9 Dec 2007 10:31
"The architect of this court is Mr. George. H. Stokes [Paxton's son-in-law], whose structure at once compels attention by the novelty of its design, and by its general striking effect. Although there is a considerable admixture of styles in the court, the parts have been so well selected and their blending is so excellently contrived, that they yield a harmonious result in every way pleasing to the eye. The materials used in the construction are plate-glass and iron, an appropriate and happy selection for a court intended to receive the productions of Sheffield. The panels on the outer walls are of plate-glass, inclosed within gilt-moulding ; the pilasters and the frieze over the large panels are likewise of plate-glass. The iron columns above, forming an arcade, are in a composite Moresque-Gothic style, and elaborately ornamental in design."
"Entering the court from the nave, we find the interior decorations identical with those of the exterior - with two differences, viz, the large lower panels, instead of being of plate glass, are of red cloth, which serves as a back ground to throw up and display the articles exhibited. The frieze or space above the columns, now merely covered with painted decorations, will, at a future period be adorned with paintings, illustrative of the manufacture of Sheffield ware."
Leading out of this department will be found, at the back, a space devoted to the mineral manufactures, including works of art in terra-cotta, tiles, marble, and glass.
9 Dec 2007 10:37
This Court has been designed by Mr William Tite, and the architect has considered that the purpose to which the Court is applied might best be expressed by showing some of the principal ornamental uses of iron in architecture.
With this intention, he has designed for the façade of the court a restoration, in modern work, of the English ornamental enclosures of the 17th century, which differed but slightly from those prevailing at the same time in France in the style of Louis XIV.
The English, however, are generally richer in foliage, while the latter are more fanciful in scroll work. At the period referred to, the whole of those enclosures were of wrought and hammered iron, cast-iron being at that time little known, but in the enclosure before us, although it has been executed on much the same principle as the old work, the ornaments are cast, in order to secure greater durability, cast-iron not being so easily destroyed as wrought iron, by the oxidation which proceeds with such enormous rapidity in this country. The castings have been most admirably executed, and so sharp and distinct were the outlines of the patterns, that they required but little after-finishing.
The pilasters are of enamelled slate, excellent for their imitation of marble, surmounted by iron capitals.
Entering through the gates in the centre, the visitor finds the interior of the court panelled in the style of the same period and decorated by Mr. Sang with emblematical paintings and other appropriate ornamentation in encaustic.
In this court will be found articles in nickel silver, seal-presses, gilt toys, metallic bedsteads, and similar manufactured goods of universal use.
James Wooldridge, Manufacturer of Cabinet Brass Foundry, Brass fittings, Brass Toy Cannons, Mortars, Anchors, Bells, and a variety of other Brass Toys. 38, St Pauls Square, Birmingham.
The People's Lamps! - One Hundred New Designs, manufactured by Sysons Nibbs, Birmingham. May be had of any respectable Ironmonger. Price 1s. to 55s.
George Hanes Parkes, General Coach and Harness Furniture Manufacturer, for Home and Exportation, 10 and 11, Saint Mary's Row, Birmingham.
George Dowler, Bell Founder, Medallist, Die Sinker , and Manufacturer of Waxed Vestas and Vesta Boxes, Bottle Jacks, Corkscrews, Inkstands, Letter Padlocks. A great variety of useful and fancy articles. Established 1777. 91, Great Charles Street, Birmingham.
James Bedington, Manufacturer of Mathematical Instruments and Measuring Tapes of all descriptions. Ship and Pocket Compasses, Sun Dials, &c. &c. 10 russell Street, Saint Mary's Square, Birmingham.
Charles Alldridge & Son, Cabinet and Stationery Case Maunufacturers, Regent Parade, Caroline Street, Birmingham.
William Soutter, Manufacturer of Tea and Coffee Urns, Bronzed and Brass Kettles on Stands, Copper Kettles, Scoops, Warming Pans, &c. 10 and 11, New Market Street, Birmingham, and 65, Bartholemew Close, London.
Deykin & Sons, General Electroplaters and Maufacturers of Spoons, Forks, Buttons, &c. Works, 6, Jennens Row, Birmingham.
