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THE
MASTERPIECES
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Centennial International
EXHIBITION VOLUME I
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ILLUSTRATED CATALOGUE
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THE
MASTERPIECES
Centennial International Exhibition
ILLUSTRATED
VOLUME I
FINE ART
Edward Strahan
PHILADELPHIA
GEBBIE & BARRIE
M3
v./,c./
RfVfZE
The Table of Contents.
VOLUME L
• PAGE.
On the Fine Art of the Exhibition i
The Castellani Collection of Antiques 320
The Masterpieces of Photography 332
The Fine Art Literature 342
ENGRAVINGS ON STEEL.
PAINTINGS.
Subject. Painter.
Christ Walking on the Water, (Literature) . . Bida, A. ...
Western Kansas Bierstadt, Albert
Oxen Ploughing, (Literature) Boiiheur, Rosa .
First Step, (Literature) Boiinat, L. y. F.
Breezy Day off Dieppe Briscoe, F. . . .
Cienoa Brown, G. L. .
After the Battle Ca/deron, P. H.
Roger and Angelica Chartran, T. . .
Old Mill, The Cropsey, y. F. .
Heath Field in Holland Elten, K. van .
Engraver.
. L. Flame 11 g . . . R. Hinshelwood . P. Moran . . . . A. Masson . . . R. Hinshehuflod . //. .S". Bcchvilh . F. A. Heath . . M. Goupil . . . R. Hinsltelwood . R. Hinslielwood
Plate. Text.
344 39 336 346 1 10 204 188
«4
232 260
356
39
366
354 1 10 212 18S 366 250 252
LIST OF JLLUSTRATIONS
Subject.
Painter.
Cat Feigning Death Geinpt, B. te . .
San Giorgio, Venice Gifford, S. R. .
Landscape and Cattle Hart, J^ames M.
Brig Hove-to for a Pilot Haas, M. F. H.
End of the Game Irving, jF. B.
Covenanter's Marriage yoJuistoii, Alexanu
"1876" Lewis, Edmund D.
Ecce Homo Morales, Luis
Fog on the Grand Banks Norton, W. E. .
Bather Perrault, A. . .
Touchstone and Audrey Pettie, J^o/tn . .
Memorial Hall, (Design) '. . Pifon, Camile
Feeding the Sacred Ibis Poyntcr, E. j^. .
Reynold's Portrait Reynolds, Sir y.
The Last Hope Ronner, Henriette
Elaine Rosenthal, Toby .
Trial of Sir Harry Vane Rothermcl, P. T.
Amulet Seller Semiradsky, H. .
Angelo and Isabella, (Literature) .... Spiers, A. . . .
The Scheldt Stanjield, C. . .
Chesterfield's Ante-Room JVard, E. M.
Rabbit Hunters Wilkie, Sir David
icr
Engraver.
. P. Moran . . . . R. ILinshelwood . R. Hinshelwood
■ R. Hinshelwood . S. J. Ferris . . F. Lightfoot . .
■ R. Hinshelwood . M. Maillcfer .
■ R. Hinshelwood . S. y. Ferris . C. Cottsen . . . MeGi'ffin, y. . F. jfoubert . T. IV. Hunt . . P. Moran . . . R. Hinshelwood . R. Dudcnsing
. S. y. Ferris . W. Schmidt . . R. IVallis . . . C. IF. Sharpe . y. C. Armytage
Plate.
252
5° 250
46 28S I So
30 218 212 292 140 Title 100 256 2.^0 290 148 302 356 308 176
Text.
PAGE. 252
51 250
44 288 188
39
292
140
38
lOI
252 250 290 149 302 344 366 189 123
SCULPTURE.
Subject.
Sculptor.
Engraver.
Plate. Text.
Finding of Moses Barzaglii, F. .
America Bell, yohn . .
Ophelia Connelley, P. F.
American Soldier Conrads, C. . .
Venus Gibson, yohn
West Wind Gould, T. R. . .
Reading Girl Magni, Pictro
Columbia Mueller, A. M. y.
Premiere Pose Roberts, H.
Nydia Rogers, R. . .
Electricity Rosetti, Antonio
Steam Rosetti, Antonio
Medea Storey, W. W.
G. y. Stodart 114
W.Roffe 78
S. y. Ferris 296
y.Serz 62
W. Roffe ' . 112
y. Serz 300
JV. Roffe . : 172
y. Serz Frontispiece
R. Dudensing 126
y. Serz 29S
y. H. Baker loS
y. H. Baker 166
y. Serz 214
114
79 296
62 loS 296 172
29S loS 166 214
TO THE FINE ART OF THE EXHIBITION, 1S76.
