CORNELL UNIVERSITY LIBRARY Cornell University Library ArY35 Science and mechanl8m:lllu8trated I by exa 3 1924 016 074 795 iVJ «»: Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924016074795 THE WORLD OP ART AND INDUSTRY. ■^jSF-ca^S^ Mirror. — Waller and Kreps, New-York NEW YORK: G. P. PUTNAM & CO. LONDON: LOW, SON 6 CO. 1854. THE WORLD OF SCIENCE, ART, AND INDUSTRY ILLUSTRATED FROM EXAMPLES IN THE NEW-YORK EXHIBITION, 1883-54. EDITED BY Prof. B. SILLIMAN, Jr., and C. E. GOODRICH, Esq. AIDED BY SEVERAL SCIENTIFIC AND LITERARY MEN WITH 500 ILLUSTRATIONS, UNDER THE SUPERINTENDENCE OF C. E. DOPLER, ESQ. NEW-YORK : G. P. PUTNAM AND COMPANY, LONDON : SAMPSON LOW, SON & CO. M.DCCC.LIV. Entered according to Act of Congress, in the year 1854, by G. P. PUTNAM & CO, in the Clerk's office of the District Court of the United States for the Southern District of New-York JOHN F. TEOW, PBIRTJI AND BTERKOTYl'KR, 49 Ann Street, Wew- York, PREFACE. SINCERE desire to extend the influence of pure and ornamental art — to promote a correct appreciation of what is really beautiful in the arts of design — to awaken in the people of the United States a quicker sense of the grace and elegance of which familiar objects are capable — and to encourage our manufacturers by- placing before them the productions of European taste and skill, has influenced the preparation of the Illustrated Record. The Editors present the volume to the public with the assurance that it will be found to be a faithful picture of the New- York Exhibition — a permanent record of what was there displayed most useful, interesting, and beautiful. It was not an undertaking of the Government ; the national honor was not pledged to gather and select the national resources, or invite the contributions of foreign states, and secure for the enterprise the prestige of royal patronage. But still so rich and various a display was never before seen on this side the Atlantic. The labors of the workers of the world were largely, and often magnificently, represented, if not with entire completeness. A selection of these productions, exhibiting them by engraving and description, forms a work of more than temporary importance — a passing exhibition may be the occasion of preparing it, but the selection itself must derive its interest from the arts it illustrates. It is a partial picture of the age ; an exposition of the comforts and luxuries, the manners and attainments, which belong to our civilization. The illustrations of the Record were of course limited to the articles contained in the Exhibi- tion. In selecting these, we have endeavored to inculcate the lesson which Americans most need to learn the value and effect of an alliance of art with commercial industry. It was thought that an important benefit would be conferred upon our artisans and manufacturers by engraving a series of objects as practical lessons in ornamental art. With this end in view, we have added to the examples of excellence and beauty worthy of imitation, PREFACE. such also as present errors which ought to be avoided ; and as far as space permitted, these instances of faulty and inappropriate decoration have been pointed out in the explanatory text. Certain large classes of objects, among which were some of the most important and best represented in the Exhi- bition, did not admit of pictorial illustrations ; others did not come properly within the plan of this work ; the former have been partially elucidated in the general essays, and both will receive further attention in the Descriptive and Annotated Catalogue. It will be observed, and we desire to call attention to the fact, that many of the essays in the Record are employed to explain the condition, methods, and instruments of the United States Coast Survey. It was this part of the New- York Exhibition which was most honorable to our country, as showing our advanced progress in several of the most abstract and difficult departments of human knowledge. The United States may safely rest their claims to be counted among the foremost nations of the world upon what has been already done, and is still doing, for science, for com- merce, and for humanity in the Coast Survey. It is proper to say a word of the engravings themselves, which fill more than half of this volume. The best artists and engravers in this country were employed to execute them ; and the greater part have been done to our entire satisfaction. They faithfully represent the present condition and attainments of the art of wood-engraving, and they will not suffer by comparison with similar works executed abroad. In making such a comparison, it must be remem- bered that the wood-cuts of the Record have been wholly printed upon a power-press — a method much less adapted to show their full beauty than the hand-press, but necessary to produce large editions with rapidity. Our endeavors to make this volume a beautiful and acceptable record of the New- York Exhibition have been always aided by the generous and unhesitating liberality of the publishers, and to them is justly due, and will be awarded, whatever credit may attach to its publication. TABLE OF CONTENTS. London, do. do. do. do. do. do. do. Wine Jug; Parian. Oopeland, Vases; porcelain and jewelled. Oopeland, Temptation of Eve; statuette. Oopeland, Vases ; three Parian. Oopeland, Apollo; Parian statuette. Oopeland, Plateau; in Parian. Oopeland, Porcelain Panels. Oopeland, Table Top ; porcelain. Oopeland, Poeoelain Vase. J. Rose & Co., England,, Beaoket; in Parian. J. Rose & Oo., do. Tea Seetioe; Parian. J. Rose & Co., do. Poeoelain Vase. J. Rose & Co., do. Vase, &o. ; group in Parian. Rose & Co., do. Queen's Vase; porcelain. Rose & Co., do. Candelabea; porcelain. Haviland & Co., New-York, Ooveeed Dishes; porcelain. Haviland & Co., do. Poeoelain Vase. Haviland & Co., do. Poeoelain Wine Ooolee. Haviland & Co., do. Esmebalda Vase. Haviland & Co., do. Vases, Tea Seevioes, &o. Royal Prussian Porcelain Manufactory, Vase. Royal Prussian Porcelain Manufactory, Poeoelain Beeakfast Service. Sampson, Bridgwood & Sons, England, Poeoelain Fountain. Ridgway & Co., do. Poeoelaln Tea Seevioe. Ridgway & Co., do] Statuettes, &c. ; in Parian. T. & R. Boote, do. Vase and Jug ; in Parian. T. & R. Boote, do. Vase, &o. ; group in Parian. Mayer & Co., do. The Reapee; Parian. Lindsley, Powell & Co., do. The Shepheed Boy; Parian. Lindsley, Powell & Co., do. PrroHEEs ; colored Parian. Lindsley, Powell & Co., do. Antique Vase ; terra cotta. Ferguson, Miller & Co., Scotland, Vases ; in terra cotta. H. Doulton, London, Watee Cooler ; terra cotta. H. Doulton, do. Oonseevatoet Vases; terra cotta. H. Doulton, do. Terra Cotta Pitcher. J. W. Kugler, Hungary, Group of Vases. Haughwout & Daily, New- York, . Watee Cooler. United States Pottery Co., Pitohees ; group of Parian, United States Pottery Co., Statuettes ; in terra cotta. Boni, Milan, Bracket ; in terra cotta. E. Saelzer, Saxe Weimar, Hanging Basket. E. Saelzer, Oonseevatoet Vases. E. Saelzer, Hanging Baskets. E. Saelzer, Ruby Glass Vase. J. Maes, Toilet Seevioe ; ruby glass. J. Mae's, Geoup of Vases, &o. J. Mae's, Glass Vases, J. Maes, Bohemian Glass Ware. E. Stainer, Vase and Decanter ; Bohemian glass. do. do. do. Paris, do. do. do. New- York Stainer, do. E. Out and Peessed Glass Ware. Stouvenel & Co. SECTION IV. do. 108 York, The Wolf and the Lamb ; Gobelin Tapestry. Napoleon III., . . 200 The Skaters ; Beauvais Tapestry. Napoleon III., 191 Embroideries. J. Houldsworth & Co., England, .... 170, 171 Silk and Worsted Fabrics ; three examples. Craven & Harrop, Brad- ford, England, 26 Brocade Poplin. Olabburn & Co., England, 159 Lace Handkerchief. John Higgins & Co., New- York, ... 66 Laoe Collar. John Higgins & Co., do. .... 67 Laoe Handkerchief. S. G. Waring, .171 Axminster Carpet. Templeton & Co., Glasgow, . . . 167 Axminster Carpet. Templeton & Co., do. . 195 Aubusson Carpet. A. Braquenie, Paris, . ■ . . .196 Aubusson Carpet. S. de Lamornaix, Aubusson, France, .... 142 Bonnet Materials. George Long, England, 142 SECTION V. ARCHITECTURAL DECORATION, FURNITURE, WOOD, AND IVORY CARVING. TAQE 16 Paper Hanging. Morant & Boyd, London, 17 Stained Glass Windows. Holland, St. Johns, Warwick, England, 192 Stained Glass Window 16 Mantel Mireor; E. Newland & Co., Philadelphia, 16 Gothic Bookcase ; carved in oak. Bulkley & Herter, New- 16 Buffet: carved in oak. Bulkley & Herter, do 17 Buffet ; carved in rosewood. T. Brooks, Brooklyn, 98 Sideboard ; carved in black walnut. A. Roux, New- York, 94 Sofa. A. Roux, do. 94 Sideboard ; carved in rosewood. A. Eliaers, Boston, 94 Pier Table. do. 130 Sideboard ; carved in oak. Rochefort & Skarren, New York, 95 Etagere ; rosewood. T. Brooks, Brooklyn, N Y. 95 Buffet. E. W. Hutchins, New- York, 110 Carved Chair. G. J. Henkels, Philadelphia, . 111 Sofa. Balny, Jr., Paris, 111 Chairs: richly carved. Balny, do. 129 Ebony Cabinet. Le Prince & Co., do. 129 Buffet; carved in black walnut. Le Prince & Co., do. 123 Console Table. G. Da Fieno, Genoa, 172 Ebony Cabinet. R. J. Gamelkoorn, Holland, 22 Carved Table. J. A. Clark, Dublin, 22 Extension Table. C. F. Hobe, New- York, 20 Carved Table. J. Wirtz, Berne, 95 Cabinet. Morant & Boyd, London, 52 Cabinet. H. & A. Arrowsmith, do. 52 Ebony Cabinet. Carl Hilger, Dusseldorf, 130 Revolving Aem Chair. M. W. King, New- York, 130 Library Chair. G. Zora, Sardinia, 78 Clock ; made in 1509. Jerome, New Haven, 160 Library Bookcase. J. Dessoir, New-York, 20 Carved Arm-Chair. J. Dessoir, do. 20 Centre Table. J. Dessoir, do. 20 Chair ; in papier mache. Jennens & Bettridge, England, 173 Table, Chair, Screen, &o. ; papier mache. Jennens & Bettridge, 129 Cottage Piano. Earl of Carlisle, 78 Pianoforte. Schomacher & Co., Philadelphia, 79 Grand Piano. J. Bassford, New- York, 52, 91 Grand Pianoforte. Stodart & Son, London, 77 Upright Piano. W. Stodart & Son, do. 11 Pianoforte. George Hews, Boston, 130 Harp. J.F.Browne, New- York, 130 Flower Vase. A. Bauman, Switzerland, . 108 The Wolf Hunt ; carved bracket. G. Galliena, Turin, Sardinia, 108 Panel ; carved in rosewood. Rochfort & Skarren, New- York, 108 Goblet ; carved in wood. Bauman, Switzerland, 165 Carved Cabinet. J. G. Lange, Wurtemburg, .... 109 Orange Cup, Spoon, &c. W. G. Rogers, London, . 165 Grotesque Mask ; wood carving. W.G.Rogers, do. 159 Carved Panels. W. G. Rogers, do. Knife, &c. ; carved in wood. Kehrli, Switzerland, Screens ; in carved frames. J. Fox, England, .... Tankards and Cup ; carved in ivory. J. H. Friedrich, Darmstadt, Parasol Handles ; carved in ivory. Sangster, London, Marble Mantel. John Kennedy, New - York, .... OniMNEY-PiECE ; terra cotta. A. Boni, Milan, .... Architectural Ornaments ; terra cotta. Tolman, Hathaway, and Stone Terra Cotta Doorcasings. A. Young, New- York, Lyric Centre. Thomas Heath, Philadelphia, Candelabra; marble. J. G. Ramseur, Austria, Baptismal Font. F. Morgan, Quebec, .... Marble Mantel. F. Becchiani, Florence, Descent from the Cross ; carved in ivory. Fra Antonio, Genoa Pilaster Panel. Paper Hanging. E. Latilla, New-York, J. Desfosse, Paris, 15 202 PAOB 203 21 England, . 205 . 67 168, 169 . 39 . 162 . 191 . 114 . 164 . Ill . 19 . 189 . 166 . 192 . 48 . 52 . 47 . 125 . 62 . 65 . 125 . 158 . 166 . 172 . 200 . 142 . 96 • 62 . 173 . 191 . 175 . 173 61 82 174 195 19 27 14 174 189 144 144 125 143 176 66 66 125 97 96, 96, 94 97 46 95 21 205 201 49 82 204 143 SECTION VI. — MISCELLANEOUS. TheAlhambra; example of bookbinding. W. Mathews, New -York, Planetarium. T. H. Barlow, Kentucky, . Fire Engine. W. Jeffers, Pawtucket, E. L, Hose Carriage. Neptune Hose Co., Philadelphia, Gazelle Waggon. G. W. Watson, do. Hose Carriage. Hope Co., do. Pleasure Carriage. Lawrence and Bradley, New Haven, Hose Carriage. Company No. 8, New -York, lx 23 164 47 193 62 172 92 93 TABLE OF CONTENTS EXHIBITORS OP WORKS ILLUSTRATED. "Ames, James T., Chicopee, Mass., 63, 157, 164, 191, 190 Angel, Joseph, London, 18, 22, 23, 28, 50, 113, 175 Antonio, Cablo, Genoa, ..... 143 Aeeowsmith, H. & A., London, . . 172 Bailey & Co., Philadelphia, . . 64, 65, 112 Balnt, Paris, . .... 48, 192 Ball, Black & Co., New- York, . . 170 Bandel, J. E. von, England, .... 124 Baelow, T. H., Lexington, Ky., . . . 164 Baekatta, Eugenio, Carrara, Italy, . .124 Bassfoed, J., New - York, . . . . .195 Bauman, A., Switzerland, .... 125, 189 Beoh, Ed wabd, New- York, . . 18,24 Beth, Fbanoesoo, Florence, .... 89 Bienaime, L., Pome, 110 Bollo, Constantino, Genoa, .... 109 Boni, Andeea, Milan, . . .50, 52, 91, 95 Boote. T & R.,' Burslem, Staffordshire, 52, 95 Braquenie, Alexandee, Paris, .... 196 Beooks, Sidney, New- York, . . 91,196 Beooks, T. Brooklyn, N. Y, . . . 19, 93 Beown, H. K., do. ... 113 Browne, J. F. & Co., New -York, . . 174 Bulkley & Heetee, New -York, . 67, 168, 196 Caelisle, Eael of, 82 Caselli, L., Florence, 92 City Hose Co., No. 8, New- York, ... 93 Clabburn & C, Norwich, Eng., . . .159 Claek, John A., Dublin, 65 Copeland, W. T., London, . 15, 16, 17, 78, 98, 192 Cobnelius, Bakes & Co., Philadelphia, . 157, 158 Oeaven & Haekop, Bradford, England, . . 26 Ceoff, Giuseppe, Milan, ... 53, 54, 78 Da Fieno, G., Genoa, . . 125 Dankberg, F. W 192 DeLamoenaix, Sallandeouze; Aubusson, France, 142 Desfosse, Jules, Paris, 202 Dessoie, Julius, New- York, . . 173,175,191 Di Beenaedis, B., Vienna, . 176, 206, 207, 208 Doulton, Henky & Co., London, ... 20 Duplan & Salles, Paris, . 157, 160, 163 Eliaees, Auguste, Boston, . . . 114, 164 Elkington, Mason & Co., Birmingham, Eng,, 176, 206, 207, 208 Ferguson, Milleb & Co., Heathfield, Scotland, . 160 Fox, Jekemiah, Lynn, Eng., Feaooaeoli, Innooenzo, Milan, Feaikin, Brussels, Feanz, Julius, Berlin, Feiedeioh, J. H., Darmstadt, . Galli, Antonio, Milan, . Galliena, G., Turin, Sardinia, Gamelkooen, R. J., Arnheirn, Holland, Gaeasslno, T., Sardinia, . 96,97 46 200 112 94 77 144 62 166 Gaebaed R. & S., London, 13, 64, 80, 81, 144, 194, 208 PAGE. Gassee, Hans, Vienna, 113 Geiss, Berlin, 160 Geaillon, P. A., Dieppe, France, . . 96, 97 Hall, J. T., England, ' 23 Haughwout & Daily, New- York, . . . 129 Haviland, Beothebs & Co., New- York, . 110,111 Heath, Thomas, Philadelphia, Henkels, Geoege J., Philadelphia, . Hews, Geoege, Boston, .... Higgins, John & Co., New- York, Hilgee, Cael, Dusseldorf, Hobe, C. F., New- York, .... Holland, W. & Son, St. Johns, Warwick, . Hope Hose Co., Philadelphia, Hoppin, T. F., Providence, R. I., Houldswoeth, J. & Co., Manchester, Eng. Hunt & Roskell, London, Hutohins, E. W., New-York, . Jeffees, William, Pawtucket, B. I., Jennens & Betteidge, Birmingham, Eng., Jeeiohau, Peof., Copenhagen, . Jeeome, A. S., New Haven, Kjeheli, Bkothees, Switzerland, Kennedy, John, New-York, King, M. "W., New- York, .... Kiss, Peof. A., Berlin, .... "Kuglee, J. "W., Guns, Hungary, La Hoohe, Paris, . . .19 Lange, J. G., Wurtemberg, Lawloe, S., London, »La-weenoe & Beadley, New Haven, . Latilla, E., New- York, . Lazzbeini, Tommaso, Carrara, Italy,. Le Chesne, Auguste, Paris, Leconte, Adolph, New-York, . Leeolle, Feeees, Paris, 45, 48, 49, 81, 113, 160, 194, 204 L'Eyeque, Paris, 164 Lindsley, Powell & Co., Hanley, Staffordshire, 78, 130 Long, Geoege, Loudwater, Eng., . . . 142 Maes, Joseph, Paris, Magi, Luigi, Florence, Maeohetti, Nioolo, Carrara, . Maeoohetti, the Baeon, London. Maeshall, "W. C, London, Massachusetts Aems Co., Chicopee, Mass., Mathews, New-York, Mayee, T. J. & J., Dale Hall, Staffordshire, Minton, H. & Co., Stoke-upon- Trent, Eng., 51, 128, 139, 140, 141 Moeant & Boyd, London, .... 166,203 Moegan, Felix, Quebec, . Motelli, Gaetano, Milan, Mullee, Cael, New- York, Nannetti, G , Dublin, . 201 . 166 14 66, 67 . 200 . 122 21, 28 . 171 . 55 170, 171 79, 126, 127, 122 . 189 . 47 52, 173 . 165 . 62 125 . 46 . 142 . 14 . 173 , 194, 201, 204 . 114, 143 48 92 15 165 163 128 108, 165 . 77 . 91 . 25 . 27 . 52 . 23 . 52 . 28 50,77 . 124 110, 175 Napoleon III., Emperor of France, 191, 198, 199, 200 Neptune Hose Co., Philadelphia, . .139 Newland, E. & Co., do. ... 205 Paochiani, Feanoesoo, Florence, . . 200 Pagani, Pieteo, Milan, 82 Papi, Clemente, Florence, 28 Pelliccia, Fehdinando, Carrara, Italy, . 46, 51 Penny, John, London, . . . . .174 Piatti, A., New-York, . . . 13,63,175 Poetee, Col. P. W., Tennessee, .... 49 Powers, Hieam, Florence, . 91, 19 6, 197 Peeston, John L., Columbus, S.C.. . . 197 Putnam, G. P. & Co., New- York, ... 68 Ridgway. John & Co., Cauldon Place, Stafford- shire, 20, 22 Rlnguet, Le Peinoe & Co., Paris, . . 47, 52 Rochefoet & Soaeeen, New-York, . . Ill, 144 Rogers, W. G., London, .... 66, 176 Romanelli, Pasquale, Florence, . 79, 190 Rose, John & Co., Coulbrookdale, Shropshire, 94, 95, 130 Roux, Alexander, New Yor k, . . 162,191 Royal Ieon Foundey of Beelin, Prussia, 112, 163, 170, 192, 193 Royal Prussian Poeoelain Manufaotoey, 123, 172 Rudolphi, Paris, 190 Saelzee, Edwaed, Eisenach, Saxe Weimar, 77, 130 Sampson, Beidgwood & Sons, Longton, Stafford- shire, 22 Sangstee, "W. & J., London, ... 96, 97 Santaeelli, Emilio, Florence, .... 144 Sohomaohee, S. H. & Co., Philadelphia, . . 177 Shaepe, Thomas, London, . . .13, 22, 23 Society of Aets, London, . . . . 16 Staffetti, Del Medico, Carrara, . . . 127 Stainee, E., New- York, . . . 108,109,144 Stodart, "W. & Son, London, ... 52, 91 Stouvenel, J. & Co., New- York, . . . 159 Templeton, James & Co., Glasgow, . . 167,195 Theodon & Requedat, Paris, . . . .193 Thoewaldsen, 18, 24 Tiffany, Young & Ellis, New- York, . . 54 Tolman, Hathaway & Stone, Worcester, Mass., 21, 51 United States Potteey Company, Burlington, Vt., 78,79 Vassb, Eneioo, Florence, 194 Villemsens & Co., Paris, . . 161, 174, 175, 189 Walkee, Geoege, New- York, . . . .18 Waelng, Susan G., New Paltz Landing, N. Y., 171 Watson, G. W., Philadelphia, .... 53 Whitney, Eli, New Haven, Conn. ... 63 Weygand, Auguste, Paris, . . 45, 161, 162 Wietz, J. Berne, 158 Young, Alexandee, New- York, . . . 205 Zoea, G., Turin, Sardinia, . ■ .96 THE N E W - Y O R K EXHIBITION ILLUSTRATED. ARCHITECTURAL PLANS. A MONG the unaccepted designs for the New-York Industrial Palace, there il were some whose architectural merit and beauty claim a place in its his- tory. Upon this page we present the elevation, and the interior view of the building designed by Sir Joseph Paxton. The original drawings were gener- tliree compartments— the central nave 600 feet long, and 79 broad, and two side avenues, each 584 feet in length, and 36 in breadth, giving an interior area of 89,44a square feet. Galleries, both exterior and interior, traverse the whole of the building, and are connected by transverse galleries at each end. They are reached by stairways built in the turrets, which rise at each angle of the nave. The framework of this building, like that of its great prototype, the Palace in ously presented to the New-York Association by their distinguished Author, and the following brief description has been derived from them, and the accompanying memoranda : The ground plan of the building is a parallelogram ; its total area, including the terrace, 24 feet wide, which surrounds it, is about three acres. Its extreme Hyde Park, is composed of cast-iron columns, connected together by wrought and cast-iron arches and girders, on wliich rest the wooden arches of the roofs. These from the supposed necessity of providing against heavy falls of snow, are covered with slate, except the central part of the arch of the nave. "With a view, perhaps, to the permanence of the building for successive exhibitions, the basement wall is length is 653 feet, and its width 199 feet. Each end has a porched entrance for the convenience of taking up and setting down visitors. The terrace to be used as a promenade, or for the display of bronze and iron statues and .massive mineral specimens, is covered with asphalt, and flanked with a wall of stone, which, at intervals of 26 feet, supports pedestals for lamps. The interior is divided into built of masonry, and the turrets are also of stone. The sides are inclosed with glass, and large and beautiful fan-lights surmount the entrances, and correspond to the arch of the nave. The construction of the flooring, and the drainage of the rain and interior vapors, are the same as was employed in its English predecessor. Great skill has been shown in constructing the galleries, so as not to interfere with THE INDUSTRY OF ALL NATIONS. tlie long perspective of the interior. The galleries were not designed for the dis- play of goods, but for promenades. The available space in the building will be ob- served to be only about one fourth of that in the plan adopted by the Association, and quite too small for the requirements of the Exhibition. Should a building hereafter be erected upon this plan, there is no doubt that its effect would be extremely fine. Its noble nave, lofty and free, with its crowning clerestory, designed to accommodate the ventilators, combine with the general simplicity of the plan to give a degree of grandeur to the whole structure, which is conducive to the architectural effect. It is true, that a great sacrifice of space is made in the exclusion of goods from the galleries, but, on the other hand, it is grand observatory. For this end it was to be 300 feet high, and provided with a mechanism for hoisting observers to the top by steam power. The height of the exterior wall is about 60 feet. The proprietors, who are largely concerned in the erection of cast-iron houses, expressed a conviction that the whole structure would be worth very considerably more when dissected, for ordinary purposes, than in its present form, owing to the economy obtained in reproducing so large a number of identical parts from the same patterns. The late A. J. Downing also presented for the consideration of the Association a plan of great novelty and bold conception. We are indebted to the kind- ness of Calvert Vatjx, Esq., of Newburg, for the drawings of the exterior doubtfni whether the same account of space, if required, may not be more econom- ically gained by an extension of the plan. At Hyde Park the gallery space was gained by a serious loss of beauty in the general proportions of the building. As elsewhere remarked, the square form, and limited dimensions of the plot of ground upon which the New- York building has been erected, precluded the use of Sir Joseph Paxton's plans. But the noble disinterestedness with which, at so early a day in the history of the New- York enterprise, the distinguished archi- tect of the London building came forward and presented to the Board of Direc- tors his plans, now under consideration, is worthy of all praise, and will not be soon forgotten. and interior views, and the ground plan of this design, and they are engraver" below. The ground plan is a circle, intended to occupy the whole of Reservoir Square, and to be surmounted by a colossal dome, built of wood and canvas, with supporting columns of iron. The dome was proposed to be constructed with thin curved ribs, placed at short distances, secured with angle iron, and notched into circular ties made of several firmly bolted thicknesses of two-inch plank. The stability of the dome depends upon the ties, which do away with the difficulty of thrust, and leave the weight only of the materials to be supported, f The com- bined strength and lightness of this mode of construction is seen in an eggshell, FLF.VAT10> GROUND TLAN". The Plan of Messrs. Booardtts and Hoppin is given in outline upon this page. Its form is circular, forming an amphitheatre 1200 feet in circumference, and designed to cover the whole ground. The entire structure is a multiple of three or four principal parts, any one of which could afterwards be employed in constructing ordinary iron warehouses. The curve is so gentle that no deviation from a straight line was requisite to secure the circular form of the whole am- phitheatre. The plan was recommended by its economy, the parties offering to put up the whole building for the sum of two hundred thousand dollars. The tower in the centre was to servo the double purpose of a support for the hanging roof of sheet-iron suspended from it by rods in a catenary curve, and also as a | whose double dome of lime is furnished with an uninterrupted tie in the interior by its tough membranous lining. The canvas, lining the interior, is designed to be of pearl-gray color at the springing line, gradually deepening into an intense bine at the crown. The external ribs, being covered with tin and glass tiles would produce an effect similar to that of silvering. As this dome would require no centering, and but little scaffolding, its construction would be both easy and economical. The general aim has been to make the interior light and airy and to give unity of character to the design, by avoiding smallness of parts, and ar- ranging in such a manner that it may be conspicuous at a distance and adapted to its position. THE NEW-YORK EXHIBITION ILLUSTRATED. DESCRIPTION OF THE BUILDING. DESERVOIR SQUARE, on which the building of the New- York Industrial Ex- -*-*' hibition is erected, lies in the north-western part of the city, four miles distant from the Battery, and three and a quarter from the City Hall, between the Sixth Avenue and the Oroton Distributing Reservoir, whose massive walls overshadow its eastern side. The distance from the Reservoir to the Avenue is 445 feet ; and the width from Fortieth street in the south to Forty-second street, its northern limit, is 455 feet. This space is almost entirely occupied by the building. The shape of the ground is unfavorable for architectural purposes ; and, aside from the facilities of access afforded by the avenue railways and numerous lines of stages, there is nothing to recommend this locality, while the solid and imposing strength of the Reservoir presents an inharmonious contrast with that light and graceful structure which we now proceed to describe. The appearance of the building and the materials employed to construct it, show its relationship to the Crystal Palace of Hyde Park. Like that, its frame- work is a system of iron columns and girders ; glass exoludes the dull and heavy walls of masonry used in ordinary structures, and, with the slender proportions of the framing, gives the edifice the light and airy appearance so well expressed by its popular name. The resemblance which we have spoken of is only a general one ; the ground plan, the relative proportion of each of the materials employed, and the details of construction, are quite different from its English prototype, and give it an architectural effect and character of its own. The general idea of the New- York building is a Greek cross, surmounted by a dome at the intersection. The length of each diameter of the cross is 365 feet and 5 inches, and the width of the arms is 149 feet and 5 inches. This does not include the three entrance halls, projecting towards Sixth Avenue, Fortieth, and Forty-second streets, which are each 27 feet wide and approached by flights of steps. By referring to the annexed engravings, it will be seen that, although the edifice is cruciform, the outline of the ground plan is nearly a regular octagon, whose diameter is the same as that of the arms of the cross. This form has been given to it by ingeniously filling up the triangular intervals between the arms of the cross with a lean-to of only one story, or twenty-four feet in height. The adoption of this device was necessary in order to provide space for the exhibition, it being impossible within the narrow limits of the site to enlarge the dimensions of the cross in the usual way ; and, while this substantial advantage is gained, it is productive of only a slight archi- tectural defect in dimin- ishing the perspective of the interior. The arrangement of the columns is repre- sented upon the dia- grams. It will be seen that they divide the in- terior into two princi- pal avenues or naves, each 41 feet and 5 inches wide, with aisles, 54 feet wide, upon either side. The inter- section of the naves leaves in the centre a free octagonal space, 100 feet in diameter. The columns still fur- ther subdivide the aisles and the triangular in- tervals between the arms of the cross, into square and half-square compartments, of 27 feet on the side. The aisles are covered with galleries of their own width, and they are united to each other by broad connections at the extremities of the naves. The naves are carried above the roofs of the galleries to admit light, and are spanned r- LJ W DC r- in •>,**#« -#4V'M till have commenced this business, cannot be compared with pire, and surrounded with the twelve Apostles, whose figures are placed in the shafts of the canopy. The Terra Cottas on this page are contributed by Messrs. Tolman, Hathaway & Stone, of Worcester, Mass. They consist of a Corinthian Capital and Modil- lion, and a Gothic Pinnacle. The manufacture of Terra Cotta is yet in its infancy in this country, and the ex- amples, though creditable to the enterprise of those who 21 the artistic works in this material found in other quar- ters of the Exhibition, especially the Italian. THE INDUSTRY OF ALL NATIONS. We have elsewhere alluded to the extent and import- ance of the Staffordshire potteries, among whose pro- ductions, those of Messrs. J. Ridgway & Co., have a high rank for their beauty and general excellence. From the numerous contributions of this firm, we engrave upon this page a Porcelain Fountain, whose elegance will at once commend it to the reader. The ground color is an orange red, bearing white rosettes, while the remaining decorations are gilt. Its height is about four feet. The Shakespeare Cup, executed in gold, is the produc- tion of Mr. Thomas Sharp, London, by whom the same design in silver was exhibited in the Palace of Hyde Park. The cover of this beautiful work is surmounted by a figure of the immortal poet, and scenes from his plays decorate the sides. The subjects are from Lear, '',7 , Julius Caesar, The Tempest, Othello, Hamlet, and Mac- beth. In the divisions on the foot are emblems which refer to the groups above. The group, representing part of a Porcelain Service, is exhibited by Messrs. Sampson, Bridgwood & Sons. The articles of this service, both in their contour and the simplicity of their decoration, are examples of good taste and refinement. An exquisite specimen of the goldsmith's art is seen in a Casket, exhibited by Mr. Joseph Angell, of London. I The design represents Anthony and Cleopatra, and in I matic of love and war. The casket is seven indies by It is executed in raised silver, with the medallions gilt. | harmony with such a subject, figures are added emble- | five, and seven high. THE NEW-YORK EXHIBITION ILLUSTRATED. The silver Centre Dish here engraved, is exhibited by Mr. Joseph Anqell, Strand, London, manufacturer and designer of Bilver ware. It is executed in solid silver and heavily gilt. The companion piece will be found on another page. The Chandelier, profusely furnished with prismatic glass pendants, is contributed by Mi. J. T. Hall, England. In bookbinding, the true purpose of the art — to pro- tect the volume within it — is so often overlooked, or rather, so systematically neglected and set at defiance, that we are glad to illustrate a contrary instance which has our entire approval. This notable exception to the general rule is exhibited by Mathews & Rider, of New- York. It will attract attention and praise, but whe- ther so much as it deserves is doubtful. For there is no glare or tinsel about it, no uncomfortably red sheepskin morocco, with gaudy bronze gilding, the baser metal outfacing genuine gold ; no deceptive stamp- ed-work, whose endless repetitions of even a pretty pat- tern become wearisome, and can never hope to rival the exquisite finish of an accomplished workman. It has none of these popular passports to favor, but is a solid, substantial, and honest piece of work throughout, exe- cuted at an expense of time and labor, which the most of our readers would think fabulous, and therefore we shall say nothing about it. The design is beautiful, ap- propriate and rich — as it is befitting that the cover of Owen Jones's Illustrations of the Alhambra should be— I that the art of bookbinding is not unknown, though, we and withal as modest as rich. This example will show | confess, not often practised among us. 3 1 MM ■h HM ISPS ; i-b= mm wmm 1 wmmmmgmM^ : ■■ * THE INDUSTRY OF ALL NATIONS. ik. I III Thorwaldsen's Christ and his Apostlks is the subject to -which we consecrate this page. This group is ex- hibited by its proprietor, Edward Bech, Esq., Danish Consul for New-York, and has been arranged under the special superintendence of Messrs. Carstensen & Gilder- meister, the Architects of the Crystal Palace, and J. T. Elnnewekr, artist Of Thorwaldsen's Museum, Copen- hagen. The statues now exhibited are Thorwaldsen's originals, once standing in the Metropolitan Church in Copenhagen, where they were replaced by marble. In the Metropolitan Church they are so placed that the figure of Christ stands about fifty feet distant from the Apostles, and elevated three or four feet above the altar. This arrangement was impossible in the contracted space as- signed to the group in the American Exhibition, and hence the Christ appears unduly gigantic, when brought into the same circle with the statues of the Apostles. The grouping in our engraving differs from the actual ar- rangement, and has been devised by the designer to bring all the figures of this august assembly within the limits of the page, while the size of the Christ has been purposely reduced to conform to the original intention of the artist. It is impossible by any engraving, unless it be on a very large scale, to convey any proper notion of the impression made by this wonderful group upon the spectator. Christian art has reached, in this immor- tal work of Thorwaldsen, its noblest expression. It is un- doubtedly the great artistic feature of the Exhibition, a subject of universal and eternal interest, touching the springs of deepest feeling in the human heart. Ancient Art, while it has left us nothing nobler in execution, never handled so sublime a theme. We proceed to enumerate the figures as they stand in the exhibition, as the characteristic marks of each will enable the reader at once to recog- nize the corresponding figure in our engraving. Christ, the arisen Saviour, appears in the midst of his assembled Apostles, greeting them with the words, " Peace be unto you." The expression of the whole figure is exactly such as meets the most lofty conception of his appearance before his " terrified and affrighted " disciples, when he said unto them, " Why are ye troubled, and why do thoughts arise in your hearts ? " In the beautiful countenance the artist has reproduced in their best form those features which Christian art has handed down from generation to generation as peculiar to Christ. The hair is parted on the middle of the head, and flows curling in rich abundance over his shoulders. The breast, the partly elevated hands, and the feet show the scars of the lance, and the laceration of the nails, convincing even the incredulous Thomas that it was, indeed, his Lord. Paul, the Apostle of the Gentiles (1st statue on the right of Christ), holds a sword as the symbol of his martyrdom, while, with his right hand raised to heaven, he appears to exhort his companions to new faith in their Master's service. His countenance bears the expression of that deep thought which distinguished him as the most learned among the "glorious company of the Apos- tles." This Apostle is substituted for Judas. Peter, the first statue on the left of Christ, holds in his hand the keys of power. Simon Zelotes (2d statue on the right), holds in his right hand the saw, in testimony of the mode of his martyrdom ; the left hand resting on the right wrist. Matthew (2d statue on the left), the publican, with the emblematic money-bag at hiB feet, holds a tablet in his hand, and appears lost in meditation upon the great theme which, in his office of Evangelist, he is about to commit to record. An angel, emblem of his evangelical mission, kneels at his side. 24 Bartholomew (3d statue on the right), holds in his right handthe knife, emblematic of his death, inflicted according to tradition by the orders of Astyages, the Armenian King. John (3d statue on the left), raises his face in adora- tion, full of that sweetness of expression which we ever associate with " the beloved disciple." By his left side is seated an eagle, the emblem of his angelic mission. James (4th statue on the right), the brother of John, is about to set out on his apostolic journey. He carries the pilgrim's staff on his right-hand, and on his back the broad-brimmed hat of the Palmer. James, son of Alphkus (4th statue to the left), sup- ports his left-hand on a staff. The right-hand rests on the left arm. Beneath his flowing locks is seen the mild countenance, bearing that resemblance which this Apostle is said to have had to his divine Master Thomas (5th 6tatue to the right), holds in hiB left hand the square, as a symbol of his doubting mind. His right hand supports his head. Philip (5th statue on the left). This aged Apostle, borne down with cares and years, carries in his right- hand a cross of cane. Andrew (6th statue to the right), holds in his left hand a scroll of parchment, bearing on his right arm the cross of his martyrdom. Lastly — TnADDEUs (6th statue to the left), joins his hands in ador- ation. His left arm supports the executioner's axe, by which he bore testimony to his Lord in the death of a martyr. Of the Apostles, those of St. Peter and St. Paul were alone entirely modelled by Thorwaldsen himself. The Christ and all the others were modelled from Thorwald- sen's sketches by his pupils, and only finished by himself. The St. James was, of all the group, the great Sculp- tor's favorite. THE NEW-YORK EXHIBITION ILLUSTRATED. The open space beneath the dome of the Crystal Palace is occupied, in the centre, by an equestrian statue of Washington, by Baron MarOchetti, of Pied- mont, but now, we believe, resident in London. It is a model in plaster of colossal size, and proposed to be executed in bronze. Baron Marochetti has designed other equestrian and colossal statues ; one of the Duke of Orleans, which formerly stood in the square of the Louvre, and another of Richard, the Lion-hearted king of England, which was exhibited at the World's Fair, and was honored with a Council Medal. The Washington has received the place of honor in our Crystal Palace, in deference, we believe, to the ad- miration universally entertained for the character of our most illustrious countryman, and out of respect to the love for him . which every American instinctively cherishes. As a work of Art it has not met the appre- ciation gratifying to an artist* Our own opinion and criticism we defer to another occasion. THE INDUSTRY OF ALL NATIONS. In the manufacture of textile fabrics of every description, there is a wide field for the exercise of taste in the application of orna- mental designs. The beauty and richness of a fine fabric receive a double charm from the ex- cellence of the design that adorns them, while a bad or inferior one detracts from whatever good qualities may belong to the manufacture itself. In employment of the floral ornaments especially, it is a serious and common fault to aim at reproducing the flowers naturally, to repre- sent perfect fac-similies of them, in a strong and vivid coloring. Nothing can be more erro- neous, and essentially vulgar, as would be evi- 4M1.W?3n VC< dent enough, if custom and fashion did not often blind our judgment. We are glad to engrave specimens illustrating a more correct and artis- tic treatment. The illustrations on this page are selected from the contributions of Messrs. Craven & EUrrop, of Bradford, Yorkshire, who are man- ufacturers of silk and worsted, cotton and worsted, and worsted, damasks. All their goods are woven by steam power, and are brought to a high degree of perfection. The design engraved on the left of the page is wrought in cotton and worsted, the one adjacent is in the same material ; and the design at the bottom is executed in silk and worsted. fc.H^.QV®.