The Palace and Park: Its Natural History, and Its Portrait Gallery, Together with a Description of the Pompeian CourtLatham, R. G. (Robert Gordon)
History
The Palace and Park: Its Natural History, and Its Portrait Gallery, Together with a Description of the Pompeian Court
Latham, R. G. (Robert Gordon)
Crystal Palace (Sydenham, London, England)
Having now regained the Nave, we proceed along in front of the Pompeian
Court, where will be found various works mostly illustrative of modern
German sculpture; amongst which we notice a group of Minerva protecting
a Warrior (162), by Blaeser, of Berlin; also a charming little
composition, by Brugger, of a Centaur instructing the young Achilles
(164). The original model of a Nymph, with an Urn (167), by Dannecker,
executed as a fountain at Stuttgard. An allegorical figure of Medicine
(171), by Hahnel of Dresden. A Violin Player, by Steinhauser (201*). Two
seated statues, in the Greek style, of Thucydides and Homer (176), by
Mayer. A statue of a Magdalen (261), by Wagner. A very spirited group of
a Hunter defending his family against a Panther (264), by Widnmann of
Munich. A statue of Hector (166), by Dannecker. Next to this is a pretty
statue of Diana (270), by G. G. Wolff, and near it Telephus suckled by a
Hind (266), with several other beautiful examples. The statue of a
Hunter (263) is a _chef-d’œuvre_ by Wittich. Opposite the Stationery
Court are excellent life-size statues of stags (193*), by Professor
Rauch, of Berlin, excellent examples of that difficult branch of the
sculptor’s art--the study of animal nature; and near these, Debay’s
exquisite group of the First Cradle (96), and a magnificent vase by
Drake (169), with Thorwaldsen’s beautiful Venus (217) and Aurora (18),
by John Gibson, R.A. The fine statues of Victory (184 to 188), by
Professor Rauch, are characteristic examples of that great sculptor’s
style, and of the successful variety of treatment in five designs for
one and the same subject. And the statue of a Nymph holding a Basket of
Fruits and Flowers (160), by Professor Drake, is a picturesque example
of the “Romantic” school of sculpture. We now approach the Great
Transept, before entering which we will turn to the left and explore the
open Court which is formed at this point by the angle of the Transept
with the Nave.
THE CANADIAN COURT.
This position has been appropriated for the display of a most
interesting collection of the staple and manufacturing products of
Canada. The colonial government have undertaken to form and maintain
such a collection as shall completely represent the commercial resources
of that important colony, and have voted a sum of money for its
permanent maintenance. Such an exhibition presents invaluable
information to the intending emigrant, and to all an interesting sign of
the progress, polish, and prosperity of our brethren in the Atlantic
colony.
Public-domain text, read in full here on John Shaqi.
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