.
Retracing our steps, we once more regain the Nave, and as we advance, still keeping on the left side, past the front of the Egyptian Court, we remark several antique statues, including the Antinous as Mercury, from the Capitol at Rome (316), the Antinous as a Good Genius (314), and the Adonis, from Capua (213).
From this point, extending throughout the façade of the Greek Court, are ranged excellent examples of Greek sculpture, which the visitor may compare with the subsequent works of the Roman sculptors, or of Greeks settled at Rome, placed before the walls of the Roman Court. Amongst the Greek statues we select the group of Silenus and a youthful Bacchus (306), excellently treated and full of life; seated statues of Demosthenes the Philosopher (308), and of Posidonius (307), on each side of the first entrance to the Court; the Borghese Silenus (306); a Bacchus and Faun (305); the fine group of the Wrestlers, from Florence (304), the well-known Drunken Faun (295), from the Museum at Naples; and the Apollo Sauroctonos (298), from the Vatican. Nor must we omit the excellent seated statues (290, 291). On either side of the principal entrance to the Greek Court will be found the beautiful Ceres (130), a Vestal (142), the Amazon (302), and Polymnia (297).
In front of the Roman Court will be first noticed Meleager and his Dog (289); the celebrated Antinous (288); the fine Mercury, from the Vatican (287), and the same subject (288), from Naples.Before the first entrance to the Court are placed the seated statues of Trajan (286), and Agrippina (281).
The Mercury disguised as a Shepherd (285), and the Adonis (282), are characteristic specimens of the ordinary Roman style.
Passing the façade of the Alhambra Court, we arrive at the Fountains, which at this end of the Nave correspond to those of the south end in position, and generally with respect to the aquatic plants which live in the water of the long basin. The two fountains here are designed and executed by Monti the sculptor. The figures of Syrens, supporting the large shells, typify by their colour four races of men: the Caucasian, white; the Nubian, black; the North American Indian, red; and the Australian, olive. The smaller figures above these bear fruit indigenous to various soils. The design of the Fountains is most appropriate, and the entire composition very artistic. The bronze colour of these statues, and of many others in the building, is produced by means of the electrotype process, with signal success. In the water which surrounds this fountain many interesting plants will be found, in addition to the lilies and other varieties which adorn the basin of the Crystal Fountain at the south end of the Nave. The Papyrus plant will be recognised by its tall green stems topped with fibrous leaves. The manuscripts of the Egyptians and many ancient nations were inscribed upon sheets made from the stalks of this plant. Many of the Egyptian architectural ornaments are derived from the form of the Papyrus, which grows in large quantities along the banks of the Nile. Rice, sugar-canes, and other interesting plants, grow along the margin of the water; the most curious of which, as indeed it is one of the rarest in the whole collection, is the Lattice Plant. This specimen was but lately brought from Madagascar by the Rev. Mr. Ellis. The remarkable form of the plant, from which it is named, will ensure its easy recognition. The gold fish, of which there are many thousands in the fountain basins of the Nave, have all been bred there from a few fish which have now grown to a great size, and may often be noticed steadily sailing amongst their multitudinous progeny. The temperature of the water, which is heated by water pipes beneath the surface, is peculiarly favourable to the growth of these fish.
It has been found that the valuable collection of Palms and other specimens of Eastern vegetation, which have been collectedin this Transept and beyond, could only be kept healthy by isolating the department devoted to them, and raising its temperature to a degree which would not be pleasant in all parts of the building, or favourable to the equable growth and seasonable cultivation of the other various botanical specimens. During the greater part of the season, a curtain divides this portion of the Palace from the more temperate regions. The temperature suits so well the plants that some, which on their arrival appeared not to grow well, have become quite acclimated, wearing a rich and luxuriant growth of verdure.
Having entered the North Transept, we find the whole of the western end occupied by the colossal Egyptian Figures from Aboo Simbel. We shall view these to the best advantage from the further end of the Transept, in front of the Mammoth Tree; we will, therefore, first make the circuit of the fountain, examining the surrounding objects, and inspect them from that point, and thence commence our return journey down the Nave.
The two semicircular extensions at this the upper end of the fountain basin have been separated from the main body of the water by a perforated partition, and contain some curious and interesting animals. In that to the right, or immediately in front of the Assyrian Court, sports one of the most remarkable of the animal creation—theLepidosiren. It is remarkable as being an animal organised with bothlungsandgills, which are generally assumed to be distinctive organizations in the reptile and the fish; but this, it will be seen, like most of such wonders in natural history, is a conformation of the animal to its habits of subsistence, place of residence, and the exigencies of its life. It is found in the river Gambia, in Western Africa. During a great portion of the year this river is dried up, and the mud in its bed is baked under an ardent tropical sun till it is of immense hardness, and shines when cut with a knife. When the river subsides, and parches up, the Lepidosiren burrows into the mud, where it remains during the dry period, till when the rains come, and the river swells, it issues from the softened mud and sports in the water again. It is considered by the most able naturalists to belong to the reptilia rather than the fish. The exact nature of its food is not accurately known, but it is a voracious feeder on animal substances; this specimen regales himself upon raw beef, frogs, and snails, with the occasional delicacy of a gold fish. He is himself eaten as a delicacy by people in Africa.
In the corresponding compartment on the other side of the basin are two species of fresh-water tortoises,Emys CaspiaandEmys Gambiensis, one an European and one an African species, which may be identified by its larger size and lighter colour. TheEmys Caspiais found commonly in the rivers of most of the warmer countries in Europe. When, after the Crimean war, the troops garrisoning the Ionian Islands returned to England, one of the officers brought with him two eggs of this variety; for safety he put them into his pistol-case. On his arrival in England the eggs were found to be hatched, and the two small animals were presented to the Crystal Palace Company, and placed in this basin. One has since died, after living some months; the other is still here.
The Visitor should not omit to inspect the Aviaries, of which there are several, in this end of the building. These contain Weaver Birds, Grenadiers, Grosbeaks, Mocking Birds, and Paroquets, most of them inhabitants of warm climates. There are also some Nightingales, whose rich song is frequently heard, even when the people crowd round them. The Weaver Birds, in the spring, may be seen constructing their curiously woven nests of grass, which hang from the branches like so many stockings; others of the feathered tribe build their habitations fearlessly in the presence of the visitor, with all the art of the basket-maker; here, indeed, bird-architecture of the most unique kind may be studied by the naturalist with delight and advantage. The Australian Paroquets have this spring again reared their young in these Aviaries with great success. It has been generally supposed that it was not possible to induce these birds to rear their young in this climate; but in 1856, the experiment was most successfully carried out in this Aviary. It has been repeated here since, each year; and in the present spring (1859), there are two healthy young birds which have been hatched in one nest, and there is promise of others. These observations more especially apply to the large species of Ground-paroquet (Platycercus hermalonotus), the smaller Shell-paroquet (Melopsittacus undulatus) having repeatedly bred in this country.