Benton & Stone, Manufacturers of Mandrill Drawn Tubing, Garden Engines and Syringes, Telescopic Hearth Brushes, &c. &c. 4 and 5, St Paul's Square, Birmingham. Agent, G. LLoyd, 70 Hatton Garden, London.
Peyton & Iles, Patentees and Maufacturers of every description of Hooks and Eyes, Thimbles, Pins, &c. Peel Works, Macdonald Street, Birmingham.
Henry Millward & Sons, Maufacturers of Needles, Fish Hooks, Fishing Tackle, &c. &c. Redditch.
G. B. Lloyd & Co., Manufacturers of of Lapwelded Iron Tubes for Steam Boilers, Gas and Steam Tubing, &c., Berkley Tune Works, Gas Street, Birmingham.
John C. Onions, Manufacturer of Smith's Bellows for Anchor Smiths, Machinists, and others. Patent Circular, House, Library, and every description of Fancy bellows, Patent Water and other True Irons, Anvils, Vices, and Hammers, Improved Blowing Machines, &c. Bradford Street, Birmingham.
The Patent Crystal Window Bars, adapted for domestic Windows, Shop fronts, Conservatories, Skylights, Vernadahs, Exhibition and Counter Cases, Aquariums, fen Cases, &c. &c., combining perfect transmissions of light, durability against rust or decay, and economy in the facility with which they are kept clean. aquariums with Slate or Marble Bottoms of various sizes, with or without Fountains, also of glass. Manufactured by Lloyd & Summerfield, Park Glass-works, Birmingham. All kinds of Flint Glass, cut and plain, Coloured Window Sheet, Optical Sheet, Coloured Lenses, &c. &c.
Messrs Elkington, Mason, & Co., Exhibit Specimens of their electro-Plate and Fine Art Manufactures in the Gallery of the Great Transept, and in their Court in the Nave.[/b]
"In this court ( as in the Machinery Department below, next the Terrace) many interesting processes of manufacture are shown, including scarf weaving, fret-cutting, the making of Tunbridge ware, needle-making, and a process of printing cards without ink, &c."
9 Dec 2007 10:40
The Stationery Court has been designed and erected by Mr. J. G. Crace.
The style of this Court is composite, and may be regarded as the application of cinque-cento ornamental decoration to a wooden structure. Externally the aim has been to furnish certain coloured surfaces, which shall harmonize with the plants around and the general aspect of the Palace. In the interior of the Court, the dark neutral tint on the lower level will be seen to serve as an admirable background to the objects exhibited; whilst the panels covered with cinque-cento decoration, combined with the elegant imitation of marquetrie work, produce an effect which deserves the highest praise.
Over the opening through which we enter this Court, and between the stained glass windows let into the wall, have been introduced allegorical figures of the arts and sciences applied in the manufacture of the articles exhibited in the Court, and over the opening at the back the artist has depicted the Genii of Manufacture, Commerce &c. In the centre of the panels throughout the Court representations are painted of the processes which the objects exhibited undergo during their manufacture.
The visitor proceeding round the Stationery Court, from right to left, will find amongst the works of industry exhibited, specimens of bank-note engraving and medallion line-engraving, of the highest order; specimens of fancy stationery, book-binding, chromolithography, and ornamental printing, including specimens of the new art of nature-printing, also stereoscopic views, and other articles of the kind.
J. C. JONES & C). "1, Soho Square, London, First Class Pianofortes from Twenty-four Guineas. exhibitors in London and Paris exhibitions.
SPECIMENS OF ORNAMENTAL DESIGN FOR BOOKBINDING, &c. Exhibitied by John Leighton, F.S.A.
GEORGE ROWNEY & Co., 51, rathbone Place London. - Specimens of Drawing and Painting Materials. Specimens of Chromo-Lithography.
