and Juel; a group of horses in plaster crowning the whole structure. As for the centrepiece, it was a fearful and wonderful work of art, blazoned with gold and flaunting colours. Britannia, surrounded by all the Pagan gods and goddesses; a portrait of the Queen in widow’s weeds; banners and heraldic devices and armorial escutcheons, all combined to make this structure unforgettable. In the City, it must be allowed, the local authorities rivalled the Court officials in their capacity for mismanagement. They refused all offers of assistance from the Horse Guards and the Home Office. Neither the Duke of Cambridge’s Cavalry nor Sir Richard Mayne’s Police were permitted to keep the crowds in order--that duty being entrusted to the City Police, the Honourable Artillery Company, and some Volunteers. Hence the streets were blocked up, and, according to Lord Malmesbury,[150] “if it had not been for the good temper of the people some terrible catastrophe must have occurred.” At the Mansion House a brilliant group of ladies, of whom the Lady Mayoress was the central figure, was waiting in the portico to welcome the Princess. Here the procession paused, and a bouquet was presented to her Royal Highness. But whilst this ceremony was going on, the authorities lost control of the crowd, and dense masses began to press on the Royal carriages with such persistency, that the Danish dignitaries in the train of the Princess were thrown into a panic, which was, however, allayed by the presence of mind of the Prince of Wales. The procession then drove on to Temple Bar, which was transformed into a grand triumphal arch, crowned with a tent of cloth of gold. At the corners smoking tripods sent up clouds of incense. Here the Civic dignitaries left the _cortège_, which was then headed by the High Steward of Westminster and other officials, who fell out at Hyde Park. [Illustration: ENTRY OF THE PRINCESS ALEXANDRA INTO LONDON: THE PROCESSION PASSING TEMPLE BAR.]