^;*. THE NEW-YORK EXHIBITION ILLUSTRATED. Wo give an engraving in outline of The Dancing Gikl Reposing, by W. C. Marshall, A. E. A. The sta- tue was executed in marble for the Art-Union of London, reproduced in statuary porcelain, and issued as prizes to W J A SC their subscribers. The figure is well modelled, and the attitude and drapery indicate very completely the idea of repose. The First Whisper of Love is another characteristic work. The young girl who bends her head coyly, but not unwillingly, to hear what Cupid has to say, evidently does not know what manner of guest it is she entertains, or see the arrow which he holds ready to pierce her unsus- pecting breast. It is seldom that we meet with fine workmanship and beauty of design united so harmoniously as in the Clock Case, contributed by Mr. Thomas Sharp. London. The design is highly poetical. Time, with, his ancient symbols, sits above and watches the evolutions qf morn- ing and night. The former is symbolized by a winged figure crowned with flowers, who bears in one hand the torch of Aurora, and with the rosy fingers of the other, scatters light upon the dewy earth. The figure of night bears a sleeping infant in her folded arms. Beneath is t perched the cock, whose clarion With lively din, Scatters the rear of darkness thin. Opposite is the solemn bird equally consecrated to night and to Minerva. The Upright Piano, engraved here, is exhibited by William Stouart & Son, London. 27 THE INDUSTRY OB' ALL NATIONS. The Boar's Head, in bronze relievo, and the easting beneath it, from a specimen of Crassula portulacoides, are exhibited by Clemente We again recur with pleasure to the attivic- The centre piece which we engrave represents the tive contributions of silver ware by Mr. Angel. | Halt in the Desert of a party of Arabs beneath Pappi, of Florence, Tuscany. The moulds of these castings were formed directly from the natural objects which they represent, and have the grateful shade of a Date palm. It is thirty I is valued at $1,150. At the foot of the page inches high, contains 400 ounces of silver, and | we engrave a Silvek Basket, contributed by wmBST not been subjected to any finishing process. They exhibit great skill in the management of the materials. the same house. It is beautifully wrought, and pierced in imitation of antique silver ware and surrounded with a chased edge. O no THE NEW-YORK EXHIBITION ILLUSTRATED. ART. HE Department of Fine Arts in the Exhibition will do us the great service of showing us our position in relation to that of the rest of the world. Genius, history proves, is not hereditary. The children of a king are not necessarily kings : nor the heirs of a painter, artists. Nor has Art any preference for particular times or countries, being a universal fact of human development. But the aspects and forms of Art are as different as the spirit of different ages and climates. It need be no shame to us that we have not originated a style of architecture, nor a school of paint- ing. For Art is strictly related to the circumstances of life that surround it. It is the application of beauty to use. The per- ception of beauty, indeed, is quite independent of use. But, since there is nothing superfluous in nature, use will always be found beneath beauty. That Art, therefore, will have its proper place in our de- velopment, is not a matter of speculation, but of science. It is not proved by the erection of Greek temples for banking-houses, or of ameliorated Gothic cathedrals for Protestant churches, but it is to be found in the thousand new aspects that belong to our new life. The Greek temple arose naturally from the study and combination of the architecture of an earlier people. It hears the same relation to the Egyptian, that the Greek character bore to that of its elder neighbor. It is, perhaps, the best, as it is the most permanent material monument of that character. The inexperienced mind would instantly infer the poetic har- mony of the religion and of the intellectual development, which presided in the construction of those temples. It would be sure that no barbarous fetish rites, but a high poetic worship, had place there. It is this strict relation of Greek Art to the Greek character that makes that Art so eminent and complete. The same thing is true of Gothic Art in Germany, which is equally the elaborate and appropriate expression of a peculiar sentiment and form of life. The essential point seems to be, the existence of some characteristic and national life. The national Art will be the expression of that life in the various, moulds into which it casts itself. A maritime nation, the soul of whose prosperity and interest is commerce, will build fine ships. An inland people, who depend upon safe and prompt intercourse with others, will show magnificent roads, bridges, and aque- ducts. Each country and century will work in its own way. In the degree that the composition of the people is eclectic, so will be the spirit of their career, and so necessarily must be their Art. The Art of France, for instance, is bijouterie. French pictures, French statues, French architecture, are merely copies and echoes of others. They are infected by what we call " Frenchiness," by which we mean that they are works indigenous to another feeling and development than the French, which the French has merely touched, without essentially changing — cer- tainly without improving. But the case is very different with the matter of hijoyterie. Now this department is peculiarly French, and therefore it is France that gives the name to it. The American character partakes of the same eclecticism, and we must look for it in American Art. It will show works of every spirit and age; but its dis- tinctive works of Art will belong rather to the department of the useful than of the fine. Scarcely in Greek sculpture are there finer works than some of Powers' busts and statue^ yet, just in proportion as his work is excellent, it is not American hut Greek. "We may erect bronze figures in memory of our great men ; but neither the idea nor the execution are peculiarly our own. But a yacht that outsails all other yachts, a caloric engine, and a magnetic telegraph, are achievements not possible in Home, or Greece, or mediaeval Europe. "We do not mean to decry every thing but the spinning jenny and the locomotive. On the contrary, it is in an eclecticism, or the union of various excellencies that distinguishes our national character, that we find the best reason for believing that we shall in time exhibit not only what is peculiar to ourselves, but what is best in many developments ; that as a rich mind borrows from all times and countries, the graces of their genius, and yet does not sacrifice to them the integrity of its own, so we shall incorporate what is characteristic of others with what is essentially our own. Because we build ships well, it is a pity we should have no pictures; and because the Gothic architecture is not indigenous with us, there is no reason why we should have unhandsome houses. "We look to this Exhibition, therefore, to indicate the quality of our genius for the Fine Arts, as distinguished from the useful— terms which are more convenient than accurate, especially in a country where, as we apprehend, the useful will be the fine. As civilisation advances, the sphere of Art enlarges. It regards not only the exterior form of the house, but the details of the interior. It is to be sought in the harmonious blending of the whole. The forms of the furniture, of the name- less devices of comfort and luxury are all considered by it, and all in reference to a general effect. The quality of the influence thus exercised, is much too subtle to be exactly appreciated. It is not possible to determine just how much it' benefits a man to see an exquisite vase, or to hear a fine strain of music. But it is very easy to perceive that he who is subject to the constant influence of beautiful forms, is in a fair way to have beautiful feelings. There are few spots more pleasantly remembered than the gallery of vases in the Vatican. It is a region of purity, and grace, and exquisite thought ; an air of cool repose pervades it. But the visitor, as he hurries toward the cartoons of Raphael beyond, pauses amid these lyrics of grace, and finds that they are only the forms of useful objects. The form feasts his sense of beauty as the vases them- selves served other and more material uses. And when he has left them, and oonfronts the cartoons, he finds that they, also, are but curtain-designs drawn by Raphael. So, in what we are accustomed to call the highest and most rigorous Art, is the plainest use hidden in beauty. How then can we doubt of our own proficiency, if we see that Art itself is, really, not a whim or a caprice, but a necessity ? It will be our duty in recording the Department of the Fine Arts in the Exhi- bition, to insist rigorously (where we do more than describe) upon the obvious principles of simplicity and truthfulness. Irrelevance in a work of Art, as in all other modes of expression, is deformity. It destroys the force of the effect by distracting the mind. Simplicity may be as rich as imagination can make it. A superb queen in diamonds, who is so beautiful and queenly, that the diamonds only emulate afar off the lustre of her eyes and^the splendor of her presence, is as simple as naked Eve in Eden. The effect is deepened by the ornament. Beauty, when unadorned, is certainly not adorned the most : for beautiful effects belong natu- rally to beautiful persons only, as the most majestic of temples were erected in honor of the gods. Simplicity and propriety are the canons of correct judgment in Art. We shall endeavor to conform our criticisms to them. GLASS PAINTING. THE visitor to the Exhibition will see in the windows of the galleries numerous specimens of painted glass, the work of both foreign and native artists. On a future occasion, we shall present copies of some of these designs among our illus- trations. As the principles and history of this beautiful art are little known in the United States, we take occasion to invite attention to the following sketch of its history and practice. The art of glass painting or staining is one of the earliest of those deco- rations which are still retained in modern architecture. Its early history is confused and often contradictory, but as far as we are acquainted with it, the first example of this decoration belongs to the sixth century, when it was used to enrich the Basilica of St. Sophia, the famous church of Justinian, in which his successors long after were invested with the sovereignty of the East. An instance which can be stated with greater confidence is that of Pope Leo III. (A. D. 795 — 816), who is said to have used colored glass in adorning the windows of the Lateran. During the tenth century it was much admired and practised in "Western Europe, and its processes are minutely described in the " Artium Schedula " of Theophilus, which is supposed to hav« been written in the following century. It was not, however, until the twelfth century that it exhibit- ed imaginative power, and rose to the dignity of a fine art. It shared in the pow- erful impulse which the Crusades had then given to all the thoughts and works of Christendom, and became thoroughly imbued with the religious enthusiasm, which was the ruling spirit of that and succeeding ages. Its subjects were chosen from the Scriptures and the saintly legends of the church, and the artists who wrought them, were influenced more by a fervid love of God than by any hope of earthly fame. Under the influence of such sympathy and alliance with religious worship, the art of glass painting attained an unexampled sway over the affections of the people, and became an essential feature as well as ornament of ecclesiastical architecture. Its use therefore was coextensive with the sovereignty of the church, and its progress justified the patronage so lavishly bestowed upon it, until at the end of the first half of the sixteenth century, it reached its greatest perfection and the summit of its power. From this time onward it declined ; its productions became more elaborato and historical, at the expense of the richness and brilliancy which had been their peculiar merit ; in the eighteenth century the art ceased to be practised, though it was not absolutely forgotten ; and in our own times, it shares in the reawakened taste for the medisaval arts, and in their revival. , The transitions in the styles of glass painting are not less remarkable than the vicissitudes of its history. In its elementary condition, it was limited to the sym- metrical arrangement of pieces of glass of various sizes and colors. The combi- nation of colors was the only charm to which this mode of decoration could lay claim, until by the study of classic models, the beauty of correct form was again recognized. This fact may explain why it was that the earliest feeling for art THE INDUSTRY OF ALL NATIONS. expended itself iD this rather than any other channel, and why, as knowledge grew and taste became refined, the art of glass painting did not maintain its place among the other arts then invented or revived. In the windows constructed before the close of the fourteenth century, figures are the occasional exceptions, and when introduced, they are little else than very brilliant mosaics, which, except by their outlines and local color, it is difficult to distinguish from the borders and background of the composition. In the Gothic paintings, which may be said to have sprung from the mosaic, single figures or groups occupy the centre and are surrounded with borders and canopies of rich and intricate pattern ; but even here, the drawing plays only a subordinate part, and the outlines are heavy and rude. To produce a pictorial effect, the artist has evidently relied most upon the skilful disposition of brilliant and positive colors. Finally, the revival of the arts in the sixteenth century had its influence upon glass painting. A more deli- cate and correct style of drawing was adopted; the depth of the colors was in- creased by the use of a purer and better quality of glass ; broad and graduated shadows took the place of the stiff and narrow outlines of earlier times ; perspec- tive was attempted ; and unsuccessful efforts were made to imitate in a trans- parent material the atmospheric and picturesque effects of nature, and to rival the details and refinements of oil and fresco paintings. The mosaic paintings were carried to greater perfection than had been hitherto arrived at, and the discovery of the enamel colors still further extended the resources of the art. The use of enamels was, however, attended with corresponding disadvantages. In proportion as glass paintings became strictly pictures, their depth of color diminished ; trans- parency was sacrificed to variety of tints, and what was gained in sentiment was lost in vivid impressions upon the senses. This wrong estimate of the capabilities of glass painting hastened its decay. It must also be remembered, that popular fevor and the patronage of princes, which had been so long the exclusive pos- session of this art, were powerfully attracted by the masterly productions of oil and fresco painting, and by the new art of engraving on copper. By these, glass painting was finally supplanted altogether. The decay of which we have spoken was not immediate. Its causes were busy while the best works of the art were being produced — those which have been selected by competent authority as the standards of comparison, by which all other glass paintings are to be judged. Such are the works of the Dutch brothers, Dirck and "Wouter Crabeth, which were executed in the middle of the sixteenth century, and still adorn St. Jan's Kirk, at Gouda, in Holland. Few things in Europe possess greater intrinsic beauty, still fewer are more wonderful in their effect upon an American than these lofty windows, whose large sur- faces are glowing with the richest and most brilliant hues, arranged with ar- tistic regard to the laws of harmony and contrast as well as richness of ensemble. They have always been the admiration of natives and travellers, and by con- noisseurs they have been declared to exhibit every conceivable excellence of this species of art, and to be unsurpassable in execution and coloring. When Rubens visited them, he eould only be satisfied by mounting a ladder to examine them closely and minutely ; and one — the Sacrilege of Heliodorus — he pronounced to be of inestimable value, for which no money was an equivalent. The materials of which the windows of the sixteenth century were composed, so closely resemble those now in use, that they are for this reason, in addition to others, more justly selected as the standards of comparison. The composition of the more ancient glass is widely different, and its peculiar effects cannot be reproduced by arti- ficially weathering the surface of recent glass, in imitation of the obscuring and corroding results of age and long exposure. As in every other art and decoration, the art of glass painting is subject to certain limitations, which arise partly from the object it desires to accomplish, and partly from the nature of the materials it employs. The true artist will not seek fame by transcending these conditions, but while rigidly complying with them, he will show his appreciation of his art and mastery over it, by converting its obstacles into the means of his own success. The design for a painting on glass should be in itself beautiful and pleasing, and in harmony with the archi- tecture and object of the building it is intended to adorn. Besides these points, the artist in choosing his composition will have to consider, the great distance at which it must be viewed, the brilliant and transparent nature of the materials, and the mechanical construction of the window. This, if it is not a mere toy or cabinet window, must consist of a great number of pieces of glass, which are united with lead and strengthened by an arming or frame-work of iron bars. A condition which would be fatal in any other kind of painting is far from being a disadvantage in painting on glass. This will be apparent when their use as windows is thought of. They are not mere decorations, but serve also to temper the intensity of the sun's rays, and shed a "dim religious light," in harmony with the solemnities of church service and the^devout feelings of the worshippers. This purpose is excellently fulfilled by the division of the window into a great number of parts, whose pure deep tints disperse the sun- light, and mingle their richness with it. In the most effective works the figures and their draperies are subjected to the same treatment, and the lead- ing is ingeniously made to follow the drawing and increase its effect. In many instances, the bars of the arming are conspicuous in the lights of the window, 80 * which the artist would surely have been at pains to conceal, if he had not in- tended his work to be a symbol or a monument, rather than a picture in the sense of the word as applied to an oil-painting. The transparency of the glass is to be carefully preserved, and its brilliancy heightened. The object of the artist is not to produce the best possible picture, but the best bright and transparent one. With this end in view, enamels af*e used sparingly, the coloring being mostly produced by glass colored in the manufacture (pot-metal and flashed glass), whose pure and vivid tints cannot be imitated by enamels. How much of the beautiful effect of a glass painting depends upon its brightness and transparency, may be easily ascertained by comparing some of the ancient windows with modern resto- rations placed beside them, in which these conditions have not been preserved. Although the latter may be far superior in composition, drawing, and those ar- tistic qualities which make a good picture, they are far from being good glass paintings, and have a dark, dull, and unpleasing* effect. The contrast would be much more favorable to the ancient method, if incorrect drawing and similar un- intentional errors, not properly belonging to the method, but to the time in which it prevailed, were separated from its simplicity and vivid coloring. The distance at which a glass painting must be placed from the eye of the ) spectator, is one of the most important limitations of the art, and requires a mode < of treatment altogether distinct from that of any other species of painting. The i minute details which would be possible and effective on an opaque surface, are wholly lost on the distant and translucent surface of a cathedral window, if indeed the process of burning in the colors has not already destroyed them — an accident most likely to happen. The nice gradations of color which contribute to the harmony of an oil-paint- : ing are inappropriate for the same reason. They inevitably blend together into a single color, which, nevertheless, fails of the lively appearance that constitutes an essential charm of the art. The inexperiencefl artist, who bestows his labor in the elaborate arrangement of the half-tints of his cartoon, will be surprised and mortified to find that this very labor has spoiled the effect of his completed work. He may also draw this conclusion from his failure, that the best masters were not so much ignorant of the mode, as aware of the inexpediency of copying the de- tails and delicacies of oil-painting, and that it is well to imitate the ideas of sister arts, but not their methods. The material of a glass painting and its position exclude shadows also, or admit, only such as are quite transparent. A glass painting is not, like any other, illu- minated from some exterior source, hut the light which makes the figures visible, shines through them. To paint an opaque or very obscure shadow under such circumstances is nothing else than an artistic absurdity, and it meets with another objection equally important, that it destroys the utility of the window as a means of admitting light into the interior — the very object for which the painting has any existence at all. "We repeat that the art of glass painting does not contem- plate the production of pictures in the strict sense of that word, but architectural decorations, which are employed to add a new charm to the structure, by present- ing the symbol of some scene or thought in harmony with it. Even could the point of deception be reached in imitating some other method or style of art, it would not be a high merit. In this, as in all other decorations applied to useful objects or purposes, we hold it to be a sound principle, that whenever ornament interferes with or destroys utility, it is misapplied or radically wrong. g At the revival, about twenty-five years ago, of this beautiful art, its . restorers divided themselves into two schools, according to their widely different views and practice. The artists of the one have adhered to the flat and simple treatment generally practised by our forefathers, and found so effective by them ; the fol- lowers of the other, belonging mostly to the continent of Europe, have been governed by principles quite the opposite, and have done every thing toltreat their windows as true pictures. The latter have been very skilful in the management of their materials, and wonderfully successful in overcoming what would seem to be insurmountable difficulties in imitating the delicate details and harmonies of oil-painting. But here our praise must end. 'Their success has not been complete ; whatever softness and high finish has been arrived at in the painting, has been fatally injured, as we have before pointed out, by the harsh effect of the mechani- cal construction of the window, or lost in the distance at which it must be viewed. For reasons already mentioned, we must regard these works with all their separate beauties as instances of architectural unfitness, and of the misapplication of labor and materials — results which must always follow when the principles of two dis- tinct arts are confounded together. In regard to those who have adopted the severer style of the earlier artists, we have only to remark, that it is a grave fault to associate in one work imitations of the'styles belonging to different times and places. A work made up of fragmentary reproductions will always be incon- gruous and nnpleasing, even to those who are unable to explain the cause of the effect of which they are conscious. The style which the artist professes to imitate should be reproduced faithfully, but to do this it is not necessary, as some have done, to repeat incorrect drawing and the similar unintentional errors of ignorance. In estimating the excellences of the two distinct classes of glass painting Mr Redgrave justly remarks that the greater strength and durability of the ancient method should be noticed. A modern pictorial window, constructed of a single THE NEW-YORK EXHIBITION ILLUSTRATED. sheet of glass, or a few large panes, may be ruined by a single careless or malicious blow, but such an accident could do only a slight injury to a work on the old method, and it could be easily and cheaply repaired. And, besides, the frequent leading, by slightly deranging the plane of the window, heightens the rich and beautiful lustre of the glass, just as the" faoets on a jewel multiply its sparkling brightness. From our brief explanations of the principles of glass painting, it will be seen that its practice is surrounded with numerous and unusual difficulties. The artist cannot rely upon himself alone to realize his conceptions, but he must call the science of the chemist, and the practical skill of the glazier, to his assistance. The difficulties are much greater when glass colored in the manufacture is used only sparingly, and numerous pigments are employed to produce the design. This style is laborious, and more or less uncertain, as will W seen from the nature of the pigments and the manner of applying them. The colors themselves are chiefly metallic oxyds, which are applied to the surface of the glass, and are incorporated with it by the aid of vitreous or vitriflable fluxes, upon exposure to a given tem- perature, much lower, however, than that at which glass softens and bends. Since the colors are seen by transmitted and not by reflected light, they mu9t, in general, possess after fusion the brightness and transparency of glass itself. In some instances, however, a half-transparency is sufficient, and such a pigment may be employed if it admits of rich* 1 coloring ; and in fewer cases the art requires pigments nearly or quite opaque. They are also required to be hard enough to resist the friction of solid bodies, to be unchangeable by the action of moisture, or by the air and the gases diffused in it, and to have an expansibility precisely in proportion to that of the glass. The last property is necessary to enable the colors to accommodate themselves to the expansions and contractions of the painted plates 'during the process of burning in, as well as to those which they after- wards undergo by exposure in the windows. The polished surface of glass is not well adapted to laying on colors, a second touch of the pencil frequently removing what the first applied. This obstacle is got over by a simple and ingenious mode of painting, called by the French peinture par enlevage. It consists in drawing the outlines with an oil color, and afterwards painting the whole plate with a uni- form coat of water colors, and when the latter have become quite dry, they are removed with a stiff brush to different degrees, as the design may require. "Where the color is completely brushed off lights, are produced ; half tints are seen where the removal is imperfect, and shadows in the untouched places. In this way the ground color is laid on, and when it has been burnt in, the plate may be again painted and retouched. This method is recommended by its comparative simpli- city and quickness. It is well suited to the representation of light colors on a dark ground, and of embroidery. Notwithstanding the beauty which may*be attained by the free or exclusive use of enamel colors in the hands of an ingenious artist, we cannot but think that bettem results might be obtained by simpler means. The finest effects of the art have certainly been produced *by methods far less uncertain and ambitious, as in the so-called Gothic windows of some of the old cathedrals, from which the slanting sunlight borrows the most gorgeous and brilliant hues, blended in soft, delicious harmonies. In these windows the colors are produced altogether by pot-metal and flashed glass, and only a single enamel, a brown opaque pigment, is used to mark the outlines and the shadows. The modern art of glass painting has little in common with the ancient me- thods. "When the art was revived after the long neglect which it had experienced, the improvements in the quality of glass, especially its greater fusibility, made it im- possible to use the old pigments, prepared for a harder material. Their composition, and the methods of applying them, were also unknown, or so imperfectly under- stood, that new processes were necessary, and the ever-fruitful science of chemis- try was called upon to invent them. The results were so successful, that the an- cient colors and methods have been equalled, and sometimes surpassed in beauty, and in every useful quality. And in respect to glass itself, the modern is far superior to the ancient in transparency and whiteness, and in whatever gives to glass its peculiar character and beauty. It is often said that the art of coloring, particularly of making the ruby of the ancients, has been lost. Such an assertion could be made only in ignorance of the facts of history and the resources of chemistry. There was a time when the manufacture of colored glass was discon- tinued, not because the art of making it was forgotten, but because there was no longer any demand for it. _ The number of metallic oxyds was never greater, and the modes of employing them never better understood than at present. It is not in the materials and mechanical resources that the art of glass painting is nowa- days deficient, if it is deficient at all, but in that exquisite taste and unerring artis- tic judgment, which are so manifest in the old masterpieces of the art. Many of the old glass painters had another advantage ; they were architects as well as de- corators ; they planned and constructed the edifice, and then finished the orna- ments, the glass paintings among them, with their own hands. In design and coloring they were, therefore, -in perfect keeping with the style of architec- ture ; each adorned and interpreted the other. But now the practice is reversed. The glass painter works quite independently of the