Improperly Behaving Lovers

A lovely boyhood memory of the Crystal Palace, from Grant Richards' Memories of a Misspent Youth. The 'safety bicycle' which looked so funny was essentially the modern bike - ie. not a penny farthing:

'Our leisure, or at least my leisure, was spent at the Crystal Palace, in the winter looking at such shows as we could get into by luck or cunning, and, in the good weather, in the grounds, where the shrubberies were full of birds' nests - and sometimes improperly behaving lovers, where occasionally on Sundays we could manage to get hold of a boat and row across to the islands in the lake and pentrate into the very interiors of the prehistoric animals, where there were certain places in which we could help ourselves to coloured-fire laid out ready for the Firework Thursdays, and where there were on the race-track races between men on horseback and men on bicycles, and the cycle-races and so on. I remember now the roar of laughter that went round the grassy slopes of the area when the first safety bicycle made its appearance! And it was in the roller-skating hall of the Crystal Palace that I first fell in love with a girl of much my own age ...'

Somalis in Victorian London

The Somali population in London currently runs to 100,000 people (although that's a guess, pending another census) but when did the first Somalis arrive?

There may well, of course, have been odd Somali merchant seamen in the London docks, at various points in the 19th century, However, the first clearly attested trip is the 'African Exhibition' of 1895.

'Exhibitions' of people from different countries were a feature of Victorian London life. A 'Chinese family' was included in the Chinese Collection at Hyde Park Corner in 1851; a 'Japanese Village' was set up at Albert Gate in 1885; there are other examples. In 1895, however, an entrepreneur decided to bring a whole Somali village to the Crystal Palace. A special liner was hired; African animals and 'native' huts were included; and only a few props (rocks, mountain backdrop) were set up, to present an 'authentic' African scene to the curious public, although the 'natives' themselves were not from the same village, and seem to have been whomever the promoter could persuade to travel to England.

I've included some great contemporary reports below. I say 'great' because I find them fascinating. They are, naturally, riddled with the imperialist and racial prejudices of Victorian England. Africans are 'child-like' (ie. in need of British paternal governance); and the performance - for this was something of a 'theatrical' venture, as you'll discover - includes 'European hunters' who settle the disputes between 'warring tribes'. I know nothing about imperial history, so I'm not expert enough to comment on how often this actually happened, or whether it's just what the Victorian public wanted to hear. It's certainly interesting that this is the keynote: the British Empire providing a 'pax romana' for the 'quarrelsome' Africans (and - it's taken for granted, I think - making a healthy profit in the process, of course ... the exhibition also included an exhibit of African diamonds).

The Daily News piece ends with "They were not at all disconcerted by the attention they attracted, though the party of visitors invited to meet them on their arrival must have seemed quite as strange to their eyes as they appeared to the company who saw them at Tilbury preparing for their first railway journey." ... and, yes, wouldn't you just love to know what the Somali 'visitors' made of Sydenham and their bowler-hatted, waistcoat-wearing hosts?