ENGRAVINGS ON WOOD.
PAINTINGS.
Subject.
Painter.
Lake of Piedilugo Ashton, F.
Woods in Autumn Asktoji, F.
Beacon, The Absaloti, 'y.
Noon in the Country Bartesago, Emico
Rizpah Becker, George
Edge of the Forest Bellee, L. G. de
Sunday in Devonshire Bellows, F.
Gale on the Nile Bcrchere, N
Wheelwrights' Shop Billings, E. T.
Grandmother's Tales Bliune, Edmund
Anniversary, The Bompiaiii, R
Pompeiian Boy Flute-Player Bonipiani, R
Rome, from the Tiber . . . Bossuet, F. A
Puritans Going to Church Boughion, G. H. 194-
The Last Struggle Brackett, IV. M.
Canal at Courrieres Breton, Emile
Village at Artois Breton, Emile
Bringing in the Corn Bridgman, F. E
Curling in Central Park Brown, 'y. G
Francesca di Rimini Cabanel, A
Cassandra Cainorrc, L
Call on Uncle, the Cardinal Castiglione, G 174-
Warrant (The), Haddon Hall Castiglione, G
Your Good Health Champney, J.W.
Fisherman's Wife of Zuyder-Zee Cogen, F.
King's Entertainment Cotnte, P. C. u8-
Lock, The Constable, yolm
Dream of Carrick Shore Danicll, W.
Oyster Shipping at Cancale Danbigny, K.
I and my Pipe Diclitz, K.
Croizette, M'lle Duran, Carolus
Visit to the Village Artist Eggcrf, S
Duet in the Smithy Ewers, ff. •. . . ,
Pan and Bacchantes Felix, E -170-
Mehncholy Feyen-Pcrrin, F. N. A
Fisherman's Wife and Child Feyen-Perrin, F. N. A
LATE. |
Text. |
PAGE. |
PAGE. |
237 • |
264 |
259 • |
266 |
1S7 . |
185 |
197 . |
224 |
ii ■ |
66 |
129 . |
134 |
44 • |
74 |
151 ■ |
179 |
93 ■ |
45 |
165 . |
207 |
167 . |
176 |
171 . |
176 |
125 ■ |
178 |
195 • |
219 |
12 |
47 |
76 . |
So |
219 . |
233 |
82 . |
96 |
13 ■ |
46 |
113 • |
148 |
179 . |
19S |
175 • |
I So |
98 . |
120 |
S . |
51 |
29s ■ |
312 |
-119 . |
196 |
37 ■ |
So |
2S7 . |
310 |
267 . |
274 |
41 . |
92 |
87 . |
100 |
153 • |
203 |
.65 . |
no |
-271 . |
269 |
57 ■ |
120 |
301 . |
• 313 |
LIST OF J LLiSTR A TI O NS
Subject.
Painter.
Plate.
Casual Ward, The FilJcs, S. L i88-
Lady Jane Gray Folingsby, G. F. io6-
Evocation of Souls Fonlana, R
Park, The Fotinnois, A
Mill, The Founnois, T.
Beware ! Forbes, y. C.
Cairo Fruit Girl Goodall, F. 146-
Monastery Garden GuilUni, A
Luther Intercepted Harrach, Count Voti
Disputed Toll Hardy, H. 254-
Keene Valley, Adirondacks Hart, William
In the Park Hiddcmann, F.
Returning the Salute Hodgson, y. E ■ .
Lord (The ), Gave, &:c Hall, F.
Checkmate Horsley, y. C.
Sowing the Word Hiiiilington, D
Lake George Kcnsett, jF- F.
Unwelcome Guest, The Lance, G 210-
Fellah Woman Landelle, C.
Harvest Scene Laporte, E
La Rota Lehmann, R
May-Day in the Time of Queen Elizabeth . . . Leslie, C. R
King Morvan Liiminais, E. V. 190-
Out in the Cold Mac Uliirter, J.
Sentinel, The Maignan, Albert
Venice Doing Homage to Catherine Cornaro . . Makart, H.
Ornithologist, The Marks, H. S
"1776" Maynard, G. W.
During the Sermon Michis, I'
In the Bay of Naples Millet, F. D
New York Harbor Moran, E
Return of the Herd Moran. P.
