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 efofck (fecial lata: f 
 
 BEING 
 
 A CONCISE GUIDE 
 
 TO THE 
 
 PRINCIPAL OBJECTS IN THE EXHIBITION (L 
 
 AS REMODELLED, 1854, 
 
 f wt first. 
 
 GENERAL VIE W.-SCULPTURE. -PAINTINGS 
 
 ,-^n 
 
 JUNE, 1854. 
 
 NEW YORK 
 G. P. PUTNAM & CO., 10 PARK PLACE. 
 
 m 
 
 ^w-_^w : — =- •— -_~rr- -i-^ -^5^ 
 
"V 3 
 
 
 CONTENTS 
 
 DESCRIPTION OF THE BUILDING 8 
 
 GUIDE 9 
 
 CATALOGUE OF PICTURES, 31 
 
 INAUGURATION SPEECHES, ETC .51 
 
 
*t^ 6 / * 
 
 
 HOW TO SEE 
 
 e^eto fck €xpkl lake: 
 
 BEING 
 
 A CONCISE GUIDE 
 
 /> 
 
 TO THE 
 
 PRINCIPAL OBJECTS IH" THE EXHIBITION 
 
 AS REMODELLED, 185a 
 
 
 • 
 
 
 fart $idi. 
 
 GENERAL VIE W.-SCULPTURE. -PAINTINGS. 
 
 NEW YOEK: 
 G. P. PUTNAM & CO., 10 PARK PLACE. 
 
 JUNE, 1854. 
 
 
£to Ifrarir d §\xtttm, 1SSML 
 
 JACOB A. WESTERVELT, 
 THOMAS B. STILLMAN, 
 DUDLEY PERSSE, 
 WILLIAM O'BRIEN, 
 EDWARD HAIGHT, 
 JOHN T. EARISH, 
 WILLIAM B. DINSMORE, 
 JOHN" H. CORNELL, 
 HENRY HILTON, 
 P. T. BARNUM, 
 JOHN H. WHITE, 
 MORTIMER LIVINGSTON, 
 WILLIAM CHAUNCEY. 
 
 JAMES B. BREWSTER, 
 WARREN LELAND, 
 ERASTUS C. BENEDICT, 
 WATTS SHERMAN, 
 CHARLES H HASWELL, 
 WILLIAM WHETTEN, 
 THEODORE SEDGWICK, 
 CHARLES W. FOSTER, 
 SAMUEL NICHOLSON, 
 CHARLES BUTLER, 
 HORACE GREELEY, 
 JOHN N. GENIN. 
 
 P. T. BARNUM, President, 
 
 Entered according to Act of Congress, in the year 1854, 
 
 By G. P. Putnam and Company, 
 
 In thft Clerk's Office of the District Court of the United States for the Southern District of New York. 
 
PEEPACB. 
 
 In the following Catalogue the Sculpture and Paint- 
 ings are given by themselves. The second part, which 
 will contain a full list of the machinery and a general 
 guide to the miscellaneous department, will be published 
 together. 
 
 The best way to see the statuary is in the order fol- 
 lowed in the Catalogue. But if the visitor should prefer 
 to unite the examination of the Courts with that of the 
 Naves, he can easily do so by turning to p. 21, et seq., 
 and taking the Courts in their numerical order. Let him, 
 however, by all means reserve to the last, the visit to 
 Thorwaldsen's group. 
 
 The daily arrival of new contributions may possibly 
 have caused some omissions, which will be supplied in a 
 supplement to the second part. 
 
 New York, June 13, 1854. 
 
DESCRIPTION OF THE BUILDING. 
 
 The following concise and graphic description of the building is copied from 
 the first number of the " Illustrated Eecord of the Exhibition," published by 
 Messrs. Geo. P. Putnam & Co. : 
 
 Reservoir Square, on •which the building of the New- York Industrial Exhi- 
 bition 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 Croton 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 rail- 
 ways and numerous lines of stages, there is nothing to recommend this locality, 
 while the solid and imposing strength of the Reservoir presents an inharmoni- 
 ous 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 
 framework is a system of iron columns and girders ; glass excludes 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 plaa, 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 engravings [on pages 22 and 23 of tins 
 catalogue], it will bo 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 architectural defect in diminishing the prospective of the in- 
 terior. 
 
 The arrangement of the columns is represented upon the diagrams. It will 
 be seen that they divide the interior into two principal avenues or naves, each 
 11 feet and 5 inches wide, with aisles 54 feet wide upon either side. The in- 
 tersection of the naves leaves in the centre a free octagonal space 100 feet in 
 diameter. The columns still further subdivide the aisles and the triangular 
 intervals between the arms of the crr^, into square and half-square compart- 
 
m 
 
 O DESCft'FTION OF THE BUILDING. 
 
 ments 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 extremi- 
 ties of the naves. The naves are carried above the roofs of the galleries to 
 admit light, and are spanned by 16 semicircular arches of cast-iron, which are 
 40 feet and 9 inches in diameter, and placed at a distance of 27 feet from each 
 other. 
 
 The number of cast-iron columns upon the ground floor is 190. They are 
 21 feet high above the floor, octagonal, and 8 inches in diameter ; the thick- 
 ness of the sides varies from half an inch to one inch. The cast-iron girders, 
 3 feet wide, of which the longest are 26 feet and 4 inches, and those of wrought 
 iron, 40 feet and 9 inches long, are indicated by the dotted lines. The first 
 tier of girders sustain the floors of the galleries, and brace the structure in all 
 directions. They are united to the columns by connecting pieces 3 feet 4 
 inches high, which have the same octagonal shape as the columns, and flanges 
 and lugs to be bolted together. The number of girders in the first tier is 252. 
 The second story contains 148 columns 17 feet and 7 inches high, which rest 
 on those below them, and have the same shape. They receive a second series 
 of girders numbering 160, which support the roofs of the aisles. They also 
 receive the semicircular arches of the naves. All the roofs are supported upon 
 arches or upon girders, by means of wrought-iron inverted trusses, which re- 
 ceive the angle iron purlins of the rafters ; the latter are made of strips of wood 
 inclosed between iron sides. The roofs are uniformly constructed of boards, 
 matched together and covered with tin. 
 
 The dome, noble and beautiful in its proportions, is the chief architectural 
 feature of the building. Its diameter is 100 feet, and its height to the spring- 
 ing line is nearly 70 feet, and to the crown of the arch 123 feet. It is the 
 largest, as well as almost the only dome hitherto erected in the United States. 
 To our untravelled countrymen it maybe an instructive example of the beauty 
 and fine architectural effect of which this structure is capable, although its 
 dimensions are trivial when compared with the majestic domes of the Pan- 
 theon or St. Peter's, or those other wonderful erections of classic and mediaeval 
 times when architecture was a passion, and united with religious enthusiasm 
 to produce the triumphs of the Art. We have given upon a separate page, as 
 a frontispiece of this number, an architectural section of the dome, Which will 
 give our readers a better idea of its structure than any description pan do. A 
 perspective view of the interior, which was promised by the architects for 
 this number, will be published as soon as it is ready. The dome is supported 
 by 24 columns, which rise beyond the second story, and to a height of 62 feet 
 above the principal floor. The system of wrought-iron trusses which connects 
 them together at the top, and is supported by them, forms two concentric 
 polygons, each of 16 sides. They receive a cast-iron bed-plate, to which the 
 cast-iron shoes for the ribs of the dome are bolted. The latter are 32 in num- 
 ber. They are constructed of two curves of double angle-iron, securely con- 
 nected together by trellis-work. The requisite steadiness is secured by tie- 
 rods, which brace them both vertically and horizontally. At the top, the ribs 
 are bolted to a horizontal ring of wrought and cast-iron, which has a diameter 
 of 20 feet in the clear, and is surmounted by the lantern. As in the other 
 roofs of the building, the dome is cased with match deal and tin sheathing. 
 Light is communicated to the interior through the lantern, and also in part 
 fr^rn the sides, which are pierced for thirty-two ornamental windows. These 
 are glazed with stained glass, representing the arms of the Union and of its 
 several States, and form no inconsiderable part of the interior decoration. 
 