AN AFRICAN EXHIBITION AT THE CRYSTAL PALACE. So much interest is felt in all that relates to Africa that the directors of the Crystal Palace Company have. been well advised in getting up the two-fold exhibition which is to be opened at Sydenham this day week. The presentation of a village in Somaliland, with its inhabitants in their manner as they live, is certain to prove very attractive to the public at large, while the loan exhibition will be of great practical interest for all who are concerned in the development of colonization and trade in the dark continent. The idea of transporting a whole Somali village from Berbera to the banks of the Thames was a very happy one, but it would have been impossible to find the necessary space for reconstructing it even in the large grounds at Sydeaham had not the Crystal Palace Company recently laid out, at a cost of something like £16,000, a sports arena where football and other games are to be played. This tract of ground has been set apart for the village encampment throughout the summer. In order to obtain, together with a contingent of natives, a representative collection of the wild animals indigenous to Somaliland, the Crystal Palace Company made arrangements with Herr Hagenbeck, the well-known collector and trainer of animals at Hamburg, and with Herr Josef Menges, who accompanied the late General Gordon in his expedition up the Nile, and who has been a scientific explorer in Africa for the last quarter of a century. Herr Menges had made so many excursions into the interior since permanent relations had been established with the tribes on the coast that he was in possession of the fullest information about the country, and he experienced little difficulty in obtaining the consent of some 70 Somalis of different tribes to undertake the voyage. They, together with the animals, were landed in England a week or two ago, and they are the first of their race who have been seen in Europe. As was pointed out in the article "An African Outpost of India-Somaliland," which appeared in The Times of February 16, the land which they inhabit, no longer to be designated, as it was by Speke 40 years ago, "the Unknown Horn of Africa," is " inhabited by a manly and tractable people, much addicted to the chase, both of wild animals and of each other, alternating trading journeys to the seaports with predatory forays and tribal feuds, and seeking in the alliance and under the protectorate of the British flag to find both an umpire in their intestine disputes and a refuge from the better-armed and more powerful neighbours, such as the Abyssinians, by whom their dearly-loved independence stands in danger of being impaired."
    These are the men who are now putting up their encampment in the gardens laid out by Sir Joseph Paxton, and they number 53 in all, with six women and as many children. Coming from the north of Somaliland, and belonging to different tribes, the men are for the most part tall and well-built, the great majority of them being of the Arab rather than of the negro type. The men have a habit of combing their hair all their leisure time, and some of them rub into it a yellow paste made of clay and lime, while they evidently take great pride in their teeth, which they are constantly rubbing with a small bit of wood. The few women in the detachment are not very attractive in features or dress, but while the unmarried owes wear their hair in curls like the men, the married women have theirs done up in shawls, men and women alike wearing long white robes called "tobe," though the chiefs are attired in coloured garments. The whole of them wore landed in England without mishap, and Herr Menges was scarcely less fortunate with the freight of animals, which included 25 native horses, 20 dromedaries, half a dozen lions, six ostriches, cheetahs, pumas, leopards, sheep, and birds. The cargo also included several antelopes but four of these were lost on the voyage while the taller antelope, which had reached Sydenham in safety, has also died.
    The Somalis themselves, though they have been provided with covered buildings for passing the night—the climate of this country being too cold to admit of their sleeping in their mat huts—will pass the day in these huts, which form a picturesque encampment upon the new sports enclosure, and which, like the animals, have been brought over with them from Somaliland. The process of putting up and taking down these huts, cooking their food, and engaging in mimic warfare will, undoubtedly, be watched with eager interest, especially by those who remember the vivid description which the writer of the article referred to above gave of "the excited, shouting, leaping crowds with the brandished spears, the fluttering white or tartan scarves, the gleaming black bodies, and the glittering white teeth, who performed before us at Berbera and at Zeyla." The national sports and dances, which will be performed two or three times each day, and attacks of one tribe upon another will be simulated, Europeans coming to the rescue, while the horse and dromedary races will be very genuine, because the area over which they are to take place is so extensive. The most effective feature, however, in the whole display will be the passing of an immense caravan made up of all the natives and animals in the encampment, and the sentiment of reality will be much heightened by the clever arrangement of the scenery representing Somaliland, which has been painted by Mr. Bartlett, and which has been placed round the encampment, some of the set pieces being 30ft. high. The loan exhibition, which will be held in the Grand Nave of the palace, is not limited to any one region of Africa, but will include articles of interest from every part of it. Mr. P. C. Salons has sent the whole of his valuable collection, which has never been shown, including, of course, his fine trophy of wild game, and Mr. H. M. Stanley has promised to lend several curiosities, among them being an original map by Livingstone. Messrs. White send 140 paintings by Thomas Barnes, which present a vivid panorama of South African life and scenery as they were 30 years ago, while Mr. Denny contributes, together with specimens of ivory, tusks, carved ivory, native weapons, articles of dress, and King Bonny's state umbrella, which is capable of sheltering 20 people. The De Beers Company exhibit diamonds in the rough and matrix, together with a model of their mine, while Mr. Horniman lends the whole of the African collection from his private museum, and the Imperial Institute a portion of its Cape section. Mr. Barney Barnato has lent the first diamond-washing machine used in the South African fields, and among the other exhibitors of curiosities are the Union and Castle lines (which show models of their steamers going to the Cape), Sir Donald Currie, Sir Frederick Young, M. Coctermans, of Antwerp (who lends the Star of Belgium, a stone of 200 carats weight), and a number of companies and corporations which are interested in the development of the mineral wealth of South Africa.