Madeleine Flower-Market Aforin, E 234-
Mountain (iloom, Glencoe Newton, A. P 138-
Wedding in a Country Church AWdenberg, B 2-;6-
Moonlight on the Lagoons, Venice Orchardson, W. Q
Prince Henry, Poins and Falstaff Orchardson, W. Q. . ■
Bride in Alsace, A Pabst, C. A 222-
Charles I. leaving Westminster Hall Pott, L. y.
Young Bull, The Potter, Paul, (Copy)
.•\pelles Poynter, E. jF.
Festival, The Poynter, E. y.
Golden Age, The Poynter, E. y.
■107 121
133
289
61
•147 279
103
■255
36
25°
309
77
90
25
52
■21 1
163
73 95 191
305
275
4
307
29 1 1 1
28
21
9
235
139
247
60
285 137 227 229
TO THE FINE ART OF THE EXHIBITION, 1S76.
Subject.
Painter.
Plate. 202-20^
241
56
Death of Cleopatra Prinsep, V. C.
Landing of Columbus Puebla, D
First Proof, The Reichert, F.
Reverie Romagnole, A
Reproof, The Sartain, E 20
Christian Martyr under Diocletian Slingcneyer, E 125
View of Paintings Spanish Court 241
Imogen Starr, Louisa 262-263
Mistress Dorothy Storey, G. A 68
Only a Rabbit Storey, G. A 1S2-183
Convalescent, The Tadema, L. A 69
Vintage Festival Tadema, L. A 17
Insanity of Queen Juana Valles, L 241
Sea-Shore at Blankenberghe Verhas, 9^. 28^
Christ Blessing Little Children West, Benjamin 213
Death of General Wolfe West, Benjamin 53
Venetian Water-Carriers Wulffaert, H. 40
Old Russian Couple Zagorsky, N. 297
Text.
PAGE. 224
243
127
193 209
242 268
71 186
74
31
245
286
232
67
54
304
LIST OF ILLUSTRATIONS TO THE FINE ART.
ENGRAVINGS ON WOOD.
SCULPTURE.
Subject.
Sculptor.
Plate. Text.
Aurora Bailly, J. A 6 . . 55
Fleeting Time Barcaglia, Dciiato 161 . . 176
Spinning-Girl of Megara Barrias, L. E 291 . . 310
Young Vine-Grower Bartholdi, A 343 ■ 3°^
First Friend, The Barzaghi, F. 1S5 . . 198
Vanity Barzaghi, F. 145 • • i/^
Mother's Treasure Borghi,A 281 . . 282
Rienzi Borghi, A 299 .. 314
Cleopatra Braga, Enrico 143 • '44
Mountebank, The Braga, Enrico 293 .. 311
Young Grape-Gatherer Branca, Giulio 105 . . 145
Erring Wife, The Cambos, yules 169 . . 200
Africaine Caroni, E 40 . . 59
Telegram of Lo\e Caroni, E 32 • • 59
Shinty Player, The Chilian Court 128 . . 200
Lucifer Corti, Signor 80 . . 104
Youthful Hannibal D' Epinay, P. 89 131-152
Young Mother Fraikin, C. A 249 . . 284
Venus Gibson, yohn 64 . . loS
Drunken Moujik . Godebski, C. 217 . . 230
Apotheosis of Washington . Guarnerio, P. 156 • ■ '^o
Aronte Guarnerio, P. 265 . . 278
Forced Prayer, The Guarnerio, P. 48 . . 62
Last Days of Pompeii Guarnerio, P 3°5 • • 3°°
Vanity Guarnerio, P. i3" • ■ '44
Little Samaritan Hartley, y. S. 24 . . 62
Columbus Italian Court i77 • • 204
Louis XL at Peronne Martin, Felix 273 .. 281
Secret from on High Moulin, H. 97 ■ • n?
Cinderella Nevin, B 16 . . 55
Eagle and Turkey Pandiani, y. 116 .. 134
Berenice Pediizzi, R 257 .. 276
Michael Angelo Pozzi, Egidio 81 . . 94
The Beggars Rizzardo, G 207 . . 228
CASTELLAXI COLLECTION AND MASTERPLECES OE PlIOTOGLiAI'IIY.
Subject.
Sculptor.
Ruth Rogers, R. . .
Bather, The Tantardini , A.
Reader, The Tantardini, A.
Bh-d's-Nest, The
First Step, The Trombetta, Signor
Affection and Envy Zannoni, U. . .
Plate. Text.