architect, and- not unfre- quently without reference to his plans, or knowledge of them. Under such circumstances the best effects of the art are not to be expected. The incongrui- ties which are perpetrated would be much more obvious and displeasing, if, in our churches, any thing which, by courtesy, could be called architecture was commonly known among us. The modern glass painter must remember in choosing his design that h,e lives in the nineteenth century, and that he is called upon to adorn the churches of Protestants, or at least of people who have no faith in saints and martyrs, and a very slight reverence indeed for madonnas and holy families. "When such sub- jects were set up in church windows they expressed the feelings and faith of a credulous and enthusiastic age, they embodied its poetry and sentiment, and were the teachers of the people. But let the same subjects, executed with equal spirit and beauty, be placed in a modern church, and they will excite no especial ad- miration, and fail utterly of touching the hearts of those who see them. They have nothing in common with our thoughts and life ; in fine, they do not partici- pate in the spirit of the age. The art of glass painting can never again have the influence which it exercised in the fourteenth and fifteenth centuries, and if it hopes to receive its fair share of admiration and patronage, it will not be by copy- ing with endless iteration the works of old masters, but by creating new designs, consonant with our faith and knowledge, while they carefully preserve the prin- ciples which have been established by experience. "We cannot see why this beautiful art, susceptible of so many beautiful applications, should be confined always to churches. Its true field, and the widest range of subjects in future, will be found, we think, in the decoration of secular buildings. At least, this ap- plication is worth the serious attention of the artist. In bringing our imperfect notice of glass painting to a close, we regret that in the present early and incomplete state of the Exhibition, the examples of the art are not yet displayed in such a manner that we, can give a catalogue raistnne, and, of course, not a criticism upon them. This we propose to do on a future occasion. THORWALDSEN— CHRIST AND THE APOSTLES. . THIS group was made by Thoewaldsbn in the maturity of his genius, for the new Cathedral of Copenhagen ; the figure of Christ for the high altar, and the Apostles for the aisles. He had already made another group for the pediment, St. John preaching in the wilderness, and for the niches of the vestibule, the great prophets. But the decorations of the interior were to be of a stiU higher order, transcending, as it might Have seemed, the utmost reach of art. Michael Angelo had modelled a figure of the Saviour, a noble figure, full of energy and power, but with little of that serene majesty which we instinctively conceive as the chief characteristic of Christ's human manifestation, and with none of that winning sweetness which welcomed the little children, and drew the disciple, whom he loved, to lean confidingly upon his bosom. Raphael has painted him floating sub- limely in the dazzling radiance of the " Transfiguration," and Da Vinci has left, as the highest effort of his pencil, a form of equal majesty surrounded by the twelve in their last solemn celebration upon earth. Thorwaldsen's task was a still more difficult one, to give to each figure its characteristic attribute, and yet, without the assistance of unity of time and action, diffuse through all, that harmony of thought and feeling which must necessarily flow from the har- monious conception of their sublime mission. Thorwaldsen, as we have al- ready said, was in the full vigor of his genius, and this herculean task, which would have filled up the life of almost any other man, was accomplished in a few years, during which he produced several other works, which also rank among his best. If the reader wishes to know how so much could be done within a very limited period, he must remember that Thorwaldsen's studios were filled with young men who had been carefully trained under his own eye in the manipulations of art, and several of whom have subsequently taken a high stand as independent artists. Hence, when he was about to engage in some work of great magnitude, his first step was to prepare a clay model a foot and a half or two feet high, containing all the characteristics of the finished statue. This was the invention, with him a rapid process, and no one who has not seen them, can conceive the life, and move- ment, and freedom of touch which he gave to these little figures. The real diffi- culty was now overcome. Genius had performed its part ; industry and mecha- nical skill could do the rest. "With this model before him the workman set up the figure, and began to work out the details. Every day Thorwaldsen himself would come to observe his progress. If all was right iffe would pass on without remark. But if there was any change to be made he would either point it out, or take up a modelling stick and make it himself. Sometimes he would become so much interested in his work that he would go on for hours without stopping. Sometimes too important changes were suggested by some casual alteration in a trifling point. The greatest figure of the group, the Christ itself, is aii instance of this. Tennerami, his favorite scholar, was working upon it, and the whole figure bears the marks of his accurate and finished touch. In the original sketch the arms were not arranged to Thorwaldsen's satisfaction, and when the 81 THE INDUSTRY OF ALL NATIONS. figure had been set up in its colossal proportions, he became still more dissatisfied and resolved to change them. But how to do it was the point. The idea in his own mind was clear enough, but he could not hit upon the expression that he wanted in-order to bring it out with all its force. Day after day he returned to alter, condemn and alter again, but all in vain. At last, one day, after he had gone away, Tennerani ventured, for the experiment's sake, to open the arms a little wider. " That is just what I want," cried Thorwaldsen the moment that he saw it, and the figure was finished, as it now stands, without any further changes. Thorwaldsen's enemies, like Raphael's, blamed him for this manner of working, and said that he had forgotten how to model ; and, like Raphael, he answered them by modelling with his own hands, the corrected and most finished of his works, the vigorous statue of Vulcan. But his bas-reliefs, a style of work which does not admit of this distribution of labor, were all modelled by his own hand. We are glad to see this group in our exhibition. To those who have never been in Europe, it affords the best opportunity they can ask for seeing how sculp- ture may be made to express the sublimest conceptions. Thorwaldsen was not only the greatest sculptor since the days of the ancients — for in purity of taste and just conception of the reach of his art, he was superior to Michael Angelo himself — but the greatest original genius in art that has appeared since the sixteenth century. Exhaustless fertility of invention, a careful study of nature, a perfect appreciation of the antique, a style pure, severe, free from every trace of manner- ism, and yet entirely his own, give him a position which no change or caprice of fashion can effect. How he studied the antique you can see by comparing the head of the Christ with the head of the Phidian Jupiter. If you have never seen it, you will find it among the casts at the " Free Academy." Observe it well — its grandeur, its power, its serene "and commanding beauty — and then go back to Thorwaldsen and see how, without the slightest trace of imitation, he has caught the spirit of Phidias. We may claim for him, therefore, the right to be studied and not simply looked at. For you see before you a work which has been accept- ed by all as the master-piece of Christian statuary. Look at it as such, and study it till you feel that it is. Many have been disappointed at the first sight of the Transfiguration, but no wise man ever doubted that the fault was in himself and not in RaphaeL Should you fancy at first that Thorwaldsen, too, has fallen below your conception, study and wait, and as your mind expands with the contempla- tion, and you begin to see new beauties with each new visit, feel assured that you have made a great and important step in the appreciation of real art. WINES OF OHIO. THE production of wine in the United States is an industry still in its infancy, although in the vicinity of Cincinnati, it has already become an important agricultural interest. There are specimens of Catawba and Isabella wine, both still and sparkling, in the Exhibition, from several wine growers both in Ohio and Mis- souri, and the subject has become one of sufficient interest in a national point of view, as regards our future progress in productive industry, to demand serious at- tention. It is only within a few years past that this product has begun to promise such rewards to industry as to attract capitalists to make the requisite investments to produce a good wine. Mr. N. LongwortU is regarded as the pioneer in this matter, both in planting vineyards and building cellars suitable for storing and ripening their products. He also, if we are correctly informed, produced the first sparkling wine from the still Catawba. The vine chiefly depended on in Ohio is the Catawba, a native of Buncombe County, in North Carolina, where it was discovered on the banks of the Catawba River. It is remarkable for the sweetness of its fruit and the aromatic flavor it pos- sesses. Like the other native grapes of this country, the Catawba has a hard pulp surrounding the seeds, the sweet and flavoring portion of the fruit being between the skin and the pulp. All, or nearly all, the grapes of the European continent possess a fleshy substance like a plum, and have no hard interior. The Malaga grape, so commonly sold in our markets, is a good example of the latter variety. All the American grapes possess also, more or less strongly, that peculiar flavor so well known in the wild autumnal grape of the Northern States. In the Catawba this flavor is, however, so subdued and modified, that it is generally esteemed the peculiar excellence of that fruit. This flavor is exactly reproduced in the wine made from its juice, and gives to it a well marked and agreeable perfume and flavor. It appears to be settled by experience; 1st that no foreign grape is suited to wine growing in the United States, and 2d, that the Catawba vine is the best for this purpose which has been tried. It is an abundant bearer, yields improved crops on culture, and beside the other qualities already named, it has the power of resisting to a remarkable degree the extreme vicissitudes of temperature to which it must be subject in our unequal climate. For example, in the winter of 1851-52, on the 19th of January, the mercury sank to 18 u Fh., at Louisville, in Kentucky, some degrees South of Cincinnati, and yet no harm was done to the vines by this remarkable degree of cold. Upon the Northern banks of the Ohio, near Cincinnati, the soil and form of the ground are particularly favorable to the growth of the vine. The soil is a calcareous loam, very retentive of moisture, and resting upon the beds of the lower Silurian. The banks slope at a high angle, and rise into lofty hills. Upon these slopes, exposed to the full action of the sun during the whole day, the vines are carefully planted in terraces, and trained to short stakes placed four or five feet apart. These vine-clad hills at once recall to those who have seen them, the best porti&ns of the wine districts of the Rhone and the Rhine, but more espe- cially the former in the vicinity of Chalons. Most of the vine-dressers also are foreigners, Germans from the Rhine, or from Switzerland, and French from Cen- tral France and Canton Vaud, although some of the most successful cultivators are Americans. It requires six years to bring a vineyard into full bearing, although with roots of two years' growth some wine may be procured in two years from the planting. The juice of the fully ripe berries is obtained by pressure in a standing press, and is suffered to proceed at once to the alcoholic fermentation. It is stated by M. Rehfuss that the must (sweet juice) of the Catawba vine has a specific gravity of 1'090, and after fermentation 0-992-0-996. Two samples of the still Catawba were sent to the Agricultural Society of France last year, by M. L. Rehfuss, President of the American Vine S-rowers' Association, and a report upon 1 them by M. Payen has been received, and is published in the Western Hor- ticultural Review for May of this year, page 375. The examining commission were MM. Payen and Bourchadat. The report states that two circumstances require particular attention. First, that preference has been given to the native vine. Secondly, that spark- ling wine has been produced. The American vines do not, in France, prov« good bearers, and their strong and peculiar flavor will not be readily reconciled with European palates. " The American wine samples," the report goes on to say, " particularly recommend themselves by their neat, clear color, and their ability to furnish carbonic acid, and become effervescent. The Isabella wine is of a rose color, has a peculiar perfume, contains eleven per cent, of alcohol, and an abun- dance of sugar. The wine gave '52 dry residue, double the quantity of our best white sparkling wine." " The Catawba is of a white amber color, has less of this strong, peculiar bouquet, contains eleven and a half per cent, of alcohol, and a large quantity of sugar. Evaporated to dryness it left "61 of solid residue, or three times as much as our Chablais wines." " No doubt the wines in America will soon be much perfected ; it shows great sagacity that the native vines received the preference there, and particularly as the sparkling wines have been produced froni them." A few statistical facts, derived from a,n authentic source, regarding the present state of this industry in Ohio, will be valuable. The number of acres in vines already bearing fruit in Ohio is about 2000, of which 1500 are in the im- mediate vicinity of Cincinnati. The average product is reckoned at 300 gallons per acre. The present price of the still wine, as it is sold by the growers, is from $1 25 to $2 00 the gallon. This price makes the whole crop of this year worth about a million of dollars, to which may be added the crude tartar, the brandy distilled from the remainder of the press and refuse wine, as well as the grapes sold fresh in the market. It is estimated that in six years the product of wine will be at least five-fold the quantity- named, in consequence of the large surface put under vines this year, stimulated by the present high price' of wine. It will be seen that no crop which can be raised on an acre will bring more money than the vine at the prices named. The manufacture of cream' of tartar is also des- tined to be an important additional source of income. This year four commercial houses in Cincinnati have prepared, chiefly from the Catawba vine, over 250,000 bottles of sparkling wine, worth $12 the dozen. It is assorted that the demand for the Ohio wines has been such that the wine merchants have found it impossible to keep the vintages on hand sufficiently long to permit them to obtain a suitable age. For the information of those not acquainted with the mode of wine growing, it will be interesting to state that the still or dry, and the sparkling wines are both procured from the same must or juice. The only difference being, that when the primary fermentation is over, and the dry or still wine is produced, a certain small quantity of sugar candy is added to it, and a fresh ferment. A second fer- mentation is thus set up, during whioh the wine is bottled. This operation de- mands the greatest experience and good judgment, and can be carried on success- fully only when proper cellars of large capacity are provided, within which a very equable and low temperature is maintained. During the second fermenta- tion the bottles are inverted for the purpose of collecting a certain quantity of sediment (the result of the fermentation) in the neck. When the brewer judges that all this sediment is thrown down he adroitly cuts the strings of each bottle still inverted, and permits just so much wine to escape as shall carry out all the sediment. The bottle is then set on its foot, and the deficiency (which is very small) supplied with still wine. A new cork is supplied by an ingenious machine is wired in its place, and the bottle is stored on its side in the vaults to complete THE NEW-YORK EXHIBITION ILLUSTRATED. its fermentation, whioh is to supply that torrent of carbonic acid which gives life to the champagne. A large waste always arises from the bursting of the bottles. If the primary fermentation takes place upon the skins of the grapes, a high color and a stringency is given to the wine, as in claret. M. Eehfuss has promulgated a theory founded on his own experiments, which, should it be supported by experience, must be of much importance to the wine growers in Ohio, It is with regard to the necessity of adding alkalies, and espe- cially potash, to the soils on which vines are grown, for the purpose of favoring the production of cream of tartar (acid tartrate of potash) in the growing fruit. The early vines of Ohio were very acid, and on examining them with a view to ascertain the cause, M. Eehfuss found that malic acid was present in undue quan- tity. This organic acid forms very soluble' salts, and does not precipitate by alcohol, while tartaric acid does the reverse. On a chemical examination, the soils were found deficient in potash salts, as compared with the soils of European vineyards. Potash salts were added to the 1 soil of -a certain vineyard by M. Eeh- fuss ; therwine of that year's growth was found to be of a superior quality, less acid, an^ to form a largely increased quantity of cream of tartar. This is a very interesting problem in agricultural chemistry, and should be confirmed by the most careful experiments. From what has been stated, it will be seen that the growth of wine in America is likely to become an industry of great importance. It is already much greater in value than was the growth of cotton at the time of Jay's treaty. It is also a culture requiring a superior degree of skill in all its branches, and, of course, calcu- lated therefore to elevate the agricultural profession. As respects the moral in- fluence of this culture we have nothing to say in this place, save to recall the familiar fact that the winegrowing regions of Europe are remarkable for their temperance, such a thing as habitual drunkenness being almost unknown. Although this culture is now confined chiefly to the vicinity of Cincinnati, it is not necessarily so. Large districts in Indiana, Illinois, Kentucky, Missouri, and other Southern and Western States, will be found to have equal capabilities of soil and climate. Indeed, it is true that the largest number of exhibitors of- American vines in this Exhibition are from St. Louis, Missouri, but we have less definite in- formation respecting the extent of the culture there. Great improvement may be expected in the variety and quality of the vines from new discoveries of native species yet unobserved, and more, perhaps, from the hybridization of those already known. WHITWORTH'S MEASURING MACHINE. THE measurement of so small a quantity as the millionth part of a linear inch is an achievement which must appear impossible, until the simplicity of the means and their easy manipulation are witnessed. "We have seen Mr. Whitworth's ap- paratus used in his own hands, and propose to describe the machine and its use, and hope to do so in terms so plain as to be intelligible, without a figure, to persons not familiar with mechanics. It is well to state that this machine is the result of a long series of experi- ments to the end of producing exact copies of the standards of length. The difficulty of meeting this problem in a precise manner can hardly be conceived of by those who have not given the subject their attention. Even in the daily practice of machine-shops, and especially in the construction of philosophical ap- paratus, and of machines for accurate purposes, it has been hitherto almost im- possible to obtain parts of a given exact size. No rule, or scale, of one work- man or shop, is an exact copy of those in use by another. The thousandth part of an inch, or even the one hundredth part, is a quantity quite too small for accurate admeasurement by the means heretofore in use. At the present time, in many important trades, it is necessary to send the sample itself in giving the order, because the manufacturer is not in possession of any means to enable him to ascertain, and therefore to express its size. Now, Mr. Whitworth's machine exactly meets this difficulty, and supplies the workman with means of the most practical character to remedy it. The yard is an arbitrary standard of measure, derived from the early days of civilisation in England, and like its congeners, the foot, the grain, the pennyweight, &c, carries with its very name the evidence of its barbarous and unscientific origin. The Anglo-Saxon mind is^so deeply conservative, that it liberates itself from the shackles of conventional usage (however unreasonable) with extreme slowness, or not at all. Hence the whole system of weights and measures, both in England and in America, remains, in spite of the efforts made by Astronomers Eoyal and scientific Commissions to render it exact, rather a monument of past ignorance than a well-digested system of decimal parts all referable to some simple and absolute unit, capable of verification by means wholly independent of original errors in an arbitrary standard. Such a system of decimal parts was adopted by the French, and has become the language of scientific expression in all countries, without reference to the established standards in vulgar use. But we shall on another occasion have more to say upon the subject of standards of weight and measure. We alluded to the matter at present only to say, that in the determina- tion of exact lengths,.Jjwo modes of practice have been employed. One is to make the standard bar of greater length than the measure of the yard, for example, and then to represent the exact yard-measure jipon it by lines of great delicacy, to be observed by a microscope, and drawn at distances corresponding to different temper- atures. The other mode is what is called End Measure. In this method the box isidesigned to have the exact length as measured from the polished faces of its ends, by pieces rebutting against them. In this method also the variations of temperature are estimated by means of lines drawn upon the body of another bar, to which the rebutting pieces are attached in the manner of a gauge. The latter mode of measurement was adopted by the celebrated astronomer Bessel, for the production of the Prussian standard, and his apparatus for the purpose was exhibited at the Great Exhibition in 1851. The governments of Russia,., France, Prussia, the United States, and several other nations, have adopted the use of End Measure for the production and verification of their standards. Those who may be disposed to inform themselves more accurately on the mode of apply- ing this principlo to the verification of standards of length, will find in the May and July numbers of the American Journal of Science, a lucid and detailed ac- count of the means employed in producing the platinum Standard Metre, lately pre- sented by France to the United States. This metrical standard is also to be seen in the Crystal Palace among the instruments of the Coast Survey, exhibited by the distinguished Superintendent of that body on behalf- the United States government. But to return to Mr. Whitworth's machine. In it he has also adopted the prin- ciple of End Measure. Two sliding bars of square steel are placed in the axis of a block of cast-iron, scarcely more than a foot in length. They are so con- nected with screws moving with great accuracy in the axis of each, that they may be approached or withdrawn at pleasure. One of them, for the purpose of explanation, may be considered as stationary. The screw which moves the other has exactly 20 turns to the inch. To its head is adapted a wheel, upon whose periphery are two hundred teeth ; consequently one of the spaces upon this wheel corresponds to the j^Vir P art °f an mon (20+200=4000). Now the worm which moves in the teeth of this wheel is also provided with a graduated circle of ' two hundred and fifty divisions, and as one entire revolution of this last wheel is equal to the jij'jnr of an inch in the motion of the horizontal bar, therefore its revolu- tion through the space of one of its divisions will correspond to only one two hundred and fiftieth of that quantity ; and, as two hundred and fifty times four thousand is one million, therefore each division of the motor wheel registers the millionth of an inch in the motion of the horizontal bars. All this seems very simple even in the statement, but it is abundantly more so in practice, provided, of course, that the greatest accuracy is observed in the con- struction of the several parts of the apparatus. It may not, however, appear so plain to one who has not seen the operation of the machine, how it is possible to arrive at any adequate expression of the results by visible mechanical means, and without the use of a microscope to note the advance and retreat of the moving bar. Practically, however, this is accomplished by the most simple means. Suppose that we have a standard block of steel measuring exactly an inch, and that it is proposed to produce an exact copy of this standard. It is necessary of course to possess the means of its exact measurement. For this purpose its end faces must be reduced to the most perfect parallelism and the highest finish. ' It is then laid on the bed of the machine, and one of its ends brought into contact with the fixied bar. Here comes in the simple and efficacions means of determin- ing the point of contact between the free end of the standard and the face of the approaching bar. For this purpose a little block of steel is provided, called a " gravity piece." Its faces . are strictly parallel, and very perfectly polished, and it is provided with two slender ai-ms, by which it may be conveniently handled. It is laid between the approaching faces of the standard and of the sliding bar, and when the approach becomes apparently very close by the slow onward motion of the screw, the gravity piece is raised by its handle from time to time, and let fall again. As long as it falls between the two approaching faces without obstruction there is still sensible, though not visible space, and further approach is warranted. Suppose, now, the motor wheel reads on its gra- duation 240 degrees, and the gravity piece in that position first falls slowly and gradually down between the approaching cheeks, then the motion of the wheel to 241 degrees binds the gravity piece, and it remains fixed wherever it may be placed between the adjacent surfaces. The reflex motion to 240 releases it again, and it falls under the influence of gravity. Now the difference between these two quantities has already been shown to be the one-millionth part of an inch. And thus the requirements of the problem are met, and for the temperature of the observation, the dimensions of the standard are fixed exactly and abso- lutely. To produce a copy which shall fill exactly the same space is a work requiring time, and skill, and patience, but in no higher degree than these re- quisites may be applied by a multitude of good workmen. It will be observed that tne graduations of the motor wheel supply the means of accurately measur- THE INDUSTRY OF ALL NATIONS. ing the differences, and of restoring the machine after each trial to its original point. It is almost needless to add that when accurately adjusted, this apparatus is a most delicate thermometer : if, for example, when it is brought within two or three millionths of an inch of its adjustment, no part of the apparatus, near the points of measurement, or the standard or trial piece, can be touched never so slightly by the finger without at once producing an expansion from heat that will fasten the "gravity piece.'' Great caution is required to avoid error, from this source, and the measurements by this apparatus must be carried on in an apart- ment of constant temperature, and with numerous precautions to prevent the heat of the body of the experimenter from interfering with the results obtained. The practical value of this apparatus to mechanics cannot be over-estimated. By its means, Mr. Whitworth is enabled to supply workshops with graduated gauges of size, whose accuracy is absolute. These gauges are now the adopted standards of the English government in all their dock-yards and machine-shops ; and the same have been also adopted by all the great engineering establishments of the 'United Kingdom, and by them all screwing tackle and other important parts of machinery have been regulated. We shall take another occasion to refer to Mr. Whitworth's important improvements in screwing apparatus, and to his mode of producing plane surfaces of absolute accuracy. In conclusion, it is sufficient to say of the apparatus now under consideration, that it furnishes also the easy and certain means of producing as many identical copies of the standard measures of length as may be required for all the cities and county towns in the land, and that such a series made in different metals, as for example, in copper, steel, silver, and platinum, ought to be easily accessible for verification of standards in every important manufacturing district. A machine of similar construction, but of a less degree of precision, might be added to every engineering establishment for the actual measurement of important parts. When it is known that the greatest degree of accuracy heretofore attained by the comparison of linear measures has been the sixty-thousandth part of an inch, it will be understood that there is considerable latitude allowed between this infini- tesimal quality and the millionth of an inch. It may serve to give a notion of the quantity expressed by the tosst^ of an inch, if we make one or two statements. The paper on which this article is printed is about 4000 times as thick as the millionth of an inch. Ordinary thick note paper is about T j- 5 of an inch thick, i. e. 100 sheets would measure an inch. One million sheets of such paper if piled on each other would tower a hundred feet above twice the height of the cross on St. Paul's Cathedral in London. The curious reader, who, after seeing this article, may seek for Mr. Whitworth's Measuring Machine in the English quarter of the Exhibition, will doubtless be disappointed by the appearance of a modest-looking little apparatus, under a glass cover, which he would otherwise pass unnoticed. Let him remember, then, that we must measure relative importance by results and not by magnitudes. OPENING OF THE NEW- YORK EXHIBITION. IT is our duty to record the fact that the Inauguration of the building of the Exhibition of the Industry of all Nations took place by appointment on the 14th of July. The ceremony of the Inauguration was rendered of national importance by the presence of the President of the United States, and several members of his Cabinet. Thus the sanction and authority of. the nation were given to crown the efforts of an Association of spirited private gentlemen tb whose untiring exertions we are indebted for the existence of the Ameri- can Exhibition of 18.53. We shall not pursue the supererogatory task of repeating, what has been well and fully said by the daily journals, in every possible detail, of this peaceful gathering and international jubilee. The proceedings of the hour were in harmony with the simplicity of republican manners. Upon an elevated platform, and in presence of the commissioners and rep- resentatives of domestic and foreign governments, the officers of the United States Army and Navy, and numerous persons of distinction, the President of the United States, in his civil capacity, was received by the President of the Association. The ceremony was opened by an inaugural prayer by Bishop Wain- wrignt, of New- York. After which Mr. Sedgwick addressed President Pierce in a short congratulatory speech, expressing the obligations of the Associa- tion for his distinguished courtesy in consenting to honor the occasion by his presence. To this welcome, President Pierce responded, in a manner the most hearty and cordial, approving of the purposes of the occasion, and drawing from the inspiration of the moment those aspirations for the universal peace and brotherhood of nations, which were so natural to the occasion. — The beautiful dome seemed almost to rise in its airy lightness as the solemn measures of that glorious tune, "Old Hundred," swelled in joyous praise from a thousand voices. Then followed the triumphal paeans from the martial instruments, and the formality of a state ceremonial insensibly melted down into the hearty personal congratulations offered by thousands to the chief Magistrate of the United States. The remaining hours of the day passed rapidly in surveying those portions of the Exhibition already prepared, and in witnessing the active preparations for its early completion. None were admitted on this occasion but invited guests, exhibitors, and holders of season tickets. It was estimated that ten thousand persons were present. All were amazed at the rapid changes which the last few days, and especially the last twenty-four hours, had made in completing the preparations of the Exhibition. The decoration of the interior of the dome, from which the scaffolding had been removed only that morning, excited universal admiration, as well for the beauty of its effect as for the short space of time in which it had been completed. The parts of the building unfinished on the day of the inauguration were the new wing and its appendages, extending the entire length of the Oroton Reservoir. In this wing are to be arranged the macfiinery in motion, and models of machines not in motion, the mineralogical and mining cabinets, the picture gallery extending the whole length (451 feat by 21) over the machine arcade and the refreshment-rooms. Undoubtedly the general effect and impression of the whole Exhibition would have been far better if it could have been entirely ready in all parts before the day of inauguration. But this was impossible ; unexpected and unavoidable delays arose in con- struction : and we may add, the Exhibitors themselves — many of them from far distant countries — were fully as much in arrear as the building. Indeed, at this present moment (July 30th), numerous important shipments of for- eign goods are still on the Atlantic. The Great Exhibition in London, although (and this was its greatest wonder) opened on the day appointed, was not in order until August. The Dublin Exhibition of this year has the same history. We shall see whether French system and skill can show us a bet- ter example in 1855. The hand Catalogue of the Exhibition and the first double number of the Illustrated Record were distributed on the day of the inauguration, and the printing presses were actively throwing off the sheets of the Catalogue. On the 15th of July, the New-York Exhibition was thrown open to the public, and will remain open as long as the season will permit. The ques- tion is often asked if it will be reopened another season. To this inquiry no definite answer can as yet be given. On the evening of the 15th, the Association entertained the President of the United States, his Cabinet, the representatives of foreign govern- ments, the Commissioners of Great Britain, the Domestic Commissioners, and numerous invited guests, at a sumptuous banquet at the Metropolitan Hotel. Great good feeling animated the occasion, and numerous speeches were made by the distinguished gentlemen who responded to the several sentiments announced. Without departing from the strict line which we have drawn for ourselves, between the record of this exhibition and the daily journals whose duty it is to reproduce every detail of passing events, we do not hes- itate to give, from a copy corrected by its distinguished author, a part of the speech of Sir Charles Lyell in reply to a toast on this occasion compli- mentary to the English Commission. " Gentlemen : — This is the fourth visit which I have made to your coun- try, and it is only by returning, after intervals of a few years, that we can mark the wonderful progress which the people are making in knowledge power, 'and general prosperity. It is indeed a cheering sight for any for- eigner to witness— I say a foreigner, but wherever I have travelled in your country, whether mixing with men engaged in the same scientific pursuits, or when I was only known as a traveller, I have never been allowed to feel myself a foreigner. Yet, strange to say, this is the first time I have ever visited the United States without finding the whole Press and some- times Congress, engaged in the discussion of exciting political questions, which seemed to endanger the amicable relations between this country and my own. In 1841 and 1842 there was the McLeod case, and no small agitation among the New-York and Canadian borderers. Then, in 1845-46, there was the Oregon boundary question, which lasted during my whole stay, when I saw the walls of this and many a western town and city placarded with ' fifty- lour, forty — or fight.' "After an interval of six years, I returned in 1852, and found what would be termed on the African coast a " war palaver,'' going on about the fisheries. " Some timid friends warned me, before starting from Liverpool not to run the risk of geologizing at the foot of the sea cliffs of the Bay of Fundy lest a stray cannon shot from one of the contending squadrons should put an abrupt termination to my geological labors. By that time, however, I had begun to have faith in the peaceful issues of British and American negotiations and was not easily alarmed. Now, at last, I come and hear no sounds but those of harmony and peace. We, at least, who are engaged in this Indus- trial Exhibition, may regard ourselves as members of a great peace associa- tion, though few of us may indulge any sanguine hopes of the future cessa- NEW-YOEK CEYSTAL PALACE.