But we pass on down the Grand Aisle, to the Transept or cross, where both the height and width of the building are considerably increased, in order, it would seem, to save two stately and beautiful trees (elms), which here stand in opposition some two hundred feet apart. The Transept embraces and covers both, leaving each ample room to grow and flourish; while half-way between them, in the exact center of the Palace, a spacious and copious Fountain, wholly of glass, throws its sparkling torrent high into the air, whence it descends from crystal cup to cup, each considerably wider than that next above it, until it reaches the lowest and largest near the ground, thence gliding away unseen. There are few finer effects in the Exhibition than this of the Crystal Fountain, which utterly shames the Koh-i-Noor, or “Mountain of Light,” said to be the largest diamond in the world, and computed worth several millions of dollars, which, obviously over-guarded against robbery, rests in its gilded cage beside the Fountain. No child, looking from one to the other, ever suspected, until told it, that the Diamond was deemed worth more than the Fountain. Here are displayed full-length portraits of Queen Victoria and her husband—the latter, once handsome, now gross-featured and rather heavy, but still a man of fair appearance, good sense and varied information. The Queen, never beautiful, has sacrificed her youthful freshness to the cares of maternity and the exactions of late hours and luxurious living, so that at thirty-two she looks plain and old—not in this portrait, but in her living self. But uncommon energy, activity, shrewdness, with an earnest desire to please her people and promote their welfare, still remain to her, and have rendered her the most popular British Sovereign of the Guelphic family.