Trombetta, Siirnor it
56 . |
• 127 |
72 . |
• 93 |
215 • |
. 229 |
199 . |
• 258 |
225 . |
• 231 |
239 • |
. 264 |
ENGRAVINGS OF THE CASTELLANI COLLECTION.
Fic
^ "'• PAGE.
1. Gold Ear-ring, Greek Design 321
2. Dolphin Venus Ear-ring 321
3. Helix-Shaped Ornament 321
4. Necklace, B. C. 700 321
5. Colossal Statue of Bacchus 313
6. Roman Bondsman's Badge of Slavery 322
7. Actor with Comic Mask, in Terra-Cotta 323
8. Toilet Articles of a Lady of Ancient Rome 324
9. Head of Bacchus — Greek 319
10. Bust of Euripides 317
11. Bronze Mirror 325
12. Mirror-Case • 325
13. Bronze Clasp 326
14. Boy Extracting a Thorn 315
15. Bronze Bull, found at Chiusi 327
16. Bronze Toilet Box, Duck-Shape 328
17. Comb, about twenty-one hundred years old 329
ENGRAVINGS OF THE MASTERPIECES OF PHOTOGRAPHY.
Subject.
Painter.
Winter in Holland Kaemmerer, M.
Market at Cracow, Portion of Lipinski, H. . .
Romeo and Juliet Makart, H. . .
PAGE.
333 335 331
FINE ART LITERATVRE.
ENGRAVINGS FROM FINE ART LITERATURE.
Subject.
From.
Plate. Text.
Attack, The Musee dcs Deux Mondes 355
Canipo Santo in Pisa, The Italy 341
Entombment, The Histoire des Peintrcs 363
Fontaine de r.Vvenue rObservatoire Les Promenades de Paris 345
Garden Party in the Fifteenth Century .... Les 'jFardins, Histoire 357
Church Interior Histoire des Peintres 361
Mirror Lake Le Tour du Monde 338
Pointers, The Histoire des Peintres 365
Progress Through Barcelona Christophe Colomb 353
Riviere de Charenton Les Promenades de Paris 347
351 339 343 349 359
Scene in Batavia Voyage autour du Monde ....
Terni Cascade, The Italy
Trieste Italy
Venus and Mercury Thorhaldsen sa Vie et son CEuvre .
Wheat Field, The Histoire des Peintres
354 346 360 348 360 360 346 360
352 349 352 346 348 350 360
ELECTROTYPED BY MACKELLAR,
RODGERS, PHILADELPHIA.
INTERNATIONAL EXHIBITIONS.
XHIBITIONS undoubtedly date back to a very remote period, even the Olympic games of the Greeks might be classed as such, and the ancient periodical fairs for the display and sale of natural and industrial products, some of them continuing to the present day, although not properly speak- ing, true expositions or intended for such, yet gave great encouragement to the arts and manufactures of their time.
After Europe began to recover from the blight of the Dark Ages, the arts of civilization and luxury, centering and developing in Italy, rapidly found their way into France, a country already prepared for them by its ancient Roman education; and from being the recipient, she gradually became the producer, early taking a pre-eminent stand among the nations of the earth in almost every known branch of manufacture, especially those connected with art. This she has ' retained to the present day. It is but natural, therefore, that she should have been
foremost, at least in the modern world, to originate the idea of Industrial Exhibitions.
The first of which we have any record was that of 1798, born of the Revolution, a reaction as it were from the turbulent spirit of the times, back to the pursuits of peace and industry. The Marquis d'Aveze, shortly after his appointment in 1797 as Commissioner of the Royal Manufactories of the Gobelins, of Sevres, and of the Savonnerie, found the workmen reduced nearly to starvation by the neglect of the previous two years, while the storehouses, in the mean time, had been filled with their choicest productions. The original idea occurred to him to have a display and sale of this large stock of tapestries, china and carpets, and obtaining the consent of the government, he made arrangements for an exhibition at the then uninhabited Chateau of St. Cloud. On the day, however, appointed for the opening, he was
HIS TORI CA L 1 .V I'R 0 D U C TI 0 N.
compelled by a decree of the Directory, banishing the nobility, to quit France, and the project was a failure. The following year, however, returning to France, he organized another ex- hibition on a larger scale, collecting a great variety of beautiful objects of art and arranging them in the house and gardens of the Maison d'Orsay for exhibition and sale. The success was so great that the government adopted the idea, and the first official Exposition was esta- blished and held on the Champ de Mars, a Temple of Industry being erected, surrounded by sixty porticoes, and filled with the most magnificent collection of objects that France could produce. Here was first inaugurated the system of awards by juries, composed of gentlemen distinguished for their taste in the various departments of art, and prizes were awarded foi excellence in design and workmanship.