Besides the birds mentioned, there are several of the British varieties, as well as some others of greater rarity or interest which may be specially mentioned. There are several Canaries which should be noticed, as they have been trapped in the Islands and forwarded direct, in their wild state. These must not, however, be confounded with those of the tame varieties in the same Aviary;they may be distinguished readily not only by the general carriage of the bird, but by their green plumage. The collection of Sparrows is also interesting: there are the common house and tree Sparrows of England (this last, however, is not to be confounded with the Hedge-sparrow), the Rice-sparrow of Java, and the Diamond-sparrow of Australia. The Diamond and Java Sparrows have successfully constructed nests; which is an additional evidence of how suitable the Tropical end of the Crystal Palace is for the Tropical birds. Here also are two or three specimens of the Californian Quail (Ortyx Californicus). These birds were brought from the Zoological Gardens at Antwerp. They breed freely, and are well adapted to thrive in a wild state in this climate, rearing from fifteen to twenty young ones in a brood; they are a great table delicacy, and it is probable at no distant period may enrich the list of British Game birds.
In a glass case, on the right hand as we approach the Aviaries, are some beautiful and interesting Lizards (Lacerta agilis). These perfectly harmless little reptiles are found in all the warm parts of Europe, frequenting dry, stony places, and old ruined buildings. Their food is flies, beetles, moths, and other like insects. The present specimens are from Guernsey, in which island they greatly abound.
Near to these, in the centre of the Transept, are some of the most curious of the reptiles, and which are perhaps better known by repute than even the most common species daily under our feet. These are the Chameleons. The changes of colour in this animal, so often spoken of, are not generally so rapid as is supposed, nor do they possess so great distinctions as are popularly ascribed to them. In all their habits they are so slow as to be generally almost immovable, save in respect of their restless eyes, and the tongue, which is very long and adapted peculiarly to its purpose, which is to secure their food; they can dart it with almost invisible rapidity upon a passing fly or insect, which is immediately thus drawn into the mouth. They appear most generally to assimilate their colour to the objects on which they rest, or which surround them. This may be a means of protection to them, but it is most probably only a method of concealment for the more effectual capture of their prey. It, however, answers the double purpose.
If we now proceed by the extreme end of the building toward the eastern end of the North Transept, we shall find both on our right and left hand a complete set of casts from the Ægina Marbles.
These most interesting monuments of ancient Greek art are now in the Glyptothek at Munich.
They were discovered in the Island of Ægina, and are supposed to have ornamented the tympana of the east and west fronts of the temple of Minerva in that island. The group, representing the Contest over the Body of Patroclus, belonged to the western, and the five figures descriptive of the Battle of Hercules and Telamon against the Trojan king Laomedon, were in the eastern tympanum. They are most remarkable examples of Greek sculpture during its second period, or from the close of the 6th to the middle of the 5th centuryB.C.
The conception, the anatomy, and beauty of form found in these statues denote a highly cultivated artistic taste and power, to which the peculiar faces, the invariable smile on the mouth, and a certain stiff angularity of treatment, form a marked contrast. We observe in them that turning-point in the history of Greek sculpture, when the conventionalities of an earlier system were receding before that love of nature and extraordinary perception of the Beautiful, which subsequently rendered the Greeks so pre-eminent in art.
The originals, which had, as may be supposed, suffered considerably from the effects of time, were restored by Thorwaldsen, the Dane, whose conscientious spirit and thorough appreciation of the antique give assurance of the correctness of the interesting examples now before us.
Through the doorway which is in the corner to the right of the first set of Ægina marbles, is fitted up a spacious Lecture Room, with every accommodation for Dissolving Views and other illustrations. It comprises the whole of the “Queen’s Corridor,” so called from the private apartments of Her Majesty, which are to the left.
Continuing onwards, we obtain a fine view of the North Transept, with its noble avenue of sphinxes and palm-trees, terminating with
which are from the temple of Rameses the Great at Aboo Simbel, in Nubia. These immense seated statues towering to the roof of the Transept afford us some adequate idea of the stupendous magnitudeand passive grandeur which characterise the monuments of ancient Egyptian art. Their height is sixty-five feet.
It may be remembered that in the Egyptian Court we directed the attention of the visitor to a model of the temple at Aboo Simbel; on the façade of which were four statues of Rameses the Great. Two of these statues are here reproduced on the scale of the originals, the smaller figures around them representing the mother, wife, and daughter of the king.
The temple of Aboo Simbel, in Nubia, is excavated from the rock, and was first discovered by Burckhardt, the traveller; the accumulated sand of centuries, which then covered it, was removed by order of Belzoni, the first, with Captains Irby and Mangles, to pass its long-closed entrance. The interior was covered with paintings and hieroglyphics relating to Rameses the Great, and the date of the temple has been consequently placed at about 1560B.C.
The sphinxes which formed the avenue are cast from one preserved in the Louvre, the writing engraved on which presents us with a curious but not uncommon instance of a custom that prevailed amongst the Egyptian monarchs, and to which we referred when describing the Egyptian Court. On one side of the shoulder the name “Pthalomen Miotph” is written in hieroglyphics, and on the other shoulder is the name of Shishak I. The last-named lived about 1000B.C., and the first nearly two hundred years before him. Other instances occur where the name of the original founder has been erased altogether, in order to make way for the name of some comparatively modern king.
We are now standing at the foot of what represents one of the largest-known trees in the world. This tree grew, one of a group of such monsters, on the Sierra Nevada in California. When flourishing, it rose to the astounding height of nearly 400 feet. Several in the same district which are now standing are 300 feet in height. The bark of this tree has been arranged and fitted up as it grew, to give us some idea of its gigantic proportions by the view of a part. The wood is a particularly light cedar; and has been considered as of the same kind as that cedar of Lebanon employed by Solomon in the building of the Jewish temple. Dr. Lindley has named it theWellingtonia gigantea, and has fixed its age at 4000 years. This then must have been a great tree before the ancient rock tombs of Aboo Simbel were hewn for the great Rameses.
Leaving the fountain on our right, we arrive almost immediately in front of the Byzantine Court, where, resting beneath the foliage,are eight effigies of knights from the Temple Church, London. They are clad, with one exception, in ring-mail, and afford us perfect representations of military costume in the early part of the 13th century. They are usually called the Knights Templar; but without evidence: the cross-legged statues are probably crusaders. The entire series has been carefully restored by Mr. Richardson. The first two statues in front of the German Mediæval Court, as we face the entrance, are fine examples of German Gothic sculpture, from Cologne and Nuremberg: the three subjects beyond them are from Langen Church, Germany. The two first statues on our right are from the façade of Wells Cathedral, and next to them are various examples of German sculpture. Facing the English Mediæval Court, will be noticed, on each side of the entrance, the effigies of Bishop Kilkenny from Ely Cathedral, Henry III. from Westminster, and of Longespée from Salisbury Cathedral: the two last being especially interesting monuments of the 13th century.