The Times, 1895

THE EAST AFRICAN EXHIBITION. Yesterday the directors of the Crystal Palace gave a private view of their East African Exhibition to a large company of invited guests. The chief feature of the show, a description of which appeared in The Times of Saturday last, is the presentation of a Somali village, and the display will not fail to attract, interest, and amuse large numbers of visitors during the coming season. Herr Hagenbeck and Herr Josef Menges, who have made the arrangements for the Crystal Palace Company, have certainly succeeded in bringing together a company of natives whose village life, with all its picturesque surroundings, affords an African scene of a novel and pleasing character. The troupe consists of 53 men, six women, and six children. With the exception of a few men of low caste—smiths and hunters—they belong to the tribes inhabiting the western part of the north coast of Somaliland and the interior. The new sports arena in the palace park forms an excellent ground for their operations. They have erected huts which have been brought over from their own country, and the nature of the ground enables any number of spectators to have an uninterrupted view of the village and everything that takes place around it. Unfortunately, the present weather is a discomfort to the natives. But, notwithstanding this, they braved the cold wind yesterday, and went through their performance in native costume. They evidently took much interest in the various contests, as well as in the method by which the spectators showed appreciation of their efforts. The scene opens in front of the village, where the natives are following their daily occupations. Dromedaries and other animals are grazing near to the huts. Some brigands appear and attempt to steal the dromedaries, and at once, amidst great excitement and much noise, the villagers, both men and women, attempt to beat off the thieves. There is a wild fight ; some European hunters arrive, and the brigands are driven away. Many of the latter, however, are captured and detained as hostages, and have to be ransomed by presents of sheep, goats, and ostriches, while the brigands receive one of the maidens as a guarantee of peace. Festivities follow—dances of love and war, throwing the spear, shooting with the bow and arrow, dromedary races, horse races, and the like. The European hunters arrange a zareba in the village to buy animals, illustrating how young animals, birds and reptiles, are nursed, trained, and bartered, after which most of the hunters leave for the hunting grounds. They return, bringing with them some large game. Then follows a striking scene. A great caravan is formed, in which all the natives and animals take part ; and, after parading the village, it finally disappears behind the mountain scenery. In addition to the native village there is an excellent African loan collection formed in the nave of the palace. The first public performance will be given to-day.

The Times, 1895

AFRICA IN LONDON. The company of Somali natives, with their belonging, who will reproduce at the Crystal Palace the life of an East African village, arrived in London late on  Wednesday night on board the Clan Rosa, and were landed yesterday morning, when they were taken on at once by special train from Tilbury to the Crystal Palace. The African Village will no doubt become the popular feature of the exhibition, which will bring together at the Crystal Palace one of the most interesting and instructive collections ever seen in England. Certainly we have had nothing like the African Village. It is intended not only to reproduce in all its details a Somali village, but the occupations and diversions of the natives will be represented in action. . . . They number sixty men and women, and a few young children. They have not been long in discovering the vagaries of the English climate, but in spite of the variable weather of yesterday, they did not seem to find their simple native costume insufficient. It is only fair to assume that we have here the picked men of their race, and the Somali is certainly a very handsome fellow, with fine features and handsomely proportioned. The type is that of a Arab, though they dress their hair in negro fashion. The dandies of the tribe devote a good deal of attention to their hair, which is not only curled, but is sometimes dyed a peculiar light shade of brown. The women wear their hair in tiny ringlets. They seem all highly intelligent, if one may judge from the expression of their faces, or the manner in which they went about their work, and exceedingly good-tempered. They were not at all disconcerted by the attention they attracted, though the party of visitors invited to meet them on their arrival must have seemed quite as strange to their eyes as they appeared to the company who saw them at Tilbury preparing for their first railway journey.

Daily News, 1895

 . . . Next comes a quaint and grotesque "love dance," which is followed by an exhibition of skill and strength in throwing the spear, an exercise at which the Somalis are very expert, sending their weapons flying through the air to long distances. A horse race on the wiry native ponies is spiritedly contested, and a war dance is done with much demonstrative energy of gesture and movement. A dromedary race is particularly interesting to those who have read about the difficulty of riding one of these "ships of the desert," which, however, the practised Somalis seem to do easily enough. The pace at which the dromedaries - which bear the same relation to the ordinary camel of burden as the cart horse does to the thoroughbred - move is fair, and their appearance at the gallop, though odd, is not unpicturesque. More horse-racing follows, and sham fights on foot and on horseback are gone through. The Somalis imitate a combat very dramatically, and some of them have a good idea of low comedy business. The European hunters then form a caravan, which starts off on a hunting expedition, presently returning in a long file with captured ostriches, elephants, lions, monkeys, and antelopes. This is a very pretty picture, the elephants of which there are more than a dozen, looking very fat and healthy. The encampment is then broken up and the departure of the cavalcade continues the show, which gives an excellent idea of the mode of life of the curious people, of whom Sir Richard Burton in his "Footsteps in East Africa," says, "They have all the levity and instability of the negroes, are light-minded as the Abyssinians, constant in nothing but inconstancy, soft, merry, affectionate souls, passing without apparent transition stages into a state of fury, in which they are capable of the most terrible atrocities." Fortunately our Somali visitors at Sydenham display only the good side of their characters, and do not pass into the "furious" stage. In addition to introducing to us the Somalis, Herr Hagenbeck is making a very interesting experiment at the Palace. He does not believe in isolating wild carnivorous animals by placing them in small separate dens. He has, therefore, brought to Sydenham a huge cage, in which he has placed twelve young lions, one tiger, three bears, three hyaenas, four cheetahs or hunting panthers, and one dog. Other animals will be added until the total reaches at least fifty, and Herr Hagenbeck intends that these animals, while enjoying comparative freedom by having a large playground, shall enjoy each other's company for a space of at least three years from the date of the opening of the East African village.