The government was so satisfied with the good effects resulting from this exhibition, that it resolved to hold them annually; but notwithstanding the circular of the Minister of the Interior to this effect, the disturbed state of the country prevented a repetition until i8oi. The First Consul taking the greatest interest in the affair, visited the factories and workshops of the principal towns in France, to convince the manufacturers of the great importance to themselves and their country of favoring the undertaking. A temporary building was erected in the quadrangle of the Louvre, and notwithstanding great difficulties attending the establishment of the exhibition, there were two hundred competitors for prizes ; ten gold, twenty silver, and thirty bronze medals being awarded, — one of the last to Jacquard for his now famous loom. Among these prizes, were some for excellence in woollen and cotton fabrics, and improvements in the quality of wool as a raw material.
The third exhibition was in 1802, where there were six hundred prize competitors. These expositions became so popular as to result in the formation of a Societe d' Encouragement, thus creating a powerful aid to the industrial efforts of the F"rench manufacturers. At the fourth exhibition, in 1806, the printed cottons of Mulhausen and Logelbach, and silk-thread and cotton-lace were first displayed, and prizes were adjudged for the manufacture of iron by means of coke, and of steel by a new process.
Foreign wars prevented further exhibitions until 1819, after which time they became more frequent, being held in 1823, 1827, etc.; the tenth being in 1844, the last, under the reign of Louis Philippe, when three thousand nine hundred and sixty manufacturers exhibited their productions. It was the most splendid and varied display that had ever been held in France. The building, designed by the architect Moreau and erected in the Carre Marigny
Exhibition Building, Paris, JS44.
of the Champs Elysees, was an immense timber shed, constructed and entirely completed in seventy days, at a cost of about thirty cents per square foot of surface covered. We present an elevation showing the royal entrance. It was at this exhibition that the first Nasmyth steam-hammer was shown on the continent, and the display of heavy moving machinery was much greater than had ever taken place before.
In 1849, notwithstanding the political revolution through which France had just passed, she organized another exhibition on a still grander scale than any preceding. The services of the architect Moreau were again called into requisition, and another building, of which we give an engraving, erected in the Champs Elysees, more pretentious in its character than
IX TE R NA TI 0 NA L E XH IB I TI 0 NS.
Exhibition Builim^ Fins iS4g
any previous one, covering an area of 220,000 square feet, exclusive of an agricultural annexe, and costing about the same price per square foot as the building of 1S44. At this time the number of exhibitors had increased from one thousand four hundred, in 1806, to nearly five thousand, there being no less than three thousand seven hundred and thirty-eight prizes awarded, and the building remained open for sixty days.
Other nations, noticing the beneficial results of the French exhibitions, became active in the matter; the King of Bavaria giving an exhibition at Munich, in 1845, and previous to this time occasional ones had been held in Austria, Spain, Portugal, Russia, Denmark, Sweden, etc.; those of Belgium being numerous and important. In the British Dominions, exhibi- tions had been held in Dublin as early as 1827, and later at Manchester, Leeds, etc.; but they partook more of the nature of bazaars, or fairs for the sale of the productions of the sur- rounding country; even that of Manchester, 1849, was of this character.
Each of these previous exhibitions had been strictly national, confined to the products of the special country by which it was held. The idea seems to have been suggested, how- ever, in France, in 1849, of giving an International feature to that exhibition; M. Buffet, the Minister of Agriculture and Commerce, having addressed a circular letter on the subject to various manufacturers, with a view of ascertaining their opinions; but the resulting replies were so unfavorable that the project was abandoned, and France lost the opportunity, which was reserved to England, of the credit of the first really International Industrial Exhibition, in that of London, 1851.
It may truly be said that the great success of this effort was owing to the indefatigable perseverance and indomitable energy of His Royal Highness Prince Albert, who took the greatest interest in the proceedings which gave it birth, from the very commencement, bring- ing to bear all the influence which attached to his position, his remarkable sagacity in matters of business, and his courageous defiance of all risks of failure. At one of the first meetings held on the subject, on the 29th of June, 1849, at Buckingham Palace, he communicated to those present his views in relation to a proposed exhibition of competition, in 185 1, suggest- ing that the articles exhibited should consist of four great divisions, namely, raw materials, machinery and mechanical inventions, manufactures, and sculpture and the plastic arts ; and at a second meeting, on July 14th of the same year, he gave still further suggestions of a plan of operations which he recommended, comprising the formation of a Royal Commission, the definition of the nature of the exhibition and of the best mode of conducting its pro- ceedings, the determination of a method of deciding prizes and the means of raising a prize fund and providing for necessary expenses, etc.; and he also pointed out the site afterwards adopted, stating its advantages, and recommending early application to the government for permission to appropriate it.