On the right of the entrance, and nearest to the Nave, are two statues from Wells Cathedral, noticeable as fine examples of Early English sculpture, and the effigy of Bishop Northwold from Ely. Nearer the façade is placed the remarkable effigy of Queen Philippa, the wife of Edward III., from Westminster Abbey, belonging to the last half of the 14th century. Beyond this again, will be noticed the effigy from Salisbury Cathedral, of Bishop Poer, who died in 1228, one of the earliest monumental statues in England. In front of the façade of the French Mediæval Court, will be found several pieces of Gothic sculpture of the early period of the Pointed style, from Chartres Cathedral; on the right of the entrance from the Nave are placed the busts of Henry II. and Diana of Poictiers, Henry III., Bayard and Louis XII., and nearer to the Nave will be seen the Virgin “de Trumeau,” from Notre Dame, at Paris; and a fine picturesque bronze statue of a knight from the monument of Maximilian, of Innspruck, in the Austrian Tyrol, a remarkable work of art, executed by native artists in the early part of the 16th century. Close to this is placed the fine bronze statue of Albert of Bavaria, from the tomb of Lewis of Bavaria, at Munich, remarkable as serving to illustrate the very rich and characteristic costume of the close of the 16th century. Opposite to it is the very fine St. George, by Donatello, from Florence, one of the master-pieces of that celebrated sculptor, whilst another Innspruck statue occupies a position nearer the Nave. Advancing onwards, still in front of the Renaissance Court,we recognise amongst the busts, those of Francis I., Sully, and Henry IV. of France, Shakspeare, Machiavelli, Ben Jonson, Cosmo de’ Medici, and Lord Bacon. The bronze statues on each side of the path are from the Tartarughe fountain, at Rome, the extreme figure being the celebrated Bacchus, by Michael Angelo. Amongst the works of Italian art placed in front of the Italian Court, we remark the Bacchus by Sansovino, from Florence, the Triton from the gardens of the Doria palace, Genoa, the Tartarughe statues from Rome, and at the angle, in front of the Italian vestibule, the beautiful statue of Mercury, by John of Bologna, achef-d’œuvreof the 16th century school. Among the busts will be remarked those of Raffaelle and Michael Angelo, Inigo Jones, Mazarin, Richelieu, Charles I., and other celebrities of the Renaissance period.
A little further on in front of the Court of Monuments of Art, we remark two statues of Perseus; one by Cellini, and the other by Canova. That by Cellini is characterised by a grandeur of conception and power of execution, which place his name among those of the greatest sculptors of his day. Cellini’s description of the casting of this statue is, in the highest degree, interesting. Not having sufficient metal to complete it, he threw into the furnace his metal dishes and porringers, amounting to upwards of two hundred; after offering up a prayer to heaven in company with his workmen, he uncovered his statue and found it thoroughly cast, with the exception of one foot. The plaster cast in the Crystal Palace is, we believe, the only one in the world, and was obtained through the liberality of the Duke of Sutherland, the owner of the only bronze cast of the original, which stands in the grand square at Florence.
We now cross the Central Transept, still keeping to the left hand or garden side of the Nave. At the angle of the Transept will be found the Concert Room, for the special performance of vocal, chamber, and classical music. The room is quadrangular, but open towards the Nave, and on three sides is surrounded by galleries. The space appropriated to visitors on the ground floor, and which is fitted with seats, is 96 feet square, and with the galleries is capable of accommodating about 3000 people. The Orchestra, built on the garden side of the room, will easily accommodate 60 performers.
Around the outside of the Concert Room will be found many most interesting busts belonging to the Portrait Gallery, mostly of the illustrious men and women of France. Amongst them we remark Jean Goujon (196), Félibien (203), Rachel (216), Corneille (218),Lafontaine (220 a), Molière (221), Racine (225), Voltaire (233), Le Sage (230), Buffon (245), Cuvier (256), Bayard (257), Gaston (258), Coligny (260), Turenne (266), Massena (279), Ney (283); busts of nearly all the generals and statesmen of the Consulate and Empire, and of the leading men of the Republic of 1848; three busts of Napoleon Buonaparte, which may be advantageously compared together, and the present Emperor Louis Napoleon (312). Close to this compartment is one of Mr. Rimmel’s fountains, executed from a design by Mr. John Thomas. The crystal basin, Parian marble figures, ebony pedestal, and natural flowers, harmonise excellently. Similar scent fountains, designed with great taste by the same artist, and supplied by Mr. Rimmel, will be found in the North and South Transepts.
Quitting the Concert Room, we continue our examination of the statues, which extend along this side of the Nave. The most notable of the succeeding subjects are the Prodigal Son (145), by San Giorgio; David (147), by Magni, an artist whose studies of every-day life are remarkable for their truth to nature; Cain (99), by Etex; Geefs’s Malibran (108); a colossal group of the Murder of the Innocents (142); an Italian Mower; the Horse and Dead Knight (46), by Lough; Sampson, by Legrew; and also the charming statues of Eve, and Eve Listening, by Bailey. On our way towards the Queen’s screen we pass several works of statuary art, amongst which may be noticed, A Faun with Cymbals (66), by R. Westmacott, R.A., and a David (67*), by the same sculptor; an Ancient Briton as a Scout, and the Massacre of the Innocents, by J. E. Adams, and a fine statue of Erato (174), by Launitz.
However beautiful and perfect may be the works of art by which we are surrounded, there is a Hand whose meanest work outvies them all, yet whose silent and beneficent wonders are going on around us. To the unobservant man nature is silent. He knows not the rich treasure he neglects, and the eloquent teachings, the more loved the more they are known, which he never listens to. Of all nature’s developments, perhaps not one is so universal or so important as that of which we are now going to treat. The character, the habits, the civilisation, almost the veryexistence of men is determined by the vegetation of the countries they inhabit, and where no vegetation is, the land is desert indeed. Our kindliest memories of foreign lands, and of our own country’s beautiful spots, are inseparably linked with the foliage and verdure which adorns the rugged earth, and is, as it were, the handwriting of the Almighty’s blessing and distinction. It is not the burning sun alone that makes the tropical island appear so different to our own: there seems a wider difference still, between the rank and tangled luxuriance of the tropical forest, and the stately glades of England—or between the prodigal wealth of almost wild fertility, and the field surrounded by hedgerows, whose riches are the reward of patient and necessary cultivation. There is indeed beautiful instruction in all nature’s phases and mysteries, but none more beautiful than that conveyed by plants and flowers. The greatest minds have turned their strength to the culture of the field or garden, and the gentlest and best hearts seem to be the most fitting home for the love of beauty so pure and true.
It is impossible in the pages of this book to do more than point out some of the most interesting and beautiful of the specimens which constitute the rich botanical collection of the Crystal Palace. Amongst such a multitude of examples many of the greatest interest necessarily find no mention here, but they are not the less to be observed. The smallest and most unobtrusive plant may be the most worthy of notice, and in its relations with human life the most deadly, the most medicinal, or the most grateful. The history and attributes of almost every one will lead us on a course fraught with knowledge, and a pleasure which study unveils more and more.
The Borders, which range along each side of the Nave fronting the façades of the various Courts, are all numbered, as will be seen by a reference to theplan. The South and North Transepts are filled with trees and flowers. The divisions of the Natural History Illustrations are also filled with examples to represent, as much as possible, the flora of the various countries. We propose to accompany the visitor from Border No. 1, close to the Screen of Kings and Queens, and following the arrangement of the Borders up this, the South-Western side of the Palace, to return on the opposite or garden side.