The Era, 1895

SOMALILAND AT SYDENHAM. Since the object of East Africa at the Crystal Palace is to display the manners and methods of the East African native at home, and to afford a glimpse of daily life in " a Peaceful Somali Village of Red Mat Huts," it follows that there cannot be much which properly remains "behind the scenes" in that region as fascinating to those who do not visit it as Alice found the world on the other side of the looking-glass. . However, there are a few properties and legitimate deceptions in the presentation of Somaliland at Sydenham, though they are confined to the landscape, and it is this land of mountain lath and valley plaster that our artist has called the interior of Africa. In other respects there is an agreeable lack of stage effects and dresses in the domestic drama of Somali life. The obvious delight of the natives in "play-acting," a delight apparently as natural to them as to children, is one of the chief charms of the display. At the same time life in what is described as a peaceful Somali village appears to be tolerably eventful. When the curtain goes up, that is to say when the spectators have taken their places, it is true that the outlook is calm and undisturbed. The women are tilling the ground, carding the wool, running through the light task of the weekly washing, preparing the meals ; the men are leaning up against the huts and discussing the prospects of the hunting season. Dromedaries and goats are peacefully browsing in the suburbs ; the Somali children are congratulating themselves that for the moment they have done nothing for which they require immediate correction. Upon this quiet scene a band of brigands suddenly intrudes and attempts to steal the camels. The inhabitants of the village, men and women, turn out to resist the outrage - the children express their dissatisfaction in the usual manner ; there is much sound of battle, but happily little bloodshed, and only one native is carried off the field. In the end the brigands are beaten off by the opportune re-inforcements of European hunters, and retire, leaving behind them some of their number as prisoners. The frugal villagers propose to exchange the prisoners for what are euphemistically called "presents " of sheep, goats, and ostriches, and the discussions which follows between villagers and brigands as to the exact equivalent of four prisoners of varying attractiveness are characteristically of considerable animation. Much of the barter is carried on by the wounded villager who was carried off the field, and who, now recovered, enforces his opinion of economic values by hitting the captives with a spear  whenever their opinions are called into dispute. At last, however, the bargain is clenched by the offer on the part of the villagers of a young maiden in marriage. At last, however, matters are settled, and the marriage dances begin. These, which are very long, are at last stopped by one of the "European hunters," who suggests that now they had better get to business and provide the European market with animals for Mr. Hagenbeck's menagerie. This accordingly is done. The bride goes back, metaphorically, to her "bees and her cows," and her husband goes out with the rest of his companions hunting. They return in a few minutes from the canvas mountains with a truly magnificent collection of elephants, dromedaries, zebras, ostriches, and antelopes; and the day's work and the day's entertainment conclude with some highly interesting dromedary racing, spear throwing, and "general rejoicings."

The Graphic, 1895

A Tour of the Crystal Palace

A tour of the Crystal Palace in 1856 (The Leisure Hour, as ever):

A DAY AT THE CRYSTAL PALACE.*

[• The multiplicity of objects in the Crystal Palace is found so perplexing to ordinary visitors, that this paper has been prepared with a view to furnish a clue to seeing, in an orderly manner, in one visit, its principal features. ]