 The external walls of the building are constructed of cast-iron framing and 
 panel-work, into which are inserted the sashes of the windows and the louver? 
 
DESCRIPTION OF THE BUILDING. 
 
 for ventilation. The glass is one-eighth of an inch thick, and was rnauufao 
 factored at the Jackson Glass Works, N. Y., and afterwards enamelled by 
 Cooper & Belcher, of Oamptown, N. J. The enamel, with which the whole 
 of it is covered, is laid upon the glass with a brush, and after drying, is sub- 
 jected t© the intense heat of a kiln, by which the coating is vitrified, and ren- 
 dered as durable as the glass itself. It produces an effect similar to that of 
 ground glass, being translucent, but not transparent. The sun's rays, diffused 
 by passing through it, yield an agreeable light, and are deprived of that inten- 
 sity of heat and glare which belongs to them in this climate. In the absence 
 of a similar precaution in the Crystal Palace of Hyde Park, whose roofs, as well 
 as walls, were inclosed with transparent glass, it was found necessary to cover 
 the interior of the building with ©anvas, to produce the required shade. 
 
 At each angle of the building there is an octagonal tower, 8 feet in diameter 
 and 76 feet in height. These contain winding stairways, which lead to the 
 galleries and roofs, and are intended for the use of the officers and employees 
 of the Association. Twelve broad staircases, one on either side of each en- 
 trance, and four beneath the dome, connect the principal floor with the gallery. 
 The latter are circular in part, and consists of two flights of steps, with two 
 landing-places. The flooring of the galleries is made of closely-matched planks, 
 while those forming the floor of the first story are separated by narrow inter- 
 vals, in the same manner and for the same purpose as in the London building. 
 Over each of the principal entrance halls, the galleries open upon balconies, 
 which afford ample space for placing flowers, vases, and statues for decoration. 
 Above the balconies, the ends of the naves are adorned with large fan-lights, 
 corresponding to the semicircular arches within. On each side of the en- 
 trances there are ticket offices, and adjacent to them rooms are provided for 
 the officers of the Association, telegraph, &c. 
 
 The rapid and unexpected increase of the applications of exhibitors, in- 
 duced the Association to erect a large addition to the building already de- 
 scribed. It consists of two parts, of one and two stories respectively, and 
 occupies the entire space between the main building and the Reservoir. Its 
 length is 451 feet and 5 inches, and its extreme width is 75 feet. It is designed 
 for the reception of machinery in motion, the cabinets of mining and mine- 
 ralogy, and the refreshment rooms with their necessary offices. The second 
 story, which is nearly 450 feet long, 21 feet wide, and extends the whole 
 length, is entirely devoted to the exhibition of pictures and statuary. It is 
 lighted from a skylight, 419 feet long, and 8 feet and 6 inches wide. 
 
 The Decorations of the building have been intrusted to Henry Greenough, 
 Esq., of Cambridge, brother of the lamented sculptor of the same name. Mr. 
 Greenough has made Art his study, and in its pursuit has resided long in Italy. 
 As he has promised to unfold the general principles and detail of his present 
 work in an essay, to be published in an early number of the Record, we will 
 state at present only a few facts. 
 
 The leading idea in the plan of decoration has been to bring out the beau- 
 tiful construction of the building — to decorate construction rather than to con- 
 struct decoration. To do this, and at the same time to preserve a general 
 harmony of effect, has given Mr. Greenough ample opportunity to display his 
 knowledge of the resources of his art. The result is surprisingly beautiful. 
 
 The decoration was commenced only on the 27th of April, but as soon as 
 the progress of the construction would permit. The colors employed on the 
 exterior and interior are mixed in oil, the base being the white lead manufac- 
 tured by the Belleville Co. The exterior presents the appearance of a build- 
 ing constructed of a light-colored bronze, of which all features purely orna- 
 mental are of gold. 
 
$ DESCRIPTION OF THE BUILDING. 
 
 The interior has a prevailing tone of buff, or rich cream-color, which is 
 given to all the cast-iron constructive work. This color is relieved by a mode- 
 rate and judicious use of the three positive colors, red, blue, and yellow, in 
 their several tints of vermilion, garnet, sky blue and orange (certain parts of 
 the ornamental work being gilt), to accord with the arrangement of colors 
 employed ia the decoration of the ceilings. The only exceptions to the use 
 of oil colors are the ceiling of the American lean-to and the dome; these 
 decorations are executed in tempera on canvas. 
 
 The effect «f the interior of the dome (designed by Sr. Monte Lilla), is 
 particularly splendid. The rays from a golden sun, at the centre, descend be- 
 tween the latticed ribs, and arabesques of white and blue, relieved by silver 
 stars, surround the openings. We propose, hereafter, to furnish a page in 
 chromo-lithography, which will illustrate in a much more satisfactory manner 
 than can be accomplished by description, the arrangement and effect of the 
 interior decoration. But, as already stated, a more extended account of the 
 decorations, explaining the principles on which, they are designed, and the 
 objects in view, will appear in the report of the Superintendent of Decora- 
 tion. 
 
 The building is supplied with gas and water in every part. The gas is 
 designed for the use of the police m protecting the property by night, but is 
 so arranged, that should it be deemed expedient to open the building in the 
 evenings, there will be ample light. The water is accessible at numerous 
 points, with conveniences for drinking, and also for the attashment of hose in 
 case of fire. 
 
 The whole quantity of iron employed in the construction amounts to 1,800 
 tons; of which 300 tons are wrought, and 1,500 tons cast-iron. The quan 
 tity of glass is 15,000 panes, or 55,000 square feet. The quantity of wood 
 used amounts to 750,000 feet, board measure. 
 
 To complete our explanation of the construction of the building, we re- 
 capitulate its principal dimensions, and annex a few references to the dia- 
 grams : — 
 
 PRINCIPAL DIMENSIONS. 
 
 From pi-incipal Floor to Gallery Floor, 
 
 " to top of 2d tier of Girder 
 " to top of 3d " 
 " " " to ridge of ISTave, 
 
 " to top of Bed-plate, . 
 " " " to top of upper ring of Dome, 
 
 " 6th Avenue eurb-stone to top of Lantern, 
 " " " to top of Towers, 
 
 Area of first floor, 157,195 sq. feet. 
 
 " 2d . 92,496 
 
 FT. IN. 
 
 24 
 
 44 4| 
 
 59 10 
 
 67 4 
 
 69 11 
 
 123 6 
 
 151 
 
 76 9 
 
 Total area, .... 249,691, or 5| acrea 
 
HOW TO SEE THE CRYSTAL PALACE. 
 