NATURE PRINTING. - The specimens exhibited of this new process for obtaining life-like or physiotopic impressions of plants are mostly of FERNS and Mosses, but the process is still further peculiarly applicable to the representations of the GRASSES, the LICHENS, and the Sea-Weeds. These results are obtained by placing the specimen to be copied upon a plate of soft lead, with a highly polished surface, and passing it, at a high pressure, between hard steel rollers. The specimen leaves its impression upon the lead, and gives not only its outline, but also the most delicate elevations and depressions of its surface with that sharpness and fidelity as to present a perfect facsimile of the original specimen in its natural size. The lead plate thus impressed - not being practically availiable for printing purpose - is copied by the electrotype process, by which a copper plate (the image on which is perfectly identical with the original impressed lead plate) is obtained, which can be printed from at an ordinary copper-plate press. Nature printing was introduced into Englan by Mr. Henry Bradbury, in 1853; the first application of the process has been most successfully exemplified by him in the magnificent folio Edition of "THE FERNS OF GREAT BRITAIN AND IRELAND," Nature printed. Descritions by Thomas Moore, F.L.S.; Edited by Dr. Lindley. Imperial Folio, with 51 Nature-Printed Plates. £6. 6s.
9 Dec 2007 10:49
As the visitor passes around this Court, let him step out at one of the entrances on the north side, close to which he will find erected “THE CRYSTAL PALACE MEDAL PRESS.
This machine, which is official, and worked on behalf of the Company by Messrs. T. R. Pinches and Co., will be employed from time to time in striking commemorative medals, designed by Mr. Pinches or other artists connected with the Palace. This machine is worked by four men, one of whom adjusts the metal to be stamped between the sunk dies: as soon as the metal is fixed, the other workmen swing the lever rapidly round, and the great pressure produces impressions of the dies on the metal, which is turned out sharp and distinct, and then put into a lathe and completed. In the glass cases placed near, the visitor will have an opportunity of inspecting numerous specimens of medals produced by the machine, amongst which those in frosted silver deserve special notice for the beauty of their appearance.
9 Dec 2007 10:53
The visitor, proceeding round the Stationary Court, from right to left, will find amongst the works of industry exhibited, fancy stationery, books, specimens of ornamental printing, pencil drawings, and other articles of the kind. At the back of this and of the Birmingham Court, or towards the west front of the building, is situated “THE HARDWARE COURT,” in which are placed household utensils, iron and zinc bronzes, gas-fittings, refrigerators, and numerous articles in metals.
At the back of this Court again, is a large space extending in a southerly direction from the Hardware Court to the Pompeian Court , devoted to the exhibition of furniture.
Here will be found not only useful articles of household furniture, but specimens of tapestry work, wood carving, picture frames, and other ornamental articles which give grace to our rooms, and which, by means of our great mechanical excellence, are daily becoming more and more within the reach of the great body of the people.
9 Dec 2007 11:06
Emerging from the opening that leads to the south side of the Stationery Court, a few steps will bring him once more into the Nave, where he will notice a stand appropriated to the exhibition and printing by the Messrs. Day, of chromo-lithographic views of some of the most picturesque and interesting portions of the contents of the Crystal Palace.
These coloured views are produced by Mr. P. H. Delamotte, and they gain an additional interest from the fact, that the process of printing is witnessed by the Visitor in the palace. The greatest accuracy is obtained in fixing the colours by means of the registering process.
9 Dec 2007 11:23
In this Court is placed a selection of the finest productions of the English and German schools of modern sculpture, prominent amongst which is seen the noble colossal head of Bavaria, by Ludwig Schwanthaler, of Munich, who enjoyed a 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.
Placed on either side of the head of Bavaria, are two colossal “Victories,” by the same artist, from the “Ruhmeshalle,” or Hall of Fame, at Munich.
Amongst other works representative of the German school, may be noticed two statues of Nymphs by Schwanthaler (202 and 203), remarkable for their beauty of form.
Opposite the head of Bavaria, is another example of those embodiments of towns and nations, which are so frequently to be found on the Continent. The present colossal statue allegorizes Franconia, a province of Germany; it is characterized 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.
In the centre stands a part of the monument of the Frederick the Great at Berlin, designed by Professor Rauch, and near to it is placed a small model, showing the complete monument.
Stereoscopic Illustrations of the Crystal Palace Sydenham.