In Border No. 1, we first notice an example of one of the finest and largest timber trees of New Zealand, the native name of which is the Kakaterre (Dacrydium taxifolium). This is a tree of giant growth. Just beyond the statue of Chatham are twospecimens of theMelaleuca, some of the species of which furnish the Australian aborigines with a kind of tea; this beautiful species of tree is almost exclusively peculiar to Australia, and contributes much to form the character of Australian vegetation. Against the Column, and adjacent in this Border, are also several fine plants, some of which are 30 feet high, of the Australian Acacia (Acacia foliosa). The early foliage of this tree, it is interesting to observe, is characterised by a larger development than it assumes with more advanced growth; these differences can easily be distinguished in the plants before us, which may be identified by their light-coloured and elegant leaves. Another large Acacia (Melanoxylon) is near the angle of the South Transept, and on the left of it perhaps one of the finest specimens of theRhododendron arboreumfrom Nepaul. This magnificent tree was one of the first of this species sent out after its introduction into this country, and when only five inches high was purchased for five guineas. It bears rich scarlet flowers.
Turning now into the South Transept, one of the first specimens we notice, in Border No. 3, is a noble tree of theCamellia reticulata, perhaps the finest kind ever introduced of this magnificent flower; it is indigenous to China and Japan. Beyond this, as we pass from left to right down the Transept, is a tree of the New Zealand Spruce (Dacrydium cupressimum), whose delicate form and drooping foliage claim admiration; and almost behind this is a most interesting specimen of the Paraguay Tea Tree (Ilex Paraguayensis). The Maté, a curious Brazilian tea, is obtained from the prepared leaves of this plant. Immediately succeeding this in our course is the Camphor-tree (Cinnamomum camphora), from which the valuable drug of commerce is procured. This specimen is from China, but it also grows in Japan. Passing on a few steps, we find theCeratonia Siliqua. This plant is eminently curious, as being that which bears the “locusts” on which it is presumed St. John fed, as mentioned in the Gospel; it has thus obtained the name of “St. John’s Bread.” The last great tree in this border is a magnificent Norfolk Island Pine (Araucaria excelsa), 40 feet high. This stately and beautiful tree grows in its own country to the height of 200 feet. On the other side of the Transept, in Border No. 5, which we now proceed to inspect, will be found a corresponding specimen, and many of the same kinds of plants as those we have just examined; but we may notice here, almost in the centre, a noble specimen of a beautiful new Fuchsia, calledDominiana; behind which may be seen thelargest tree in this country of that species of Camellia known as “Lady Hume’s Blush.” In the centre of the Transept is placed a gigantic specimen of the American Aloe, which, for its magnificence of growth, is perhaps unequalled in this country. This specimen was brought in 1828, a small plant, from the ruins of the palace of the Cæsars at Rome, where it grew wild.
We now resume our tour up the Nave with Border No. 7. At this corner stands a most elegant and beautiful tree, theAcacia dealbata, a native of New Holand. This tree is perhaps the finest of its kind to be found in the kingdom. In the centre of this border rises a rare specimen of theYucca stricta; its beautifully variegated and lance-shaped leaves constitute it a prominent object easy of recognition. Close to the column, a little further on, is theAralia trifoliata, from New Zealand; a plant which possesses the peculiarity of shortening its curiously-formed leaf as its age advances.
Surrounding the Pompeian Court at the back of these borders, are specimens of the Azalea. On either side of the entrance to this Court are luxuriant Orange-trees, and near to them some Citron-trees.
In Border 7a, at which we have now arrived, is a beautiful tree, called theAraucaria Bidwillii, the rigid foliage of which much resembles the imbricated Pine of Chili. The aborigines of Australia make a favourite article of food of the seeds from the large cones of this tree, which attain the size of a child’s head. But one of the most prominent of the trees in this compartment stands a little nearer the column. This is the Bottle-Brush plant of Australia, and when in bloom with its red bosses of flowers, from which it has been named, it bears a very curious appearance. The Japan Cedar (Cryptomeria japonica) is also here. This tree was brought from China by Mr. Fortune. The Borders opposite the Sheffield Court are filled with many rare and beautiful specimens; but those Borders which are close to the glass façade contain some plants of the highest curiosity and beauty. In the centre of the left-hand Border will be found theSocotrine Aloe, from which is procured the medicine which bears its name. On either side of the entrance to the Court are two magnificent specimens of the Tree Ferns of Tasmania and Australia, whose luxuriant crowns make them objects of the highest beauty. These plants are without doubt the finest specimens of this luxuriant Fern in this country. At either extremity of the Borders are most interesting specimens of Bromeliaceousplants, with which, till lately, the pine-apple was classed. The Fuchsias here are upwards of 40 feet high.
Returning now to the Nave, we find in Border No. 9a, a beautiful silver-leaved Acacia, grouped with other plants of the greatest interest, amongst which may be pointed out a New Zealand Palm (Areca sapida), and anAgnostis sinuatis, recognisable by its peculiar leaf. At the end of this Border will also be found the Botany Bay Fig-tree, and theOlea Europea, from which the olive-oil of Commerce is procured. The succeeding Borders Nos. 11 and 11a, opposite the Birmingham Court, contain selections of most valuable and interesting plants, similar in many respects to those we have described; amongst them may be noticed theFreycinetia Bauerianifrom Norfolk Island. Close to the entrance of the Birmingham Court, in Border 11b, is the new and beautifulMitraria Coccineafrom South America.
We now arrive at Border No. 13, opposite the Stationery Court, the largest and most prominent tree in which is theEucalyptus globulosus, or Blue Gum-tree of Australia. This plant has already attained the height of 80 feet, and is but five years’ growth. In its natural state this is a Mammoth tree. Mr. Backhouse, the traveller, has described one of this kind, which was nearly as high as the great Water Towers at the Crystal Palace, being 250 feet, with a circumference at the base of 70 feet. But this was most probably an exceptional specimen. They are most frequently not more than half that size. The common Myrtle is the type of the class to which this tree belongs; but it is the largest of the myrtaceous plants. TheEucalypticonstitute four-fifths of the forests of New Holland. Gum is procured from this tree in large quantities.
Round the column, in the corner of Border No. 13a, is a fine plant of the Cape Gooseberry, which bears a beautifully acid fruit, much esteemed by some. The fruit is curiously inclosed in an inflated capsule. Although called the Cape Gooseberry, this plant is originally from Australia. In this Border are various specimens of New Zealand and Australian plants. The remaining Border, before we enter the Central Transept, is filled mostly with a collection of largeAcacia. Having crossed the Central Transept, as we proceed toward Border No. 19, which is in front of the Egyptian Court, we pass Border No. 17, which is filled withEucalypti, as that in a corresponding position on the other side of the Transept is withAcaciæ.