How swiftly we rush along! as though our locomotive had just received a stimulative supply of alcohol, in lieu of water, to incite it to drag us bravely up the incline, whence, in an instant, we shall gain our first near glimpse of the Crystal Palace. See! like a vision of magic, its striking foreground and magnificent park come into view; whilst, beyond them the Palace rises, wondrous in extent, yet so light and aerial in aspect, as almost to defy belief that it is a thing of solid substance.
    A pleasant journey we have had by railway. Ere, however, the interior of the Palace is reached, a long walk awaits us, commencing with the gigantic flight of steps before us, leading from the trains to the ticket-taking entrance. From this point you perceive there is a route across the park to our destination, through the door there to the right, and another along the pretty flower-adorned corridor facing us. The latter we will follow. It will bring us to another flight of stairs and the third-class refreshment• room, where visitors may obtain an excellent dinner of cold meat and bread, with a temperate glass of beer, for ninepence—a great consideration to those who seek enjoyment without extravagance. Take a peep into the refreshment-room, and observe how conveniently it is arranged. Now ascend to the gallery above, conducting to the final ascent.
    At length, as the reward of our pilgrimage, the shrine is attained. Is it not beautiful? Yet re- strain your admiration, and move round slightly to the left, along by the small refreshment tables to the front of yon splendid screen, covered with statues, each representing a sovereign of England. What an enchanting scene here meets the eye! A seemingly interminable vista opens, presenting innumerable gaily-dressed groups of visitors, promenading through lines of luxuriant foliage, intermingled with statuary, from behind which arise ranges of elaborately ornamented facades, and lofty, slender, parti-coloured columns, festooned and enwreathed with graceful climbing plants, springing from the ground, and shooting out from suspended baskets, lustrous with blossoms of every hue ; while, high overarching all, is a crystal canopy, stained, as it were, with the mellow blue of the heavens, or sparkling with myriads of sunlight reflections. In the foreground, covered with white and purple and crimson water-lilies, is a sheet of water, from the midst of which springs the world- renowned crystal fountain, glittering with prismatic colours. The scene, in fact, look in whichever direction we may, displays features of beauty, magnificence, and interest, which cannot fail to inspire enthusiastic appreciation.
    The main building, as seen from this point, is composed of a nave, more than a quarter of a mile long, 72 feet wide, and 104 feet high ; of two side aisles, giving, with other arrangements, a general width to the Palace of about 312 feet ; of three transepts, termed respectively the South, Central, and North — the South and North being each 336 feet long from east to west, and 72 feet from north to south ; and the Central one 384 feet from east to west, 128 feet from north to south, and 168 feet high. Above each aisle are two galleries, which run entirely round the edifice ; whilst above them, in certain quarters, are other galleries, from which particularly striking views of the interior and the peculiar construction of the edifice may be obtained. And, marvel of marvels, " the total length of columns," says the official guide-book, " employed in the construction of the main building and wings, would extend, if laid in a straight line, to a distance of sixteen miles and a quarter. The total weight of iron used in the main building and wings amounts to 9641 tons, 17 cwt., 1 qr. The superficial quantity of glass used is 25 acres ; and if the panes were laid side by side, they would extend to a distance of 48 miles ; if end to end, to the almost incredible length of 242 miles." To which may be added the further marvel, that on the edifice and its appurtenances, the park, etc., not much less than a million and a half sterling has been expended. This series of facts, combined with what we see around us, evinces a truly amazing amount of cost and skill in design, and taste in execution—all, too, bestowed on a shilling exhibition for the people, and renders the establishment one without a parallel.
    Looking down the nave, from where we are standing, we face the north, and therefore have the east on our right hand, and the west on our left. Lying immediately on either hand, occupying the eastern and western ends of the South Transept, is the ethnological and natural history department of the Palace. Commencing our tour of inspection here, with the western portion of the department, or that referring to the New World, we find ourselves amongst highly interesting and instructive representations of the human and brute creations of North and South America, so grouped as to display their ways and habitudes, and, as far as possible, the scenery and vegetation of their locale. The neighbouring glass-cases contain specimens of beautiful American birds, of North American river-animals, and of West Indian corals, sponges, and molluscules, as found assembled together at the bottom of the sea. Everything about us is, in fact, wonderfully characteristic. Look, for instance, at these groups of Indians some asleep, others at work just as they might be seen in their native lands. Nov observe this graphic representation of the polar bear and other arctic animals "at home," amidst icebergs and the bleak desolateuess of the North Pole, all so truthfully displayed that we need but travel five miles from London to be able to obtain a perfect idea of one of the most striking scenes of nature, existing thousands of miles away, and only accessible to the human eye under circumstances of the greatest difficulty and danger.