The German Sculpture Court.
In this court are some of the finest productions of the English and German Schools.
The Equestrian Statue in the centre, as seen in this view [above] is that of Frederick the Great, from the Monument erected at Berlin, designed by Professor rauch. The Group is Thorwaldsen's "Three Graces," and the Colossal Statue allegorizes Franconia, a province in Germany. The original statue is by Professor Halbig, and stands at Kilheim, in Bavaria.
9 Dec 2007 18:16
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9 Dec 2007 21:57
Having now explored the length and breadth of the ground floor of the Palace, we ascend the flight of stairs on the garden side (South), near the Great Transept, that leads to the main and upper galleries."
The main galleries are devoted to the exhibition of articles of industry. It will be sufficient to give the visitor a general list of the objects exhibited, and to point out the situations in which the various articles of manufacture are placed. The gallery in which the visitor stands, together with its return sides, is devoted to the section of precious metals and the composed ornaments."
In the north-east gallery beyond, towards the Sydenham or North end, are placed four hundred French and Italian photographs, illustrative of the architectural and sculptural arts of the periods represented by several Fine Arts Courts on this side of the nave; the photographs being arranged in the order of the courts beneath, and as nearly as possible over the courts which they serve to illustrate."
Here also will be found a fine collection of small works of art, consisting of statuettes, medals, and architectural ornaments, in like manner exemplifying the various styles from the Byzantine down to the Italian [reflecting those courts below.]"
Continuing our visits to the Art Courts and depositories of Art-manufacture at the Crystal Palace, we ask our readers to ascend with us one of the stair cases which lead to the North-east Gallery, and examine a recent erection - costly in character, but in very pure taste - in which are displayed the goods of Mr. CHARLES GOODYEAR, of New York, the patentee and inventor of many applications of Indian-rubber to the purposes of Art-industry.
no very long period of time has elapsed since Dr. priestley ("Introduction to the Theory of Perspective," 1770) stated as one of the marvels of his age, the discovery of a vegetable gum which possessed the singular power to remove pencil-marks from paper; and, until very recently, this gum was used for nothing else, unless as one of the toys of boyhood, to give "springyness" to playing balls. Dr Priestley as little foresaw the uses to which it would be hereafter applied, as did he who forst produced an electric spark anticiapte the wonders of the "Telegraph." A visit to the Crystal Palace, and an examination of the contents of the stall of Mr. Goodyear cannot fail to create astonishment; for, while it will be seen how numerous are the objects already wrought out of indian-rubber, these will only convey an idea of the still larger number of uses to which it is destined to be applied.
Indian-rubber is known to be a gum obtained from trees which grow so abundantly in India, in Java, in Assam, in some parts of South America, especially Brazil, and in other places, as to produce a supply which m,ay be described as inexhaustible. Incisions are made through the bark of a tree, at certain periods of the year, from which flows a milky juice: this, when hardened by exposure to the atmosphere, is the "indian-rubber," which science has rendered applicable to all purposes for which wood can be employed, but having many advantages that wood never can havem while it possesses all the valuable qualitites of ivery or horn. It is to the objects formed of this material to which we now direct the attention of our readers. The space to which we are limited precludes for the present all comment on the nature and value of this now precious material, or the various processes through which it is passed before it is made availiable to the manufacturer; we shall, however, ere long, bring the subject, in all its details, under notice,- with a view first to aid the plans of the ingenious inventor - the inventor in so far as regards its many recent applications - and also to show the large extent of its capabilities.
About twenty years ago, various medals were awarded to Mr. Charles Goodyear, of New York, for the "new methods of manufacturing Indian-rubber;" including "applications of Indian-rubber to painting," to cloth, to shoes, &c. &c. From that time to this he has laboured with amazing vigour and perseverance, in spite of difficulties, all but insurmountable, until he has completely triumphed over them all, established large works in various parts of the States, and in Paris, and now in London, at 47, Leicester Square; while his "SHOW-ROOM" is - as we exhibit it underneath - at the Crystal Palace.