In Borders Nos. 19 and 19a, will be found large specimens of theSparmannia Africana, an old conservatory favourite, indigenous to the Cape. It was named in honour of Dr. Sparman, the Swedish physician and botanist, who accompanied Captain Cook in his second voyage round the world. These fine trees were presented by Her Majesty the Queen. Close to theSparmanniais a large India-Rubber-tree, the sap of which constitutes the article now so extensively known and used. It will easily be recognised by its broad, handsome, and glossy leaves. This tree belongs to the Fig tribe, all kinds of which bear sap with more or less the same properties. A plant close to this is theLoquat, or Japan Medlar, which is curious from its peculiarity of shedding its bark. A little nearer to the Court will be found a most elegant plant of the Grass tribe, the Himalayan Bamboo, a small and delicate cane, which is found high up the Himalayas, and consequently flourishes in a lower degree of temperature than the common tropical Bamboo. The remaining examples to be noticed in these Borders are amongst the most curious in the collection. The first is theRhipidodendron plicatile, so named from the fan-like growth of the leaves. The common lily is the type of the order to which this plant belongs. The next are the curious African plants, like rough blocks of wood, which are called “Elephant’s Foot.” These remarkable plants are calculated as being 3000 years old: they were imported from the Cape of Good Hope. TheCasuarina stricta, of Australia, is also here, with its curiously jointed foliage. The wood of this plant, from its peculiar conformation and colour, has gained for the tree the name of Beef-wood. In its native state it attains a great size. Several kinds of the temperate Palms, Ferns, and Aloes are also arranged in this position.
The most noticeable tree in Border No. 21, is a luxuriant specimen of the Moreton Bay Pine (Araucaria Cunninghamii). In the succeeding Border, No. 21a, is another of theEucalypti, the leaves of which, it is curious to remark, change from round to lance-shaped as the tree advances in growth; and in the further corner is theGeitonoplesium, a trailing plant of the same order as the common Asparagus. In Border No. 23a, just opposite the column, is the Peppermint tree, of Australia (Epyclautus piperata).
We now pass through the division into the Tropical end of the building, where necessarily many of the most interesting and beautiful of trees and plants are congregated. Most of the examples we have hitherto examined have borne, more or less,some resemblance, if not in detail yet in character, to the vegetation which we everywhere see around us in England. But here we notice a new form, reputed to surpass them all, and at least very rich in those glories which have won its repute,—we mean the Palms. This form of vegetation gives more distinctive character to tropical and eastern scenery, than any other natural feature. The stem often rising to the altitude of 100 feet, in a stately column, crowned with a capital of beautiful leaves, radiating from its summit, or gracefully drooping; sometimes of a feathery form, sometimes fan-shaped of broader growth; some of dark, shining verdure, and others of a delicate silvery aspect: they constitute one of the most beautiful families of the vegetable kingdom. The leaves of some kinds are gigantic; those of theManicaria saccifera, of Brazil, are 20 feet in length, and six feet in breadth. Humboldt has described the Wax Palm of the Cordilleras growing to the majestic height of 180 feet. Nearly all varieties are most prolific in fruit, and with most, scarcely a portion but what is applied to some use by the natives of the countries they inhabit. Their great importance, then, to many of the human family entitles them to particular study and attention, beyond the brief mention we can give them here; and the pleasant task will be well repaid.
The Borders in the Tropical Division are numbered distinctively from the other part of the building, commencing with Border No. 1, in which is a plant of the India-Rubber-tree, which is probably the largest of its kind in the building, and nearer to the corner is a specimen of the Wine Palm (Caryota Urens). On the side opposite the Court will be found the silk Cotton-tree of India (Bombax Ceiba), and, further round, the Sandbox-tree of India (Hernandia Sonora). In Border No. 3, which corresponds in position on the other side of the Alhambra Court, is an Egyptian Date Palm, and also a Wax Palm from South America. In Border No. 5 we notice a group ofMusæ, amongst which beautiful class of plants are the Banana and Plantain, perhaps the commonest and most nutritious of tropical fruits. Hemp and flax are obtained from the fibrous leaves, which are also used for thatching and basket-making. A sort of wine is made from the juice of the trunk. The fruit is eaten both raw and cooked, while the young shoots are consumed as vegetables. In the centre of this Border, which runs along parallel with the Alhambra Court, is one of the species of Sago (Saguerus sacchifera); another kind (Cycas revoluta) is near the column. The Indians as well as Chinese procureSago from this tree. The Sago is prepared from the pith of the trunk, selected however at a proper season; it is made into bread by the natives who prepare it, and from this it has received its name, which in the language of the Papuas means bread. It is more prolific in nutritious matter than perhaps any agricultural plant, a single trunk sometimes yielding as much as 600lbs. of Sago. Round these Sago Palms is arranged a collection of various specimens of the Fig tribe (Ficus) from South America. Between the centre columns is a plant of theJatropha Manihot, whose root is one of the most important articles of food in the tropics; it is made into bread called Cazavi or Cassava, which is very nutritious; and Tapioca is also obtained from it. A very poisonous juice has first to be extracted by pressure, or eliminated by heat, before the root can be prepared for food. In the corner of the Border we are now inspecting is another tree, from which also bread is made; this is the Caffre Bread-tree (Encephalortus.) The natives remove the bark and make flour from the trunk.
We may now turn into the Avenue of Sphinxes, between which is arranged a rich collection of beautiful Palms—Cocos, Date-Palms, Wine-Palms, Cabbage-Palms, and many other varieties. At the corner as we turn again into the Nave stands theCocos plumosa, a peculiarly beautiful specimen, which may be remembered as having adorned the Great Exhibition in 1851.
We now arrive at Borders No. 7 and 9, opposite the Assyrian Court. In this position is arranged a selection of tropical fruit plants, and of those bearing articles of food. It will not be necessary to do much more than enumerate most of these, as their produce is so well known, and forms the daily or occasional food of most. At this end of the Border will be found the Tamarind-tree, the Pepper-plant, the Sea-side Grape, from the West Indies, the Coffee-tree, the Chili-Capsicum, the fruit of which makes a delicious pickle, the Jujube, the Assam Tea-plant, so extensively cultivated by the East India Company, the Cow-tree of the Caraccas, and, advancing up the front of the Border, two kinds of Ginger, the common and a spurious kind, the Rose-apple of the East Indies, the Avocado Pear, and the Peruvian Custard-apple, at the back of which is the Castor-oil plant, the Jack-tree, and the Malabar Nut. We continue the collection with the Star-apple of the West Indies, the Madagascar Nutmeg, the Allspice, and the Cassia Bark. We here meet a fine group of fruiting Bananas, beyond which we shall notice with interest the Indian Mimusops, and the plant from which our common Black Pepper is derived (Piper nigrum). TheDimocarpus Longan, and the Chinese Litchi-Fruit tree, are near, as well as a most interesting plant called the Ordeal-tree, from Madagascar. The fruit is a sort of bean, and deadly poisonous. When the priests in Madagascar wish to rid themselves of a state enemy, or to remove a rich man for the sake of his goods, recourse is had to some pretence, and an ordeal is instituted which consists in eating the fruit of this tree, harmless of course to the innocent, but to the guilty, poisonous. The crafty priests carry out their views by substituting an innocuous berry similar in appearance, excepting where they wish the pretended guilt to manifest itself with death.
The arrangement of the corresponding Border, No. 9, is very similar to that which we now quit, but we shall find here in addition, the Cinnamon-tree, the Peruvian Bark, the Bohea Tea-tree, the leaves of which we daily consume as plain black tea, another kind of Allspice (Myrtus pimenta longifolia), the Guava of West India, a most delicious and well-known fruit, the Sapodilla Plum, and the Chinese Paper Plant. In the small Border near the aviary, which terminates the series on this side, is an interesting specimen called the Looking Glass Plant, from the silvery appearance of the underside of the leaf. Here also is a magnificent example of the Black Bamboo, the canes of which are used for a great variety of useful purposes, and for ornament as well. The rapid growth of this plant is astounding, the shoots of the present specimen having often increased in height at the rate of more than 12 inches daily.