    We have now passed out of the South Transept into what is termed the Pompeian Court, and the southern end of the western aisle. Imagining that this Court incloses, as it assumes to do, a real Pompeian house, this airy uncovered portion is the atrium, or outer court of the edifice, used for the reception of visitors. Those small rooms surrounding it are bed-chambers—cell-like looking places, to be sure, but in the days of the Pompeians, and under their sultry clime, doubtless adapted to their requirements, especially as there is reason to believe that they did not regularly go to bed, as we do, in a four-post bedstead, but merely threw theme selves upon a shall couch, and made their toilets next day in their bath-rooms requiring, therefore, no space in their sleeping apartments for toilet conveniences, or for aught beyond the couch, and it may be, an occasional yawn and stretch of the arms on arising, idly inclined. Through the open side of this atrium we see the state-room of the house, its columned garden, and dining-room; the whole attesting, by their decorations, the cultivated taste and art proficiency that once existed in Pompeii, the overthrown city, whose intellectual cultivation was sadly in contrast with its moral depravation.
    Succeeding this revival of the works of an obliterated race one this side of the Palace, and inviting our further progress, are compartments, styled the Sheffield, Birmingham, and Stationery Industrial Courts, the News Room, the Central Transept, and the Egyptian, Greek, Roman, Alhambra, and Assyrian Fine Arts Courts, each of which we shall notice on our passage through it. Within, between, and behind the Industrial Courts, exhibitors' stands are placed, displaying almost every description of manufactured articles, and forming part of the universal museum of natural and useful art productions the Palace may be said to contain.
    Here we stand within the Sheffield Court, containing a choice and valuable assortment of Sheffield wares, and considered by many, on account of the exquisitely light and elegant arcade of arches forming its upper part, to be the most pleasing in appearance of all the Industrial Courts. They are composite Moresque Gothic in design, and iron in material ; whilst iron and plate-glass are exclusively employed in the construction of the whole.
    On leaving this Court, do not fail to notice the gorgeous-looking stand of gold, silver, and plated goods you will come upon; then, before entering the Birmingham Court, turn to the left, to pause and admire Bell's lovely marble group of the "Babes in the Wood;" for the sight of that alone is more than worth the cost of a visit to the Palace. One of the most noteworthy features of this, the Birmingham Court, is its splendid facade of cast iron, in the English ornamental style of the seventeenth century an appropriate characteristic, Birmingham being the chief seat of the application of iron to ornamental as well as useful purposes, interesting examples of which are to be seen spread around in profusion. Between the architectural peculiarities of this and the next, or Stationery Court, a marked difference exists the latter being formed entirely of wood, ornamented in the Cinque cento style. And see how different are the contents of the one and the other, yet intimately connected by a link obvious on reflection; for here are exhibited splendid specimens of costly book-binding, maps, prints, and stationery ware in general, which could not be produced without the aid of such implements and material as Birmingham chiefly manufactures and employs in her work-shops. After what we have been feeding our minds upon, the Penny News Room (although apparently a very superior place of the sort) can have no charms for us to-day, consequently we will pass on through the approaching groups of English and German sculpture into the great or Central Transept. Observe the noble span and vast height of its roof! No part of the building required so much skill to erect as this ; and, unhappily, the valuable lives of several workmen were sacrificed during the process of erection. But as we shall have another opportunity of examining this portion of the building at our leisure, we will leave its multifarious attractions for the present, and press forwards into the Fine Arts Courts, bearing in mind that each of these Courts, with those immediately opposite to them, shows the state of the arts of architecture and sculpture, with reference to the country after which it is designated.
    The first of the Fine Arts Courts before us is the Egyptian Court, presenting features awfully solemn, imposing, and mystical in character, as the remote ages of the world to which they carry the imagination back. Here also are models of both early and late Egyptian architecture, all displaying solidity, grandeur, and simplicity, indicative of the earliest periods of scientific construction, some being models of portions of temples and palaces, and some of tombs. Of much of the surrounding sculpture, it must be admitted that it is stiff and unnatural ; perhaps, however, the result only of conventional requirements having been followed in its conception ; and the whole of it denotes the heathen principles which animated the Egyptians of yore.
    A glance suffices to show that we are now in the Greek Court; amongst the relics of a race differing greatly front the Egyptians, more refined in their conception of beauty of form and expression, and more ideal in the embodiment of their imaginings. Greek art is of the highest order—poetic, chaste, and elevated. No other country carried sculpture and architecture to so great a degree of perfection as Greece ; and it would appear to be vain to hope to surpass the excellence it achieved. Hence its best works have justly become fixed standards of perfection, as regards grace, proportion, sentiment, and execution.
    But here is an arch, seen nowhere else about this Court, because it is intended to indicate a change of architectural style, being that of the Romans; for though the arch was not first employed by them, as is proved by modem discoveries in Egypt and Assyria, they were the first people who adopted the general use of it in buildings, showing therein taste and discernment, as the greatest beauty and strength are alike its characteristics. This, the Roman Court entrance, presents, you perceive, a pleasing vista, formed of arches, and terminating at the Alhambra Court, towards which we will wend our way, gazing the while on the numerous objects of historic as well as art interest which lie along our path.