This show-room is in the North-east Gallery; it is not one of the Courts erected at the expense of the Company, but id the priovate stall of the proprietor. In grace and elegance of construction, howevere, it may be compared with any of those "structures" which ornament the lower division of the Palace; and it will, we hope, act as a stimulus, as well as an example, to producers, who, while they desire to exhibit their productions under advantageous circumstances, are willing also to adorn the building in which they are placed - thus advancing their own interests while contributing to the gratification and instruction of the visitors. Mr. Goodyear is a public benefactor by the liberality he has displayed; and there can be no doubt that all his "neighbours" in the gallery will greatly benefit by the attraction he has given to the locality in which he has placed the depot of his works. the architect of whose abilities he has availed himself is Mr. STANNARD WARNE, to whom the erection does much credit.
The stall, be it remembered, is made entirely of indian-rubber, and an examination of it will suffice to show the capabilities of the m,aterial for all the purposes of the cabinet-maker; within and without, will be noticed many works of his class - such as sofas, chairs, tables, bedsteads, drawers, work-tables, pillars and panels, with bas-reliefs. it is obvious that Art has not yet achieved what it may do for this branch of the "business;" but of the capabilities [in italics] of the material there can be no doubt: it is safe to anticipate its enormous use by the cabinet-maker for all the purposes of elegant furniture. We must content our readers by a bare enumeration of the other objects exhibited:- fruit-plates; card-trays; boxes; boxes inlaid with pearl; watch-cases; bracelets; brooches and rings, set with jewels; fruit-kives and paper-knives; ladies' work-boxes; fans; opera-glasses, jewel-boxes; toilet-boxes in great variety; picture-frames; eye-glasses; ink-stands; paper-folders; powder-flasks; corkscrews; pen-holders; pencil-cases 9of peculiar construction); drinking-cups; buttons; syringes; surgical instruments of various kinds; canes and walking-sticks; umbrellas; combs; brushes of all sorts; in fact, it will be necessary to examine the contents of this remarkable stall to obtain an idea of its variety and value, but cheifly to form a notion of the extent to which the manufacture must be eventually carried: for it will be difficult to concieve an object of utility or of Art which may not be ulitmately benefited by an invention that may not be ultimately benefited by an invention that may be applied in innumerable ways to the comforts, conveniences, and elegancies of life.
-Art Journal. 1856
In the North end, are works in porcelain and glass."
In the north-western gallery (at the back of the Assyrian Court), space is appropriated to Oriental manufactures. Here also is arranged a collection of most interesting paintings, lent to the Crystal Palace by the Honourable East India Company. They are copies of some frescoes, found on the walls of a series of caverns at Ajanta in Western India, and were made at the instance of the Indian Government, by Captain [Robert?] Gill of the Madras army.
http://www.users.globalnet.co.uk/~hadla ... _P100.html
The paintings represent 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 collection is valuable, as affording the means of comparing the state of art in the East and in the West during the same period.
In the north-western Transept are specimens of photography.
Nearer the [Parade side of the] Great Transept, in the same gallery, is arranged a valuable and interesting collection of photographs, illustrative of Oriental architecture, amongst which the Egyptian remains are particularly to be remarked.
Round the west end of the Transept itself philosophical instruments, cutlery, and fire-arms will be exhibited.
In the south-western portion of the gallery, leather and articles manufactured in India-rubber occupy the space to the centre of the south transept, from which point, to the end of the building, the gallery is devoted to perfumery and chemicals.
-General Guide 1854
Art Journal 1862
Whatever neglect is shown by the public towards the numerous Art-works of every kind collected in the Crystal Palace - and, unfortunately, such neglect is but too universal and palpable - the picture gallery does not share; on the contrary, it is a great feature in the contents of the building, and its attraction is proved by the large number of visitors who constantly throng it, and its utility both to artists and the public by the sales effected through Mr. C. W. [Charles Wentworth] Wass [ 1817 - 1905, who seems to have gone bankrupt with his own gallery in New Burlington Street in April 1858], who, as superintendent of the gallery, performs his duties in the most satisfactory manner. The plan adopted there of having the price of each work distinctly marked upon it saves trouble to all parties. Any person seeing a picture he desires to possess, learns at the same time what it would cost, leaving him at once to reject or accept it as he pleases. Moreover, the gallery is constantly receiving novelties; for, when a painting is purchased, it is removed immediately, or within a very short time, and its place supplied by another. As a consequence, every month necessitates the publishing of a new catalogue.