In the centre of this, the northern extremity of the Nave, rises one of the finest specimens to be met with in this country of the nobleSabal Palmetto. This tree represents the extensive group of Palms, having palmate or fan-shaped leaves. A curious fibre hangs in graceful ringlets from the foliage. On the right hand of this splendid tree, we commence our return down the garden side of the Nave with Border No. 10. In the corner stands a large group of Bamboos. This species attains a much greater size than its cogener on the other side: in its native wilds the stems often exceed the height of 100 feet, the growth of a single season. The stems seldom grow higher after the first year, but become densely clothed with delicate leafy branches. This may almost be called the domestic Bamboo, as it furnishes material for an almost infinite variety of domestic articles. In this Border are two other large varieties of Palm. The firstCorypha sylvestris, from New Holland, is, like theSabal Palmetto, a Fan-Palm. TheCoryphæare socalled fromKoryphe, the summit, as the leaves branch only from the top of the trunk, making a very stately and beautiful form. This tree surmounts a group of root-work, upon which are planted rare Orchids, Ferns, and a variety of other beautiful exotics. The large Borders on this side of the Tropical Department are mostly made in this picturesque manner. If we now pass on we find close to the column a large Coffee-tree, from Yemen, which in the autumn bears its interesting berries. Close to this is a lofty Screw Pine (Pandanus odoratissimus) from the East Indies. The flowers of this tree are so deliciously fragrant that in Egypt and Arabia it is often cultivated for their sake; the fruit somewhat resembles the pine-apple, but is not so good. In the South Sea Islands, where this species grows in great plenty, the natives convert its leaves and products into a variety of uses and ornaments. It has received its name from the screw-like arrangement of its foliage, and not from the appearance of the trunk. It will be noticed that the roots are partially above ground, and constitute a kind of support which strengthens according to the peculiarities of position in which the tree grows. The roots from some of thePandanidescend thus, like tightly strained cords, from a height of 12 or 15 feet. The great Palm-tree in the centre of this bed is upwards of 40 feet high. It is from the Isle of Bourbon (Latania Borbonica), and once formed part of the renowned collection at Fontainebleau of the Empress Josephine. We are now standing under the luxuriant branches of theFicus Roxburgii, a curious Fig-tree which bears its fine fruit on the stem close to the ground. Further back, on the left of the great Palm, is a Mahogany-tree from Honduras, and a fine fruit-bearing specimen, 14 feet high, of the delicious Guava. But it is impossible here to particularise the rich contents of these Borders; as in our progress through the whole collection we are forced almost casually to choose from so many objects of interest; but it is hoped that the mention only of these may awake an interest which investigation will increase.
At the back of the Border just mentioned, is arranged a large collection of exotic plants in pots, amongst which will be found the Gamboge tree, and the Bread Fruit tree, from the South Sea Islands. Also the Strychnine plant (Strychnos Nux vomica), the nuts of which contain the deadly poison of that name.
At the corner of the succeeding Border, No. 8, next the garden, is one of the most valuable and rare specimens in the kingdom, of the beautifulAraucaria Cookiifrom New Caledonia. The soft and luxuriant foliage of this tree, and the surpassing beauty of itsform, every branch, with its rich pendulous load falling most symmetrically in a regular gradation of graceful positions, constitute it one of the most beautiful of its kind in the whole vegetable kingdom. Numerous specimens of Palms and of the beautiful flowering plants and shrubs of the Tropics adorn this division. A splendid example of the Gum Dragon tree of Teneriffe (Dracæna Draco), the same kind as the famous tree of Oratova; also a New Holland Palm (Seaforthia robusta), are found here. Here also is the Traveller’s tree from Madagascar, the grateful shade it affords having gained it its name. The Palm bearing the highest position in this bed is theSabal Blackburnianum, the leaves of which are amongst the largest of their kind. Against the column at the south-west corner of the bed, in the Nave, hangs the curious Elk’s Horn Fern (Platycerum grande), from Australia. This parasite abounds on the rocks and the bark of the large trees in the forests of Moreton Bay.
Before quitting the Tropical Department we will now continue our inspection of the Borders on the east side of the Nave. It is unnecessary to particularise the plants in these Borders, as they have been purposely arranged in as much uniformity as possible with the corresponding collection on the other side. Opposite the Byzantine Court may however be noticed four funereal Cypresses from the Vale of Tombs, in North China, and in Border No. 4 a graceful plant of the Fig tribe (Ficus Pumila) from China, and the handsome New Zealand Laurel (Carynocarpus lævigatus). On the northern side of the South Transept, in Border No. 6, is the Nepaul Berbery (Berberis Nepaulensis). This specimen is remarkable for its height and beauty of foliage. It is a newly introduced species. At the back of this tree will also be found a fine example of the New Zealand Flax (Phormium tenax). In Border No. 6, at the end of the Transept, is the Brazilian Pine (Araucaria Braziliensis). A remarkable specimen of the Australian Fig tree (Ficus macrophylla), is in Border No. 2.
In the Natural History Department the most noticeable plants have been selected to represent as far as it was possible the flora of the respective countries. Thus, in the Australian division theAraucaria,Tree Ferns, andEucalypti, or Gum Trees, are most conspicuous. The other divisions contain many most interesting plants, such as the Tea trees, which are all arranged geographically in their respective positions, and can be readily identified. In the division on the western side of the Nave, many of the beautiful plants are very well known, though indigenous to South, Central,or North America. The Fuchsias, Cacti, Yuccas, Aloes, and someAraucariæ, are amongst these.
It remains now to speak of the splendid collection of Orange and Pomegranate trees which form the noble vista of the Nave, and are principal features amongst the beauties of the Crystal Palace. Some of these are four hundred years old. They once belonged to the Orleans family, and in the latter times of the late dynasty in France were collected by Louis Philippe to decorate his favourite château at Neuilly. Shortly after the accession of the Emperor Napoleon, the property of the Orleans family was sold by public auction, and these matchless natural productions were then purchased by Sir Joseph Paxton for the Crystal Palace Company; there are 110 of these trees in all.
The hanging baskets, which form so delightful an array high up on either side of the Nave, and around each Transept, cannot fail to attract the notice of the visitor. The creeping plants, which cover the columns and cross-ties on each side of the walks, are of great luxuriance and beauty, while at the corner of the South Transept will be noticed a gigantic specimen of the lovelyWesteriawhich is rapidly covering the wide span of the Nave at this part. This was one of the first trees of the kind which was introduced into this country, and it thrives here exceedingly well.
It must have been apparent to the reader how very cursory has been the notice given to the most interesting plants and trees in these pages, and how few of the many specimens have been referred to. Such was a necessity. Yet it is hoped that as the Crystal Palace calls all the aids of Art to the teachings which it conveys, so Nature (a greater teacher still) may side by side yield her lesson too. To the lover of the beautiful it needs small prompting to explore her mysteries, and the rich expression she bears of that he seeks.
Mr. George Eyles is the chief superintendent of the whole Interior Garden.