 GENERAL VIEW. 
 
 Those who wish to start with the most striking 
 view of the interior should enter from the Sixth 
 Avenue, and pause awhile to study it from this Entrance, 
 point. The eye, running along a line of statuary, 
 rests upon the circular group beneath the dome, 
 embracing in its glance full half the dome itself, Dome, 
 from the spring of the arch. The colossal figure, 
 upon the further extremity of the fountain, is 
 the Genius of America ; and if the spectator will Genius of 
 remember that the arm of the cross, along which 
 he is looking, extends as far on the opposite side 
 of the dome as on .that on which he stands, and 
 that two other arms of equal length intersect it 
 in the centre, he will form some idea of the size 
 of the building. These arms are called the naves, 
 and that by which you enter is the west nave. Naves. 
 The openings on each side are courts, a hundred Courts, 
 and sixteen in all, or twenty-nine for each of the 
 four divisions. The flags in the naves are of the Flags, 
 different nations which have contributed to the Ex- 
 hibition, and in the original plan served as guides to 
 their respective courts. Pause here for a while, and 
 study this first view carefully ; for there is no place 
 1* 
 
10 
 
 WEST, OR SIXTH AVENUE NAVE. — SCULPTURE. 
 
 on this side of the Atlantic from which you can 
 form so good an idea of the natural alliance of 
 sculpture and architecture. 
 
 West Nave. 
 
 Heloise. 
 
 Truth. 
 
 Small copy of 
 Amazon. 
 
 Bartolini's 
 Faith. 
 
 Shipwrecked 
 mother and 
 child. 
 
 Bust of Cerito 
 
 SCULPTURE. 
 [Begin at Sixth Avenue Entrance.] 
 
 We now begin our examination with the sculp- 
 ture, much of which will repay a careful study ; and 
 starting from the entrance, the first object on your 
 right is a head of Heloise, by a Florentine sculptor, 
 Yasse, a good piece of marble work, and a pretty 
 face, but which, like all the ideal heads of second- 
 rate artists, would answer just as well for a Laura, 
 or Beatrice, or Erminia, as for the heroine of the 
 strangest of true-love stories. Then comes a full- 
 length undraped figure, in marble, called Truth, by 
 Cambi, another Florentine. You may safely pass 
 it by. The reduced copy of the Amazon, which 
 follows next in order, will give you a good opportu- 
 nity of studying in detail this remarkable group, of 
 which we shall speak more fully when we reach the 
 larger work. Study the next figure carefully : it 
 is the Faith of the greatest of modern Florentine 
 sculptors, Bartolini, a man of rare genius, misled by 
 a false theory, but who has left many works of a 
 very high order. The attitude, expression, and, 
 what he most prided himself upon, the nature of this 
 beautiful figure, have made it a universal favorite 
 with all the lovers of genuine art. The copy before 
 you is from the chisel of Baratta. 
 
 The next, a group in plaster, is a fine specimen 
 of the French school — the dead body of a mother, 
 cast apparently on the shore by the waves, with a 
 vulture grasping in its talons the living infant that 
 vainly clings to her for protection. Auguste Le- 
 chesne, of Paris, is the author. 
 
 The bust of Cerito gives a very different idea of 
 
WEST, OR SIXTH AVENUE NAVE. SCULPTURE. 11 
 
 the celebrated dancer from that which you form of 
 her on the stage. But the next bust, Lamartine, Bust of 
 by Count D'Orsay, is full of life, though strongly 
 tinged with the exaggeration from which neither 
 the subject nor the artist is ever altogether free. 
 
 Among the minor pieces that follow the last, are 
 two small figures by Croff — one, a boy riding on a Boys, by a-off. 
 crawfish ; and the other, a twin figure mounted on 
 a tortoise. The marble copy of the Flora of the Flora. 
 Capitol deserves attention, as a remarkable study of 
 drapery ; and the line closes with Winter, under Wolffs 
 the figure of a boy wrapped in a thick mantle and 
 leaning on a club, a beautiful statuette by Wolff, a 
 Prussian artist of the school of Thorwaldsen. 
 
 You cannot but pause a moment to take a closer 
 view of the dome, and the beautiful circle of statu- Glance at the 
 ary beneath it ; but instead of stopping to examine 
 it now, retrace your steps towards the entrance, and 
 follow down the west nave from the left. 
 
 Here again we start with an ideal head by 
 Yasse, to which he has given the name of Cleopatra; Cleopatra, 
 then comes a very indifferent group, of Charity, charity. 
 a woman with an ugly child in her lap, by Bandel, a 
 German ; then a group of eagles, in bronze, well The Eagles, 
 worthy of attention, by a Parisian artist, Aubanel. 
 Remember, too, that this is a style of art in which 
 the French have long been pre-eminent. 
 
 The colossal bust which follows is the work of 
 San Georgio, an Italian, and represents to the life 
 the features of a great poet, Vincenzo Monti, who Bust of Monti, 
 died in 1828. Foscolo, who admired and hated 
 him, wrote beneath his portrait : 
 
 " Questi 6 Monti, poeta e cavaliero," 
 
 Gran traduttor de' traduttori d' Omero." 
 
 * 
 
 And Manzoni, who might have been his rival, if he 
 had not rather chosen to be his friend, recorded 
 
12 
 
 SOUTH NAVE. SCULPTURE. 
 
 "Warwick 
 
 Vase. 
 
 Bust of Pius 
 IX. 
 
 Marochefcti's 
 Washington 
 reduced. 
 Flora. 
 
 Minerva. 
 
 his feelings in one of the finest epitaphs ever writ- 
 ten : 
 
 " Salve, o grande, cui largi natura, 
 II cor di Dante e del suo Duca il canto ! 
 Questo fia il girdo dell' eta futura, 
 Ma 1' eta, che fu tua, tel dice in pianto." 
 
 The copy of the Warwick Vase, a celebrated 
 antique, is by ~N. Marchetti. It stands on a richly 
 sculptured pedestal, and gives a correct idea of one 
 of the most graceful forms of ancient art. 
 
 The bust of Pio Nono, by Tennerani, is a fair 
 specimen of the ordinary style of busts. The re- 
 duced cast of Marochetti's Washington is better 
 than the colossal statue. The Flora is a dupli- 
 cate of the one we have already seen ; and the last 
 figure, a graceful statuette by Wolff, is registered as 
 a Minerva, though the type and part of the attri- 
 butes are those of Diana. 
 
 SOUTH NAVE. 
 
 We now leave the west nave, and passing by the 
 
 pieces that belong to the outer circle of the centre, 
 
 turn into the south nave. The first object on your 
 
 right, as you enter it from the circle under the 
 
 Bust of Dante, dome, is a very bad bust of Dante. 
 
 The next is a specimen bust of American art and 
 The Sentinel. American casting — the Sentinel, a dog, in bronze, 
 by T. Hoppin, of Providence, R. I. There is much 
 life and truth in this spirited piece, though the legs 
 are too stiff, and the tail was evidently never meant 
 to wag. 
 
 A marble group of Sleeping Children, by Geeffs, 
 a Belgian artist, which follows next in order, will 
 please you as a truthful representation of nature, 
 though neither remarkable for invention nor finish. 
 
 The next group, small as it is, will well repay a 
 careful examination, for it gives as accurate an idea 
 
 Two boys 
 sleeping. 
 