-INTERIOE No. III.-THE INAUGURATION. THE NEW-YORK EXHIBITION ILLUSTRATED. tion of wars. Would that we could follow the noble example set us by the greatest people of antiquity, who gave a safe pass to all who attended the Olympic Games, and more especially to the Envoys or Commissioners sent to represent each State. "War was not allowed to interfere with the' celebration of those festivals, and the truce lasted for a month. I have often wondered, when reading the history of those olden times, that the Olympic Games should have endured for eleven centuries, and that so many of the leading statesmen and lawgiv- ers of Greece should have attached such importance to them, as to award peculiar honors to those citizens who carried off the prizes. But a philo- sophical historian of our times, Mr. Grote, has solved this problem, and shown that there was a deeper meaning in these multitudinous gatherings than appeared to a cursory observer. It was not for the encouragement of ath- letic exercfses or chariot-racing that they promoted these festivals. The games embraced many of the objects of our modern exhibitions. We hear of prizes awarded to the inventors of new musical instruments. We are told of the recitation of new musical compositions, as well as of poems and of histories. But besides all this, thsre was much of the same business transacted that is carried on here, in Wall-street, or on Change in London. There was much buying and selling, and advertising, and many commercial transactions, at a time when there were no newspapers ; and all this between the citizens of states as far distant from each other, if we reckon by time before the days of steamboats and railways, as Europe Ind America now are. But neither the amusement and instruction afforded by these meetings, nor even their com- mercial bearing, were the sole, or even the principal ends achieved by such periodical gatherings. Greece was divided, like the United States, into a multitude of independent commonwealths and cities, each jealous of her state rights, each averse to centralisation, but not prevented like the members of your confederation from warring with one another. It was the aim, says Grote, of the leading politicians of Greece to give to the people of states, politically dissevered, opportunities of exchanging courtesies and hospitalities, of comparing the progress they had made in knowledge and civilisation ; and above all, of cherishing a sentiment of Pan-Hellenic unity. " Gentlemenf*your Chairman, in proposing the last toast, has eulogized the illustrious Prince whom he has styled the originator of the first international exhibition — that of London in 1851 ; and you have responded to the toast with an enthusiasm most grateful to the feelings of every Englishman here present. The London Exhibition had a more cosmopolitan aim than that of combining together the states of one great confederacy, or two nations, politically independent, yet speaking in common the language of Shakspere. It was the first attempt to establish an exhibition in which nations differ- ing in language, religious creeds, and political institutions should co-operate in friendly rivalry — an arena where all should compete for distinction in the application of the principles of science to machinery, and in the fine arts, and in their application to manufacturing industry. " If a series of industrial exhibitions, on such a cosmopolitan plan, can be so arranged as not to interfere with one another, let us hope that they may acquire perpetuity, and la9t not only for eleven, but for eleven times eleven centuries." The fine allusion which Sir Charles has here made to the ancient games as in some degree parallel to these modern industrial gatherings is new to us, and seems to have escaped all the ready writers, who, in lectures and essays innumerable, gave us every conceivable phase of the London Exhibition. The aspiration with which this distinguished gentleman concludes his speech will, it is certain, find a warm response in every genial heart. THE EQUESTRIAN STATUE OF WASHINGTON. BARON MAKOCHETTI'S Washington is certainly the largest work of art in the American Exhibition, and did magnitude decide merit, this Colossus would, without doubt, distance all competition. Without requiring our modern artists to equal the Marcus Aurelius of the Capitol, at Rome, the Phidian Horses of the Quirinal, or the Grecian Horses of the Parthenon, we have a right to expect that they will neither copy themselves, nor do violence to nature. In our judgment, Baron Marochetti has done both, of which more anon. Baron Marochetti is a native of Piedmont, long resident in France (at Veaux, about forty miles from Paris), but now established in London. His equestrian statue of Richard Coeur de Lion, which was exhibited in London in 1851, obtained a council medal. Marochetti belongs to the French, rather than to the Italian school of art, and has imbibed largely, even if he has not exaggerated the defects of his school. An Equestrian Statue of Washington is a fitting commemoration of him who passed so large a part of his active life in the saddle, and whose military achieve- ments have never, until lately, received this tribute at the hands of the sculptor. Baron Marochetti has the advantage of being first in the field, at least the first whose work has been brought under the observation of Washington's countrymen. It is well known that Crawford has already modelled a colossal equestrian Wash- ington in Rome, as the crowning figure of the monument now erecting by the State of Virginia, at Richmond, in commemoration of her illustrious sons of the Revolution. If we are rightly informed, this figure has been already cast in bronze, at Munich, More recently the U. S. Congress has authorized the President of the United States to contract for an Equestrian Washington in bronze, to adorn the national Capitol ; and, within these few days, we are informed by the daily journals, that Mr. Clark Mills has been commissioned to undertake this great national work, for the sum of fifty thousand dollars. Mr. Mills's claim to this honorable dis- tinction over the heads of Power!, Crawford, and other American sculptors of established reputation, rests solely upon his Jackson, a work of which, as it is not a part of the American Exhibition of 1853, we are relieved from the responsibility of speaking. From this historical digression, growing naturally out of the theme of our criticism, we return to our subject. On page 25, we present a large print of Baron Marochetti's work ; and we believe that no one who has seen the original, can say that it does not do it full justice, while others may think with us, that in several important particulars, it has merits which the original has not. With the assistance of this engraving, a minute description of the statue will be superfluous. It stands directly under the centre of the dome, just where, in obedience to a proper patriotic sentiment, it ought to stand, as the boldest feature of the American Exhibition. It is in plaster, colored, to represent bronze, and the dimensions of the figures are twice and a half times the size of life. Entering the Crystal Palace on the Sixth Avenue, the observer, as he walks down the nave, obtains the most favorable impression of this work. In that posi- tion, the group is foreshortened, and the chief faults of the composition are concealed. There is a certain commanding dignity in the figure of Washington, some spirit and movement in the horse, and that general air of grandeur which is inseparable from its colossal proportions. The head of the horse even, in this posi- tion, appears as if violently reined in for no apparent reason, although the reins hang loosely on his neck, while, on nearer approach, the defects before con- cealed, become more apparent. Short and clumsy legs inelegantly thrust within boots still mbre clumsy, huge exaggerations of holsters, and the cocked hat, unite in producing a most unpleasing effect. The countenance of the rider lacks the noble sentiment of the original, so well expressed by Stuart and Trumbull. The action of the group, from a side view, appears both equivocal in character and bad in expression. The horse seems to be still, and yet to move ; the position of the fore and hind legs being contradictory. A horse pawing the air with his fore leg, must needs keep the other three legs on the ground, and yet he raises here his alternate hind leg, as if to trot. The line of the neck is harsh and con- strained, and is only less objectionable than the equivocal character of the tail. The body is clumsy despite its artistic meagreness, and partakes in no degree of the motion of the legs. Washington, it is well known, was one of the most graceful of horsemen — a true Virginian, familiar with horses from his childhood, and as much at ease in the saddle as in his chair. But here we have a stiff, ungraceful figure, braced back in the saddle, with the precision of a dragoon under the eye of his drill-master. In short, it is not a statue of Washington, but a* huge man on a huge horse, which one may call Wellington, or the Duke of Orleans, or any other hero of history. We do not say that its likeness to Washington is not such that it would not be known as intended for.him, for his square chin and peculiar features are so characteristic, that the potter never fails to reproduce them on a shilling jug. As a specimen of mere execution, it has some good points and well-modelled details — a certain facility which long practice necessarily gives ; thofigh even in this we consider that there is a general character of dryness and hardness through- out it, which gives as unfavorable au idea of the artist's practical skill as the general arrangement does of his powers of invention. Throw aside all ideas of moral grandeur and personal dignity ; forget that the subject is not some other hero on horseback, but ia 4 Washington ; look only for minute details and petty excel- lencies, and we may find something to approve. But if we believe that sculpture is something more than the art of modelling ; that the great thoughts which express themselves upon the human face, and communicate their grandeur to the human form, can be fitly chiselled in marble or in bronze, we shall find little in the work before us to claim our praise. And the reason of this is evident. A monumental statue is the highest form of sculpture. It requires imagination, invention, that just conception of character which distinguishes the highest forms of poetry— a perfect command of all the re- sources of art, and that facility of execution which, by giving the truth of Nature to the minutest details, makes us forget the apparent exaggeration of colossal propor- tions. We say apparent, for in reality there is nothing more exaggerated in a colos- sal statue than in a description in verse. Neither Hamlet nor Lear speak the lan- guage of common life, and yet we admire them as much for their truth of thought S5 THE INDUSTRY OP ALL NATIONS. and sentiment,* as for poetical beauty. The untrained mind must be formed to them before it can really understand them, and the untrained eye may be formed with equal ease to the appreciation of art even in a colossal statue. The artist's imagination glows and expands like the poet's, andwe must let our own follow him. The artist, to move you to poetical exultation, must be a poet himself; and it is for this reason, and for this alone, that monumental statues fail constantly of their effect. No one ever asked himself any thing about proportions before Thorwaldsen's Coper- nicus ; for he felt at once that the figure before him was a fitting embodiment of a mighty spirit which had looked so deeply into the mysteries of the starry uni- verse. It is like Shakspeare's Hamlet, or Homer's Achilles, an adequate expres- sion of a powerful conception ; and it is from this conception that the artist, like the poet, must start. No merit of poetical imagery can cover up defects of inven- tion, and no skill of manipulation can make an imaginary figure look a hero. We admire monumental statues ; we believe them to be one of the best ways of keeping, the memory of great men before therposterity for whom they labored. We would spread them over our country ; we would have them in every park and in every square ; we would place them in niches on the fronts of our public edifices; we would have them to look down upon in the midst of our public assemblies, speaking to us with the solemn eloquence of marble, of the great things which have been done for us. But not in park, or niche, or hall, would we erect such monumental statues as the Washington of Baron Marochetti. GARY'S ROTARY PUMP. "VTUMEROUS inventors have produced still more numerous contrivances J-" for throwing water by a continuous rotary movement, without the action of reciprocal pistons. The machine before us, by a most ingenious arrange- ment of parts, unites the seemingly incompatible conditions of a progressive rotary motion, with a reciprocal action of pistons, kept tight by the pressure of the fluid ejected. The inventor is Mr. Albigence W. Caet, of Brockport, Mon- roe county, N. Y. Not less than eleven of his pumps of various sizes, and adapted to several important purposes, may be seen arranged in the Machine Arcade of the Exhibition. A distinct flow of water has been provided from the main in Forty second street to supply their demands, and all visitors will have an oppor- tunity, as soon as the machinery is put in motion, to observe their performance. It is not possible from a sectional drawing only, to convey a clear notion of all the parts of this very remarkable apparatus ; but with the aid of such explanations as a knowledge of its parts will enable us to supply, we hope that its principle of action will be made sufficiently clear. The general appearance of Oary's pump is shown in the elevation-view annexed. A strong frame of iron supports a horizontal shaft, on one end of which is a band-pulley for communicating power, and on the other the pump, whose delivery pipe is toward the observer. The suction pipe is seen descending on the right between the legs of the frame to the source of supply. Some idea of the disposition of the interior may be gained from the sectional view here given on a larger scale. The sectional plane passes through the median line of the pump, and parallel to the sides. The width of the pump, in relation to its diameter, is about as 1 : 3. The central drum B (of brass or iron) is at- tached to the axis or revolving spindle A, and moves with it. The heart-shaped cam surrounding A is fixed in an immovable position. The revolution of _B there- fore causes the valves or pistons to move in and out in obedience to the form of the cam, which constantly presses against their lower ends, guided by the slides whose position is given in the drawing. This cam is so placed, that one of the valves is constantly driven with a gentle pressure fully into the cavity of the chamber, forcing before it the water already there, and drawing after it through the suction pipe F the stream of supply, to compensate the vacuum. Each valve is in succession forced fully back into its groove, or seat, when opposite to E, which is called the lutt piece of the exhaust and supply ways, and which is made tight by a leather packing D. An attentive consideration of this arrangement will show that each sliding valve or piston, in its turn, performs the double func- tion of forming the vacuum, and forcing out the water previously collected in the chamber of the pump, and that as soon as the first valve or piston becomes inop- erative, the position of the cam is such as to bring the second valve into full action. The direction of the flow is indicated by the arrows, and the entrance of mechanical obstructions is prevented by a perforated screen over the supply pipe F, that portion of the curve immediately over F being pierced with numerous holes. Should an obstructing object enter the pump box, however, it is immediately ejected by reversing for an instant the motion of the machine. The cam and some other parts of this apparatus have been used before in other rotary pumps, although not combined in the same way. But the pecu- liarity which insures its originality and success is yet to be mentioned. It is the peculiar, efficient, and very simple manner in which the pistons are packed, as well as the mechanical construction of the revolving drum B, to insure at once easy motion, and to cut off the access of the external air. To compass the first object, the walls of the valve slides are pierced by several smaJJ holes, through which the revolution of the drum forces the water into an interior cavity, where it presses equally and gently upon the underside of the leather packing, with which the contact surfaces of the pistons are faced. These pieces of leather slide into dovetailed grooves provided for them, and may be fitted anew in a moment with no other tool than a sharp knife. We remember no contrivance of a mechanical nature which strikes us as more, admirable, than the mode in which Mr. Cary has packed his sliding valves so as to insure ease of motion, perfect tight- necessary consequence of the action of the machine itself, and lastly, the facility with which these essen- tial parts may, on occasion, be renew- ed by persons of very moderate man- ual skill. Where all others have failed, viz., in securing tightness, ease of motion, durability, and efficient lubrica- tion (without resort to the usual means of lubrication), in the valvular parts of a rotary pump, Mr. Cary has succeeded in a manner seemingly to leave little to be desired. The man- ner in which the edges of the revolving drum are fitted into deep grooves turned in the head-pieces of the pump, would require another drawing in order to be made intelligible ; and as this is not requisite for a clear idea of the chief features of the apparatus, we pass this portion of the construction without further remark. A stream of water has been thrown in an unbroken column from this pump, through an orifice one and a quarter inches diameter, to the surprising distance of 180 feet. The pump performing this service was 14 inches in diameter, revolving 120 revolutions in a minute, and delivering 300 gallons in the same time. This, we believe, to be a higher service than has been before attained by any re- ciprocating pump of similar dimensions. Owing to the easy accessibility of its parts, the whole machinery being above board, it appears peculiarly well adapted for the marine service, and we are in- formed that they are now preferred by shipmasters, and in marine, construction. It is asserted that with metallic packings this apparatus may be successfully used as a rotary steam engine. But we have not seen it used for this purpose and can therefore only repeat this statement of its inventor. ness as a THE NEW-YORK EXHIBITION ILLUSTRATED. THE BENEFITS OF THE EXHIBITION TO AMERICAN ART. HERE may be much good derived by our artists and artisans from inspecting the works of Art in the Crystal Palace, and such objects comprise about nine-tenths of the articles ex- hibited, but the benefit to Art will depend very much upon the degree of intelligence with which the Exhibition is examined. If those who visit the Crystal Palace, with the hope of improvement, aim at nothing higher than mere mechanical copying, very little, if any, benefit will be derived from the Exhibition ; but, if they go to gain new ideas, to acquire a knowledge of new methods of construction, to bring away what is good, and to avoid what is bad, the result will be in the highest degree favorable to the cause of art-manu- facture in the United States. Imitation is the bane of Art, and its destructive influences maybe very palpably discover- ed in the works exhibited in the Italian department. The great collections in Italy of the chef cCouwes of the old masters, are at once the glory and degradation of the people. The Italians have done nothing, the past hundred years, but attempt to reproduce the works of the great masters of art, and have so repressed the spirit of inven- tion, that they have at last become inferior to all other people, even as copyists. There is but one hope for -Italy, and that is in the utter destruction of all the great works of Art, which now lie like an incubus on the genius of the peo- ple. The idolatrous veneration for antique Art, is not alone confined to the Ita- lians ; but it is most oppressive there, because it is there that the greatest num- ber of the relics of Art are treasured. Art has but two missions to fulfil, one is to be useful, and the other ornamental. Under the head of useful Art, must be classed all works that contribute to the comfort of mankind, that teach ideas, or perpetuate the memory of events. Or- namental Art is that which overlays and embellishes works of utility, and it is to this department of industry which all works of fine Art now tend. A slight in- spection of the different departments of the Crystal Palace will be sufficient to show that of all the nations of the earth, the French have the truest artistic instincts, and turn their attainments in Art to the most profitable account. The whole wealth and prosperity of France lies in her ornamental art-manufactures. We import our painted church windows from Germany, our copies of antique Art from Italy, onr solid and substantial cloths and implements from England, but all our ornamented goods, such as derive their chief value from the genius of the artist, we import from France. The art-manufactures of France are purely creative, their raw materials are nought. The artistic pre-eminence of the French people is not the result of an accident, nor owing to any peculiar organization of the French man, but the natural effect of wise laws which have been framed to secure this great end. Under all the changes of French government, monarchical, republican, imperial, and anarchical, the institutions for the promotion of Art have been alike fostered, and artists have been alike by all honored. The artist there, whose genius adds to the glory of the country, is considered as worthy, and as much entitled, to the honors of the government, as the soldier, or the sailor, who gains a victory ; and this, too, in the most military nation in Europe ; while among us, the least military of any civilised people, the artist is treated as a vagabond, and his exist- ence is ignored by the government, while the soldier and the sailor receive the highest honors that the nation can bestow. In French Art, it will be seen, by those who examine the painted porcelain, the bronze castings, and other works in the Exhibition, that there is no dividing line between the useful and the ornamental in Art. Nearly, if not all the works exhibited, are of the useful class, while the ornamentation which has been be- stowed upon them, belongs to the highest order of artistic invention. Precisely the reverse of this may be seen in the productions of Italian Art, while, in the English, there is an excessively awkward blending of the two ; the useful works are not ornamental, and the ornamental are rarely beautiful. A work of pure ornament, for the sake of ornament, is an absurdity, and against nature, as Locke says of labor for the sake of labor. It will be within the legitimate duty of the Reoobd, to illustrate and enforce the truth of our observations by pointing to particular examples in the Exhibition ; but, besides this, we must request our readers, who visit the Exhibition for the purpose of study and improvement, to bear these ideas in mind, as they go from department to department, glancing at the characteristic labor of the different peoples of the earth, who have favored us by their contributions, and we have full faith that their own observations and conclusions, will justify the truth and soundness of our remarks. The origin of painting has been fancifully attributed to the desire of a young girl, who wished to retain a likeness of her lover, and traced the profile of his shadow upon the wall. But young girls have no need of such devices to retain the features of their lovers. If they have hearts capable of Joving, they are soft enough to receive a more enduring likeness of the object of their affection, than a mural silhouette could give. It was the first office of painting to give religious instruc- tion, by perpetuating the legendary lore of the people, as it was of sculpture, until the invention of letters and printing, and then Art began to declfee until it became what it now is, a decorator and an embellisher. It is only in portraiture that Art retains any of her first great office of historian. In the high and palmy days of Art, when the great works were executed, which fill us with awe and admiration by their perfection of execution, and deep religious feeling, her votaries wasted none of their powers on merely decorative works. But now the case is different, and almost the only office Art has to fill is that of a decorator. Let us look about through the splendid achievements of Art in the Crystal Palace, and see where we can find an effort of genius which was designed for any other purpose than that of ornament. There isdihe superb colossal group by Kiss, the Amazon attacked by a tiger, which lackPnothing but a purpose and a meanii% to entitle it to a place by the side of the Laocodn and the Dying Gladiator. To the people of this age it conveys no meaning; it is perfect in modelling, it is full of action and life, the mechanical execution is surprising, but what is the meaning of it? It is simply an ornament for the King of Prussia 's palace ; but, having no meaning, it fails to be ornamental, because it is out of place. Of a similar character is a marvellously fine bronze casting of a boar's head, which, for brutishness and ferocity, is quite as startling and offensive as the head of a natural boar could be, and if this object were hung up in a cabinet, it would be as terrific a bore as one need wish for. In works of this kind, of which there are a good many specimens in the Exhibition, Art suffers a degradation, and fulfils neither of the purposes for which Art is worthy of being encouraged. There is a remarkable instance of the misapplication of artistic effort, in the French department, among the beautiful examples of painted porcelain which are exhibited there. We allude to the dessert set of plates which are embellished with superbly painted portraits of the Bourbon family. These portraits are executed with the greatest delicacy of finish, and are, doubtless, copied from original miniatures on ivory ; they are surrounded by imi- tations of pearls, and they look more suitable to be worn as ornaments for the bosoms of fair ladies, than to be used as plates for the table. It is repulsive to every sense of propriety to use such delicate works of Art to eat from, while the obvious uses for which they were intended, makes it equally repulsive to exhibit them as articles of ornament. It is one of the mpst obvious instances of degrading Art, by applying works intended for instruction to the lowest class of embellishment. Eating a jelly or a meringue off of the portrait of one's ancestor, and besmearing the cheeks and soft eyes of one's mother or sister with even so delicate an article of food as an omelette souffle, cannot be productive of pleasant feelings, and we wonder that even a Bourbon could be so destitute of feeling, as to take pleasure in eating his dinner off of the faces of his ancestors. In much better taste are the examples of ornamented crockery, in which fruits and flowers are painted with such matchless beauty, as we have seen in several instances, both in the French and English dinner and dessert sets. Lady Morgan gives an account of a dinner at Rothschild's, in Paris, and describes the plates as having the finest landscapes painted upon them ; but her sense of propriety did not seem to have been at all outraged by the grossness of putting such splendid works of Art to such base uses. One of the most beautiful objects among the French bronzes, is a chandelier repre- senting leaves and branches of shrubbery, among which the lights are placed in a natural and pleasing manner, in striking contrast to the offensive manner of sending jets of gas through the stamens of water lilies, and making flames burst out of drooping fuschias, as is the prevailing fashion. We can but hint at the many objects in the Exhibition which are full of suggestiveness to the thoughtful ob- server ; but we shall recur to the subject again, and endeavor to direct those who, for improvement, visit the Crystal Palace, or study our engravings of the objects exhibited there, how to profit by the wealth of decorative Art which abounds in its different departments. BOOKBINDING. BOOKBINDING is an art much older than it is generally supposed to be. As we all know that the first hooks were written upon parchment or papyrus, and rolled upon small cylinders of wood or ivory, the impression is not uncom- mon that all books were in that form until the introduction of the art of printing. But it is two thousand years and more since Phillatius, a Greek, divided the rolled volume into sheets, and glued these together in the form which is familiar to us. The rolls had been preserved from dust and injury by being kept in cylindrical cases, and a protection for the book in its new shape was soon found to be more necessary than before. This was supplied by securing the leaves between stiff covers, probably of wood at first, and thus began the modern art of bookbinding. Soon the board was covered with leather, making in external appearance a still 8T THE INDUSTRY OF ALL NATIONS. nearer approach to the workmanship of our day ; but it was not until the close of the fifteenth century, or the beginning of the sixteenth, that the stout pasteboard, called mill-board, which unites lightness with sufficient strength, was used as the foundation of the book-cover. The ancient Ramans ornamented the covers of their books very elaborately. Those of wood were carved ; and upon some of these, scenes from plays, and events of public interest were represented. About the commencement of the Chris- tian era, leather of brilliant hues, decorated with gold and silver, had come into use. In the Middle Ages, the monks exhausted their ingenuity, and frequently, it would seem, their purses, in adorning the covers of those manuscripts which they spent their lives in waing and illuminating. Single figures and groups, wrought in solid gold, solid silver, and gold gorgeous with enamel, precious stones and pearls, made the outside of the volume correspond to the splendor within. Less expensive works were often bound in oaken boards very richly carved ; scenes from the life of Christ, the Virgin, or the Apostles, furnishing the subjects. Many still exist upon which the Nativity, or the Crucifixion, is carved in high relief. In the latter part of the fifteenth century, and the beginning of the sixteenth, kings, princes, and wealthy nobles, expended much money upon the binding of their libraries, which were, in many cases, very extensive. Carved ivory covers, protect- ed by golden corners, and secured by jewelled clasps were common, as were also those of velvet, silk brocade, vellum, and morocco, elaborately ornamented after designs made by great artists, and protected with bosses, corners, and clasps of solid gold. The precious stones and metals upon these book-covers cost us the loss of many a more precious volume, for they frequently formed no inconsiderable part of the plunder of a wealthy mansion in a captured city. Mr. Dibdin tells us of one library of thirty thousand volumes— that of Corvinus, King of Hungary— which was destroyed on this account by the Turkish soldiers, when Buda was taken in 1526. Quite an era in the history of bookbinding in England was formed by the pub- lication of the Great Bible, by Grafton, in 1539. His first edition was of 2000 copies, and within three years there were seven editions. A substantial binding was thus needed for nearly twenty thousand volumes, and from this time there was a noticeable advance in the art in