After various preliminary proceedings, the Royal Commission was issued, and at the first meeting of the Commissioners, on January nth, 1850, it was decided to rely entirely upon voluntary contributions for means to carry out the plans proposed.
The appeal made to this effect was answered in a most encouraging manner ; a guarantee
HISTORICAL INTRODUCTION.
the list with §250,000, and con-
fund of ;$ 1,1 50,000 was subscribed, one gentleman opening tributions began to come in from all directions.
Upon the security thus provided the Bank of England undertook to furnish the necessary advances. Invitations were issued to architects of all nations to submit designs for a building to cover 700,000 square feet, and although the competitors amounted to two hundred and thirty-three in number, not one design was found entirely suitable for adoption. In this dilemma, the Building Committee pre- pared a design of their own, and, notwithstanding it was strongly condemned by public opinion as inappropriate and unsuitable in many respects, the committee warmly de- fended it and advertised for tenders to erect it, requesting at the same time, that com- petitors would make any sug- gestions they saw fit, that could in their opinion effect a reduction in the cost.
Messrs. Fox and Hender- son availing themselves of this clause, presented a tender for a building of an entirely different character, on a plan proposed by Sir Joseph, then Mr. Paxton, who was at that time engaged in the erection of a large plant-house for the Duke of Devonshire, at Chats- worth. The design fully met the approbation of the Com- mittee and their tender was accepted, on the i6th of May, 1850. Possession of the ground was obtained on the 30th of July, and work commenced forthwith, — the actual erection beginning about the first week in September.
Mr. Fox made the working drawings himself devoting his great experience and skill personally to the work for eighteen hours a day, during seven weeks, and the preparation of the iron work and other material for the construction of the building was taken charge of by Mr. Henderson. As the building progressed, extensive experiments were made to
INTERNATIONAL EXHIBITIONS.
xxi
test its strength for the purposes intended, and it was found fully equal to the severest require- ments. The contract was not finally consummated until the end of October; but with a courage and enterprise characteristic of this firm, the work was pushed forward for many
weeks on faith alone, in order to insure the completion of the building at the time fixed for the opening, — the first of May, 1851. It was opened at the time appointed, by the Queen in person, with great ceremony, although considerable work still remained to be done, A
HISTORICAL lyTRO DUCTIOX.
report of the proceedings of the Royal Commissioners was read by Prince Albert as Presi dent, which being replied to by the Queen, the blessing of the Almighty was invoked upon the
Tlu Tmnsept ./ the ExhU'ition of lS^i, from tue .Xortk i,id,.
undertaking by the Archbishop of Canterbury, and "the ceremonies terminated with the per- formance of the Hallelujah Chorus by the united choirs of the Chapel Royal, St. Paul's,
INTERNATIONAL EXHIBITIONS.
Westminster Abbey, and St. George's Chapel, Windsor. The inauguration was one of the most imposing sights that had ever been witnessed in Great Britain. Our engraving gives a view of the building on the south side, extending east and west, and showing the main entrance at the great transept.
In appearance it called to mind one of the old, vast cathedrals, designed, however, in a new style of architecture; not massive, dark, and sombre, but light, graceful, airy, and almost fairy-like in its proportions, — built as if in a night by the touch of a wand, — a true " Crystal Palace," and a noble example of the use of our modern material — iron — for building purposes.
It was obvious that nothing more suitable could have been designed, and that the modern adaptation of one of the oldest architectural ideas — a great rectangular cruciform structure with nave and transepts — was just what was desired, possessing many more of the require- ments of a building intended for industrial exhibitions than would appear at first glance. The old cathedral was a place for great ceremonials, for processions, and for exhibitions, in one sense of the word ; its walls were covered with pictures and sculpture, and its windows filled with richly stained glass. Extending over a vast area, at the same time it had a grand central point of attraction, visible from all parts, and from which all parts were visible. These advan- tages were just what was required in an exhibition building, and the fact has been acknowl- edged over and over again in succeeding exhibitions. It will be seen, further on, that in our exhibition building the same ideas have been carried out, and that the building of 185 1 has really been the type for all the most successful buildings erected since.
