232. THE GENIUS OF THE NEW YEAR. 234. CUPID AND GANYMEDE. 237. CUPID BOUND BY THE GRACES. 240. LOVE MAKING HIS NET. 241. JUPITER DICTATING LAWS TO LOVE. 251. CHRIST BLESSING CHILDREN. 253-260. EIGHT SMALL STATUES. 262. HAGAR. 263. A HUNTER. INFANT 264. A HUNTER DEFENDING HIS FAMILY. 265. THE SHIELD OF HERCULES. 266. TELEPHUS SUCKLED BY A HIND. 267. A NEREID. 268. A GERMAN MAIDEN WITH A LAMB. 269. WINTER. 270. DIANA. 271. A FLOWER GIRL. 272. A SHEPHERD BOY. THE ZOLLVEREIN. Mixed with those exquisite productions of man that lie on either side of the visitor's path, Nature also bestows here some of her choicest treasures. We have still briefly to indicate the contents of THE GARDEN OF THE NAVE. The south end of the Palace and the south transept contain a selection of plants, consisting chiefly of Rhododendrons, Camellias, Azaleas, and other choice conservatory plants, most carefully selected; in the south transept, especially, are arranged the finest specimens of these plants that can be seen. Opposite the Pompeian Court are placed two fine specimens of aloes, and, conspicuous opposite the Birmingham Industrial Court, are two Norfolk Island pines. Opposite the Stationery Court are two specimens of Morton Bay pine, as well as several specimens of Telopea speciosissima from Australia. Under the first transept may be noticed two remarkably fine Norfolk Island pines, presented by his Grace the Duke of Devonshire. The garden facing the Egyptian Court is principally filled with palms; and on either side of its entrance are two curious plants (resembling blocks of wood) called "Elephant's Foot ;" they are the largest specimens ever brought to Europe, and were imported from the Cape of Good Hope by the Crystal Palace Company. This plant is one of the longest lived of any vegetable product, the two specimens before the visitor being supposed to be three thousand years old. Before this Court will be noticed also two fine Indian-rubber plants-a plant that has latterly acquired considerable interest and value, on account of the variety and importance of the uses to which its sap is applied. Here will also be noticed an old conservatory favourite, though now not often met with, the Sparmannia Africana. Amongst the palms will be remarked many of very elegant and beautiful foliage, including the Seaforthia elegans, one of the most handsome plants of New Holland, and the Chamaedorea elegans of Mexico. On the left of the entrance to the Egyptian Court will be seen perhaps the largest specimen in Europe of the Rhipidodendron plicatile from the Cape of Good Hope. Opposite the central entrance to the Greek Court, and in front of the beds, are two variegated American aloes. The beds are filled with a variety of conservatory plants, and have a border of olive plants. In front of the Roman Court will be observed, first, on either side of the second opening, two large Norfolk Island pines, presented by Her Most Gracious Majesty and His Royal Highness Prince Albert. The beds, like those before the Greek Court, are principally filled with Camellias, Rhododendrons, and Orange-trees, and are also bordered by several small specimens of the olive plant. Between the two foremost statues, at the angles of the pathway leading to the second opening, are placed two specimens of the very rare and small plant, which produces the Winter bark of commerce, and which is called Drymus Winterii. The garden in front of the Alhambra is devoted to fine specimens of the pomegranates. Having passed the Alhambra, we find the garden of the whole of this end of the building devoted to tropical plants, including a most magnificent collection of different varieties of palms. Between the sphinxes are placed sixteen Egyptian date palms Bologna, a chef-d'œuvre of the 16th century school. Among the busts will be remarked those of Raffaelle and Michael Angelo, Inigo Jones and other celebrities of the Renaissance period. Still advancing, a few steps to the left, will lead us into THE GOTHIC RENAISSANCE SCULPTURE COURT Or "Court of Monuments of Christian Art." The first subjects that attract our notice as we enter are the very interesting crosses of the early Irish Church, and the richly sculptured bronze column from Hildesheim Cathedral in Germany, a fine example of the Byzantine period. Beyond these are monuments of the Gothic period, amongst which are conspicuous the Cantilupe shrine from Hereford Cathedral, and the effigy of Edward III., from Westminster. The central tombs of Bishop Wakeman, from Tewkesbury, and of Bishop Bridport, from Salisbury (the last-named being that to the left). The tomb of Henry VII., an interesting example of the Italian Renaissance style in England, at an early period of its introduction, and the fine monument of Cardinal Zeno from Venice, occupy the further end; and the equestrian statue of Gattamelata, by Donatello, forms a conspicuous feature in this portion of the Court, which is completed with a cast of the celebrated Moses, by Michael Angelo. As we quit this Court, we remark in front of it two statues of Perseus one by Cellini, and the other by Canova. That on the left, as we face the Court, by Cellini, is characterized by a grandeur of conception and power of execution, which place his name among those of the greatest sculptors of his day. For minute and interesting information respecting the monuments, and all the statues on this side of the Palace, the visitor is referred to the Handbooks of the Medieval and Italian Courts (by Messrs. M. D. Wyatt and J. B. Waring), where they are fully described. The section of the Portrait Gallery, situated next to this Court, is devoted to the most celebrated characters of Italy, arranged in the order hitherto observed. The great nobility of expression seen in these heads will not fail to arrest the visitor, and to command his respect for the intellectual vigour which marks the creations of one of the most favoured spots-with respect to Art -on the earth's surface. We select from amongst them, Brunelleschi (131), Leonardo da Vinci (141), Michael Angelo (143), 1 Palladio (155), Canova (168), Paganini (170), Dante (173), Tasso (177), Alfieri (180), and Galileo (185 ▲).* Bending our steps from this department to the junction of the nave and grand transept, we find the colossal statue of Rubens, by Geefs of Brussels, erected in the cathedral square at Antwerp, of which city Rubens was a native: the original is in bronze, and a fine example of the modern " "Romantic" school of sculpture. Advancing along this side of the transept, and continuing across the garden end, we observe several chef-d'œuvres of the late celebrated Italian sculptor, Canova: conspicuous amongst which are the well-known "Graces" (125), the Dancing Girls (136, 137), Venus and Adonis (126), Mars and Venus (135), Venus emerging from the Bath (131), a group of Hebe and Paris, and a Magdalen (138).† The finely designed equestrian statues of Castor and Pollux at this end of the transept, are cast from the originals in bronze, by San Giorgio, of Milan; and form no unworthy pendants to the ancient Greek sculptures of the same subject, on the opposite side. The equestrian statue in the centre is the celebrated one of Colleone, modelled by Andrea Verocchio and cast by Leopardo. The original, in bronze, is erected at Venice, and has always been admired as one of those Renaissance monuments, in which energy and power are exhibited with unusual spirit and knowledge. Fringing the southern side of this transept are placed subjects from the extinct French school of sculpture, the earliest characteristic example of which may be seen in the Milo, by Puget (117). Amongst the remaining statues we would notice the Bather, by Houdin (112), Julien's Amalthea (113), a Bacchante by Clodion (90), and Venus at the Bath (83), by Allegrini.† At this angle of the nave and transept is placed THE COLOSSAL FIGURE OF DUQUESNE. The original of this fine bronze statue is erected at Dieppe in honour of the great French admiral, Duquesne. It was designed and executed by the sculptor Dantan, and is remarkable for the noble expression of the form and its spirited "Romantic" treatment at the hands of the artist. From this statue, extending at the back of the extinct French school, will be found the fourth and last section of the Portrait * Numbers of "Portrait Gallery." Numbers of "Handbook of Modern Sculpture." |