England ; chiefly, however, in the mechanical de- partment ; for Henry VIII. had many books richly and beautifully bound. In his reign the use of gold tooling was introduced, and the designs for some of the rolls are attributed to Holbein. Queen Elizabeth herself embroidered velvet and silk book covers, some of which were also tooled in gilt. [It may be well to say here, for the benefit of those not familiar with the bookbinder's vocabu- lary, that gilt tooling is what is commonly called gilding, the figures in gilt being produced by the impression of a hot tool, sometimes stamped, sometimes rolled, upon gold leaf. Blind tooling is produced by the use of the hot tool without gold leaf. The forwarding of a book is the sewing and putting it into the cover. Finishing, is the tooling, gilding, &c] Among the finest specimens of finishing ever produced, are those which were executed for Count Grolier, a French nobleman, who lived at the close of the sixteenth century. The patterns are formed only by the intricate intersection of graceful lines. There is never an attempt at the imitation of any natural object, although leaves of a conventional form are sparsely introduced. In our opinion there has been no style of highly ornamental binding equal to that adopted by Count Grolier, and which is known by hi3 name. Attempts at the accurate imi- tation of natural objects, such as figures of men and animals, foliage and flowers, by gilt tooling upon book covers, seem very much out of place, and have never been successful in themselves. The attempts at architectural ornaments, such as the perspective delineation of a cathedral or of a railway tunnel, especially if they are ostentatiously gilt, as well as inlaid portraits or landscapes, are equally objection- able in point of taste and utility. No ornament which is not flat in reality or ap- pearance is admissible on the cover of a book. Since the time of-Count Grolier, the French binders have maintained a marked superiority in the finishing of their work. In the last century lived Pandeloupe, De Sueil, and De Rome, who have left historical reputations for the delicacy and richness of their designs in gold. At the present day Beauzonnet, Cape, Duru, Bozerian, Simier and Lortic, are the most celebrated among the French binders. As a class they lack neither ability nor conceit. They hold themselves far above their brethren of England ; and Duru once said that he should consider him- self insulted if he were told that he could bind as well as Hayday. Their prices are enormous — three times as great as those of the best London binders, large as those are. The French books are remarkable for the firmness of their boards, the smoothness of their leather, and the delicacy, the richness of design, and the sharp- ness of outline o? their gold tooling. The design upon one of Beauzonnet's, Cape's, or Lortic's books seems hardly to be stamped upon the leather, but ra- ther to be inlaid in it. But for pleasure and convenience in use, the work of the French binders is inferior to that of the English. Books bound by the former are very stiff; that is, they open with great difficulty, and require constant pressure to keep them open. The father of the English school of binders was Roger Payne, who lived to- ward the close of the last century. He bound compactly, with some taste, and 38 always used the best materials. He did all the work upon every volume bound by him, from sewing the sheets, to gilding the edges and tooling the sides. The great modern English binders are Hayday, Clarke, Bedford, Riviere and Wright. The Remnants have a very large establishment, and bind richly and substantially. The work' of Charles Lewis (now dead, we believe) is highly prized, and merits its reputation. But in the work of all these binders a poverty of invention is ap- parent, which diminishes their claims upon our admiration. Their tooling is coarse and heavy beside that of the French binders ; and by using thicker and less com- pact boards they produce an impression of clumsiness. The great pleasure in the use of the work of a good English binder is found in the freedom with which the book opens, the respect which his plough has had for the margins, the true- ness, squareness, and compactness of the book itself — that is the leaves — and in the rich general appearance of the volume. Splendid as the French work is, it is not always with regret that we turn from Beauzonnet or Cape, to Hayday, or Clarke, or Bedford. In America bookbinding is eminent among the arts in which remarkable pro- gress has been made within the last few years, and among the specimens sent to the Exhibition by one or two of our binders, we find instances of taste and mecha- nical skill, which would be creditable to the best European binders. We call bookbinding an art ; and when we consider all that is necessary to the perfect covering of a fine book, it must be admitted to be an art ; less important, it is true, but similar in kind to architecture. The first requisition upon the skill of the binder is to put the book into a cover which will effectually protect it, and at the same time permit it to be used with ease. If he do not accomplish this, his most elaborate exhibition of ornamental skill is worth nothing ; for he fails in the very end for which his services are re- quired. It was in this regard, too, that most of our binders failed in past years. Who that remembers the hideous, harsh, speckled, sheep covers which deformed our booksellers' shelves not long ago, can forget the added torment which they inflicted upon their unhappy purchaser, by curling up palpably before his very eyes as he passed his first evening over them, and by casting out loose leaves or whole signatures before he had finished his first perusal. In those days, too, there was morocco binding, with a California of gold upon the sides ; and such morocco ! it felt to the fingers like a flattened nutmeg grater, seeming to protect the book by making it painful for any one to touch it. This was as useless as the humbler, though not more vulgar sheep. It would hardly last through the holi- day season on the centre table which it was made to adorn. This is so no longer, and we now have several binders in New- York, and some in Philadelphia and Boston, whose work, with reasonable care, would last for centuries. The binder's next task is to give his work the substantial appearance, without which the eye of the connoisseur will remain unsatisfied. The volume must not only be well protected but seem so. It should be solid, compact, square edged, and inclosed in firm boards of a stoutness proportionate to its size, and these should be covered with leather at once pliable and strong. Unless it present this appear- ance, it will be unsatisfactory in spite of the richest colors and the most elaborate ornament. Thus far the mere mechanical skill of the binder goes. In the choice of his style of binding, and in the decoration of his book, if he perform his task with taste and skill, he rises to the rank of an artist. The fitness of the binding to the character of the volume which it protects though little regarded by many binders, and still less by those for whom they work is of the first importance. Suppose Moore's Lalla Rookh bound in rough sheep, with dark Russia back and corners, like a merchant's ledger, or Johnson's folio Dic- tionary in straw-colored morocco elaborately gilded, and lined with pale blue watered-silk, is there an eye, no matter how uneducated, which would not be shocked at the incongruity ? Each book might be perfectly protected, open free] v and exhibit evidence of great mechanical and artistic skill on the part of the binder ; but his atrocious taste would ensure him a just and universal condemnation. And yet there are violations of fitness to be seen daily, on the majority of public and private shelves, little less outrageous than those we have supposed. Books of poetry, and illustrated works on art bound in sober speckled or tree-marbled calf with little gold upon the backs and sides, and none upon the edges ! Histories statistical works, and books of reference in rich morocco, splendidly gilded ! the idea that the styles ought to change places, seeming never to enter the heads of the possessors of these absurdly covered volumes. But a little reflection by any person of taste, and power to discern the eternal fitness of things will make it apparent that there should be congruity and adaptation in the binding of books. Sober, practical volumes, should be correspondingly covered ■ calf and Russia leather with marbled paper and edges become them- while works of imagination, such as poetry and books of engravings, demand rich mo- rocco, fanciful ornaments, and gilding. To bind histories, philosophical works dictionaries, books of reference and the like, in plain calf or dark Russia travels, novels, essays, and the lighter kind of prose writing, in tinted calf or pale Russia with gilding, poetry in full morocco richly gilded, and works on art in half morocco, with the top edge only cut and gilded, seems a judicious partition of the principal styles of binding. The margins of an illustrated work on art should never be cut away, except where it is absolutely necessary for the THE NEW-YORK EXHIBITION ILLUSTRATED. preservation of the book from dust, and the convenience of turning the leaves — that is at the top. It is well here to enter a protest against the indiscriminate use of the antique style of binding, with dark-brown calf, bevelled boards, and red edges. * This is very well in its place ; but it should be confined to prose works of authors who wrote not later than one hundred and fifty years ago. What pro- priety is there in putting Scott, or Irving, or Dickens, or Longfellow, in such a dress? A better illustration of the remarks could not be produced than is to be found in the case of books exhibited by Mr. William Matthews, New- York. In this case are specimens of almost every style of binding, in its highest perfection, and most correct adaptation. A set of Pickering's edition of Milton, bound in light olive morocco, of a rich and sober, yet delicate tint, is remarkable for the squareness and firmness of its boards, the compactness of its leaves, the freedom with which it opens, the sharpness and perfect accuraoy of the tooling, and its distinct and even lettering ; in the last respect it is unequalled, and in most of the others unsurpassed by the finest specimens we have seen of the best binders of London and Paris. Various sets of books, and single volumes in calf and morocco in this case, claim the unqualified admiration of the experienced eye both for their forwarding and finishing. But the principal specimen from the establishment of Mr. Matthews, is a copy of Owen Jones's Alhambra, of which we have given an engraving. This book is a large folio, filled with plates of the gorgeous Moorish decorations of the famous building, the name of which it bears. Its contents made it appropriate for the binder to give full scope to his fancy in the design for its exterior ; and the result is a work of art of superb richness and irreproachable taste. The external design is foliated arabesque ; graceful, though grotesque, and not overloaded, though rich in ornament and gilding. The peculiar effect has evidently been pro- duced in this way. The book was first completely covered with pale Eussia leather, and over this was laid blue morocco, out of which the design was cut, so that the figure appears light upon a dark ground ; in fact, it is an intaglio in leather. As the Eussia and morocco, though rich, needed life and fire to suit perfectly the character of the plates which give the volume its character, the principal outlines of the design are followed with a narrow strip of crimson morocco, and upon this is laid the gilt tooling, which is composed of very small circles, semicircles, dots, and lines, each one requiring one or two impressions of the tool. The effect is splendid, and the workmanship is exquisitely nice and accurate. The inside of the cover is elaborately ornamented in a similar style, but with a different design. The forms here are not foliated, but are the results of the in- tersection of complicated semicircular lines. The colors and the tooling are the same as those upon the outside of the cover. In the middle is a panel in vellum, upon which is laid down a lozenge pattern in straw-colored morocco, richly gilt. The fly leaf is backed with straw-colored watered silk. The hinge is, of course, of Eussia leather. This superb volume is exhibited as a specimen of finishing ; and it is deserving of particular attention that its beauty is entirely the fruit of the binder's taste and skill. Leather and gold leaf are the only materials used in the production of its splendid dress, which owes nothing to the painter and the jeweller. This is as it should be. Swum cuique. Let not arts be mingled. The binder who seeks the painter's aid confesses the poverty of his invention, or the inadequacy of his art. Money enough can be expended upon binding to make the outside worthy of the inside of the most precious volume, and to satisfy the profuse disposition of the lavish. The binding of this volume cost its tasteful and enterprising exhibitor $500. Among the other books exhibited, the account books from Messrs. Boot & Anthony's seem most worthy of notice. Their strength, elegance, and pliability make them models in this style of binding. There are several other cases contain- ing bound account books, the forwarding of which is perhaps equal to that upon those of which we have spoken ; but they are deformed by the splendor of inlaid vellum, and morocco gilded ; thus violating the law of fitness, which we must con- sider as one of the first to be regarded in bookbinding, as' in all other arts. Gild- ing and prismatic colors are out of place in the counting-room. THE UNITED STATES COAST SUEVEY. THEEE is nothing in the American department of the Exhibition, which is a more jnst and honorable exponent of the progress of the United States in some of the higher and more difficult departments of human knowledge, than the display of the means and results of the Ooast Survey. It consists of various instruments of research, theodolites and astronomical instruments, compensating bars for the measurement of base lines, instruments for verification, a tide register, a ther- mometer for taking the temperature of the deepest soundings, the standards of weight and measure, and of the results of field researches, comprised in numerous engraved copperplates and electrotype copies of them, and the printed charts. These mute witnesses speak, in language clear and distinct to the instructed mind, of the progress and power of science. They have all borne their part in carrying riiadi this great work forward to its present honorable position — a position which has done much to make the name of America honored over the whole world. The present Superintendent of the survey is Alexander Dallas Baohe. His position is at once the most honorable which a scientific man can reach in the United States, and also the most laborious and responsible. The constantly in- creasing confidence and esteem which Mr. Bache has won from successive admin- istrations at Washington, as well as from the people at large, and especially from the distinguished United States' officers, and the civilians employed in this service, bear the most gratifying testimony to his remarkable scientific and administrative abilities. We propose to describe some of the most interesting of the instruments and processes of the survey. A condensed statement of the history and objects of the survoy will be an appropriate introduction to these notices, and for this we are chiefly indebted, by permission of its distinguished author, to a memoir by Oapt. Charles H. Davis, U. S. N. It was to be expected that a people devoted to the pursuits of commerce, and depending, in some degree, on the sea as a means of communication between dis- tant parts of the national terrritory, should demand, at an early period of their history, a competent survey of their coasts and inland waters. But a short time previous to the separation of the Colonies, charts had been constructed of the shores and harbors of North America, under the direction of F. W. Des Barres, his Majesty's Surveyor-General for the Colonies. The progress of his labors was interrupted by the Eevolution. The surveys made under the personal superintendence of Des Barres still bear testimony to his skill and fidelity, and present a generally correct view of those parts of New England and the Britj possessions, whose rocky shores are but little liable to change. They continuj form the principal basis of the charts of the northeastern coast of this continent, the Southern and Middle States, however, they have been rendered worse than useless, by the inconstant character of the bottoms, and the unequal merit of the originals. The surveys of Des Barres, covering a vast extent of coast, were origin- ally deficient in minuteness of detail, and in hydrographical information; and these defects have been increased by the rapid and extensive changes in the direction, means, and wants of navigation caused by the growth of the country. The project of a complete survey, conducted upon a uniform system, and extending over the whole coast, was first proposed by the late Professor Patterson, in 1806. It combined three objects, the astronomical determination of prominent points, a triangulation to connect those points, and a hydrographic survey based upon this triangulation. Mr. Gallatin, then Secretary of the Treasury, encouraged the project, and obtained in writing the opinions of learned men as to the best mode of executing it. He selected the plan of operations recommended by Mr. Hassler, the first Superintendent of the Coast Survey. This gentleman, a native of Switzerland, had been employed in the triangulation of the Canton of Berne, and had studied the science of geodesy under the most distinguished masters. It was exceedingly fortunate that his presence and advice here secured the early adoption of the only method of conducting a comprehensive trigonometrical survey that science approves, — the only one of which the results have a certain and permanent value. It is only, however, since the year 1832 that the survey of the coast has been in steady and active operation. During this long interval of neglect on the part of the government, the coasting trade and foreign commerce of the country have been chiefly indebted to the indefatigable labors of those distinguished hydrograph- ers, the Messrs. Blunt of New- York, for the means of safe navigation. The history of the fortunes, or rather misfortunes of the survey, during the preceding twenty-five years, may be recited in a few words. A law authorizing a survey of the coast was passed in 1807, but nothing was done under the law until 1811, when Mr. Hassler was sent to Europe to procure the instruments specified in his plan. They had all to be constructed. The war of 1812, and the failure of remittances, prevented Mr. Hassier's return before 1816, and in August of that year he was appointed to the office of Superintendent. In 1818, Mr. Hassier's connection with the work was broken off, by the repeal of that part of the law of 1807 which authorized the employment of citizens. During the ten years that followed, the coast survey seems to have been forgotten by the public and by Con- gress. In 1827, Mr. Southard, the Secretary of the Navy, a name never to be mentioned without an expression of the high respect which ability, patriotism, and long, faithful, and valuable services must always command in the republic, took occasion in his annual report to say, that perfect surveys and charts of our har- bors could not be made without the aid of the means contemplated by the act of 1807, and in February, 1828, the House directed the Committee on Naval Affairs to inquire into the expediency of carrying into effect the provisions of that act. Finally, in 1832, the act of 1807 was revised, and an appropriation made for carrying it into execution, and since that period regular annual appropriations have been made, varying in amount, but generally such as have been called for by the estimates of the Superintendent. In 1843, there was added to the appropriation a proviso, stipulating that a board, consisting of scientific persons in the service of the Government, should be empowered to reorganize the work ; and the plan presented by them, when ap- THE INDUSTRY OF ALL NATIONS. proved by the President, was to be, and is now, the law regulating the operations of the survey. The scientific methods pursued by Mr. Hassler were continued, and it was directed that the topography should be carried so far inland as might be necessary for a proper delineation of the shore, and for purposes either of commerce or defence. It is now understood that the aim of the coast survey is to furnish, with the utmost attainable accuracy, and in a connected and uniform manner, all the geo- graphical, topographical, and hydrographical data that can be made in any way useful to the navigation and defence of the coast. And it is also supposed, that, in collecting these data, information will be accumulated that may become service- able in suggesting and directing local and general improvements; such as the placing and constructing of light-houses, beacons, buoys, &c, the means of im- proving channels, the effect of contemplated obstructions upon harbors and tidal deposits, the suitableness of a submerged soil for building, &c. And, lastly, it is presumed that those States through which the survey passes will, sooner or later, avail themselves of the base it is able to supply, to form a correct geographical map of their own territory, under circumstances very favorable to economy and accuracy. These are the practioal benefits, either direct or incidental, conferred by the coast survey. In abstract science it has also its mission, equally useful and distinguished. It is to contribute a part of the means by which the irregularly elliptical form of the earth may be satisfactorily determined, the variations in local gravitation, their causes, and thence the internal structure of the earth, be made known, and the phenomena of terrestrial magnetism be explained. It will illustrate the astro- nomical problem of the tides. Its numerous meteorological records will also mtribute to a better knowledge of the climates of the United States, and of the ,ture and action of meteoric storms, and thus be of service to the farmer as well as to the navigator. The science of geodetics prescribes the principles upon which a survey of an extended region should be conducted. In the ordinary operations of land- surveying, the surveyor is permitted to regard his field of work as a plane surface : but the engineer who is to construct a map of a whole country, or of a long line of continuous sea-coast, must take into consideration the spheroidal figure of the earth, and present an exact delineation of that part of the spheroid upon which he is employed. This necessity controls the processes used in computation, and the plan of projection upon which the detailed results are given, whether it be called a map or chart. Both the projection and the formulae for computation in- volve the higher mathematics, and require an acquaintance with the most advanced state of the mathematico-physical sciences. The system of projection introduced by Mr. Hassler originated with Flamsteed. It is the development of a part of the earth's surface upon a cone, either a tangent to a certain latitude, or cutting two given parallels and two meridians equidistant from the middle meridian, and extended on both sides of the meridian and in latitude only so far as to admit of no deviation from the real magnitudes, such as would bo sensible in the detail surveys. In this method of reducing the curved surface of the earth to a plane, the radii of curvature of the parallels and meridians, depending upon the value given to the expression for the ellipticity, and the assumed form of the globe, are important terms. For practical use, tables have been computed in the ofiice of the coast survey, showing the length in metres of every minute and second of the arcs of the meridians and parallels comprehended in the maps. It has been found necessary to recalculate these tables since 1844, on account of the new valne of the ellipticity announced by Bessel, and adopted by the present Superintendent. The practical operations of the coast survey are classed under the general heads of triangulation, astronomical and magnetic observations, topography, and hydrography. The fundamental basis of the survey is a net-work of great triangles, the sides of which, varying from ten to sixty miles, are the longest that the limits >f vision or the nature of the country will allow, and hence a mountainous region is much the most favorable for a first or primary triangulation. The starting line, or first side of the first triangle, called the base line, is measured by mechan- ical means, and this is a labor demanding, as much as any other on the survey, accuracy, a philosophical regard to minute details, and long previous preparation. Observing, in passing, that several kinds of measuring-rods have been heretofore used, as wood and glass, and that the apparatus of Mr. Hassler consisted of an assemblage of four iron bars, each of them two metres in length, with which he obtained excellent results, it will, perhaps, best serve to convey an idea of the difficulty of measuring a base-line, if some account be given of Professor Bache's base-apparatus. The measuring-bars are upon the compensating system, first used by Colonel Colby in Great Britain, and by Mr. Borden in the trigonometrical survey in the State of Massachusetts ; but a principle not before applied was introduced in ref- erence to the dimensions of the bars, which is thus stated. Bars of brass and iron (the materials employed), of the same dimensions, will not, owing to their different conducting powers and specific heats, heat equally in equal times, and therefore, during changes of temperature, the system ceases to be compensating. This Mr. Bache corrected by giving a coating to the bars that made them absorb equally, and by proportioning the sections to each other, so that both would have the same temperature durinp variable temperatures of the atmosphere. In order to do this satisfactorily, it was necessary to make direct experiments upon the materials of the bars themselves, after having first arranged them approximately by means of the numbers taken from the books. The contact between two sets of bars is made by a blunt knife-edge and a plane of agate, and a lever of contact at the ends of the bars is corrected by a level so delicate, that several of its divisions make up a quantity entirely insignificant in the measurement. The bars are cov- ered with a double conical case of tin, to keep the fluctuations of the temperature within moderate limits, and the bases on which they are supported are covered with several thicknesses of imperfectly conducting material, for the same purpose. The length of the apparatus is compared, before and after final measurement, with a standard iron bar that had been compared by the coast-survey office by means of Mr. Saxton's reflecting pyrometer. By this instrument, a change of the one hundred thousandth part of an inch in the length of the standard bar is per- ceptible. To the preceding description it should be added, that the bars (regulated in size by the relative specific heats of the two metals) were heated above the pos- sible temperature to which they could be exposed in use, in order to give them a set. This precaution was at first overlooked in the compensation base-apparatus of the British ordnance survey, and it was afterwards found necessary to resort to it. Those who are at all familiar with the subject will perceive that Professor Bache's application of the lever of contact and level (first used by Bessel in stand- ards of measure) has not only greatly increased the delicacy of the instrument and lessened its complexity, but also removed several sources of error. By optical contact, and the employment of a microscopic apparatus to determine the dis- tance between the compensation points, the measures are repeated in two different terms, each having its peculiar standard. Such was the case in the British and Indian surveys, and Colonel Everest complains of the consequent liability to error, and the burdensome accumulation of petty corrections. The remeasurement of a base of seven and a half miles, in India, differed only 2.4 inches from the first length. In a base of seven miles, Professor Bache found that the same difference might be about 0.5 inch, if all the errors were supposed to fall on the same side, which is most improbable. The probable error in remeasuring one hundred and twelve yards was less than five thousandths of an inch, and the actual resulting error in remeasuring one-third of a mile was nothing. This may appear like refining too much, but it must be known that the lines measured by the same bar in winter and summer might differ materially in nominal length. This difference in the original base of the coast survey might be about twenty feet, and, at a rough estimate, an error of twenty feet in this place would amount in one of the large triangles, of which the sides are between fifty and sixty miles, to about one tenl^ of a mile. The source of error and its correction being recognized, there is no other limit to accuracy than the possible. We return now to the great triangles of the survey, which, as has been said, form its fundamental basis. The points of the primary triangulation are selected with scrupulous regard to all those conditions which make triangles, in the tech- nical acceptation, good. Scattered at distant intervals over the vast field of work, they are certain guides by which the more detailed operations are conducted and controlled. Within them the space is subdivided into smaller triangles, constitut- ing the secondary and tertiary triangularis. They bring down the work to the minute details of topography and hydrography, and these subsidiary triangulatious and details, circumscribed as they are by the primary points, are restrained and corrected by them in their deviations. As an additional explanation of the neces- sity for this first net of great triangles, it may be well to inform the general reader that there is no instrument, however delicate in construction, that is not liable to very small errors, which the most studious attention to every disturbing influence, whether mechanical or meteorological, cannot altogether remove. Now this primary triangulation, which in a mountainous region spans the surface with giant strides, has fewer of these unaccountable errors, simply because it has fewer triangles. It is hardly necessary to add, that better instruments also are used in it. The two and a half feet theodolite, made by Simms (after Troughton's death), under Mr. Hassler's supervision, and used by him and by Professor Bache in the primary triangulation, is still regarded in this country and in Europe as a master- piece of invention and mechanism. It reads to seconds. Magnetic and astronomical observations accompany the primary triangulation. The latter are for latitude, longitude, and azimuth, or angular direction from the meridian. Following the secondary triangulation in order comes the Topography, the duty of which is to delineate faithfully the features of the ground. It exhibits the height and contour of elevations, the shape and extent of plains, the courses of streams all the constructions of man, and the waving and indented outline of the shores. It distinguishes the tilled land from the pasturage, and the grove from the orchard and designates the character of the woodland. It speaks a universal language and observes strict fidelity to nature. Depending upon the secondary triangulation and the topography for its means THE NEW-YORK EXHIBITION ILLUSTRATED. of progress, follows the Hydrography. In this term is included all that concerns local navigation, as the depths and character of the bottom, the direction and strength of the currents, the ebb and flow of the tides, and the information, coming under the head of sailing directions and nautical instruction, which make up the valuable knowledge of the local or general pilot. This branch enjoys the honor of announcing the nautical discoveries of the coast survey, which, though resulting from the combined operations of all, are yet brought out by its means. In the preceding pages the plan of the survey is presented, and the general distribution of its labors is stated ; it remains now to speak of the execution of the various details, and of the benefits that have been conferred by the coast survey upon science, and upon the local and general commerce of the country and of the world. In doing this it will be most convenient to keep to its actual state at this day. On the death of Mr. Hassler, in 1843, the appointment of his suooessor was regarded with deep interest by the scientific men of the country. The office of Superintendent of the Coast Survey is recognized as one of the central positions of American science, and the incumbent is expected not only to be able to fulfil its prescribed duties, but to be qualified to direct his powers to the advancement of knowledge in every department of the work. How far the present Superin- tendent, Professor Bache, is suited to answer these expectations, to sustain the national reputation, and to promote the cause of science, may be estimated from the fact, that his appointment was solicited by gentlemen in all parts of the country, engaged in the pursuits of learning. He wag educated at West Point, and since his graduation there, followed a course of physical science that has made him well kown in this country and in Europe. It is but justice to Professor Bache to say, that there is no branch of the work into which he has not been able to introduce improvements, either owing to the discoveries of the day, as in the use of the magnetic telegraph for meridian differences, or owing (still oftener) to his own great and eminent scientific attainments. This must appear in the course of these remarks, but it is quite as creditable to his administration to state, as may be done with strict accuracy, that the amount of results now obtained is double that under the former plan, for an increase of fifty per cent, in the cost. Accompanying the primary triangulation, as an essential part of it, are the astronomical and magnetic observations. The determinations of the latitude (as well as of the azimuths) are frequent. About fifty latitude stations, and from thirty-five to forty azimuth stations, have been already occupied in the survey. A comparison of the latitudes deduced geodetically from a central point with astronomical determinations, led the Superintendent, in 1844, to the discovery of certain variations in the level, which could only be attributed to changes in form and density of the material composing the earth's crust. These variations are similar to those caused by the proximity of mountains ; but whilst the latter have been well understood, the former had escaped notice. The numerous deter- minations of