Fergusson characterized this building as belonging to a new style of architecture, which might be called the " Ferro- Vitreous Style," and states that " no incident in the history of architecture was so felicitous as Sir Joseph Paxton's suggestion." "At a time when men were puzzling themselves over domes to rival the Pantheon, or halls to surpass those of the Baths of Caracalla, it was wonderful that a man could be found to suggest a thing that had no other merit than being the best, and, indeed, the only thing then known which would answer the pur- pose."
The light appearance of this structure was so strongly marked that many persons, unedu- cated as to the effect which should be produced on the eye by an iron and glass construction on such a large scale, expressed grave doubts as to its stability. To satisfy these doubts in the public mind, extensive experiments were carried out during the progress of the work, and also after its completion, in the presence of the Queen, Prince Albert, and a number of scien- tific men, by means of large numbers of workmen, crowding them on the platforms, and moving them back and forth, and also by means of companies of troops, arranging them in close order and marching them on the floors. Frames holding cannon-balls were also con- structed and drawn over the floor, and the results of all these experiments were such as to en- tirely satisfy every one that the building was properly planned and constructed for its pur- poses.
Passing into the building at the west end, we enter a grand nave 72 feet wide, 1848 feet long, and 64 feet to the roof, crossed by a noble transept of the same width, but crowned by a semi-circular vault, increasing its height to 104 feet at the centre. On each side of the nave and transept a series of aisles spread out the building to a total width of 456 feet, the entire area covered being 772,784 square feet, and, with the addition of the galleries, making a total exhibition space of 989,884 square feet. The quantities of materials in the structure were as follows : —
Cast iron, 3,500 tons ; Glass, 896,000 superficial feet, or 400 tons ;
Wrought iron, 550 tons ; Wood, 600,000 cubic feet ;
and the total cost was about ;$8so,000; the building remaining the property of the contractors
HISTORICAL INTRODUCTION.
after the exhibition was over. The late Mr. Owen Jones, so well known for his taste in art ornamentation, was entrusted with the decoration of this palace, and the result fully justified the trust reposed in him, and met wich very general approval.
It is said that, in designing the structure, the magnificent transept, with its semi-circular roof, was suggested in consequence of a desire to retain several lofty trees which were on the grounds. Bo that as it may, the trees were retained, and we are glad to be able to give an
INTERNATIONAL EXHIBITIONS.
engraving showing the beautiful effect thereby produced. These enclosed trees made a marked feature in the exhibition.
The United States department was quite well represented, — bearing in mind the compara- tively small advances which this country had made, at that time, in the higher departments of art manufacture, — and we furnish a view of this department as it appeared. Powers exhibited his celebrated " Greek Slave," shown in the foreground of the picture, of which we believe there are several originals in existence, — one at the Corcoran Gallery in Washington. He also exhibited his " Fisher Boy," a work in every way worthy of the artist, and seen to the right of the " Greek Slave." The piano, on the right, was exhibited by Messrs. Nunn & Clark, of New York. Messrs. Chickering, of Boston, also exhibited a very fine instrument, and even at that time they had obtained a high reputation for power and brilliancy of tone, among European professors. Cornelius & Co., of Philadelphia, exhibited two elegant examples of gas chandeliers, which were very much admired. Some handsome carriages were shown; our celebrated Watson, of Philadelphia, being among the exhibitors. The exhibition of agricul- tural implements and raw materials was very creditable.
We also present a view of the interior of the transept from the south side, which will aid in giving the reader some idea of the structure and its exhibits. In the centre is seen the curious glass fountain, contributed by the Messrs. Osier, of Birmingham, which attracted so much attention by the novelty of its design, its lightness, and its beauty. Passing on through the building, the visitor came into contact with objects from India, Africa, Asia, the West Indies, and all quarters of the globe ; articles of sculpture, textile fabrics, modern and medi- aeval brass and iron work, animal and mineral products, machinery, works of utility and those of ornament — everything that could furnish delight to man or add to his comfort : a vast col- lection, exemplifying the great progress which civilization had wrought in the world by the skill of man adapting the materials of nature to his own use.
The exhibition of 1851 was in every way a great success. Upwards 01 $200,000 had been received from the sale of season tickets alone before the opening. During the six months that it remained open, from May to October inclusive, the average daily numberof visitors was 43,536; the total number for the whole time was 6,170,000, and the amount of receipts, ;g2,625, 535 ; there being a balance of 1^750,000 in the hands of the Commissioners after all expenses were paid. The exhibitors, coming from all parts of the world, amounted to more than 17,000.