The main Galleries around the Central Transept, and to the south with the exception of that on the western side toward the road, are devoted to the exhibition and sale of articles of industry. ThePicture Gallery is in the gallery which runs over the Stationery Court and the series on that side. The galleries on the eastern side next the garden, with the South Gallery at the end of the building, are devoted to the exhibition of those articles which are for sale on the spot. Amongst these will be found precious metals and jewellery, miscellaneous ornaments, perfumery, toys, and other articles both of use and luxury. The gallery presents a pleasing and animated appearance, the stalls are fitted up on an elegant and uniform plan, and the traffic at them is very considerable. At the western end of the Great Transept the gallery is allotted for the exhibition of manufactured articles, which are not for sale on the spot. The collection is of a miscellaneous, though most interesting character. On the first gallery above this will be found a most interesting collection of drawings and models for the fountains in the Crystal Palace, which have been furnished by Mr. M. D. Wyatt, Mr. Owen Jones (the figures on whose designs were modelled by Signor Monti), Mr. John Thomas, Mr. John Bell, Baron Marochetti, Baron Launitz, and Mr. Hector Horreau. The models display much artistic treatment and inventive fancy.
If we now descend the spiral staircase to the main gallery, and proceed through the industrial exhibition to the right-hand we shall enter the main gallery, on this side, running toward the south end. Here is formed
The first portion which we enter, before reaching that part of the gallery immediately over the Stationery Court, is appropriated to the exhibition of photographic pictures both British and foreign, several important water-colour pictures by the most eminent members of the two Societies, and a selection of remarkable pastel pictures.
The long gallery which stretches from this point to the south end of the building has been properly fitted for the exhibition of pictures. The glass wall toward the road has been covered, and a partition wall erected on the opposite side over the courts, excepting over the passage ways between the courts. The light comes from the roof with duly modified intensity, and the effect on the pictures is singularly beneficial and clear. Thus a magnificent gallery of pictures is formed, sweeping in one uninterrupted line, from the centre to the end of the building, or for a distance of 700 feet. The effect is very grand and at the same time beautiful,while the convenience and ample space will be noticed as a contrast to many picture galleries. There are upwards of 900 pictures of the British, French, Dutch, Belgian, and German Schools, being all by living artists, and for sale; the titles, prices, and Painters’ names are affixed to each picture.
As we near the south end we shall notice some very fine examples of the ancient masters, several of them being from the galleries of Marshal Soult, and the Lucca, Orleans and other celebrated collections. The specimens of the Gothic art of Flanders and Germany are very remarkable, and many of the early Italian pictures most worthy of particular notice. The early Gothic collection is one of the finest ever seen in England, and is only surpassed by the Boisserée and Ertborn galleries of Munich and Antwerp. These curious works keep the full lustre of their original colouring, and in this respect form a great distinction to many modern works. Mr. C. W. Wass is intrusted with the management of this department.
We may now proceed through the South Gallery and the Industrial Bazaar on the other side to the garden end of the Great Transept, where, in the gallery above, which we may reach by the spiral staircase, we shall find one of the most interesting departments in the Palace, as it is one of the mostinstructive—
The object of this collection is to convey by means of actual illustration that instruction in the modes and various stages of industrial manufactures, and of the arts, which cannot be so accurately gained from books or descriptions; as well as, by the same plan, to trace the original plants, ores, or annuals, from which the material manufactured is derived, and to illustrate by products the several stages of its manufacture. This plan of arrangement therefore escapes the monotony which is usual in ordinary museum collections, and will be found equally interesting as instructive. It is not possible in this book to particularise by any long description any of the series comprised in so extensive a collection; it is not therefore attempted, but the leading features and positions of the gallery are indicated to direct the investigation of the visitor himself, who will find very accurate, and in many cases detailed notices appended for his instruction, to the objects themselves.
We enter the gallery by the spiral staircase in the Central Transept Gallery on the garden side of the building, and shall find that division devoted to the minerals, which we will explore first, at the left-hand extremity of the gallery. The vegetable division is naturally the largest, and occupies all the central cases and some portion of the right hand or northern extremity, where the third and last—the animal division—is situated. A plan detailing plainly this arrangement will be found suspended against the first case on the left as we enter. The first cases of the mineral division, which are those in front of the gallery on the left-hand, are devoted to what are commonly termed thenon-metallicelements and their most important compounds, that is to say, those compounds in which the non-metallic element is the one technically important, arranged in the order in which they are generally treated in works on Chemistry. It may be necessary here to observe, that in order to avoid needless repetition in the classification of the chemical compounds, this plan has been adopted throughout. Thus, for instance, Bleaching Powder, which might be arranged under the heads of both its constituents, Chlorine and Lime, as it is used only on account of the Chlorine, is classified under that element. In these cases we find varieties of Carbon, Products of the Distillation of Coal, Peat, &c. (Naphtha, Ammoniacal Salts, Paraffin, Dyes, &c.), and a beautiful series illustrating the manufacture of Sulphur. Succeeding these are shown the varieties of Silica, under which head a rich case of English Agates from the Sussex coasts must be particularly noticed. The Silicates embrace the different manufactures of glass, amongst which are some beautiful artificial gems. Etching upon glass is also illustrated here. We now come to the Alkaline Metals,—Potassium, Sodium, and their salts. The next are the minerals of the Alkaline earths, Barium, Strontium, Calcium (Lime), and Magnesium, and their sundry preparations. The cements come under this division. The next cases are devoted to Aluminous products, and in this class will be found complete illustrations of one of the most important and interesting of British manufactures—the Ceramic. The series commences with a collection of the clays from different formations, and the process by which the Devon, Dorset, and Cornish clays, which are those used in earthenware and porcelain manufactures, are fashioned, decorated, and finished, is shown together with the materials used for glazes. The preparations of Alum by different processes, Emery, &c. are also in this division.
We now come to one of the most important series in the collection, and one in which the greatness and importance of this country is most emphatically illustrated. These are the Metals, properly so called. The arrangement adopted with these is first to show the ores from each district, next the mode of smelting those ores, the metal procured, and generally the manufacture of the metal. The Iron, of course, assumes the first importance. The Pig Iron is the first state in which the metal is obtained; it is then submitted to the refining and “puddling” processes; then rolled into bars, nails, and plates, or drawn into wire; we then see it converted into steel, by various processes including Bessemer’s, and this leads us to the manufactures of Sheffield. The series, of course, includes Copper, Zinc, Tin, Antimony, Gold, Silver, &c.
The central stands at this end of the gallery are occupied with a collection of the coals and building stones of England and Scotland, with a set of maps indicating the geological formation from which each is obtained.