this element will therefore occupy an important place in the future discussions of the general form and internal structure of the earth. A similar discovery has since been made in the ordnance survey of Ireland by Major-Gen- eral Colby, and appears to have been anticipated by Laplace in the opinion given by him in the Chamber of Peers, in 1817, upon the topographical map of France : — " If the latitudes of the extreme points (of certain lines) and of several intermediate points are observed, and the length of the seconds pendulum corresponding to these points measured, a great deal of light will be thrown upon the figure of the earth, and upon the irregularities of its degrees and of gravity.'' Of the magnetic observations it will be sufficient to say, as an indication of their character, that they are made with the new instruments invented by Dr. Lloyd and Mr. Weber. The portable declinometer of Mr. "Weber (perfected by Lieutenant Riddle, and manipulated according to his instructions) measures incli- nation, and, by a subsidiary apparatus, the horizontal force, by the method of Gauss. Fox's dip circle, with the use of the deflecting magnet, has given very satisfactory results. By means of these instruments, the declination, inclination, and intensity (horizontal and total), are determined in a manner that supplies all that is practically necessary, and contributes valuable additions to general magnetic researches. Longitudes have been determined by occultations, eclipses, moon-culminations, and the frequent transportation of chronometers. Mr. Bond, the director of the observatory at Cambridge, Mass., communicates the meridian differences by chronometers between the British observatories and Boston. Two special chro- nometer expeditions have been organized between Cambridge and Liverpool. All determinations of this element are referred to a principal port on the sea- coast, and are connected in the aggregate with differences obtained from Europe by chronometrio and astronomical comparisons. The security against error af- forded by employing persons to compute, who are disconnected with the duties of the field or the observatory, is well understood. Gentlemen in private life are engaged to repeat the important calculations of the survey, and this system, which enlarges the sphere of labor in a way not less commendable for its economy than for its other advantages, receives universal sanction. But the discoveries of Professor Henry (Secretary of the Smithsonian Insti- tute), resulting in the invention of the magnetic telegraph, have provided a new and more precise method of arriving at the difference between the times of two places, or their difference of longitude expressed in time. The details of these operations were worked out under the direction of the Superintendent by the late lamented S. C. Walker. The space circumscribed by the terrestrial angles of the first order, and defined by the celestial observations that accompany them, is subdivided into a minute network of smaller triangles, constituting the secondary and tertiary triamgula- tions, the points of which embrace and determine headlands, light-houses, beacons, churches', hills, and all conspicuous objects along the coast, that can be made use- ful in its navigation. They also bring down the work to the details of the topo- graphy and hydrography, and supply the bases for these branches of the survey. It has been already mentioned, that the topography is minutely and exactly descriptive of the ground, both in form and character. The Lehman system of topographical drawing has been adopted, but with such modifications as the na- ture of this country exacted, in order to preserve the beauty of the maps. The slopes are represented by hachures, the strength and distance apart of which indicate the degree of inclination. In the original maps, the horizontal curves limiting the different slopes are drawn in red ink, as the draughtsman progresses in his sheet. The scale of the original sheets is r!r J^ s , or about 6f inches English to the mile. Plans are frequently executed in the field, and furnished from the office, when wanted for local improvement, on twice this scale. But the charts designed for navigators are necessarily reduced in dimension. The harbor charts are usually published on the scale of -j^^rf, or about 3j inches English, and the more general charts on that of TO £jn), or abont three-fourths of an inch to the mile ; which last is the scale of the great topographical map of France. In all the maps, the topo- graphical details are faithfully preserved, including height, contour, &c. To pursue the history of the operations of the survey during each year, would require more space than can be allotted to the subject in the Reoobd, and we con- clude this sketch by a brief relation of its aggregate results up to 1851. Recon- naissance has extended over an area of nearly 37,000 square miles ; and the trian- gulation covers 24,000 square miles. Nearly 1,200 miles of general coast line, and 9,000 miles of actual shore line, including indentations, have been surveyed. About 500 topographic, and 200 hydrographic Bheets have been executed, and the soundings made amount to more than two millions and a quarter. Forty-four finished charts, and forty-one preliminary charts and sketches of important locali- ties have been published. Numerous statistical data of this kind may be found in the annual report. A feature of much interest and importance in the more recent history of the survey, is the addition of two sections on the Pacific coast to its field of active operations. It has not only pushed its parties into all the Atlantic and Gulf sec- tions, but has already made a complete general reconnaissance of our entire Western Coast, and has published, or advanced to a state of forwardness, the maps embodying these results in a form most serviceable to navigation. Its parties have also made detailed surveys of all the principal harbors along this coast, as well as made excellent latitude and longitude determinations. Thus the navigator is already able to thread his way along that newly peopled -shore, with such aids as he still lacks on portions of our Eastern sea-margins. Special appropriations have been made to urge forward this important work, and it is surely a most sagacious policy to survey accurately and in detail those rapidly developed frontiers of our national domain. A systematic triangulation, and determination of points for a connected topography and hydrography, have already made a good beginning. Its consummation must be the work of from twelve to fifteen years. The dangerous character of the Florida reef, extending for its entire length along a main highway of oommerce, and producing a fearful loss of life and pro- perty, has led to successive specific appropriations for its more rapid survey. This work has progressed quite satisfactorily, especially when the difficulty of the lo- cality and the extremely jagged coral sea-bottom are borne in mind. The study of coral characteristics is a highly interesting collateral, and Professor Agassiz, in the annual report of 1851, has given the results of an examination undertaken for the Coast Survey. Lieut. Rodgers' survey of Key West and its vicinity, gives a most interesting picture of a coral bottom, and vividly suggests the importance of sub- marine blasting to open a better channel into that important harbor. The Florida triangulation is one of peculiar difficulty, owing to the flat and overgrown char- acter of the country, and the distance of the reef. In conclusion, we state that the rate of progress of the survey points to its completion in about twelve years, though this time might be shortened, if desired, by. increasing the appropriations. It is to be hoped that no vacillation of policy in respect to an enterprise so truly national and beneficial, is destined to check its progress, or interfere with its present systematic organization, — which, placing it under the Treasury Department, makes it an open field for the employment of both navy and army officers, as well as the civil assistants so indispensable to its organic completeness. It is now well, and the straightforward duty of our Government is to make liberal appropriations, and practise laissez /aire. 41 THE INDUSTRY OF ALL NATIONS. SAXTON'S METALLIC DEEP-SEA THERMOMETER. AMONG the many problems of terrestrial physics, which both invite and baffle complete investigation, one of the grandest and most attractive is that pre- sented by Ocean temperatures. To determine the temperatures which character- ize the various depths, localities, and seasons throughout the vast expanse of the oceanic realm, is a work of immense labor, but one which cannot fail to give some results of eminent practical and theoretical value. Very little has yet been accomplished towards this almost boundless investigation, but that little has not been without fruit. In conducting the off-shore hydrography of the U. S. Coast Survey, the proximity of the Gulf Stream, and its important bearings on the chief highways of our commerce, have made it specially incumbent on the Coast Survey organization to develop the great physical features of this phenomenon with as much accuracy as possible. The exigency of the work of sounding along the shore has hitherto prevented the application of any great strength to the Gulf Stream problems, but several results of much interest, as to its form, position, movements, and temperatures, have been already reached in more or less detail. The most casual inspection will show that the Gulf Stream is one of the great oceanic movements, or disturbances of equilibrium, caused by the varying tem- peratures of its different tracts in the different seasons. Temperature is the prime moving element, which needs to be observed and reasoned upon with all possible care, to give that thorough and true explanation which every one desires, but no one possesses. How to observe the deep-sea temperatures which are thus dis- turbing the rest of the ocean — how to bring up, from a depth of several miles, a trustworthy reading of the heat which prevails in those unexplored recesses, is a question which demands an answer before the Gulf Stream can be fully compre- hended in its fundamental facts. The proposed investigations are seriously obstructed by the enormous pres- sures in the regions to be explored, which derange all common contrivances. The ordinary glass thermometers were repeatedly tried in the Coast Survey sound- ings, but as uniformly broken. Attempts were made to protect them by strong metallic cases, which were also crushed in, as illustrated by an example now exhibited among the contributions of the Coast Survey at the Crystal Palace. Mr. Saxton, the eminently ingenious and successful head of the Instrument Department in the Coast Survey Office, then devised the deep-sea thermometer, which bears his name, and which has been used for several years with entire suc- cess. Some accidents, not faults of the instrument, have had the effect to prevent such extensive observations as Mr. Bache had provided for, but it is to be hoped that each year will contribute to the number of our re- s j liable observations with this elegant apparatus. One of these beautiful instruments is on exhibition in the Coast Survey collection at the Crystal Palace ; and we proceed to state its principle and the arrangement of its parts. mg- l. The main feature is a compound spiral or helical band or ribbon, composed of 42 two similar plates firmly united along their surface of contact, the outer one being of silver, and the inner one of platinum. As the rates of expansion of these two metals are widely different, the variation of temperature to which the spiral is exposed, will produce a considerable movement of torsion, or rotation, at the bottom of the helix, the top being fixed. This principle is familiar in Bre- guet's torsion thermometer, and Mr. Saxton has only applied it to a novel case, with an improved arrangement at the upper extremity of the spiral, for mag- nifying and reading the indication furnished. The motion of rotation, given by a change of temperature, is very well fitted for reading, as by gearing it up, it gives a quite ample rotation to an index hand. Within the spiral is a hollow tube, to which at the top the spiral is screwed fast, as shown in Fig. 1. Within this tube is a small rod or axle, which is connected with the bottom of the spiral, and turns freely on a supporting pivot, so as to communicate the torsion rotation to a toothed silver wheel on its top, which is shown in Fig. 2 : that part only being toothed which will be needed. A small pinion, which bears the index hand, takes up the motion, and is made to traverse the graduated silver rim, and carry with it a stop hand, Fig. 3, which will indicate the maximum or minimum temperatures passed in the descent, according to its arrangement. Surface tem- peratures are read off at once, and the sounding lines give the depths. The whole of this arrangement is inclosed in a firm metal case, as shown in Fig. 4, which protects it from injury, and yet permits the water to pass freely around the spiral, causing it instantly to take the temperature of its locality. Fig. 4. The top case is covered with a cap, pierced with small holes to permit the water to pass freely. The whole case is then mounted in a metal frame by means of two rings. The top ring turns on two side pivots, to permit the insertion of the case ; but the lower ring is in halves, one of which is fixed, and the other opens out to receive the case, after which it closes, and is tightly clamped. An eye at the top receives the sounding-line, and one at the bottom any requisite sinking weights. All the delicate parts of this thermometer, which could be corroded, are heavily electro-plated with gold, by Mr. Mathiot, in the Coast Survey Electrotype Labora- tory, so that they are not liable to injury with fair treatment. In using this instrument it is thrown from the side of the vessel at successive times, first observing the surface temperature, and then sinking it to a small depth, and again to one a little greater, and so on, till it can be decided that the stop hand indication belongs to the greatest depth attained. The passing of a point of maximum or minimum temperature, however, complicates the problem, and makes it a matter of critical judgment to connect the temperature and depth with accuracy. In the hands of good observers, it yields excellent results, and, though not all that could be desired, is still a most excellent instrument within the range of its capacities. Its cost, made in the limited numbers required in the operations of the Coast Survey, is about sixty dollars, though a -demand for con- siderable numbers would much reduce this amount. We trust that this or some bet- ter instrument, if possible, will hereafter be employed with increased zeal in the study, not only of Gulf Stream temperatures, but of the ocean throughout its whole expanse, and even in our lakes and the interior seas of the whole world. Surface temperatures alone are quite insufficient to give correct results, for the solar radi- ation produces a great effect on the superficial layers, and we must penetrate to one or two hundred feet before we enter on the grand temperature scale. A minimum temperature is usually passed in descending, at that depth where the sun's effects may be assumed to terminate, and we then enter on an increasing scale of temperatures, which, according to one of Prof. Bache's discussions give with the co-ordinates of depth, a curve clearly and obviously the logarithmic curve. The connection between this result, and some of the grand results of that THE NEW-YOKK EXHIBITION ILLUSTRATED. theory of heat whioh treats it as an elastic fluid, is striking and eminently suggest- ive, though too recondite to he more than mentioned here. There is then a vast field of research, full of interest and promise, for whose exploration this ther- mometer is, we helieve, the most reliable instrument, and we trust it will there- fore be put into increasingly active requisition. TYPE FOUNDING. rpHE "early printers in Germany made their letters in Gothic and semi-Gothic J- forms; and Oaxton, in England, and Antoine Verard, in France, printed their works with a style of letter imitating the handwriting of that period. In Italy, under the influence of the beautiful manuscripts, more common there than else- where, and of the excellent taste of the early printers, the form of the letters was completely changed into the style which we use at the present day, under the name of Eoman letters. In 1462, Louis XL, of France, sent Nicholas Jenson, an engraver in his service, to Mayence to learn the new art of printing. But Jenson, for political reasons, established himself in Venice, and engraved there the beauti- ful Roman characters, which Garamond afterwards took as models in engraving the types employed by the Elzevirs in their celebrated books. The Eoman charac- ters were also adopted by the Aldi and the Stephani, whose beautiful and finished works it is the glory of modern printers to imitate and rival. But little improve- ment has been made in the art of casting types since its invention, which goes back to the origin of printing itself. The types made by Baskerville and by Didot, are not more elegant and perfectly finished than the earlier masterpieces of the art which we have mentioned. The innumerable changes which have been intro- duced into the shapes and relative proportions of letters by the caprice of modern engravers, are retrograde changes, the fashion for a while, and then forgotten. The old letters of Garamond and Jenson have been again employed by Pickering and other eminent English publishers, and will probably always maintain their place with printers of taste. In the United States, types were first cast in 1735 by Christopher Sower at Germantown. Unsuccessful attempts were made in 1768 to establish type-foundries one in Boston, and another in Connecticut ; but not long after the close of the War of Independence, the first regular type-foundry was set up in Philadelphia by Baine, who came there from Edinburgh. In 1790, Messrs. Binney & Ronaldson also commenced the business in Philadelphia, and met with great success from the growing number of newspaper and other job offices, which, in ten years in- creased the amount of printing threefold, and caused a corresponding extension of the business of type-founding. These gentlemen are credited with the first im- provement made in the art since its invention. It is a type-mould, which was in- troduced into Europe at the commencement of this century, and is known there as the American Mould. By this mould 6000 types are cast as easily as 4000 by the old process. The first extensive foundry in New- York was established in 1811 by Mr. "White. He had before been a type-founder in Hartford, where he had invented and used a method of casting several letters together, but this device was dropped after his removal to New- York. Another type-foundry was erected in 1813 by Messrs. Bruce. The business has since been extended to keep pace with the increased number of newspapers and books published here, and each of the principal cities of the Northern and Western States now has one or more type-foundries. These give employment to about 800 persons, and produce daily between 4000 and 5000 pounds of type. They furnish nearly all the types used on this continent. Some of the finer book-work is still done, however, with English types, and the Oriental founts, and the beautiful Porsonian Greek type, employed at Mr. Trow's University Press in this city, are also imported. The first and most important step in type-founding is to prepare the punches. They are pieces of soft steel, upon each of which the engraver cuts a single letter with all possible accuracy, and they are then carefully tempered. The face of the punch resembles the finished type. Its impression, made in soft copper, is called a matrix ; it is the mould which forms the face of the type. The mould of the shank is made of two pieces of steel, which fit accurately to each other and the matrix, and are inclosed in wood for convenience of handling. The type metal is poured into a funnel-shaped orifice at the top, and by a peculiar movement of the caster's arm, is thrown into the cavities of the matrix. When the metal is set, the founder detaches the matrix from the face of the type, and the mould is then opened and the type removed. The overplus of metal which filled the fun- nel is next broken off, and the sides of the types are rubbed smooth, after which they are secured in frames, and have their ends cut smooth, and the lower one also ground. The process of learding, which consists in bevelling the angle of the body below the letters, is performed at the same time. Types of the same fount are distinguished by one or more nicks upon the lower edge or end, which enables the compositor to set them correctly without looking at each. The composition of type metal is various. Lead forms about 75 per cent, of the alloy ; it is united most commonly with antimony, but sometimes with copper, brass, tin, or bismuth. Within a few years, types have also been made by powerful steel punches from plates of cold copper ; but we have not learned whether they have come into use. The first successful machine for casting type was invented twenty-five years ago, by Mr. William M. Johnson. It did not come into general use, probably be- cause the types manufactured by it were not as solid and durable as those made in hand-moulds. The latter continued to furnish the ordinary means of type- casting until six or eight years since, when the Type-Casting Machine, of which we give an engraving, was invented by David Bruce jr., of New- York. Its merits have been thoroughly tested by L. Johnson & Co., of Philadelphia, who exhibit the machine, and cast type with it in the Crystal Palace. These gentlemen have applied it in their extensive establishment to the manufacture of almost every variety of type, and have attained a degree of finish and accuracy entirely satis- factory. The peculiar merit of Bruce's Machine is, that it produces solid and sub- stantial types with great rapidity — the limit being in the time required for the metal to solidify after entering the mould. The force with which the liquid metal is injected into the mould is so great, that the proportion of the defective letters is much smaller than in hand-casting. The fine lines of the matrix are brought out sharp and unbroken. The space occupied by the machine is about 14 by 20 inches ; including the wooden frame on which it rests, it is three feet high. A pot filled with type-metal occupies the back part, and a small furnace, fed with anthracite coal, is placed be- neath it, or a gas-burner powerful enough to maintain the fluidity of the metal. A cylindrical tube or pump, stands vertically under the metal, and has a spout project- ing from the front side of the pot. A piston rod, set in motion by a revolving crank, moves up and down in the cylinder, and at every revolution injects a small quantity of the metal into the mould, which, at the proper moment, comes closely up to the spout to receive it. After the metal has been received and hardened, which is done almost instantly, the mould recedes a few inches, its upper half rises, and the type is thrown out into a gutter leading to the receiving box. The type is then ready to be finished as we have already described. The power required for the various move- ments, is communicated by cams arranged along an axle, whose crank is turned by the right hand of the caster. All, or nearly all, the types produced in American foundries are cast by ma- chines ; the only exceptions that we know of being large, ornamental type. Ma- chines have been sent from the United States to Europe, and others have been in- vented there, but they have not been much used except in Germany. They are well known to type-founders in England, but have never been employed by them, THE INDUSTRY OF ALL NATIONS. probably in deference to the prejudices of the 'workmen in their service. The use of machines for casting has contributed to reduce the price of type within a few years, but it is still an expensive article, not so much from the cost of the ma- terials, as from the labor required to cast and finish it, each type having to pass through five separate operations ; and they are also subject to rapid wear and deterioration, both when they are actually employed in printing and when stereo- types are cast from them. Printers in the early days of the Art, and indeed until recent times, cut and cast the type themselves, as well as executed all other operations connected with their profession, which are now divided among many distinct trades. This divi- sion of labor, and the excessive competition consequent upon it, have had the effect to destroy the original and personal characteristics which belonged to the work of ancient typographers. The art of type-founding has now been successfully applied to every variety of language and alphabetic form. The reduction of the intricate and complex characters of Chinese to type is a triumph of the art. In the truly magnificent display of the typographic art at the Exhibition of 1851, three methods of print- ing Ohinese were exhibited, and all of them are now successfully employed in Europe and in Canton. The historical importance of saving from oblivion the languages and idioms of the human races, can be fully appreciated only by the philologist, and it would be foreign to our purpose to remark upon it here. ASSIGNMENT OF SPACE. THE following Official Report of the General Superintendent of the Crystal Pal- ace, to the Board of Directors, shows the views and objects, which regulated the assignment of space in the Exhibition of the "World's Industry : Report on the assignment of space to home and foreign exhibitors, and to the several classes into which the Exhibition was distributed. Three different methods of national assignment were considered. One was geographical in its principle — the building being octagonal in its form, it was proposed to lay a plan of it upon a general map, and to place the nations as nearly as possible according to their relative geographical positions. The second was to distribute the nations through the building by lot. The third was to assign their situations arbitrarily, and with a special refer- ence to the character of the exhibition of each nation. The adoption of the latter method was rendered almost imperative by the situation of the Machine Arcade, and the necessity of placing England and America in juxtaposition with this part of the building. By far the greater part of the machinery in motion will belong to this country. To the United States, therefore, is allotted the northeast quarter of the building which is nearest the seat of power, the boiler-house being on the opposite side of Forty-second street. To Great Britain and Ireland is assigned the other division, (the southeast), adjoining the machine-room. It fortunately so happens that this section with the galleries above, afford the amount of space demanded by the British portion of the Exhibition. The two largest classes of exhibitors being thus disposed of under the rule of necessity, the distribution of remaining nations is less difficult. Even in this, however, circumstances supply a guide. The whole of the northeastern section, with the corresponding galleries, are insufficient for the American part of the Exhibition — it is necessary to cross the north nave, and occupy some courts in the northwest section. Again the contributions of France and the States of Germany are of them- selves nearly enough to occupy one entire quarter of the building. The encroach- ment of the United States upon the northwest division, has not left them suffi- cient room there — it is most convenient therefore to divide between them the only remaining division — the f southwest, — which, with the exception of two courts allowed to Belgium, they fill up entirely, their lighter productions occupy- ing, as in other cases, the corresponding galleries. The space now remaining to be assigned, is that part of the northwest division which is not filled up by the productions of this country. This is capable of receiving the contributions of the other nations, and of the British Colonies. In this are placed Switzerland, Holland, Austria, Italy, the Oanadas, Newfoundland, British Guiana, &c. The form of the building might lead to the opinion that there was a greater choice of positions with reference to the sun, than is really the case. For those nations that suffer the disadvantage of a southern aspect on the walls bounding their space, have the advantage of north and west, or north and east lights on their nave fronts, and, on the other hand, the nations that are in the north divi- sions, encounter the sun on the line of their naves ; consequently there is no great choice of positions on this account. In the national assignment of space, two rules have in general been observed. One is to give to each nation the gallery above its floor space, another to give to each nation a front on some one of the naves. The first of these rules could not be invariably followed. Switzerland, for example, required no floor but only gallery space, while Holland, Austria, and the British Colonies required only floor space. The particular cases are decided by the nature of the property exhibited. After the general assignment of space to the nations comes tie subdivision among the classes. The machinery in the case of Great Britain and America is placed, of course, either in or adjoining the machine-room. The sculpture and finer products of artistic skill, the paintings excluded (for which there is a distinct gallery), are exhibited with the best effect in or near the naves. It is my purpose, therefore, in the local distribution of the classes, to proceed in each division outward towards the naves, from the productions of nature to the works of art, and from machinery to its results. This purpose has governed me in the arrangement of the classes in the Ameri- can department of the Exhibition. The same general views have been ap- plied, as far as is convenient or practicable, in the other national departments. I have adopted the general classification of the materials of the Exhibition, made at the Great Industrial Exhibition of London, with slight exceptions, one of which is the subdivision of class ten, and the creation of a new class of musical instruments, which is numbered 30. The analysis and further separation of the classes, I leave to the juries. Very respectfully, your obt. serv't. S. F. DU PONT, General Superintendent. We add to the Official Report of the Superintendent the list of Classes under which the articles have been arranged. LIST OF CLASSES INTO WHICH ARTICLES AEE DIVIDED. Class 1. Minerals, Mining and Metallurgy, and Geological and Mining Plans and Sections. 2. Chemical and Pharmaceutical Products and Processes. 3. Substances used as Food. 4. Vegetable and Animal Substances employed in Manufactures. 5. Machines for direct use, including Steam, Hydraulic and Pneumatic Engines, and Railway and other Carriages. 6. Machinery and Tools for Manufacturing purposes. 7. Civil Engineering, Architectural and Building Contrivances. 8. Naval Architecture, Military Engineering, Ordnance, Armor, and Accou- trements. 0. Agricultural, Horticultural and Dairy Implements and Machines. f 10. Philosophical Instruments, and Products resulting from their use j e. g. Daguerreotypes, &c.,) Maps and Charts. } 10a. Horology. [ 10b. Surgical Instruments and appliances. 11. Manufactures of Cotton. 12. " " Wool. 13. " " Silk. 14. " " Flax and Hemp. 15. Mixed Fabrics, Shawls, Vestings, &c. 16. Leather, Furs, and Hair, and their Manufactures. 17. Paper and Stationery, Types, Printing, and Bookbinding. 18. Dyed and Printed Fabrics, shown as such, 19. Tapestry, including Carpets and Floor Cloths, Lace, Embroidery. Trim- mings, and Fancy Needlework. 20. "Wearing Apparel. 21. Cutlery and Edge Tools. 22. Iron, Brass, Pewter, and General Hardware, including Lamps, Chandeliers, and Kitchen Furniture. 23. Work in Precious Metals, and their Imitations, Jewelry, and other Per- sonal Ornaments, Bronzes, and articles of Vertu generally. 24. Glass Manufactures. 25. Porcelain and other Ceramic Manufactures. 26. Decorative Furniture and Upholstery, including Papier-Mach§ Paper Hangings, and Japanned Goods. 27. Manufactures in Marble, Slate and other Ornamental Stones Cement &c. for Construction and Decoration. 28. Manufactures from Animal and Vegetable Substances, not woven or felted or otherwise specified. 29. Miscellaneous Manufactures and Small Wares, Perfumery, Confectionery Toys, Taxidermy, &c. 80.,Musical Instruments. 31. Fine Arts, Sculpture, Paintings, Engravings, &c. THE N E W • Y O It K E XHIBITION ILLUS T K A T E D . We fill another page with those exquisite ex- the top of the page, and the adjoining Chan- Tk 8 -!! ! t art - , " an « f ^ture > delier, are contributions of which illustrate and sustain the jl Lerolle, Freres. The elobe claim of France to artistic pre- r * \ which forms the central part of nence. The Bronze Vase, at the latter, is covered with a The large Centre Piece is ex- | hibited by Messrs. Tiffanv You.no ifc j Ellis, of New-York and Paris. It I and bronze, the one in the Exhibition is executed by them, both in silver | being silver. The supporting figures rich blue enamel, set with golden stars, I as the branches of the chandelier, are ncluy and supports a female figure, which, as well | gilt. The piece beneath, representing a Wild I bronzes exhibited by Auguste Weyqant, Boar, attacked by dogs, it one of the | of Paris. 45 are allegorical, and represent the I sophv, Earth, Air, "Water ind Fire- elements of ancient physical philo- | the two latter are the ones' in view. ' THE INDUSTRY OB' ALL NATIONS. Italy maintains her reputation as the home of the Fine Arts, by her numerous contributions of statues and paintings to the Exhibition. The sides of the West and fusion of these beautiful objects. On this page we engrave North Naves, and the Italian quarter are filled with a pro- Atala and Chaotas, the Indian heroine and warrior of Chateaubriand, the work of Innootnzo Fbacoakoli, u\ The winged boy, called the Genius ok Spring, is the work I The Mabblk JIanti.p, with which we conclude thi.- sculptor of Milan. | of Pelliceia director of the Fine Arts Academy, at Carrare. | page, is exhibited by .h>n\- Kkvnkdv, of .New-York. 111.- designer and manufacturer. It is sculptured in the renaissance style, with friezes of foliage and grotesque heads, and is supported by figures of nymphs. 46 THE NEW-YORK EXHIBITION ILLUSTRATED. From the examples of decorative furniture which are exhibited in the French Department, we have selected and engraved upon this page a large and beautiful Buffet, contributed by Rinquet, Leprinoe & Co., of Paris and New-York. This article, we are informed, was manu- factured in this city, although it is placed among the other contributions of the house which come from Paris. It is elaborately carved in black walnut, and further ornamented with decorative paintings. The Fire Engine, of which we give an illustration, was made by William Jeffers, Pawtucket, R. I It appears to be of excellent workmanship. 