It would be folly to compare the collection at Sydenham with what we are accustomed to see annually in the picture galleries of London. The object of the Directors of the Crystal Palace has been to allow any works, except copies - which, however, are admitted under certain special circumstances - to be hung on the walls, subject only to the judgement of the manager, who has the power to reject whatever he may deem inadmissible. Under such conditions, the exhibition assumes, as might be expected, a very miscellaneous and unequal character - a mixture of good and indifferent; it is a collection suited to a variety of tastes, and to purses more or less furnished with means to purchase; and this is an advantage not to be lost sight of.
The catalogue placed in our hands when we last visited the gallery gives a list of upwards of twelve hundred works of Art of all kinds, including the "Victoria Cross Gallery," the series of well-known pictures by Mr. Desanges, which occupy a room by themselves; they are forty-seven in number. The remainder may be thus classified:- upwards of five hundred oil paintings, about four hundred by foreigners, one hundred and four water-colour drawings, about sixty copies in water-colours of pictures by Turner in the National Gallery, and of a few by other English painters, and nearly sixty examples of sculpture. Among the names of British exhibitors (we take them as they appear, and not in what may be presumed as order of merit) are those of
J. A. Houston A.R.S.A.
A. Cooper, R.A.
Miss Kate Swift
G. D. Leslie
J. Archer R. S. A
J. Chalon R.A
J. J. Hill
Miss E Osborn
Miss A. F. Mutrie
B. R. Faulkner
W. H. Paton A.R.S.A.
J. Ward R. A.
J. H. S. MAnn
F. W. Watts
R. S. Lander, R.S.A
Mrs. E. M. Ward
The foreign schools are, as a whole, better represented, perhaps than our on; French, Belgian, and German, each contributing its quota. At the head of these is Baron [Egide Charles Gustaf/ Gustave] Wappers [1803 - 1874], of Antwerp, with his 'Death of Christopher Columbus.' [above]and 'Anne Boleyn taking leave of her Daughter, Elizabeth, afterwards Queen of England;'
Beard's four paintings illustrative of 'Slavery' follow close after;
then there are works by
Van den Eycken
and many others.
That part of of the gallery devoted to water-colour pictures is by no means the least interesting. The copies of the "Turner" paintings, &c., make a brilliant show; in a word, the whole collection deserves, as it daily recieves, the notice of the many visitors who find their way to it.
THE CRYSTAL PALACE PICTURE GALLERY. - It is with much regret we learn that Mr. Charles Wentworth Wass is about to withdraw from the direction of the gallery - from the post he has occupied during twenty-two years, honourably, faithfully, and most successfully, for the benefit of the profession and the public. The Crystal Palace also has largely profited by his services: that is so notorious as not to need a word. He will carry with him the respect of all (and the number is very large) with whom he has been associated. The gallery, it seems, is to be let to a foreign picture dealer, who is not expected to be guided by a desire to advance the interests and extend the influence of British Art; he will be a dealer - neither more nor less, and, if we understand rightly, will act "on the pemises" as an auctoneer once a month. The change cannot be other than a calamity.
Minor Topics, Art Journal April 1880 page
Along the south gallery, articles of clothing are displayed. Next to these are various miscellaneous articles, including work-boxes, fishing tackle, and the thousand and one objects of general use."
"From this department[south-eastern], to the point in the gallery to which we first led the visitor, the space is appropriated to the department of substances used as food."
The visitor may now ascend the flight of spiral stairs in the central Transept, and step into the upper gallery, which is carried round the building, where a curious effect is produced by a series of circles extending along the building, and formed by the casting of each of the girders in four pieces.
From this gallery a view is obtained of the whole length of the nave: and if we station ourselves at any angle of the north and south transepts, the nave will be seen to the greatest positive advantage.