SOUTH NAVE. — SCULPTURE. 13 
 
 as a reduced copy can, of Gian di Bologna's cele- 
 brated group of the Rape of the Sabines, which forms safines^ tb9 
 one of the chief ornaments of the "Loggia de' Lanzi," 
 in Florence. Biename's Innocence you will meet again 
 in the Rotunda, under the name of Psijche. 
 
 The statuette which you see under a glass case, 
 
 ..... e r\ j_i i. d j.1 Statuette of 
 
 is a portrait statue or JDargan, the patron or tnejDargan. 
 Dublin Exhibition of 1853, by J. E. Jones, of Lon- 
 don. Two indifferent busts, Moore and Oath. Hayes, Busts of Moore 
 
 and Catharine 
 
 come next ; then a very bad head, by Baratta, Hayes, 
 called Victory, and then, as if to relieve the eye, victory. 
 an admirable specimen of bronze casting, in Bay- 
 ley's Eve, from the celebrated foundry of Geiss, of Eve in bronze, 
 Berlin. An Amazon, a head from the antique, by 
 Baratta, closes the line ; and postponing our ex- 
 amination of the objects in the centre, we cross over 
 to the opposite side, and begin our walk down the 
 nave towards the dome. 
 
 The Hunter Re-posing, a nude figure in plaster, Hunter 
 by Farrel of Dublin, would suit any other name as reposins * 
 well. The Tamburina, by Marshall, of London, is Tamburina. 
 a graceful female figure in plaster, draped below 
 the waist ; and which leaves you very little inclina- 
 tion to look long at Nannetti's group of the Virgin 
 and Child. 
 
 Grace seems to be the characteristic of Marshall's 
 figures, for it is equally prominent in his next work, 
 Sabrina. The nymph is seated with her right Sabrina. 
 hand and head raised, in the act of listening, as if 
 the first words of the invocation had just struck 
 her ear : 
 
 " Listen, Sabrina, fair, 
 
 Listen where thou art sitting, 
 Under the glassy, cool, translucent "wave, 
 - In twisted braids of lilies knitting 
 The loose train of thy amber-dropping hair ; 
 
 Listen, for dear honor's sake, 
 Goddess of the silver lake, 
 
 Listen and save." 
 
14 SOUTH NAVE. SCULPTURE, SILVER, ETC. 
 
 Mother and A plaster group of a Mother and Child stands 
 
 child. 
 
 next, and will not keep you long from another fine 
 specimen of Geiss' casting — the spirited group of a 
 
 Shepherd and Shepherd attacked by a Lioness. 
 
 The last work on this side is a head of Ariadne, 
 
 Ives's by Ives, an American artist of much merit. We 
 
 have already said that these ideal heads generally 
 answer as well to one name as to another : and 
 Ariadne, though a beautiful face, beautifully chisel- 
 led, is no exception to the rule. 
 
 centre of We must now retrace our steps towards the 
 
 south nave. 
 
 entrance of the south nave, in order to follow up the 
 objects in the centre. At the very bottom is a 
 
 Draped Venus, draped Venus, in plaster, exhibited by G. Nannetti, 
 
 Diana robing, who contributed the next figure also, Diana Robing. 
 
 Webster. Carew's Webster comes next, on an elevated pe- 
 
 destal : a perfect specimen of the art of degrading 
 a great subject. 
 
 The next contribution comes from England, 
 
 Emigrant. The Emigrant, a female figure, in plaster, by Law- 
 lor. We now meet, for the first time, another class 
 of objects, which are abundantly represented in other 
 parts of the Exhibition — a large collection of silks 
 
 sUk™&c! and laces, exhibited by Stewart, of New York. 
 
 Then follows a new form of art for our country, 
 and in which, if we may judge by the two specimens 
 before us, we are destined to take a high stand. 
 
 Silver service. The first is a rich silver and gilt china tea-service, 
 
 Tiffany & Co. mac | e an a exhibited by Tiffany and Co., of New 
 York. The second comes from the same source, 
 and is a presentation service made for the Albany 
 City Bank, and presented by that institution to 
 Walter Sherman, Esq. 
 
 After these comes a piece of sculpture, which is 
 one of the great works of the Exhibition — the group 
 
 ottin's f t} le H un ter and Serpent, by Ottin, a French 
 
 huntsman l J 
 
 and serpent, artist. We have been told that there was an alle- 
 
EAST NAVE. SCULPTURE. 15 
 
 gory hidden under this contest betwixt brute force 
 and human courage, which, in the evil days that 
 have come upon his country, the artist had found it 
 necessary to suppress. However this may be, it is a 
 noble group, finely conceived and vigorously executed. 
 At the four corners of the elevated pedestal on 
 which it stands, are four figures, reduced copies 
 from the antique — Venus, Ceres, Esculapius, and 
 Apollo. 
 
 Below it stands a reduced copy of Kiss's Anna- Amazon. 
 zon ; and next, a bronze vase, with four figures at Vase. 
 the corners of the pedestal, and four bas-reliefs on 
 the pedestal itself, representing passages in the life 
 of Louis Philippe, to whom it once belonged. It is 
 now the property of R. C. Goodhue, Esq., of New 
 York. 
 
 EAST NAVE. 
 
 We enter the east nave also from the Rotunda : 
 here we shall find but little to admire. Two fancy 
 heads, by Mozier, stand opposite to each other at the 
 head of the nave : the one on the right called 
 Morning, and that on the left, with a fine sleepy Morning and 
 face, called Night. They are the property of Ogden 1§ 
 Haggerty, Esq. 
 
 The plaster busts that follow are too inferior to 
 receive a special indication ; and the only other 
 piece of sculpture is the colossal equestrian statue 
 of Washington, by Marochetti, which, fortunately, Marochettfs 
 has found few to admire it. It is in plaster, as 1Dg on " 
 colored to represent bronze, and has as many de- 
 fects both of conception and detail, as can be col- 
 lected even within such a compass. 
 
 Directly below, in worthy juxtaposition, stands 
 the model o»f the Washington Monument, aptly Washington 
 called, by a competent judge, an example of the 
 arithmetical sublime ! " The prominent peculiarity 
 
16 
 
 NORTH NAVE. SCULPTURE. 
 
 of the design," says the same vigorous writer, " is 
 the intermarriage of an Egyptian monument with a 
 Greek structure, or one of the Greek elements." — 
 (Vide "^Esthetics at Washington," p. 19 of "A 
 Memorial of Horatio Greenough, by Tuckerman.) 
 
 North nave. 
 
 Dog in bronze 
 
 Bust of 
 Webster. 
 
 Venus of the 
 Louvre. 
 
 Cicero. 
 
 Marble 
 mantel. 
 
 Busts by 
 Kinney. 
 
 Genius of 
 Autumn. 
 
 Centre. 
 
 Bust of 
 Longfellow. 
 
 NORTH NAVE. 
 
 In the north nave we find more to admire. As 
 you enter from the Rotunda, you find a bronze dog, 
 by Schultz, of Holland. Next a bust of Webster, 
 in marble, by King, of Boston. 
 
 And passing to the opposite side, and coming up 
 towards the Rotunda, a small marble copy of the 
 Venus of the Louvre. 
 
 A statuette of Cicero, copied in marble from the 
 antique, by Fontana. 
 
 Between this and the Venus, but not on the 
 same line, a rich marble mantel-piece, with foliage 
 and four emblematic figures, called Europe, Asia, 
 Africa, and America. 
 