47 THE INDUSTRY OF ALL NATIONS. There are no more beautiful and interesting objects in ment. The French have excelled all others in this ex- the Exhibition than the bronzes of the French Depart- | quisite branch of art-manufacture, whether the excellence of the -workmanship, or the beauty of the designs is con- sidered. We commence our illustrations of the bronzes The Emigrant, a plaster model of life size, is exhibited by S. Lawlor, London. with three subjci-ts from the contributions of Lerolle, Freres, of Paris. The elaborate Clock in the centre repre- sents the Conversion of a Saracen. It is accompanied by a Candelabrum on each side, one of which is supported by the figure of a Moor, and the other by a Crusader. Both of these bronzes are richly gilt and silvered. We engrave two elegant Parlor Chairs, which forir. I is enamelled in white with gold decorations, and up- I of Louis Quatorze ; the other is of French black part of the contributions of Balnv, Jr., of Paris. One | holstered with white and red damask, in the style | walnut. THE NEW-YORK EXHIBITION ILLUSTRATED. The large Candelabrum upon this page is another of | the exquisitely beautiful bronzes contributed by Lerolle foliated stem of the lights, and is supported in front by a loosely-robed Bacchante, crowned with a wreath of ivy and grapes, and copied from a sculpture by Canova. In the Austrian Department the visitor's attention is at tracted by a curious collection of variegated marbles, and the fossil ammonites of which it is mainly composed. The two Candelabra here given are cut from this mar- , " a e dt, u5r AuVri a : ibileJ by J - G - R — > of h -«- Frkres. It is a rieh example of the style of Louis XV. 1 From a base of marble or bronze, rises the branching and ' Ri FLE In^T^L^i"^"^ r ^P resents the Repeating ' "" ent eu by Col. P. W. Porter, of Tennessee. It is an excellent example of the beauty and good wort- I shows to a considerable extent, the mechanical peculiari- weapon. A full description will be given in another manship of American firearms. The engraving also | ties which render this so efficient and formidable a | part of the Record. 49 THE INDUSTRY OF ALL NATIONS. The CtsTRE Piece, silver gilt, representing the stems tea service — are among the contributions of Mr. Angell, of London. The Statue of a female, which we engrave on this page, has had no name imposed upon it by the sculptor. i Anhuev Bom, of Milan. It is in terra cotta, and is a | hardly needs to be named. The Cage of Cupids ex- creditable example of that art. plains itself. It is executed in The characteristic work which '"^^'''^^~"''\^^^^' marble, and exhibited by Gae- lills the remainder of the page, $< v,*. f$$p^^ tano Motelli, of Milan. and foliage of the oak, is emblematic of Europe. This and the adjoining Group of silver ware — a breakfast or / ^S THE NEW-YORK EXHIBITION ILLUSTRATED. The Btatue representing Erminia writing the name vi her lover, Tancredi, is the work of Signor Peu.iit.ia. TheTeiuiA Cotta Vase belongs with tlio smiihir Atneri- c.in objects given on a previous page. mastiff. He has just broken his chain, and while enjoy- ing his new liberty, he stops, arrested by the familiar sound of his master's voice. The half-open mouth, and protruding tongue, indicate his quick panting ; his ear* are thrown forward, and his eyes are directed towards the point from which the sound came. The expression of (.he face shows the good nature of the noble animal, as if I We engrave one of the Encaustic Tilks, for whose lie only waited a second call to return. The Sentinel is a | manufacture Messrs. Minton ife Co. have become _ fa- likeness of a dog formerly owned by T. F. Hopfin, Esq., of mous. It is a mediseval art, invented probably to imi- I'rovidence, by whom it was modelled, and is exhibited. | tate Roman mosaic pavements. Messrs. Minton enjoy The spirited Bronze Dog, called the Sentinel, repre- :,ts a eross between the St. Bernard and the English the honor of having restored it, following the ancient I means to produce them In a future part of the Record uses, forms, and patterns, but inventing new mechanical | we shall describe them at length with colored illustrations. SI THE INDUSTRY OF ALL NATIONS. From the profusion of articles in terra cotta manufac- tured and exhibited by Andrea Boni vj *> ■» a i cellence and beauty. We select a Vase of blue parian, and a graceful Pitcher, or Jug, as our English friends call displayed upon this piece, are ntl'.her beautiful in | themselves, nor do they produce a pleasing effect. 52 THE NEW -YORK EXHIBITION ILLUSTRATED. VOLTA BEFORE NAl'OLEON AT THE FKENCII INSTITUTE. THE ELECTROTYPE PEOOESS. "YT7IIEN Galvani was convulsing frogs with Ms rude primitive battery, or when ' » Volta was presenting to the French Academy an account of his more ad- vanced arrangements and results, there was but slender promise of such magnificent fruits as are now seen in the electrotype process, and in the magnetic telegraph. The twilight dawn of great discoveries, like the remote sources of mighty rivers, foreshadows to common perceptions nothing of the future greatness which their full career is to embody. That subtle agency, which Volta expounded, in imper- fect phrase, before the French Academy, is now known to be as wide as creation in its workings, and as intangible as the spirit of man in its substance. Al- ready have electric currents, in their widely-varied functions, been found to pervade nearly all of material nature, and the history of electrical science has grown voluminous and absorbing beyond all precedent ; though we are still con- strained to believe ourselves only on the verge of this expanding realm of fact Our present business is with this current as a worker, in a particular limited field, where it serves as a delicate fingered artist in metals, or wears the guise of a transcendental Tubal-Cain : for such is the function of dynamio electricity in its electrotype uses. The discussion of electric metallurgy, in its wide and rap- idly enlarging extent, would so much exceed our limits, that we must rest content with treating the electrotype proper, or the process of reproducing metal plates by molecular deposition, through the regulated action of galvanio currents. The electrotype renewal of engraved plates with perfect correctness of detail, has now become a process of as entire certainty as any of the coarser forms of casting, for all sizes and descriptions of work engraved on copper. The finest touches of the graver can be indefinitely multiplied without any loss of delicacy, and in a very short time. No mechanical impediment now prevents the unlimited reproduction of copies from the largest and finest copper-plates ever engraved, and this at a cost, which compared with the usual prices of such prints, is absolutely trifling. One cannot but long to see this process applied to those elaborate plates, the prints from which have been sold for prices up to fifty dollars, or more, under the conviction that only a few impressions could be obtained without re-engraving, thus making the cost of a single impression about equal to the expense of making an electrotype copy of the original copper-plate. The time apparently is near at hand, when fine engravings of this description will receive so wide a diffusion as to make the original outlay for engraving a mere trifle, when distributed among the great number of copies which a low price will cause to be sold. Some publisher who is an art philanthropist, and sagacious withal, will ere long extend the prin- ciple of cheap publication into this higher department of art ; thus making a portfolio of engravings by the best masters a luxury within the means of thousands, who are now excluded from their purchase by the alarming prices of good line engravings. The finest works of art can be electrotyped with the same ease as the coarsest map plate ; nor is the cost of printing and paper very much increased by the fine quality of the subject, or by its delicacy of treatment. The electrotype process was made a practical fact by Jacobi and Spencer, in 1838, though an instance of electro-metallic deposit is recorded so long ago as 1805, which however lay quite fruitless. Its rapid strides in improvement up to the present time, have been due to the united labors of many intelligent practitioners of its several forms of application. Ohm's law, and Smee's laws of current actions, have given fundamental principles for reasoning and experiment, which have guid- ed investigators in their operations, directly to positive and excellent results. The chief articles of interest, in connection with electro-metallurgy, now on exhibition in the Crystal Palace, are the large map plates of the IJnited States Coast Survey, made in the office of the Survey at "Washington; the map plates of the British Ordnance Survey, made in the Ordnance Map Department at South- ampton ; and the several articles in the English Department, contributed by Elking- ton, including various castings of reliefs, busts, ornamental vases, &c, and specimens of electroplating. "We will now present in brief the mode of copying engraved plates in the Coast Survey Office by Mr. G. Mathiot, who has there devised many of the processes and appliances so successfully employed. Visitors will observe in the Coast Survey space, under the great North window, three plates, 42 by 38 inches in size, contain- ing work of the finest quality. These are respectively an original plate, an alto or relief-lined plate, and a basso, or duplicate, so like the original as not to be easily distinguished, except by examining the back. This original, on being completed by the engravers, was carefully cleaned, and its surface silvered. It was then washed with an alcoholic solution of iodine, and exposed to the action of light ; this process, one of Mr. Mathiot's invention, is beyond question far the best means in use for preventing a final adhesion of the deposit to the matrix plate. The plate thus prepared, was suspended vertically in a vat, containing a solution of sulphate of copper, and a raw copper-plate, of rather larger size, suspended par- allel to it. These plates were then made to serve as electrodes, by being connected with a powerful battery. The copper in the solution of sulphate, which adjoins the engraved face, was thus deposited by decomposition, being thrown down as a pure copper layer on the face, while the free acid acted on the raw copper-plate, and thus sustained the strength of the solution ; the whole action amounting to a transfer, or carrying by water, of the copper from the rough plate to the engraved surface. "When the deposition had progressed far enough to form a good surface- layer, the plate was shifted into a horizontal vat of the same solution, and the raw copper-plate supported on a frame just above it. A specially contrived furnace sus- tains in this solution a heat of about 180 degrees, which greatly facilitates deposition. The current was again brought to act, and maintained in steady operation until the deposit attained the thickness requisite for safe handling. The plate and de- posit were then withdrawn from the solution, filed around their common edge, and the two were then separated or split apart through the iodine layer which was introduced on the original face, forming probably an iodine atmospheric film. The deposited plate is the alto, which exhibits, in relief and direct, all the engraved re- versed lines of the original. This alto was then made to serve in turn as a matrix, on which a new copper-plate, one-eighth of an inch thick, was deposited in pre- cisely the same manner as in forming the alto. This plate is an exact duplicate of the original, and is called a basso, or an electrotype copy. It requires only a little smoothing on the back, and a removal of any accidental specks or imperfections, to be ready for the printer. The time occupied in the reproduction of a plate, containing ten square feet, can be brought within a week for forming both alto and basso, though economy of working usually makes it preferable to take some- what more than this minimum time. A careful regulation of the current under Smee's laws is of great importance as an indispensable means of securing the re- quisite metallic properties in the deposit. Planished copper-plates are quite infe- rior to good electrotypes for printing, as the pure metallic copper resulting from electro-deposition is free from that porosity which produces cloudiness of impres- sion. The work of inking and wiping an electrotype is considerably less than for a planished plate, and the wear for each impression is consequently less. The first electrotype copy of the largest plate exhibited, printed about two thousand im- pressions, without showing wear, though the work is remarkably light and fine, so that the original would probably have failed in less than one thousand printings. The cost of producing these large plates may be judged from the rate of deposit, which is sometimes as high as 3 lbs. per square foot, in twenty-four hours. The consumption of materials admits of accurate estimate, but the cost of work, apparatus, &c, varies 88 THE INDUSTRY OP ALL NATIONS. much with the kind and quantity of work to be done ; though a dollar per pound would probably prove a remunerating price in regular work, free from piecing or inserting. Smee estimates at a sovereign per pound, but this rate is certainly much above what the methods of Mr. Mathiot would require. This process of repro- duction is made to serve as a means of inserting views, uniting separately engraved plates, so as to shorten the time of engraving, and also to facilitate erasures, by scraping off from an alto the relief lines to be erased, and then obtaining a basso, blank in those parts. Thus the scarring and beating up from the back, which make ordinary copper-plate erasing so troublesome, are quite avoided. A critical examination of the Coast Survey plates, will show that they are as perfect as copper-plates seem capable of being made. A comparison of these with the Southampton plates, will show a marked superiority in their evenness of de- position, and in the smoothness of then- backs. The Ordnance Survey plates required to be laboriously filed all over their backs, while the inequalities filed from the backs of the Coast Survey plates were comparatively insignificant, though these plates quite exceed the English in size and thickness. Indeed the results indicate a decidedly better management of the currents by Mr. Mathiot, than is displayed in any other electrotype work exhibited. In Elkington's electro-castings there is a degree of inte- rior roughness, which, making all due allowance for the irregular forms of his subjects, indicates a much less perfect control of the deposit than is exhibited in the Coast Survey plates. So far as we have the means of knowing, these plates exhibit the electrotype art in its highest attained perfection. As the French Government is about borrowing the Southampton arrangements for a laboratory, connected with their Depot dc la guerre, under the impression of its superiority to all European establish- ments of this nature, we may conclude that the Coast Survey Laboratory, excelling that of Southampton, as it clearly does, both in the facility and the results of its oper- ations, stands absolutely at the head of electrotype practice in reproducing plates. The use of iodine to prevent adhesion, the heating of the electrolytic solution by a constant furnace, the electro-deposited silver plates, used in the batteries, and other minor improvements, wrought out by Mr. Mathiot, are quite sufficient reasons for this superiority. We quote from his Eeport (Am. Journal of Science, vol. xv., 2d series, 1853, and C. Survey Eeport for 1851, Appendix 55), the following description of the C. S. Laboratory, apparatus and manipulations : — Fia. 1. □ a a □ B B B B 00 7, _ — d->< SCALE I IN. TO 4 FT. " Laboeatoey Appap.attjs. — Figure 1 is a plan of the Coast Survey Electrotype Laboratory. The glazed partition, b, b, b, b, with a door, d, separates the battery room from the general laboratory, and permits an easy inspection of the batteries, without exposure to their fumes. The laboratory floor is about six feet above the ground, and slopes inward from the sides towards the scuttle holes, h, h h, h, ar- ranged for discharging the waste liquids spilled upon the floor. To obviate the deleterious effects of working on a floor saturated with chemical agents, when any solutions are spilled, the floor is well flooded and brushed, the water passing off through the scuttle holes. There are four battery cells, placed as indicated, B, B, B, B. A rectangular India-rubber bag, supported by a deep wooden box, contains the battery solutions. Each cell can contain nine sil- Fig. 2. ver and eight zinc plates. A metallic connection unites all the zinc plates of a cell, and another one all the silver plates. Each cell can be used as an independent bat- tery, or two, three, or four cells can be connected in consecutive or simultaneous order, or all combined into two pairs of two in consecutive or simultaneous or- der, or into one group of three and one of one. The position of the vertical decomposing vat is shown at V, and that of the horizontal vat at H. S is a large tub for washing plates. The tub contains the solution of chlorid of iron. Q is the quicksilver tub, and W, W, are fresh water tubs. F is the furnace, and d, d, c, c, are heating tubes connecting with the vat H. T is a flat iron table. Fig. 2 exhibits a cell and its included plates, with their mode of suspension. Fig. 3 represents the suspend- ing frame of wood and the attach- ed plate, P, prepared for immer- sion in the vertical vat. Fig. 4 shows the vertical vat and the plates suspended in it. Fig. 8. '1 16 inches. Fig. 4. 4ft. 3 inches. Fig. 5 represents the adjustable plate-supportingframe used in the horizontal vat. Fig. 6 exhibits the interior arrangement of the horizontal vat, a blank plate and an engraved original being in position ; also the connecting copper rods leading to the battery. Fig. 7 represents the heating furnace. The door for admitting air is shown at Fig. e. WIT llalllllf Bui Fig. 7. a, and is so connected with an adjusting compound bar of iron and zinc that by an adjusting screw it can be arranged to regulate the draught, opening or closing the door, thus maintaining a uniform heat in the solution. After getting the fire started, this door is set so as to close when the solution reaches a heat of 180°- In principle this furnace is similar to a bath-heater. A tubular helix of lead is coiled within it like the worm of a still, and the terminat- ing branches c and d lead to the horizontal vat, the branch e uniting the top of the vat just below the liquid surface with the top of the coil, and d at the bottom of the vat with the bottom of the coil. JJence follows a circulation of the solu- tion from the furnace- at top and into it at bottom. "Manipulation. — "When a plate is to be eleotrotyped, it is placed on trestles above the open scuttle holes, h, h, h, h, and thoroughly cleaned by washing with alkalies and acids. It is then silvered, iodized, and placed before a window. A plate of rolled copper an inch larger than the engraved plate is then selected, placed on the flat iron table, and beaten with mallets until a steel straight edge shows it to be plane. It is then weighed and fixed in the vertical plate frame by two copper hooks. The engraved plate is then similarly fixed in a similar frame, when both are placed in a vertical vat and connected with the battery. " The process does not go on well when the plates are vertical, but it is necessary to start the castings in this position to prevent dust, motes, or specks of impurities, from settling on the face. As the rolled plate dissolves, its impurities rapidly ren- THE NEW -YORK EXHIBITION ILLUSTRATED. der the solution muddy, and endanger the face of the forming plate. For common electrotypes dust or mote specks are not detrimental ; but the Coast Survey copper- plates being not inferior in fineness of lines to fine steel platos, the effect of impu- rities settling on the face of their copies is to give the impressions a clouded ap- pearance. On first immersing the plate, the solution should, therefore, be perfectly clean. Formerly, after each use of the vertical vat, it was emptied and washed out. When the solution had deposited its sediment it was drawn off and strained through very fine cotton. This whole operation was extremely disagreeable, and consumed a whole day of one man. " By a simple expedient I have saved the necessity of cleaning the vat oftener than once a month. To guard the new plate from specks and impurities, a bag of fine cotton is drawn over a slight wooden frame, which keeps it distended. An hour or more before the solution is wanted, the bug, with its included frame, is placed on top of the solution and loaded with the copper bars used to support the plate frames. The weight causes the bag to sink gradually, filtering the contained solution as it goes down ; tho impurities cannot wholly choke the meshes of the cloth, as a fresh portion is constantly brought into action during the sinking. I thus filter the solution without taking it from the vat or disturbing the sediment, saving much labor, time, and annoyance. " The plate remains in the vertical vat over night, and preparations are made in the morning to transfer it to the horizontal vat. The furnace is first brought into action. A new plate of blank copper, an inch larger than the matrix, is flat- tened on the iron table, and bolted to the edges of wooden bars by platinum bolts, for the purpose of preventing the plate from sagging downwards when supported horizontally. The plate so arranged is called the strapped plate. The coated ma- trix is then taken from the vertical vat, disengaged from its frame, and arranged in the horizontal frame. A wooden wall, an inch high, then surrounds the plate and on this wall the strapped plate is laid, when the whole combination is placed in the horizontal vat and the connection with the battery established. The posi- tive plate is then taken from the vertical vat and its loss of weight noted and re- corded. From the known superficial area of the matrix, the quantity of copper re- quired for a casting one-eighth of an inch thick is computed and recorded. The blank copper consumed in both vats must equal this amount before the required thickness is reached, allowance being made for impurities of rolled copper and ' roughness on the back of the electrotype. After a few hours of action the strapped plate becomes so loaded with impurities that they will begin to drop on the elec- trotype ; this plate must, therefore, be removed from the vat and a new one imme- diately supplied. The dirty plate is then washed in the large water tub, and when cleaned its loss of weight is found and recorded. By the amount of loss the action of the batteries is tested, and it is found, if Smee's laws are being observed. Vigi- lance must now be exercised in watching the batteries and rate of work, and the power must be varied to suit circumstances. " The entire working battery generally requires renewal once a day, the process being conducted as follows : One zinc and one silver plate are taken from the bat- tery ; the silver placed in the solution of chlorid of iron, and the zinc taken to the water tub outside the door of the battery room, where it is scrubbed clean with a hard brush. It is then reamalagated at the quicksilver tub, and taken back to the battery. The silver plate is transferred from the chlorid of iron solution to the adjacent fresh water tub. Another plate is then transferred from the battery to the chlorid solution, and another zinc cleaned, washed, and put back in the battery with the first silver. In this manner the whole battery can be renewed without sensibly interrupting its action. " When the loss of weight from the rolled copper in botli vats indicates that the required thickness of the electrotype is gained, the plate is withdrawn from the battery, detached from its frame, its back smoothed, and its edges filed, until a separation can be made. By separation, the original becomes liberated, and the alto or reversed relief is silvered and electrotyped exactly as an original. The copy from it, or the electrotyped basso, will, if the process has been property conducted, be a perfect fac-simile of the original, and in hardness, ductility, and elasticity, will equal the best rolled and hammered or planished copper-plate." However gratifying the progress of electrotype art has already been, there is evidently much more to be accomplished by its agency in copying all varieties of designs in metals. Electro-stereotyping is already much in use, and must become far more common in this age of large editions. The letter-press and wood-cuts of a popular magazine are now printed from a thin electro-deposited copper layer, backed with a fused metal filling. We confess to a lack of faith in the pretension advanced on the cover to a new electrotype process, as the generally known me- thods are very easily capable of affording the results reached, and the affectation of secrecy which is maintained, is not the sign of a real discovery. Our own country, requiring such immense issues of popular works, both of lit- erature and of art, would seem to be the natural home of the electrotype, and we feel a well-based confidence that many perfections and amplifications will be given to this beautiful process in the country which has most to gain by its progress. The field of novel applications is by no means yet exhausted, but many hitherto unimagined uses will doubtless spring up, as this art advances to greater perfection and facility. BRIDGES. TO enable us to examine these important structures understandingly, it is well at first to eliminate a few of the most important general principles governing their construction, and applying the conclusions to the various models illustrating the progress and condition of this branch of engineering science, to decide upon the merits of the various plans exhibited. And although these leading principles may be materially modified, and in particular instances governed by purely practical, considerations, yet the infractions induce defects, which should be admitted only undor serious necessity, and counteracted, by an appropriate remedy. An ex- amination of all these influences cannot be properly made here ; and the models before us do not enable us by experiment with them to form an opinion of the structures represented. Besides the difference in workmanship and the omission of joints, fittings, and fastenings in the one, which are matters of neces- sity in the other, the model is no direct index of proportional strength. The strength of similar beams varies as the breadth and square of the depth, or as the cubes of the diameters, if cylindrical ; and inversely as the length. Of two cylinders of similar material and configuration, differing only in size, the strength of the larger strained by its own weight, will be in the inverse proportion to its dimensions. d 3 The strength of the smaller cylinder may be represented by ^ (w the weight and I the strength, and d the diameter), and that of the larger, if the dimensions be doubled, by - — — or — — or one hah? of that of the first. To relieve it of for- mal language ; the consideration is, that while the weight is increased eight times by doubling all the dimensions, the like proportion of strength gained by increasing the breadth and depth, or diameter, is lessened by the greater distance between the supports. If, then, the spans of a bridge are doubled or trebled, and the dimen- sions increased in like proportion, the strength will be but one-half or one-third. A model weighing but a few pounds may sustain several tons without injury, but when enlarged to the size of a useful structure, the same arrangement of material may be incapable of sustaining its own weight. In an ordinary rectangular beam resting upon supports at the extremities, the lower fibres are in a state of tension, and the upper ones are compressed ; and about the middle of the depth, the fibres have little or no strain either of crushing or tensile etfect, and contribute but slightly to the strength of the beam. By re- moving this neutral part, and connecting the remaining upper and lower chords by appropriate ties and braces, in such a manner that the rigidity of the one assists the cohesion of the other, a straight bridge truss isformed of much greater strength than a solid beam of the same weight. This combination, represented in the an- nexed figure, forms a truss well adapted for an aqueduct or other uniform load. A partial distribution of the load, however, involves an additional consideration which has been frequently overlooked. Let the weight or load be applied at A ; it resolves itself upon B and 0, the e D A points of support, in the directions A B and A 0, and induces a rise of the points D and E, similar to the effect produced on one side of an arch by overloading the other. Owing to the manner of their connections, the braces are not adapted to sustain the tensile force occasioned by this action, and the neces- sity for introducing iron tie-rods, or wooden counterbraces in the other diagonals of the panels is at once illustrated. Their absence induces a racking strain, which destroys the integrity of the framing, and loosens the courses of the piers. The piers supporting a bridge possess a degree of stability, rendered necessary by obvious causes, which may be made available, and to a certain extent increased, in designing the superstructure, or, as we are now considering the subject, the bridge itself. Suppose a beam resting upon supports : the lower fibres of the beam resist a tensile force, and the supports merely sustain the weight of the beam. Wedge the ends of the beam firmly in the supports, and the lower fibres are compressed and re- lieved of the tensile | strain, and maybe re- ; j . moved entirely up to j ...--" """"--.. j the dotted line; the upper corners also, sus- taining no strain, may be removed. We have thus materially lightened the bridge, and rendered it capable of sustaining a greater load, by throwing an additional strain on the piers, which is counter- acted by the thrust of the adjacent arches or embankments. The lower curve of the arch is termed the intrados or soffit; and the upper, the extrados. The upper portion of the curve is termed the crown, and the lower parts, the haunches and heels. In a uniformly heavily loaded arch with the intrados of a circular curve, the tendency at the crown is to open the joints, if of stone, at the soffits, and at the haunches, the joints are broken at the extrados. To obtain such a curve for the intrados that the tendency to fracture would be equal throughout the arch, was formerly considered a prime object ; but the necessity for adapting 53 M* THE INDUSTRY OF ALL NATIONS. the bridge to the line of the road, and the absence of an equal diffusion of the load, and consequent strains, has led the curve to be disregarded of any purpose other than determining the direction of the courses of the stones, which should be at right angles to the strain. The courses in a vertical wall, it is obvious, should be horizontal. In the illustration above, the neutral axis remains the same after the beam is converted into the arch ; and as the application of material at the lower part of the arch would be near the neutral axis, and of no utility, it is manifest that the strength should be increased, as in the beam, by increasing its depth or rise. In parallel, concentric arches, the lower meets no strain at the centre ; and the upper, none at the ends. It is necessary, however, to adapt the arch to a horizontal road-way, either by direct suspension, as in the aqueduct bridge over the Calder in Scotland, and the Trenton bridge in New Jersey ; or by a system of ties and braces forming a truss, affording a mutual support to the arch and road string-pieces, as in the Upper Schuylkill bridge, which was designed and built by L. Wernway, and has a single span of 340 feet. In the consideration of first principles alone, we have found the arch to be the best disposition of material ; and also that a benefit may be derived from the supports of the road- way being employed as braces to the arch. As the strength of a structure is the strength of its weakest part, and an excess of strength in any other part is made worse than useless by the injurious weight of the surplus material, it is ne- cessary to connect the systems where a part of one may be useful to the other, and may be employed without danger of infringing the independence of either. If one half of an arch be removed, and replaced by a vertical wall of sufficient stability to resist the thrust of the remaining half arch, there will be no other support needed, and it will stand as firmly as before ; showing that while the piers sustain the whole weight of the arch acting vertically in the direction of gravity, there is no direct vertical force acting at the crown. This alteration in the direction of the strain from the vertical to the horizontal, will obtain in any arrangement of parts. The curve taken by a string, freely suspended at its ends, shows the direction of the forces throughout its length, and the lowest point in the curve is obviously under the action of horizontal forces alone. When the arch rises above the neutral axis, therefore, there is only a horizontal strain operating at the crown, which can be best opposed by mere area of cross section ; and the braces and ties adapted to a vertical strain are there of no use. The heels of the arches support the weight, acting more or less angularly as the centre of gravity is distant. If the heels of the adjacent arches butted, or were worked toge- ther, there would be no necessity for arguing the advantage to be gained by tying the crowns together. Notwithstanding the action is precisely similar to that of a tie compression, relieved at the heels in the arch truss, by the bracing which transfers a portion of the strain, and converts it into a tensile force operating in the direc- tion of the chords, and in some cases almost entirely relieving the abutment of the thrust. Mr. Haupt, an eminent engineer in extensive practice, states, in a valuable work recently published by the Appletons on this subject, that when a straight bridge settles, the quickest curvature is nearest the abutment ; and that he has found, in examining a large number of bridges, the joints of the braces near the abutments were invariably compressed and tight, whilst near the centres there were no symptoms of crushing, and an occasional imperfection in fitting would allow the admission of a knife-blade. The trussing also permits the application of the important principle of counter- bracing which we have before adverted to; and which, by a system of keying to the braces, or screwing to the iron ties, may compress the arch, and indeed the whole structure, as if by the application of a load; so that the load itself on its passage relieves the counterbracing to the extent of the artificial load, and is pre- vented from exercising any lifting motion upon the opposite part of the arch or truss. The conclusions to which we are led by these considerations, which apply more particularly to wooden bridges, are : — 1, the arch, assisted by trussing at the haunches, is the strongest method of disposing of the material ; 2, the strain at the crown is horizontal, and best met by direct section ; 3, the strain at the piers is vertical, and renders the use of ties and braces, as in a truss, most advantageous. Allen's self -supporting, arch trws bridge. The model is said to be a correct representation on a scale of half an inch to the foot, of a bridge of 190 feet span. It is a light, slender affair, weighing, probably, about 30 pounds, yet it is said to be able to sustain three tons. Experiments of this kind, as has already been shown, are of but little worth ; and the value of this model for experimental pur- poses is not increased by making up the body of the chords in pieces — the results would have been materially modified, however, had the butting joints been intro- duced by dividing the pieces longitudinally in the chords taking a tensile strain. The entire thrust of the arch is transferred by the braces to the upper chord which operates as a tie-rod. The reduction of the section of the arch and increase of vertical timber, by lessening the length of the panels towards the centre of the span, is in opposition to leading principles. James Scott, of New Lisbon, Conn., exhibits a model of a combined truss and arch bridge, of which he is the inventor and patentee. The braces and counterbracea are similar, and starting in the same plane, spring over one another in crossing. The adjoining sets meet in mortices in the vertical posts or ties, which are half sundered to admit them, and are wedged up by keys. Bolivian's Bridge. — It is a suspension bridge, in which the return chains or stays, and the anchors are replaced by a hollow cast-iron stretcher extending from pier to pier. The vertical posts are also of cast-iron, and, by the bot- tom of each being suspended from both pier-heads, the sections are supported independently of each other. If a weight be placed anywhere but at the centre of a beam supported at both ends, it is unequally distributed ; yet in this bridge, rod of a roof, and the fact apparent to one least in the habit of considering such matters, that the strain is met iu a direct line, and the whole construction much relieved by such an arrangement, we frequently find the arches of a bridge made each complete in itself, and neither assisting nor benefit- ing by its neighbor. We have seen that where there is a tortional or revolving strain about a neutral axis, as in an ordinary beam or straight truss, the depth is the most important element, as the strength increases in propor- tion to its square. In the equilibriated arch every particle of matter is in a state of 56 the ties from a post next one of the piers have the same sectional area, although the one to the adjoining pier-head carries nearly the whole weight, and the other extends at a very acute and inefficient angle over the remaining portion of the THE NEW-YORK EXHIBITION ILLUSTRATED. span to the opposite pier-head. •The floor beams are merely for the purpose of carrying the rail, and, it is stated by the inventor, are not adapted to performing any function of support to the bridge. Fink's Bridge.