A still higher ascent up the winding staircase brings us to the gallery which extends round the centre transept itself; and from this great height, nearly 108 feet above the level of the floor, a noble bird’s eye view is gained, and the large Monte Cavallo group below, as well as the modern Castor and Pollux, sink into comparative insignificance."
On the first small gallery, above the main gallery in the central transept towards the road, will be found an exceedingly interesting collection of drawings and models for the fountains in the Crystal Palace, which have been furnished by:
The models display much artistic treatment, and no small amount of inventive fancy.
At a very early period, a sum of one thousand was set aside for premiums to be awarded to artists who should produce suitiable dsfings [for the fountains.] These designs were not left open to general competition, but a few artists were selected and required to send in drawings, for which they would be paid. the designs of the fountains were to be embelmatic of commerce and the peaceful and industious arts.
In due course, the directors recieved the models and drawings, many of which showed considerable taste, while others were totally unsuited for displays of water, and some were impracticable, and impossible of execution. there were fountains of ancient art, and modern art, ancient poetry and modern poetry, ancient philosophy and modern philosophy. then there were fountains sacred to agriculture and to commerce; to Flora and to the Graces; to animal life, and vegetable life; to all nations and to all climes.
Among the boldest of these designs was one contibuted by a famous French artist - [Hector Horeau surely?.] It was intended to be a colossal glass globe of seventy feet in diameter, which was to occupy the centre of one of the basins, and the interior of which was to be fitted with walks and galleries. The globe was surmounted by a metal figure of Britannia, 200 feet in height, the head of which would be some feet higher than the top of the great transept of the crystal palace. The metal of which the figure was to be constructed was of polished zinc; the form was that of Minerva, and in the top of her helmet was to be placed a bright star formed by an electric light, and which could be distinctly seen for several miles round London. Immense coloured glass banners, bearing the devices of the flags of every nation, were to be grouped around the feet of Britannia, while jets of water, flying in every possible and impossible direction, crossing and re-crossing each other and in the most admired disorder, were to play over the head and around the body of this glistening and light-shedding Minerva.
It is hardly necessary to say that the latter design was not accepted, nor were any of the others; and it was finally decided out of the materials afforded to construct some designs which would be considered at once suitiable and practicable.
-Routledge's Guide to the Crystal Palace. 1854
Descending the staircase by which we reached the transept gallery, we regain the main floor of the palace, and proceed to the basement story, a portion of which, on the garden side, is appropriated to the exhibition of machinery in motion.
SOCIETY OF ARTS - THE DINNER AT THE CRYSTAL PALACE.
Last week we gave an abridged report of the Centenary Dinner of the Society of Arts, Manufactures, and Commerce; and this week we have given an illustration of this interesting festival, which took place at the Crystal Palace, Sydenham.
As the society of Arts claims the honour of the parentage of the Great Exhibition of 1851, and as the Crystal Palace stands in filial relation to that great event, the Council of the Society of arts very properly considered it both agreeable and appropriate that, on completion of its first centenary, its members should assemble under the auspices and protection of the roof of its famous crystal grandchild. This venerable Society of arts is certainly one of the most prolific of parents. Originally founded as a society for the promotion of arts and manufactures, it soon outstripped these narrow dimensions, and took "commerce" under its protection. Its all-embracing arms have, during the past year, been thrown around the sacred cause of "education," and its educational exhibition, which opened last week, promises to be as successful as any of the previous efforts of the society. A society with objects so varied, and ramifications so extensive, could not certainly have selected a more appropriate place for its reunion than within the walls of an institution having in common with itself many kindred objects, seeking by vast and novel means to obtain those ends; and possessing most excellent cuisine, and a lofty and well-ventilated dining-room.
ILLUSTRATED LONDON NEWS July 15, 1854.