 Two portrait busts in marble, by Kinney, of 
 Worcester, come next ; then another Dog, by 
 Schultz ; and last of all, a beautiful statuette, 
 by Crawford, called the Genius of Autumn, It is 
 owned by J. Paine, Esq., of New York city, and is 
 one of the earliest of Crawford's finished inventions. 
 
 The centre of this nave is filled with various 
 objects ; at the point next the door is a nude male 
 figure, in plaster. Next, two rich mantel-pieces ; 
 one exhibited by G. Walker, of New York, and one 
 by 0. Gori, of New York. 
 
 The bust you now see before you deserves at- 
 tention, both for the subject and the workmanship. 
 It is an excellent likeness of Longfellow, well model- 
 led. It ought to be in marble. 
 
 A collection of columns and mantles in marbleized 
 
ROTUNDA. SCULPTURE. 17 
 
 iron, and specimens of safes, by Herring ; then a Herring, 
 characteristic show-case of Genin ; then a bronze Genin. 
 bust of Webster, by Gilbert, and a marble one 
 by Piatti ; and we come to one of the great works 
 of the Exhibition, the Amazon, by Kiss. The Kiss's 
 original is in Berlin, and stands at the entrance of m 
 the Museum, in the open air. It needs no explana- 
 tion : you see at once what the tiger, the horse, and 
 the rider are doing. There is no mistaking the 
 fury of the wild animal, the terror and agony of the 
 tame one, nor the spirit of the human being who 
 meets the danger with such dauntless energy. The 
 execution corresponds to the conception; and in 
 despite of some errors of detail in the tiger's back 
 and the neck of the horse, it has been classed from 
 the very first, among the great works of modern 
 sculpture. 
 
 Crawford's Flora is the last piece of statuary in Flora, 
 this nave. With all its merits of execution, we 
 fear that the artist has fallen into one of the errors 
 which misled Bernini, and forgotten the dividing 
 line betwixt sculpture and painting. It is the pro- 
 perty of R. K. Haight, Esq., of !S"ewYork, who gave 
 the original commission. 
 
 ROTUNDA. 
 
 We now come to the Rotunda. You will observe 
 the decorations of the dome, which bring out its Outer circle, 
 light and airy proportions so effectively; and you 
 will do well to turn back to the description of the 
 building at the beginning of our volume, for there is 
 no point from which you can follow out the details 
 with more satisfaction. The place occupied by 
 the fountain was allotted in the original plan to 
 Marochgtti's Washington, which a happy second 
 thought has thrown into the back ground. Of the 
 
 _, P . . . ... _ ■ Genius of 
 
 Genius of America, which stands so prominently America. 
 
18 UNDER THE DOME. SCULPTURE. 
 
 on the border of the fountain, and is so conspicuous 
 
 from the naves, we shall say nothing artistically. 
 
 Arrangement The arrangement of the statues in a double circle 
 
 of StfltllGS 
 
 around the Rotunda, produces an admirable effect, 
 and does great credit to the taste that devised it. 
 
 ROTUNDA-INNER CIRCLE. 
 
 We begin our examination with the inner circle, 
 
 starting from the west nave. • The first statue on 
 
 your right hand is a favorite production of Luigi 
 
 Bienaime's Bienaime of Rome, a scholar of Thorwaldsen. It 
 
 Psyche. 
 
 is called Psyche Grieved, and is so great a favorite 
 that the artist has been called upon to copy it again 
 and again. The figure is full of grace, the attitude 
 natural, the expression a "pining in thought," which 
 recalls Yiola's description of her imaginary sister. 
 Bienaime has never reached the highest standard of 
 art, but his works are all distinguished by delicacy 
 of sentiment, good taste, and careful manipulation. 
 
 2. The next work is a group of two figures, one 
 full of power and energy, the other drooping with 
 the nerveless fall of a body, over which death has 
 not had time to extend its fearful rigidity. The 
 subject is drawn from Uhland's beautiful ballad 
 The Minstrel's of the Minstrel 7 s Curse. A minstrel, singing with 
 his pupil songs of peace and love, in the presence of 
 a ferocious king, moves all the court to gentle feel- 
 ings, but the monarch, in a phrenzy of rage, hurls 
 his sword at the youth, who, breathing his last in his 
 master's arms, is borne out by the old man. On 
 reaching the outside of the castle, the minstrel turns 
 and invokes heaven's vengeance on the murderer. 
 The invocation is heard, and desolation and oblivion 
 fall upon the spot. 
 
 " For odor-breathing gardens a wild heath spreads around. 
 No tree extends its shade, no spring starts from the ground : 
 
UNDER THE DOME. SCULPTURE. 19 
 
 The monarch's deeds no song, no hero-tales rehearse, 
 Fallen and forgotten — this is the minstrel's curse." 
 
 The author of this fine group is a young German 
 artist, of the name of Muller, who has come to 
 make his home in New York. We welcome him as 
 a valuable accession to the artistic hopes of our 
 country. 
 
 3. From this powerful expression of indignant 
 
 grief we turn to another form of sorrow — Eve after Paganf s Eve. 
 the Fall — a figure of unquestionable merit, by Pa- 
 gani, of Milan. 
 
 4. A cast of Houdon's Washington comes next. Houdon's 
 This statue was made for the State of Virginia, in WasWn s ton - 
 accordance with a resolution of the General Assem- 
 bly of the 22d of June, 1184. Jefferson, who was 
 
 then in Paris, engaged the services of Houclon, who, 
 in 1785, came to the United States, and made his 
 studies from the life. The work was completed in 
 Paris, and now stands in the State-house of Vir- 
 ginia. As an accurate and faithful representation 
 both of the face and person of Washington, it has 
 always been acknowledged to excel every other 
 work. It deserves careful attention, too, as one of 
 the few successful attempts that have been made to 
 preserve the costume of an unpicturesque age in a 
 work of high art. But Houdon had a peculiar 
 facility in the management of perverse materials, as 
 every one who has seen his statue of St. Bruno, in 
 the church of Santa Maria degli Angeli at Rome, 
 will acknowledge. 
 
 5. We have already found two specimens of 
 Italian art, one of German, and one of French ; we 
 now come to a countryman of the greatest of modern 
 sculptors, a Dane. The subject carries us back to 
 
 the infancy of our race — Adam and Eve after the Jenchatfs 
 Fall — and is treated with much power. The artist Eve. m an 
 is Jerichau, of Copenhagen. 
 
20 
 
 UNDER THE DOME. 
 
 -SCULPTURE. 
 
 Santarelli's 
 Harpocratsi. 
 
 Nymph and 
 Bacchante. 
 
 Thorwaldsen 
 Mercury. 
 
 6. A copy of one of Canova's best figures, by 
 Canova's Lazzerini, follows — the light and graceful Hebe — a 
 
 Hebe. 
 
 style of art in which the great reformer was emi- 
 nently successful. 
 
 7. Harpocrates, the Egyptian god of silence, comes 
 next ; a figure of admirable proportions, graceful 
 and finished, with all the " patient touches of unwea- 
 ried art.'' Santarelli, the author, is a Florentine, 
 who, after many hard struggles, was suddenly raised 
 to independence by an inheritance connected with 
 the historical names of Alfieri 1 and the Countess of 
 Albany. 
 