    Now mark the wondrous change of scene that meets the eye! Ideal, graceful, and beautiful, as are the Greek and Roman creations of genius we have just been contemplating, still the surrounding Alhambra balls appear to be the offspring of the more poetic fancy. In gazing on them, a sense steals upon us of a different, if not superior, race of producers gene, gnomes, and fairies --- beings accustomed only in their habitations to whatever excitingly attracted and gratified the senses ; such as arches and roof's trimmed with exquisitely delicate fretwork ; illuminated walls, covered with fanciful arabesque patterns ; the fragrance of lovely flowers, and soft murmuring's of air-cooling fountains. The halls represented are the Court of Lions, the Hall of Justice, and the stalactite roofed Hall of the Abencerrages ; each in a manner conveying a perfect idea of the unsurpassable splendour of its multifarious decorations a splendour, we fear, which will render the appearance of the North Transept, we are about to enter, somewhat cold and tame, although it represents tropical regions, and abounds in striking attractions, as witness this avenue of palms and sphinxes, forming an appropriate oriental-looking foreground to the gigantic figures towering above us.
    The latter are sixty-five feet high, and are supposed to portray Rameses the Great, seated on a throne ; the massive temple behind is Nubian, and for many reasons is fittingly located next to the Assyrian and Nineveh Court. It is but a few years since the originals, serving as models for this Court, were discovered ; consequently these sculptured tablets, winged bulls, symbol painted walls, and extraordinary effigies of combined human and brute beige, are facsimiles of newly resuscitated remains of the past ; displaying likewise remarkable architectural and sculptural features, previously unknown to man for aces anterior to the Christian era. Examine them well, for they will impart to you many new and valuable ideas. The sculptured tablets are curiously-elaborated symbolic and pictorial representations of events full of the most singular and minute details, introduced therein to render them comprehensible as public records, or adapt them to serve the purposes of our modern written histories the art of writing having been unknown to the Assyrians. Every figure about us here is typical of some incident or peculiarity connected with the histories of Assyria and Nineveh.
    Gleamed upon by the huge watchful eyes of the noble pair of man-headed, winged bulls behind us, we have now arrived at the north or tropical end of the Palace, and stand amidst trees, and plants, and birds, familiar only to regions far :sway, and widely diverse from our own. From this end of the Palace a wing juts out, called the North Wing, containing a picture gallery. We will visit it, however, on another occasion, as we have enough before us to occupy our attention for the remainder of the day.
    Onwards, then, to the architectural Fine Arts Courts, of which there are seven, not only containing an enormous mass of the finest architectural details, but a profusion of contemporaneous tombs and sculptures, all masterpieces of art. These three archings - note how charming the view through them! -  lead into the Byzantine and Romanesque Court ; the cloister to the right is Romanesque ; the other objects are sufficiently explained by the inscriptions affixed to them ; and as almost everything exhibited in the architectural Courts is similarly explained, if you will rest a while, we will endeavour to compress into a few words, all that we think necessary to point out with regard to the series, and the other objects we shall meet with en route to our original starting- point.
     To begin with our neighbour, the German Medieval Court : the guide-book speaking of it, says that it is devoted exclusively to examples of Gothic art and architecture in Germany ; and, taken with the English and French Medieval Courts, it gives an excellent idea of the style and character of architecture in those three countries during the middle ages. Succeeding the German, is the English Mediaeval Court, containing splendid specimens of Norman early English, decorated and perpendicular styles of architecture, as well as a cloister, one of the gems of the Palace. Next occurs the French and Italian Mediaeval Court, the style of which, for the sake of instruction, should be compared with that of the preceding Courts, and of the adjoining Renaissance Court.
    The latter-mentioned is a species of revival of the antique Roman, with florid modern accessories. The chef-d'oeuvre of the Renaissance Court is the remarkable fac-simile it contains of the wonderful Florentine Ghiberti Gates. The Renaissance leads into the Elizabethan Court-- a highly interesting one, as showing one of the superior deviations from the acknowledged original standard styles of architecture ; as also, for the same reason, is the Italian Court, which succeeds it, and is modelled after the Farnese Palace in Rome.
    On leaving the Italian Court, another maze of beautiful architectural and sculptural models will invite and repay inspection, as will also the Great Transept, the French Court, the newly-opened Ceramic Court, containing- superb specimens of porcelain ; the Glass Court, displaying the choicest description of fancy glass goods ; the Musical Instruments Court ; and, lastly, the Ethnological and Natural History Department, illustrating Asiatic, African, and Australian races of human beings and wild animals.