The unique style and acknowledged beauty of this magnificent edifice — the first of its kind — and the delightful recollections connected with its use, combined to preserve it from destruc- tion ; and visitors now see the same building, more permanently constructed in a modified and much improved form, at Sydenham, as one of the great pleasure resorts of London. Of those who have been abroad, who does not remember Sydenham? — the beautiful grounds laid out with shrubbery, walks, lakes, and fountains, for the special purpose of making the whole as attractive as possible ; the splendid band in constant attendance, the delightful concerts, amusements of all kinds in the most interesting variety, and the vast crowds, wandering about and so thoroughly enjoying themselves. Special excursions are made up, numbering some- times thousands of people, for a happy day at the Crystal Palace, — a rest from the bustle and turmoil of the city, adding renewed vigor to the tired body to struggle in the battle of life. It is not alone, however, as a pleasure resort, but also as a place of education for the masses, that Sydenham Crystal Palace is worthy of note. Portions of the building are fitted up to represent the styles of architecture of different periods of the world's history, such as the Pompeian Court, the Italian Court, the Renaissance Court, the English Mediaeval Court, &c. Another portion contains copies of the works of great sculptors of ancient and modern times, and of paintings of great artists, and down by the lake in the gardens, one finds models, life-size, of the pre-historic animals of the ancient world.
HISTORICAL IXTRODUCriON.
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The success attending this exhibition stimulated other countries in efforts to have some- thing of the same kind. Exhibitions, more or less local in character, were projected and held in the large manufacturing towns throughout the British Empire, — at Cork, Dublin, Man- chester, &c.
That at Dublin, in 1853, under the auspices of the Royal Dublin Society, which had pre- viously had triennial exhibitions, was the result of a proposition made to the Society by Mr. William Dargan, a well-known contractor, providing a certain fund for the exhibition under certain conditions; and, although international in its features, was not practically as entirely so as
the exhibition of 185 1. The building consist- ed of five large, parallel, arched and dome- roofed halls. The great central hall was longer, as lofty, and one-fourth wider than the transept of the Crystal Palace of 1 851, Miin Exhibition BuUdmg, 1853. ^cing 425 feet in length by loo feet in
breadth and 105 feet in height, with vaulted roof and semi-circular domed ends. We give an elevation of this building, which shows very clearly its general design.
The erection commenced August i8th, 1852, and the exhibition was opened by the Irish Vice- roy, May 1 2th 1853, the building occupying in construction about two hundred working days. The interior effect was spacious and beautiful, and the decoration, notwithstanding the small sum appropriated for it, quite effective,— the prevailing tints being light blues, delicate buffs, and deep ultramarine, with white and red used very sparingly. The columns of the central hall were dark blue, and the skeleton frame of the building was marked out and em- phasized by dark and heavy tones of color. The total area covered was 265,000 superficial feet, costing, per square foot, about five-sixths of that of the building of 185 1, but the exhibition itself was not a financial success. The collection of art productions was large and particularly fine, — the works coming principally from Great Britain, Germany, Belgium, and France; and the method of lighting the picture gallery was considered very effective, and the best that had been as yet devised.
The most interesting of all the exhibits was the collection of Irish Antiquities, which was very large and arranged with admirable skill, forming something at once valuable and unique. At the close of the exhibition the building was torn down and sold. The materials, however, did not realize more than one-fourth the amount of their valuation; the unwieldy forms of the curved parts being so badly adapted for future use, and the timbers being so injured by nails and the summer heat, and so shattered in taking apart, that very few portions w&rc ever again erected. The result demonstrated two facts: first the expensiveness of temporary build- ings for such purposes, and secondly the great increase produced in the cost by the introduc- tion of curvilinear work.
This same year an International Exhibition was also held in the City of New York under the organization of a few influential citizens, as a joint stock company, clothed with sufficient powers by legislation to carr>' out the objects proposed. This exhibition had in view the comparison of the productions of America with those of other countries, with the object of the promotion of her advancement, it being acknowledged that she had more to gain by such comparison than any other of the great nations of the world. It was liberally assisted by contributions of exhibits from European manufacturers and artists, but misfortune seems to have attended it from the beginning.
It labored under the great disadvantage of professing to be a national undertaking, without receiving support in any way from the government; of exposing itself to the imputation of
being a private speculation under the name of a patriotic movement, and was viewed with
INTERNATIONAL EXHIBITIONS.
jealous feelings by many of the great cities of the Union. Great injustice