 8-9. Professor Ferdinand Pelliccia. director of the 
 Academy of Carrara, is author of the two next 
 works — a Nymph, wreathing herself with flowers, 
 and a Bacchante, playing on a pipe ; graceful speci- 
 mens of a prolific school. 
 
 10. Thorwalclsen's Mercury, copied by Lazzerini. 
 The god is represented in the act of stealthily draw- 
 ing his sword to cut off the head of the hundred- 
 eyed Argus, whom he has lulled to sleep with his 
 pipe. This is one of the great mythological statues 
 of the greatest of modern sculptors, and deserves 
 a careful study. 
 
 11. Hagar and Ishmael in the Desert, by Caselli, 
 of Florence. 
 
 12. Columbus, by Staffetti, from a model by Costa, 
 a work of the conventional school, with marks of 
 study and good taste, but tame and somewhat com- 
 monplace. 
 
 13. There is much more merit in the next group, 
 Two Lovers, the Two Lovers going to the Well — attractive both 
 
 by the subject and the execution ; yet we should 
 like it better if there were not an unnecessary stoop 
 in the lover, which forms an unpleasant contrast 
 with the upright attitude of his mistress. 
 
 14. In the Guardian Angel we recognise the 
 
 Columbus. 
 
COURTS. — SCULPTURE. 21 
 
 characteristic grace of Bienaime, and the boy re- 
 minds us strongly of Thorwaldsen. 
 
 15. Last conies a figure by A. Bienaime, nephew, 
 if we remember right, of Luigi — a Shepherdess, shepherdess, 
 with a bird on her shoulder. 
 
 In the outer circle there is less to call our at- Outer Circle, 
 tention. The Soldier' 's Son, by Porini, and the Soldiers Boy. 
 Industrious Girl, by Magni, are good specimens of industrious 
 unidealized nature in the common walks of life ; a 
 style wholly dependent upon minute and elaborate 
 detail. 
 
 Then there is Life's First Grief, by Yasse, the life's First 
 
 Grief. 
 
 figure of a child mourning over a dead bird ; a 
 copy of the Head cf Diana, from the "Diana of Diana. 
 Borghese," now in the Louvre ; and Bacchus Tipsy, 
 by Cambi. 
 
 The next is a work of Bartolini, whose Faith we Bartoiim's 
 have already admired. The subject, A Boy treading p^iser. 
 out grapes, is not a very interesting one, but gives 
 room for that careful study of nature which was his 
 pride and one of his chief merits. 
 
 Rebecca is the name given to a small seated figure Rebecca, 
 by Yasse. 
 
 Magni, author of the Industrious Girl, has another 
 work of the same class, called the First Steps ; and The First 
 the last two are Genii, by Pelliccia, the Genius of 
 Summer and the Genius of Spring, Summer and 
 
 J r v Spring. 
 
 COURTS. 
 
 The statuary of the courts, as may well be sup- First Court, 
 posed, is not equal to that of the Rotunda and 
 naves ; but as there are still several fine pieces in 
 them we shall go through them in order, beginning 
 with the first court on the right in entering by the 
 west nave. 
 
 1. Lesbia, a recumbent nude figure, in marble, by Lesbia. 
 L'Eveque, a Erench artist. 
 
22 
 
 COURTS. SCULPTURE. 
 
 Sleep of 
 Innocence. 
 
 Psyche. 
 
 2. Behind this, a full length figure of a boy, in mar- 
 ble, by Dupre, of Paris, called the Sleep of Innocence. 
 
 3. A statue of Psyche, in marble, by Fouguet' 
 also a French artist. Psyche is represented ex- 
 tended on the ground, in the deep slumber into 
 which she had been thrown by the vapors of the 
 box she had opened in violation of the commands of 
 Yenus. 
 
 Damalis. 
 
 SECOND COURT. 
 
 1. Damalis, a nude figure, in marble, by Etex a 
 French artist. 
 Love of birds. % Love of Birds, by Marchetti, of Florence. A 
 child, partly draped, holding a bird, which sips from 
 his mouth. 
 
 3. Model of a Monumental Fountain with statues, 
 in plaster of Paris and galvanized iron, by Le Fevre 
 Deuinier, of France. 
 
 4. Cupid, a small seated figure, by Randal, of 
 London. 
 
 Female head. 5. A Female of Chiozza, by Nicotti. 
 
 Fountain. 
 
 Cnpid. 
 
 Warwick 
 Vase. 
 
 Boys Fishing. 
 
 Cupid. 
 
 Young 
 Augustus, 
 
 Bust of 
 Eousseau. 
 
 Erminia. 
 
 THIRD COURT. 
 
 1. In the centre a duplicate copy of the Warwick 
 Vase; exhibited by A. H. Ward, of New York. 
 
 2. A group of two boys, by Motelli, called Boyt, 
 Fishing. 
 
 3. Cupid in a mischievous mood, a beautiful 
 statuette, by Santarelli. 
 
 4. A copy of the Young Augustus of the Yatican, 
 one of the finest busts of antiquity. 
 
 5. A bust, J. J. Rousseau, by Baratta. 
 
 6. A scene from the Jerusalem Delivered, Erminia 
 writing Tancredi's name on the trunk of a tree f 
 
 "But oft, when underneath. the green-wood shade, 
 Her flocks lay hid from Phoebus' scorching rays, 
 
COURTS. --SCULPTURE. 23 
 
 Unto her knight she songs and sonnets made, 
 
 And them engraved m bark of beech and bays," cfee. 
 — Book vii. st. xix. Fairfax's Translation. 
 
 FIRST COUKT ON THE LEFT FROM THE ENTRANCE. West Nave. 
 
 1. The Deserted, a female figure, in marble, by The Deserted. 
 Motelli. 
 
 2: Ceres, from the antique, by Orlandi, a statuette ceres, 
 in marble, imperfectly copied, but deserving of careful 
 study for the attitude and the masterly arrangement 
 of the drapery. 
 
 SECOND COURT ON THE LEFT. West Nave. 
 
 1. John .Baptist sleeping, a child, in marble, by Jolm Baptist 
 Magi. 
 
 2. The Fisher Boy, a nude figure, in marble, Fisher Boy. 
 seated and in the act of fishing, by Cocchi. 
 
 3. Innocence, a child, in marble, by Cross. innocence. 
 4 and 5. Two heads, in marble, very imperfect in 
 
 conception and executioD, the Redeemer, and ife- Head of the 
 
 r ' ' Redeemer. 
 
 ligious Meditation. 
 
 6. The Flower Girl finding Cupid among the The 
 
 „ . , , i, Flower Girl. 
 
 flowers, a standing figure, in marble, sadly out ol 
 proportion, by Motelli. 
 
 7. The Mendicant, a kneeling figure, by Strazza. Mendicant. 
 A painful subject, powerfully executed. Marble. 
 
 8. Attala and Chactas, by Fraccaroli, in marble. 
 A love scene, from Chateaubriand's celebrated prose 
 poem. 
 
 9. Model of a Monument of Roman el li, four male Monument, 
 figures, in plaster. 
 
 THIRD COURT ON THE LEFT. West Nave. 
 
 1. A very bad Madonna, a small figure, in marble, Madonna, 
 by Marchetti. 
 
 2. Paris, a fine head, in marble, with the Phry- Pari* 
 gian cap — a copy, by Fontana. 
 
24 
 
 COURTS. SCULPTURE. 
 