— The model of an iron bridge by Albert Fink, of Baltimore, is also a cast-iron trussed girder, similar in principle, but in some respects superior to that at Harper's Ferry. Its construction is shown in the preceding drawing. i-*.^2^ V.X Long's Bridge. — The model of an iron bridge invented and patented by Colonel S. H. Long, of the IT. S Top. Engs., is exhibited by M. M. "White, agent, New- York. It is a variety of the ordinary lattice bridge, which has been a number of years before the public under the name of Eider's Bridge. It is a straight truss with cast-iron upper* chords, and vertical ties, and wrought-iron diagonals, and lower chords, counterbraced by keys or wedges at the upper ends of the ties. Owing to the simplicity and similarity of the parts, it is cheaply and readily framed, and for small spans is an economical bridge. But in cases where the mag- nitude of the undertaking requires the rejection of every pound of useless mate- rial, and the employment of the remainder to its fullest extent, an examination of the governing principles of the arch will soon lead to a consideration of the differ- ence of the strains at the crown and the heels, and a disposition of the material to meet them, unlike the uniformity which prevails in this plan. " Uncle Sam Bridge" invented by Hammond Howe, of Cincinnati. It is stated by the inventor, that this model of a horizontal truss bridge which may be constructed of wood or iron, is 16 feet long, weighs 63 pounds, and can carry 3448 pounds ; it re- presents a bridge 480 feet long, containing 135,000 feet, board measure, of timber averaging six inches square, and 47 tons of iron, and which will be capable of carry- ing 10,800 tons. Its distinguishing characteristics are straight lower chords, and arched upper ones, springing from points sufficiently high to clear the roadway, and with a rise nearly sufficient to double the depth of the truss at the centre. The immense span represented by the model, and the employment of small timber, produces an effect of complexity of parts which the structure would not possess. The ties, braces, and counterbraces, are well arranged in sets gradually lessening in lengths towards the abutments, and properly disposing the timbers vertically at the piers, and at their most acute angles near the centre. It is prob- ably overloaded in the middle, and the secondary chord to the upper arch, if the braces are well bolted, is of no utility. The butting blocks at the heels of the braces are superior to the ordinary joints. PENNSYLVANIA MINERALS. Mining is a most fascinating pursuit, involving the pleasure of a hazardous ad- venture and the excitement of successful play. Its profits are sometimes so ftbulous, that its losses are overlooked, and men are always ready to venture even with the smallest evidence upon its large and certain expenses. Although Amer- ica, from its discovery until this day, has furnished the great bulk of the precious metals, mining, as an art, or as a science, has never been well understood here, nor systematically followed — and especially in the United States. Gold being found for the most part on the surface, in the alluvial sands, is extracted by the rudest means and the most unskilful operators — the process being unworthy of the name of mining. The few deep mines in Virginia and the Carolinas, where the gold-bearing rocks are wrought, scarcely form an exception to this remark. The ores of silver, and those of the less valuable metals, are, however, to be procured only by deep mining, and the resources of the United States in this direction have yet to be developed. The galena (ore of lead) of Missouri and the adjacent regions, has been hitherto dug from beds of clay at an inconsiderable depth. There is no regular lode or vein, and the process of procuring it is even less like mining, than the washing of auriferous sands. The native copper of Lake Superior, has no analogy in the previous history of mineral explorations ; and while its returns have been in several cases most encouraging, and remunerative to the share- holders, we are still too inexperienced in this new mode of copper-mining to enable ns to speak with certainty of its future success. "We are lead to speak of this subject by the exhibition of the ores of lead from the Wheatley Mines in Pennsylvania, accompanied by diagrams of the mines, of the machinery used in working them, and specimens of the several products. Pennsylvania has immense wealth in coal and iron, as all the world knows ; but her resources in copper, lead, and zinc, are now only beginning to be developed. The collection of Pennsylvania coals and irons, made under the supervision of Dr. 0. M. "Wetherell, will be the subject of a future notice. The mineral region where the Wheatley Mines are situated, is in Montgomery and Chester Counties, and occupies a belt of country from six to seven miles long, ranging across the Schuylkill River, near the Perkiomen and Pickering Creeks, in a general east and west direction, and along the boundary of the so-called primary and secondary rocks. The existence of some of the metallic veins of this region has been long known, but it is only lately that a systematic exploration of their contents has been undertaken by Mr. Charles M. Wheatley. UnderJ his judicious management, the chief lode of argentiferous galena has been proved to a depth of over two hundred feet, and a monthly return of about one hundred tons of silver-lead-ore obtained. The mineralogist, and the lover of beautiful nat- ural objects, will see with equal pleasure and surprise the superb crystallisation of metallic salts from these mines, now exhibited in the Mineralogical Department. They embrace the carbonate of lead, sulphate of lead, (anglesite of the mineral- ogists), phosphates of lead, green, brown, and yellow ; molybdate and molybdo- chromate of lead, splendid red crystals ; arseniate of lead, chromate of lead, galena, bars of silver obtained from the galena, and various other products less attractive to the uninstructed eye. "We speak understandingly and without exaggeration, when we say that the sulphates and molybdo-chromates of lead in Mr. "Wheatley's col- lection, are the most magnificent metallic salts ever obtained in lead mining, and unequalled by any thing we have seen in the cabinets of Europe.* These attractive HIGH-PEE88UKE 24-INCH PTJMPIvG ENGINE IN TTSE AT THE WHEATLET MINE. * [ Selecting the "Wheatley Lode as presenting perhaps the greatest diversity of species, and as that which has received the closest study, we find the mineralogy of these veins represented by the following large and interesting catalogue of species : — Sulphate of Lead Crystallised, Carbonate of Lead " Phosphate of Lead " Arseniate of Lead " Molybdate of Lead " Chromomolybdate of Lead, Arseniophosphate of Lead, Sulphuret of Lead, Antimonial Sulphuret of Lead and Silver, Sulphuret of Zinc, Carbonate of Zinc, Silicate of Zinc, Sulphuret of Copper, Green Malachite, Blue Malachite, Black Oxyd of Copper, Native Copper, Oxyd of Manganese, Native Sulphur, Native Silver, Quartz crystallised, Cellular Quartz, Oxyd of Iron with Silver, Brown Hematite, Brown Spar, Sulphate Barytes, Iron Pyrites.] 67 THE INDUSTRY OF ALL NATIONS. crystallisations possess, however, far more interest for the chemist an mineralogist than for the economist, who will see more hope of future returns to shareholders in the lumps of solid galena, and the bars of white silver, than in the brilliant facets of the gems before named. The inexperienced in such matters will learn with interest, however, that these flowers of the earth's dark recesses have a high economi- cal value as indicating the existence of solid and enduring mineral wealth below. In the chemical and geological antagonism, whose energies sent up to the surface the mineral veins from the deep interior, the more volatile and easily exhaled compounds have sought the upper surface. The air and the atmospheric waters also have penetrated to a certain depth, in the course of the veins, producing changes in their contents, the most remarkable of which is the washing out and removal for the most part of the metallic substances. These veins, therefore, near the upper surface, present only a dull mass of cellular quartz, whose cavities are filled with yellow ochre, or dull black powders of the oxyds of iron and manganese, with here and there, perhaps, a metallic spangle, or stain. The eye of the experienced miner rests with delight on these ugly gvzmiut, as he callsUhem, in the provincial dialect of Cornwall — for he is sure of success in depth where the surface lifters such promise. Succeeding these dull and unattractive signs, of which Mr. Wheatley's collection^resents specimens, are found the elegant salts before mentioned, but lower down at the depth of some hundreds of feet, heavy masses of galena and of other sulphur com- pounds of the metals, fill the rich portions of the vein, and offer the safest assurance of continued wealth. The geology of this metalliferous district of Pennsylvania, has been studied i :'.ely by Prof. H. D. Rogers, who lias made a special report to the proprietors upon have it in our power to call public attention to this subject by so good an example of patient and skilful development at our own door. To give more distinctness to lu<;n-rKr.-si. UE i'UMPtx} i \<;im-;, '.M-inch i.ilim.h/, in um: a'] niineuit.u r mini;. it. From this report, and our personal knowledge of 1 lie district, we have drawn what has been said. The elaborate maps of the region, constructed upon the plan of the ordnance s'wey maps of Great Britain, will be observed, suspended in the Exhibition, and upon them the metallic veins are traced in gold. We are happy to S8 the matter, we have caused some of the diagrams of the mining machinery, used at the Wheatley Mines, to he engraved for this article. Although such drawings may be of no special service to the experienced miner, they cannot fail to impress those who have had no previous knowledge of the subject with the absurdity (not to say the criminal disregard of others' interests), of those who rush ignorantly into the business of mining explorations, with no other idea than the creation of some temporary excitement, during which innocent persons are in- duced to subscribe shares, with the certainty of failure before them. In view of the unfortunate frequency of such examples, we hail with pleasure the exposi- tion of Mr. Wheatley as a tokens of some sure progress made in one of the great industrial and productive arts of this country. The steam engines employed hitherto in this region are high-pressure en- gines, and they have been used alike for pumping and for raising the mining products to the surface. Hereafter as the resources of the region are more fully developed, the much more economical Cornish engine will be employed. One such machine is indeed already in motion at the Perkiomen Copper Mine with the most satisfactory results. Below are given figures showing the construction, and position of the steam engines in use at the Wheatley, Brookdale and Charleston Mines. Also a tabular statement of the duty performed by each. It will be observed that all these engines are automatic or intermittent in their action, remaining inactive until a certain load of water has accumulated on the pumps, when " a float " releases a lever communicating with the steam "cut-off," and a motion of the piston relieves the pumps of their burden, and the machinery is again quiet until a fresh accumulation. The great economy of fuel, and of wear and tear in such an ar- rangement must be obvious, as compared with a regular continu- ous motion, having no regard to the work to be done. This engine is situated on the same vein or lode as the " Wheat- ley,'' and is distant from it 2,076 feet in a southwesterly direction. It will be observed that this engine works upon the dip or " under- lie " of the vein, which is here about eighteen inches in a fathom. Between those two engines, at a point nearly midway, and on the* same vein, a very large shaft is now in process of being sunk, over which is to be placed a first-class Cornish engine, with the design of draining the entire lode. "When this is accomplished, the engines before described will be used only to raise the products of the mine to the surface. The proposed Cornish pumping engine is to have a diameter of cylinder of 80 inches, and a stroke of 12 feet. About half a mile westward of the Wheatley and Brookdale Mines, whose engines have just been described, exists another powerful silver-lead lode strictly parallel to the first named. This is called the Charleston vein. It has as yet been ex- THE NEW-YORK EXHIBITION ILLUSTRATED. plored to a less extent than the " Wheatley," both in depth and horizontal reach, but the results are every way encouraging. The mineral contents of the vein, its gozzans, and its bounding walls, make it a counterpart of its more eastern neighbor. About 1700 feet of its horizontal range, and 180 feet in depth have been explored, and the main shaft is being sunk with activity. The accompanying figure is a proportional sketch of a condensing engine of 24- inch cylinder which has been erected over the Charleston Mine. This is what in Cornwall is called a " Whim Engine " (i.e. an engine for moving the " whim," or apparatus by which ore and rubbish is raised from a mine). In a more ad- vanced stage of explorations, a pumping engine will be added, and then the pre- sent machine, which now does all the work, will be restricted to its appropriate function. the agriculturist ? " The whole world has been searched during the past ten years for new sources of supply for this indispensable ingredient of all fertile soils. Is it not possible that this maybe a new source, or one hitherto overlooked? It is proper to advert before closing this article, to a few facts upon the gen- eral geology of this district, and of its metallic deposits which are of equal practical and scientific interest. "We will endeavor to make these statements as simple and untechnical as possible. In (he previous part of this article, itwas stated that the mineral veins of this district passed uninterruptedly out of the gncissic strum (rocks belonging to the granitic family) into the red sandstone, adjacent. Now it is a curious fact, worthy of much attention, that the metalliferous veins, so long as they remain in the gniessio rocks are lead-hearing veins ; that as soon as these same veins pass the boundary of the primary and enter the red shales, the' char- EXPLOBENO HIGn-I'EESStTEE ENGINE AND BOILER, CAPABLE OF LOCOMOTION. The above figure represents a very convenient and economical form of " Ex- ploring Engine." which has proved of great service where explorations were to be made prior to the erection of more expensive and permanent machinery. It is easily transported from place to place by horse power, and will serve to drain and sink a shaft from 70 to 100 feet in depth. The following tabular statement will show the duty of the several engines just mentioned — working under one-third " cut off." Names of Minea. Diameter of Cylinder. Length of Stroke. Load in lbs. Gallons of water lifted per min. Cwt of Coal consumed per 24 hours. Millions lbs. lifted one foot high perewt. coals. Inch. Strokes per. rain. Feet. Wheatley Mine. 24 10 6 8360 360 2300 31.4 Brookdale Mine. 24 6 8 4410 216 1500 15.2 Charleston Mine. 24 6 5 6490 216 1200 28. This duty is very much below that of the Cornish pumping engines, the best of which raise for every bushel of coal consumed, one million of pounds one foot high in a minute. The depth of the several shafts, at these mines, on the first of July, was as follows : The Wheatley, 240 feet. " Brookdale, 120 '" " Charleston, 120 " 3 do. do. each, 50 " Besides 1 of 60, 1 of 90, and 1 of 100 each. The total length of adit levels driven in these mines, up to the same date, was 3519 feet. About 1000 tons of lead have been raised and sent to market during the explorations, which the owners regard as only preliminary to the more vig- orous and productive workings of the mines. As already remarked, the more easily volatilized of the lead ores, and those resulting as secondary products from the decomposition of galena by atmospheric causes, occupy the upper and less productive portions of the veins. It is remarkable that among these the phosphate of lead should occupy so prominent a place — form- ing not less than three-fourths of the whole metallic product of the upper levels. It is a curious subject of scientific inquiry, from whence came such enormous quan- tities of phosphoric acid? But a question of much more practical and economical interest is — " Cannot the process of smelting these ores be so modified, that the phosphoric acid may be secured in a form of combination fit for the purposes of acter of their metallic contents is changed, and they become copper-bearing lodes. This general statement is subject 'to some exceptions, but it is, at the same time supported by so many remarkable confirmatory instances, that there can be little hesitation in accepting it as the law of the district. The question of the geological age of metallic deposits has always been con- sidered one of the greatest practical and scientific importance. The Perkiomen district furnishes us some facts of singular interest bearing upon this question. The red sandstone deposits, into which the metallic veins have been intruded from the underlying primary rocks, belong to the period known to European geologists as the triassie, but more familiar as the new red sandstone, a deposit more recent than the coal measures. Now it happens that this quarter of Penn- sylvania is intersected by numerous veins of igneous origin, familiarly known by the name of trap dykes: — it is obvious, on reflection, that inasmuch as these trap dykes intersect alike the primary and secondary rocks, that the fissures which they fill must have been formed subsequent to the laying down of the sedimentary strata, in other words, the instrusive rocks are more recent in their geological age than the new red sandstone. The hearing of these facts upon the subject under consideration will be understood, when it is known that in the exploration of the Wheatley lode, three of these trap dykes have been discovered, intersected and displaced by the metallic vein. Moreover, such was the force producing the fissures now filled by the metallic lode, that the corresponding or opposite parts of the two walls, have been heaved or displaced horizontally, in one instance more than fifty-six feet out of their original position. These facts show not only that these metallic veins are more recent in their origin than the sedimentary deposits through which they are injected, but also more .recent than the system of intrusive rocks. The same system of new red sandstone rocks accompanied by the intrusive trap dykes, is common also in the valley of the Connecticut, and in the State of New Jersey. In both of these places, indications of copper exist along the lines of junction of the several members of the system, but they nowhere show a disposition to form well-de- fined courses of a metallic character. It is the opinion of Prof. Rogers, that the metallic vein-fissures of this region were formed and filled during the long period when the eastern slope of the Alleghanies was still beneath the ocean, from whose waters were deposited the extensive belt of tertiary and cretaceous strata bordering the Atlantic border of North America. The effect of the oceanic overflow appears in the very extensive and deeply penetrating decomposition which the gneissic strata of this region have suffered, yielding to the landscape those soft and beautiful swells and outlines for which this fine agricultural district is remarkable. We would refer those who desire more particular information on this subject to the reports of Prof. Eogers already so often alluded to. THE INDUSTRY OF ALL NATIONS. PKINTING. THE Art of Typography is illustrated in the present exhibition by the type- founding apparatus of the Messrs. Johnston, of Philadelphia, and by the printing presses of I. & S. Adams & Co., of Boston, and A. B. Taylor & Co., New- York. The presses are driven by steam, and are in constant operation at the Crystal Palace, in the East Nave. The Hand Catalogue and the Illtjsteated Eeooed, are printed upon them under the su- perintendence of J. F. Trow, of New- York. A brief de- scription of the pe- culiarities of these machines is all that we propose to at- tempt; the gene- ral principles of printing presses are so universally known that they need no detailed ac- count or illustra- tion at our hands. Adams' Press. — This machine, of which we annex an engraving, was invented and manu- factured by Mr. Isaac Adams, of Boston, and is known more espe- cially as " Adams' new Patent Power Printing Press." — Some of its peculiarities were introduced to the public in 1830, and were then patented, but most of them were brought out in 1836, when another patent was granted to Mr. Adams, which in 1850, was renewed for the term of seven years. The press requires the attendance of only one person, usually a girl, whose duty it is to supply the sheets of paper, one by one, to the " pointing board," from which they are taken by little iron fingers or nip- pers, and carried beneath the platen. As each sheet reach- es this place, the bed of type is elevated to meet the paper and impress it. After impression, the sheet is borne on for some distance by a " frisket," which moves in a horizontal direc- tion ; by a blast of air received from a bellows, it is raised from the frisket on to rollers, which carry it to a "fly," and this last con- trivance throws all the sheets upon a table, and piles them there com- pactly. Meanwhile the bed of type has been inked by the rollers, and by the time a second sheet has reached the platen the bed has returned to its place, and is ready to make a new impression. The ink is very carefully distributed over the face of the type by a 60 well-adjusted system of rollers, from two to six of which, in the various machines of this patent, are made to pass over the form. By this means the complete and even distribution of ink, so essential to printing fine engravings, is readily produced. The illustrated pages of the Reookd are printed upon this press. Taylor's Press was manufactured and invented by A. B. Taylor, of No. 5 Hague- street, New- York, and is definitely known as a " large single-cylinder printing ma- chine." The engra- ving at the foot of the page illustrates its general appear- ance. The sheets to be printed are placed one by one on the table at the top of the ma- chine, from which they are taken by the five clasps or fingers, which are seen in the cut, and brought upon the cylinder. As the cylinder re- volves, the bed of type w hich is seen at the left in the engraving, is brought beneath it, and conveys its im- pression to the re- volving paper. Only one revolution of the cylinder is re- quired for a single impression. The sheets thus printed are carried forward by the " fly " to the table at the ' right, while the bed of type returns to the left to receive the ink for the new sheet of paper already prepared for it. The machine is provided with two large and two small vibrating ink-distributors, and four composition rollers for inking the form. One peculiarity of this machine is in the air springs attached to it for resisting the great momentum which the bed of type ac- quires in passing to and fro beneath the cylinder. They consist of hori- zontal hollow cy- linders, which are attached to each end of the bed of type, and have pis- ton rods or plung- ers, fitted accu- rately to them. These plungers are fixed in the frame- work of the ma- chine, and as the bed of type ap- proaches either end, the piston there placed compresses the air within the cylinder, so as to resist the momen- tum of the bed of type as effectually as a spring, but without its liability to disarrangement. Ihe amount of pres- sure may be very readily adjusted to any extent which is required by means of screws. THE NEW-YORK EXHIBITION ILLUSTRATED. Of the beautiful articles made of papier mache we have selected for this page five objects from the contri- butions of Messrs. Jennens t mS of the excellence of our native materials, of which it is entirely composed, and of the beauty whi :h they may receive from the skill of our mechanics. It was also ex- hibited at the World's Fair, of 1851, and there received a prize medal. The body is made of American walnut The Antique Clock, made in 1509, is exhibited by Jerome, the well known manufacture*, of clocks in New Haven. The case is oak, and its rude, quaint carvings are in striking contrast with the smartness of its modern companions. The Ebony Cabinet, also an antique, if we may judge from its appearance, is exhibited by R. J. Gamelkooen, of Arnheim, Holland. It is elaborately and grotesquely carved in fanciful scrolls and figures, amoug which we distinguish huntsmen, and a stag and wild boar at bay. THE NEW-YORK EXHIBITION ILLUSTRATED. From the first introduction of portable fire-arms num- berless attempts have been made to increase their de- structiveness by giving to one instrument the power of many ; but it was left to American ingenuity to carry out the idea with practical success. The latest of these novelties is exhibited by the inventor, Mr. E. Whitney, of New Haven. The chambered cylinder is detached for loading by removing the centre-pin on which it re- volves ; when in place it is turned by the thumb or finger to the right or left, as may be desired. This repeater is discharged less rapidly than Colt's, but it is also much stronger and simpler in its construction, and therefore less liable to be injured by use, or if so, it may be easily repaired. The Caster, engraved on this paae, was made by the Ames Manufacturing Company, Chicopee, Mass. It is wrought in solid silver, and we are assured that it exhi- bits good workmanship. We cannot help expressing our re- gret that skill and labor of any kind should have been wasted on a design of such unequi- vocal and unmitigated ab purdity. It has neither beauty nor Ctjitss, but every artistic propriety has been sacrificed to carry out a paltry and"puerile conceit In works in the precious metals, we are entitled to expect a grade of art corresponding to the rich and costly nature of the ma- terials, and in articles of table furniture, we also require a design in harmony with their obvious uses. Three wild cats, turned tail foremost towards the trunk of a tree, and snarling at two others in its branches, form a group which would be ridiculous wherever perpetrated, but when they are stuck upon the foot of a caster, and made to decorate (?) a dinner-table, the conceit becomes offensive as well as absurd. What possible connection is there between a group of cals and a vinegar cruet or pepper box ? A caster requires to be lifted, and needs a handle smooth and convenient to the hand ; but here we are treated instead to a twist of two branches with rough and sharp projections, impossible to grasp with comfort, and, aB though this were not enough, two cats are added, struggling over some nondescript animal which they have caught. The statue on the right of the page is the work of Signor Piatti, the superintendent of sculpture. It represents the son of an Irish farmer, during the late years of famine. THE INDUSTRY OF ALL NATIONS. Works in the precious metals occupy no inconsider- able space in the exhibition, and attract attention by their beauty and the great intrinsic value which they I extent in the English, they are more remarkable for their represent. In the American department, and to some | value as bullion than as works of art. In works of this kind, as we have before remarked, we are not satisfied I rare and rich in design and execution as to give additional I value to materials already rich. The workmanship with ordinary artistic merit. The ornament must be so | | 8hould hem0Te pre cious than the metal which receives it We introduce upon this page favorable examples I from the American department. The silver Breakfast | and Tea Services, and the Coffee Urn, are eontri- I buted by Messrs. Bailey & Co., of Philadelphia, who | are, we understand, extensive manufacturers in that city. The large and massive silver Salver, occupying the centre of the page is selected from the case of the Messrs. Garrard, of London. *M< ots* >*.:%. THE NEW-YORK EXHIBITION ILLUSTRATED. The large Silveh Dish -which commences this page is also from the manufactory of Messrs. Bailey. It ap- pears solid, massy, and well wrought in a mechanical point of view, bnt we cannot call it beautiful in all re- spects. The figure of an elephant which surmounts it, is clumsy, awkward, and absurd, and fills ill, or not at all, the place of a handle to the cover, for which it was designed. The succeeding engraving represents a composition o' 1 ,. oses carved in relief upon a slab of Carrara marble. It is the work of Signer Z^ccagna, of Carrara. j A piece of elaborately carved furniture-a Table- | is contributed by John A. Clahk, a designer of ornamental furniture in Dublin. "We do not care to see little images | or tall and slender floral ornaments, however delicately | carved, perched upon the legs of a table or elsewhere at- tached when they have no constructive use. Decora- | tionsof this description are certainly not Useful, and as | certainly they are not in good taste. THK INDUSTRY OF AT, I, NATIONS. England has perfect' n of the The p ductions long been famous for the beauty and wood-carvings executed by her artists. of Grinling Gibbons, who has been ever examines the contributions of Mr. Rogers at the New-York Exhibition, will feel to be true what Horace Walpole long ago said of Gibbons, that he "gave to wood the loose and airy lightness of flowers, and chained together the various productions of the elements with a free disorder, natural to each species." We have engraved upon this page four examples ; Two Panels upon which bunches of flowers are carved, and another Panel, bearing the instruments and trophies of the chase. The fourth is a grotesque Mask, about which three youthful fauns are wreathing garlands of fruits and flowers. It is intended, we presume, as an architectural decoration for a theatre. The engraving which fills the remainder of this page represents a corner of an embroidered Handkerchief manufactured for Mrs. Pierce, the wife of the President justly called the English Cellini, still adorn the halls of Chatsworth, and receive the admiration of every visitor at that princely seat. In our own times the carvings of of the United States. This, and the Collak figured upon the adjoining page, are exhibited by the manufacturers, Messrs. John Higgins & Co., of New-York and Dublin. The sewed muslin trade of Ireland has already be- come one of very great importance both in a commercial and philanthropic point of view. It was introduced into Ireland during the years of famine in 1846-7, as a means of giving employment and food to the helpless Gibbons have been and graceful beauty reproduced in all their luxuriant by W. G. Rogers, of London. Who peasantry. In this generous undertaking the late Lady Deane, and the wife of Sir Lucius O'Brien, were nobly conspicuous. The former organized a parish school of embroidery, and taught and superintended it herself. Lady O'Brien sent an agent to France and procured educated superintendents, under whose care the peasant THE NEW-YORK EXHIBITION ILLUSTRATED. women and children of counties Clare and Kerry were transformed into artistic laborers. The value of these embroideries is very great. The London Times estimates the amount paid for labor of this kind, in 1851, in the province of Ulster, at 8,000,000 of dollars. Messrs. Higgins, who began this trade in 1847 with a weekly outlay of £10, now employ 45 convent and 17 parish schools, each averring 160 scholars, with a total yearly ■ outlav for wages of £40,000. j The design of the artist is drawn on stone, and then printed upon the unbleached muslin. The agent distributes the work to the schools, or to the cabins of < Ay Messrs. R.