The cases down the centre of the gallery are devoted to the Vegetable Kingdom. These are arranged as follows:—Products used as food, in the arts, and in manufactures, and in medicine. In the first class is a collection of British agricultural produce, made by Messrs. Peter Lawson & Son, of Edinburgh. The Cereals and Grasses will be found arranged in the upright cases, facing the garden and on the octagonal tables. In the cases beneath are the Roots and Fruits modelled in wax. The various growths and manufactures of Tobacco, of Hops, Spices, and aromatic Seeds, as well as Cocoa, Teas, Coffee, and their substitutes, and the articles used as food, should be specially noticed, being most completely illustrated. It will be noticed here, and also with most of the vegetable specimens in this collection, that reference is made upon the explanatory cards, which are in all cases affixed to specimens, to the fact that growing trees and plants of the various kinds may be found in the beds downstairs; and this will be found specially alluded to where the Botanical collection is described; it should be carefully borne in mind, and will, on being followed by inspection, yield an ample repayment of interest. We should now return down the side of the cases and commence our inspection of the other side, proceeding from the south end. We shall find the first set of cases illustrating the materia medica. The upper parts contain the plants, while in the lower divisions the drugs, seeds, and applied parts are shown. Next come the cork and other manufactures, including paper and paper-staining, thoseof Fats and Oils, India Rubber and Gutta Percha, with their various applications, Resins, Dyes and Dye-woods, these being further illustrated as with the materia medica by the plants from which they are procured. The illustrations of the Cotton, Flax, Hemp, the Pine Apple, China Grass and other fibres which are manufactured, will, with some other interesting articles in the cases opposite, conclude our rapid survey of the vegetable division, although we must not omit to notice a rich collection of the various woods, British, foreign, and Colonial, especially the large polished sections from Tasmania, collected and presented by the Royal Society of the Colony, arranged on stands at the North End.
The northern extremity of the gallery is occupied with the last division of the Museum—the Animal. Here will be found Furs of all kinds. Wools of British and imported varieties, Woollen and Worsted manufactures, Silk, illustrations of the preparation of different kinds of Leather, Feathers, Horn, Bone, and Tortoiseshell manufactures, &c., &c. Specimens of most of the animals from which these articles are derived are arranged in the middle of the division.
The whole Museum has been arranged by Dr. David S. Price, who has care of this department. The collection is constantly increasing, and may be expected before long to assume one of the most important positions amongst the settled features of the Crystal Palace.
In the Main Gallery on the North Eastern side of the Mediæval Court are placed four hundred French and Italian photographs, illustrative of the architectural and sculptural arts of the periods represented by the several Fine Art Courts on this side of the Nave; the photographs being arranged in the order of the courts beneath, and as nearly as possible over those which they serve to illustrate. Here also will be found the main portion of the busts constituting the
One of the most ennobling and instructive as well as interesting of the collections in the Crystal Palace. These busts give us the speechless, yet how eloquent, countenances of the great ones who have moved the current of the world’s life, from early times till the present moment. Each one of these busts is inscribed with the name and dates of whomever it represents; but for a noticeof the lives and general information as to the claims to renown of the several notabilities, we refer the visitor to the Handbook of the Portrait Gallery. A fine collection of small works of art, consisting of statuettes, mediæval pottery and wood-work, church vessels, old English seals, medals, and architectural ornaments, exemplifying the various styles from the Byzantine down to the Italian, is also arranged here.
In the North-east Galleries, on the garden side of the North Transept, is a Naval Museum, which is intended to illustrate the naval architecture of all countries. Here will be seen models of boats and ships, from the first rude canoe to the patent collapsing boats; and from the huge high-pooped ship of war of the time of Henry the Eighth, and Philip of Spain, to the long screw steamer of the present day; or the gigantic paddle and screw “Leviathan,” lately launched at Millwall, together with various inventions for marine purposes. In the first gallery, at the extreme north end of the Nave, a collection is exhibited of engineering and architectural models, including those of bridges, docks, viaducts, churches, and other structures.
Entering the gallery by the stairs from the garden end of the North Transept, one of the first models we meet is in illustration of Mr. Fergusson’s System of Fortification. The great principle of this system is the power of placing in position on a fortified place a greater number of guns than the enemy can bring to bear upon any point of it. For this purpose, Mr. Fergusson proposes to erect simple mounds of earth, bearing two or three tiers of guns, where the place is large and the curve flat, and four or even five tiers, where the space is confined. The model represents a small confined space surrounded by five tiers; ensuring in his opinion, a superiority of fire over anything that can be brought against it. Mr. Fergusson proposes to employ wet ditches wherever water is available; but on dry or uneven ground, a ditch of fifty or sixty feet, with a loop-holed wall at the bottom, not less than thirty feet high, thoroughly flanked in every part by musketry and artillery from the small bastions placed at intervals along its fronts. The model represents upon its different faces, suggestions for various methods of arming the ramparts and of flanking defences.
Amongst the various ingenious and beautiful objects in this part of the gallery will be remarked models of the Kieff Suspension Bridge, the original of which is nearly half-a-mile long, over the river Dneiper; the Britannia Tubular Bridge; the Wrought IronBridge over the Wye, at Chepstow; and one of a similar construction over the river Tamar, at Saltash. Most of these, as also the fine Viaducts, of which many are represented, are due to the giant enterprise which steam traffic raised in our country. There are two crystal models here of the Great Exhibition Palace in Hyde Park; one, the largest, by Mr. Dighton, of London, on the scale of half an inch to the foot, is especially beautiful and complete.
Passing on in this gallery, at the back of the Assyrian Court, we enter a department appropriated as an Indian Court. The first object which we notice is a stand covered on both sides with a fine collection of Indian arms and armour arranged with other objects of interest. On the wall near is ranged a collection of most interesting paintings, lent to the Crystal Palace by the Hon. East India Company. They are copies of some frescoes found on the walls of a series of caverns at Adjunta, in Western India, and were made at the instance of the Indian Government by Captain Gill, of the Madras army. The subjects are scenes in the life of Buddha and of Buddhist saints, and various historical events connected with the rise and progress of the Buddhist religion in India. The date of their execution extends from about the Christian era to the tenth or twelfth century; and in style they closely resemble the contemporary works of painters in Europe, possessing nearly the same amount of artistic merit, and displaying the like absence ofchiar’-oscuro, and the same attempt to copy with literal exactness the object represented, excepting where certain conventionalities are apparent. The collection is valuable as affording the means of comparing the state of art in the East with that in the West during the same period.
On the next stand are several Burmese idols and other curious objects, mostly belonging to the religious ceremonial of this people; among these will be noticed some very curious wood-carving; and we must not omit to notice in connection with these things, a very peculiar pagoda, or idol shrine, which stands close by. Placed along the floor are some very curious musical instruments, drums or tom-toms of various sizes, some instruments formed of pieces of hard wood, which on being struck sound the notes, and some having metal vessels, which produce a peculiar tone. Further on is a case filled with magnificently embroideredgarments, saddle-cloths, &c., which display that craving after splendour which appears to be part of Oriental nature. In this case are also some other choice articles of very great beauty and value, amongst which may be pointed out a small Japanese cabinet; a hookah, a dagger and sheath wrought with silver, a pair of slippers embroidered with pearls, and other rare objects from Persia. Here also are some specimens of Chinese work. On the right of this case is a chamber devoted to Chinese curiosities. The walls are hung with paintings, representing the manufacturing and other industrial occupations of this truly curious people. In the centre is the figure of a Mandarin in his richly embroidered dress. Quitting this chamber the visitor will remark on either side of him some fine models of Indian Mosques, carved in wood, which will amply repay a careful inspection. They belong to the close of the 15th century. After examining the curious model of the encampment of an Indian prince, which now faces him, the visitor will notice a case containing a splendid collection of Javanese arms, some highly wrought with great beauty in gold and silver. This case also contains some wonderful carvings in ivory and pith, as well as other objects of great interest.