 Ivory group. 
 
 Sappho. 
 
 Copernicus. 
 Poetry. 
 
 Dying 
 Gladiator. 
 
 Gavazzi. 
 
 Gioberti, 
 
 Cupid. 
 
 Iris. 
 
 Hen and 
 
 chickens. 
 
 3. A group, in ivory, of Mary with the dead body 
 of Christ in her lap, and three women around her* 
 Bad. 
 
 4. A head, in marble. 
 
 5. Do. do. and very bad. 
 
 6. Copernicus, a plaster bust, by Marchetti. 
 
 7. Poetry, a statuette, by Pelliccia. Several heads 
 and casts, among which the most deserving of notice 
 are a copy of the Young Augustus, the Dying Gla- 
 diator, in marble, reduced by Baratta, and a good 
 bust of Gavazzi, by Butti ; all of which are a little 
 outside of the court. 
 
 8. Returning to the court you see on your left a 
 bust of Gioberti, the celebrated philosopher and 
 statesman, by Bruner. Marble. 
 
 9. Cupid, with the arms of Mars, in marble, by 
 Jerichau. 
 
 10. Iris, a head, in marble, by Cartei, of Florence. 
 
 11. A Hen and Chickens, by Beuzzi, of Milan. 
 
 12. Venus and Cupid, in bronze. 
 
 13. Faithful Love, a Cupid clipping his wings, in 
 marble, by Yasse. 
 
 14. A Wild Boar's Head, cast in bronze, from 
 nature, by Papi, of Florence ; a remarkable speci- 
 men of skill. 
 
 15. A fine copy of the Warwick Vase on a sculp- 
 tured pedestal, by Marchetti. 
 
 16. Virgin and Child, in half relief, by Imhof. 
 
 West nave. 
 
 Virgin of the 
 Eucharist. 
 
 Jogn of Arc. 
 
 FOURTH COURT ON THE LEFT. 
 
 1. The Virgin of the Eucharist, a very bad bas- 
 relief, by Cambi, of Florence. 
 
 2. Joan of Arc, a reduced copy of the statue, by 
 a daughter of Louis Philippe, whose early death 
 was so much lamented : exhibited by P. T. Bar- 
 num, Esq. 
 
COURTS. SCULPTURE. 25 
 
 3. Shepherdess and Lamb, a statuette, by Orlandi. Shepherdess 
 
 4. A copy of Thorwaldsen's Ganymede feeding 
 Jove's Eagle, by P. Bienaime, deserving, like every- anyme e * 
 thing of Thorwaldsen's, a careful study. 
 
 5. A Salver, copied in marble, by Lazzerini, from Salver. 
 an original of Cellini, the greatest master in this 
 branch of art. 
 
 6. The Angel of Music, a statuette, in marble, by Angeiof 
 
 _. . * J ' ' ' '*' Music. 
 
 Corsani. 
 
 7. The Death of Ferrucci, by Gianpaolo, of Lucca, Death of 
 
 Ferrucci. 
 
 a statuette, in marble. The death of Ferrucci is an 
 event which every true Italian recalls with bitterness 
 of heart, for the Republic of Florence fell with him. 
 Overcome by numbers in a brilliant attempt to raise 
 the siege of Florence, in 1530, and pierced with 
 wounds, Ferrucci was brought into the presence 
 of his personal enemy, Fabrizio Maramaldo. The 
 wretch threw himself upon the dying hero, and 
 struck him repeatedly with his dagger. At every 
 blow Ferrucci said, " You are but killing a dead 
 man." 
 
 8. John the Baptist, a statuette, by Baratta. John Baptist. 
 
 9. A marble Tazza, exhibited by Trebbi, a Roman 
 dealer in marbles and antiques. 
 
 SOUTH NAVE-FIRST COURT ON THE LEFT FROM THE 
 
 DOOR. 
 
 1. A Danaide, in marble, by Baratta. Danaide. 
 
 SECOND COURT ON THE LEFT. 
 
 A statuette of a mother with her infant in her Mother and 
 
 Child. 
 
 arms, in plaster. Ptolemy Lagus as an infant fed Ptolemy 
 by an eagle, and several very indifferent busts by Lagus. 
 English and Irish artists, all of which may safely be 
 passed by. 
 
26 thorwaldsen's CHRIST and apostles. 
 
 THORWALDSEN'S CHRIST AND APOSTLES. 
 
 This is the great artistic attract] :>n of the exhibition 
 and should be reserved for the last ; you come to it by 
 passing through the third court of the west /iave, on 
 the left hand from the entrance. In passing up the 
 nave you have already caught glimpses of it, but if 
 you have any desire to see art in its highest and one 
 of its most perfect forms, you should wait till you 
 have gone through the rest of the statuary and then 
 sit down to study this. 
 Birth. Thorwaldsen was born at Copenhagen on the 
 
 19th of November, It 10, and died there on the 24th 
 of March, 1844. He went to Rome in 1796, and 
 passed nearly all of his life in what he used to call 
 his second birth-place. The catalogue of his works 
 would fill a pamphlet • ideal statues, monumental 
 groups, and single figures and bas-reliefs, which was 
 his favorite department, and in which he stands 
 without a rival. During the last years of his life 
 he refused to take any new orders, and the casts of 
 all his works are now collected in a museum in Co- 
 penhagen, which bears his name and holds his ashes. 
 The collection in the Crystal Palace contains 
 twenty bas-reliefs, the group of the Graces, two 
 statues, and the group of Christ and. the Apostles, 
 with the Angel of the Baptismal Font. 
 Collection in The group of Christ and the Apostles was made 
 pXce. for the Church of Our Lady, in Copenhagen, where, 
 
 instead of standing close to each other, as they 
 necessarily do here, Christ occupies a niche over the 
 altar, with the Apostles on each side of the nave, at 
 distances sufficiently great to give them their full 
 effect. The Angel of the Baptismal Font stands 
 in an open space before the altar, separated from the 
 nave by a balustrade and on a slight elevation. It 
 should be remembered that the casts we see here 
 are the original casts, which were sent to Copenhagen 
 
k -» 
 
 THORWALDSEN* S CHRIST AND APOSTLES. 27 
 
 to fill their appropriate places in the church while 
 
 the marble was being prepared at Rome. 9 hrlst aud 
 
 ~ o, . . Apostles. 
 
 Our Saviour is represented wrin outstretched 
 arms, and with an expression and attitude corres- 
 ponding to the beautiful sentence, " Come unto me, 
 all ye that are weary and heavy laden, and I will 
 give you rest." ^ 
 
 St. Peter holds the keys. 
 
 St. Paul the sword, indicative of the form of his 
 martyrdom. 
 
 Matthew appears as the Evangelist, symbolized 
 by the angel at his side ; the money bag at his feet 
 recalls his original profession of tax gatherer. 
 
 James the elder, with his pilgrim's staff and hat, 
 is the apostle engaged in his holy mission. 
 
 Thomas, whose countenance expresses the doubt 
 that once lurked in his mind, holds in his hand a 
 square, the symbol of his skepticism, for he would not 
 believe until he had measured. 
 
 Philip holds a cross of reeds. 
 
 James, son of Alpheus, leaning on his staff, seems 
 to be meditating on the past, and the artist, faithful 
 to tradition, has given his face the resemblance 
 which it is said to have borne to that of his master. 
 Simon Zelotes holds the saw, the emblem of his 
 martyrdom. 
 