Passing on now, through the opening under the east end of the central transept, the visitor finds himself standing before -
9 Dec 2007 22:13
Terry, my old mate, you've covered the Central Transept extremely well indeed! I like your systematic approach--tackled like a real historian. The Jan Piggott book is written from an artistic point of view and doesn't even answer a fraction of the burning questions, but instead creates more unanswered questions. Seriously, the Jan Piggott approach is flawed beyond belief. In him is not a real historian, who’s passionate about the local area, but an academic whose picked a subject to write about. Terry is the first historian to ever cover the palace in such a comprehensive manner. This is only a forum posting and based heavily on Samuel Philip's text, albeit updated and brought to life by many unseen pics gathered up from Terry's collection. Seriously, mate, you should consider writing a book about the palace then you would have a reason to a) acquire rights to more images and b) use much rarer images from your collection. You've definitely got the right idea on how to deal with the palace proper. Your command of English is great--wouldn't need an editor. This topic is the perfect framework for any historian to build upon given access to a collection like Terry's; again, you are exactly on the right track, mate. This is precisely how it should be done. This is just what Lambeth, Croydon, Beckenham, Camberwell, Lewisham and Penge needs--a real book on the Crystal Palace! Come on guys, I know you all agree with me re: my little rant about the Jan Piggott book! Look above and throw your existing book in the nearest bin; here's to future research into the palace! Terry has proven his potential; the blueprint is outlined above.
HANDBOOK TO THE EGYPTIAN COURT.
By Owen Jones and Samuel Sharpe (1799-1881)‚ [Egyptologist and translator of the Bible.]
HANDBOOK TO THE GREEK COURT.
By George Scharf, Jun.
HANDBOOK TO THE ROMAN COURT.
By George Scharf, Jun
HANDBOOK TO THE ALHAMBRA COURT.
By Owen Jones
HANDBOOK TO THE NINEVEH COURT.
By A. H. Layard.
HANDBOOK TO THE BYZANTINE COURT.
By M. Digby Wyatt and J. B. Waring.
HANDBOOK TO THE MEDIAEVAL COURT.
By M. Digby Wyatt and J. B. Waring.
HANDBOOK TO THE RENAISSANCE COURT.
By M. Digby Wyatt and J.B. Waring.
HANDBOOK TO THE ITALIAN COURT.
By M. Digby Wyatt and J. B. Waring.
HANDBOOK TO THE POMPEIAN COURT.
By George Scharf, Jun.
HANDBOOK TO THE SCHOOLS OF MODERN SCULPTURE.
By Mrs Jameson.
AN APOLOGY FOR THE COLOURING OF THE GREEK COURT IN THE CRYSTAL PALACE
By Owen Jones.
THE PORTRAIT GALLERY OF THE CRYSTAL PALACE.
Described by Samuel Philips.
HANDBOOK TO THE ETHNOLOGICAL AND ZOOLOGICAL DEPARTMENTS
By Professor Edward Forbes and Dr. Latham.
THE EXTINCT ANINMALS AND GEOLOGICAL ILLUSTRATIONS DESCRIBED.
With Plan and Drawings.
By Professor Owen.
"The above may be had, handsomely bound in three volumes, price 13s. 6d."
"The Proprietors reserve to themselves the right of authorising a Translation of the above works.
"The Ten Chief Courts of the Sydenham Palace" Published by Routledge
9 Dec 2007 22:48
“The Progress of the Crystal Palace, for the Directors of the Crystal Palace Company.”
10 Dec 2007 00:08
10 Dec 2007 00:21
13th June 1864 : The 10th anniversary of the opening of the Palace. Mr Coxwell made his second ascent in his high-level balloon. A chimpanzee, the only one in London, was sent for the tropical department.
10 Dec 2007 00:26
10 Dec 2007 04:57
10 Dec 2007 05:53
London Stereocopic Company
313 Oxford Street
THE CRYSTAL PALACE, SYDENHAM,
Shewing the various Courts and points of greatest interest, with descriptive letter-press at the back of each slide. . .
. . . . The above subjects can be had beautifully executed on Daguerreotype plates, at 8s. 6d. each. For beauty of tone and minute accuracy of detail, these slides are the finest ever issued.
The Second series of about 200 subjects taken from the Crystal Palace, in addition to and including many of the above, without description, mounted at 2s. each slide; on Glass 5s. each."
10 Dec 2007 10:29
10 Dec 2007 19:24
10 Dec 2007 23:33
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