    Long as our stroll has been, the delightful distractions attending it have brought us unfatigued to this, the Ceramic Court, which is so brilliant, so unique, and so complete in its appointments, that it irresistibly claims further comment. It contains the finest examples of pottery and porcelain, displaying art in form and decoration, and produced between the present period and remotest antiquity. The works of living manufacturers and Assyrian ware are brought together in these cases, united by a series of old Chelsea, Worcester, Wedgwood, Sevres, Dresden, Berlin, Vienna, Limoges, Mayolica, and other descriptions of ceramic productions, modern as well as ancient. This chain of art is formed with the greatest taste and discrimination, and nearly every link of it is worth its weight in gold. Gems, fruits, flowers, metals, gorgeous masses of colour, and the finest paintings, are imitated to perfection on plain or ornamental forms of the utmost purity and grace. The classic groups of Wedgwood ware are surpassingly fine ; but where all is so perfect, individual taste alone can accord the palm of superiority to one portion of the display over any other. The value set upon one of these cases of groups by its proprietor is, we have heard, as much as £15,000 ; single objects likewise being similarly highly valued, or at from 100 to nearly 2000 guineas.
    Once more the small refreshment-tables meet the eye ; but this time surrounded by hungry groups, satisfying their appetites with the dainties supplied for visitors who have not imitated our economic example, and brought their own refreshment with them. Yet the charges here are by no means extravagant; unlimited veal and ham pie, roast and boiled beef, salad and bread and cheese, for eighteenpence ; pigeon-pie, or chicken with ham or tongue, for two shillings ; jelly or pudding being sixpence extra. The knives and forks clattering here make, however, a less agreeable music than that of the band, which has now commenced playing. We will proceed, therefore, slowly down the line of the nave's ever-varying attractions, to the Orchestra, then rest a while and enjoy our lunch and the music together ; but without having seen more than half of the interesting con- tents of the Palace a portion, however, that, with a sight of the fountains, must content us on this occasion.
    Hark ! the gong sounds, announcing that the fountains are about to be displayed ! We will view then to-day from the Terrace in front of the Palace, descending and proceeding thereto by the way of the Great Machinery department. This is an excellent place, exactly central, and affording a splendid prospect of a landscape considered to be one of the finest in the kingdom. See how its features are momentarily diversified by lines of light and shadow playfully darting across its rich masses of woodland, as though engaged chasing each other up hill and down dale in a summer's day pastime. Now the tallest fountain jets, like silver framework, divide the scene into compartments, vying with each other in loveliness. Higher and higher some of them rise, the others the while dancing merrily around them, making their own music. The gay sound of waters is heard, rushing and tossing gleefully about. There a lovely iris has formed across the spreading sheet of the centre tall jet ; and mark how the ladies are wildly fleeing hither and thither to save their pretty dresses from being soaked with envious spray a diversion which amused even our gracious Queen on the day (the 18th of last June) of the first display of the complete fountain system. Ah ! that was a beauteous sight. On the high ridge of ground there, just above the large lakes, thousands of spectators were ranged, grouped round a mass of brilliant scarlet uniforms, the ladies' lively-coloured dresses making the green sward beneath shine as if flower-enamelled ; along the pathways winding amongst the trees and shrubberies, and surrounding the water basins, were lines of more gay company, whilst numerous detached groups stood dotted about the lawns in every direction. But the great feature of the fete was our Queen, who, accompanied by her guests, husband, and family, graciously condescended to be driven slowly through the ground, and bestowed her sweet, never-to-be-forgotten smile on one and all, creating in every breast the impression that she is the most fascinating of women, as well as loveable of sovereigns. During her progress, the air continuously rang with grateful huzzas, and when the new great fountains spouted forth their enormous liquid columns (the cascades pouring their sparkling crested volumes into the lakes) ; and when the sun gleamed out, as it did at the moment, with brighter beams, and the winds broke the aspiring waters into sheets of silvery mist, the scene, as you may imagine, be- came almost overpoweringly exciting.
    Well, we have told our tale ; the fountains have ceased playing, and we think it time to be wending homewards. Our course shall be across the grounds to yonder doorway at the end of the south wing of the Palace, and leading to the trains. Take a passing glance at the tastefully laid-out park, and lovely scenery beyond, now becoming more and more tenderly illuminated by the declining sun, whose rays are gradually producing an increasingly softening gloom, beautifully expressive of day melting away. On our route to our dear home we will recall the unlimited sources of useful and interesting knowledge we have been exploring, and bestow a grateful thought upon those whose exertions have enabled us to enjoy an eve•-memorable day of pleasure at the Crystal Palace. To-morrow let us work all the brisker for our holiday.

Munbying (2)

MUNBYING (2)

a. Munby meeting a lady clerk
b. common people at the Crystal Palace
c. Munby on the Haymarket, 4am
d. Munby on Evan's Supper Rooms
e. Munby on the Tooley Street fire

Crystal Palace, Revisited

CRYSTAL PALACE, REVISITED

Although I like to explore Victorian London's more obscure quarters on this blog, I've just recalled Dr. Russell Potter's excellent page of tit-bits on the Crystal Palace, which are well-worth a visit. What caught my eye most was a picture of the "Talking Telegraph" whose description I'd come across in the Illustrated London News, of which Dr. Potter provides a picture (where is it now, I wonder? I must make discreet inquiries!). Talking of which, readers may wish to note that the Illustrated London News library is online - not every picture, as yet, but still a good deal of interesting Victoriana.

A Crystal Palace Postcard

A CRYSTAL PALACE POSTCARD

A postcard view from an album produced for the Oxford Street department store Peter Robinson, as a souvenir gift, somewhere around the turn of the century.