 Bartholomew, who suffered by the knife, holds one 
 in his hand, to recall the mode of his death. 
 
 Andrew died by the cross. 
 
 John, with the tablet and style, recalls his char- 
 acter as an Evangelist, of which the eagle has 
 always been assigned to him fcr emblem. 
 
 Thaddeus, who holds an axe, suffered martyrdom 
 by beheading. 
 
 In studying these statues, particular attention 
 should be paid to the management of the drapery, 
 which, corresponding to the attitude of each figure, 
 
28 
 
 THORWALDSEN S BAS-RELIEFS. 
 
 Angel of tho 
 
 Baptismal 
 
 Font. 
 
 Mercury. 
 Venus. 
 
 The Graces. 
 
 is varied in each with a skill which leaves nc trace 
 of the study it must have cost. It is sin pie, natu- 
 ral, and expressive — a striking illustration of what 
 real invention can do with very simple materials. 
 
 The Angel of the Baptismal Font needs no ex- 
 planation. 
 
 The Mercury we have already seen in marble. 
 
 Next comes the Venus, holding in her hands the 
 prize of beauty. 
 
 Next, the group of The Graces, a favorite sub- 
 ject, of which a fine antique specimen was found 
 years ago in Siena, and which Canova also has 
 treated with success. Thorwaldsen's group was 
 made nearly thirty years ago, and during the last 
 year he passed in Rome, he corrected it so much to 
 his satisfaction, that he was heard to declare himself 
 contented for the first time in his life,— ( Vide an 
 account of him in the first number of Putnam's 
 Monthly.) 
 
 Bas-Eeliefs. 
 
 BAS-RELIEFS. 
 
 1. Victory. 
 
 2. Charity. 
 
 3. A Guardian Angel with a Child. 
 
 4. The Singing Angels. 
 
 5. Three Angels playing an instrument to, match, 
 the others. 
 
 6. Three Allegories : 
 
 1. Love with a swan, and small boy gather- 
 
 ing fruit. — Summer. 
 
 2. Love with young Bacchus pressing out 
 
 grapes. — Vintage season. 
 
 3. Love and Anacreon. — Wirier. 
 
 %. Psyche delivering Cupids to the various ages of 
 life. — Youth receives it — a year or two more, and it 
 
ihorwaldsen's bas-reliefs. 29 
 
 embraces it ; then a few years, and the full-grown 
 woman holds it captive. Years pass, and it 'sits 
 mockingly on the back of Age ; and then, too, Age 
 tries vainly to win it to its arms, while the little 
 traitor laughs and flies away. 
 
 8. Three Angels hovering in the air. 
 
 9. A Shepherdess with a nest of Cupids. 
 
 10. Love waking Psyche from her lethargy. 
 
 11. Love and Bacchus. 
 
 12. Love and Hymen spinning the thread of life. 
 
 13. Love and Ganymede playing dice. 
 
 14. Mercury bringing young Bacchus to Jove. 
 
 15. In the last years of his life Thorwaldsen made Jf st w0 ,^ s of 
 
 J oo ip Thorwaldsen. 
 
 several series of bas-reliefs from the life of the Sa- 
 viour, of which we have three specimens : 
 
 1. Maria with the Children, Jesus and John. 
 
 2. The Baptism of Christ. 
 
 3. Christ blessing little Children. 
 
 16. The four Seasons. — These four beautiful pieces, 
 tell their own story so perfectly that we shall only 
 add, for the information of the untravelled visitor, 
 that the circular vase on which puss sits so demurely, 
 is a pan of coals, which, in almost all Italian houses 
 south of the Appenines, serves instead of fire-place 
 or stove. 
 
 It. Day and Night : which have been copied in 
 various sizes, and may be found in every part of 
 Europe. 
 
 Of the other pieces of sculpture, scattered here 
 and there through the building, the only one that 
 deserves particular notice is a fine cast of Canova's jjJJjJT*'* 
 Hebe, from the celebrated foundry of Geiss, of 
 Berlin. 
 
CATALOGUE OF PICTURE GALLERY. 
 
 Title. Artist. Eesidence. 
 
 1 The Court of Death, . . B. PeaU, United States. 
 [The Monarch, a dim and mysterious figure, sits on a throne in the centre ; 
 
 around him are the ministers and emblems of his power; the warrior with 
 his fitting attendants rushing forth to slaughter and destruction ; intemper- 
 ance filling from her urn ; disease in various forms, &c] 
 
 2 The various Stages of Love, . H. Goldschmidt, Frankfort. 
 
 3 Mother and her Boy fleeing from 
 
 her Home on Fire, taken from 
 the War in Hungary, 
 
 4 The Good and the Wicked Priest, F. Ferrero, 
 
 5 Country Girl, .... 
 
 6 Boys Receiving their Meal at the 
 
 Convent Gate, 
 
 7 Goats in the Mountains, 
 
 8 Landscape, .... 
 
 9 View of the Tower of Notre Dame 
 
 at Antwerp, 
 
 10 View of Paris, Bellevue, 
 
 11 Marine View, .... 
 
 12 Female nude recumbent Figure, 
 
 13 Cattle, 
 
 14 View of the entrance of the Great 
 
 Chartreuse in Grenoble, 
 
 15 The Wages of War, . 
 
 16 Sappho, 
 
 Adele Kindt, 
 
 Belgium. 
 
 F. Ferrero, 
 
 Turin. 
 
 Adele Kindt, 
 
 Belgium. 
 
 Professor Hurlstone, 
 
 England. 
 
 N~. Humbert, 
 
 Geneva. 
 
 Augustus Ortmans, 
 
 Holland. 
 
 F. Bossuet, 
 
 Belgium. 
 
 Grolig and H. Vernet, 
 
 
 G. 0. Kannemans, 
 
 Holland. 
 
 Henriette Knip, 
 
 Holland. 
 
 Bicois, 
 
 France. 
 
 Henry Peters Gray 
 
 New York. 
 
 Fanny Geefs Gorr, 
 
 Belgium. 
 
S2 
 
 CATALOGUE OF PICTURE GALLERY. 
 
 Title. 
 17 Aischa, the Slave of Solyman II., 
 made Prisoner by the Hun- 
 garians, adopts the Christian 
 Beligion at the Altar before 
 the Attack of the Citadel by 
 
 Artist. 
 
 Residence. 
 
 the Turks, 1556, . 
 
 Paul T. Van Flven, 
 
 Holland. 
 
 18 Landscape, . 
 
 B. C. Koelcoek, 
 
 Holland. 
 
 19 Company Playing Cards, 
 
 Sacre, 
 
 Holland. 
 
 20 Marine View, . 
 
 M. C. Wagner, 
 
 Holland. 
 
 
 
 France. 
 
 22 The Becruit of Brittany, 
 
 T. De Heuwl, 
 
 Belgium. 
 
 
 Jules Dehaussy t 
 
 France. 
 
 24 Cattle near the Water, 
 
 F. S. Huygens, 
 
 Holland. 
 
 25 Landscape View in Norway, 
 
 G. Grolig, 
 
 France. 
 
 
 Tanneur, 
 
 Holland. 
 
 27 Winter Scene in the Woods, 
 
 Unknown, 
 
 Holland. 
 
 28 Loch Long, Perthshire, Scotland, 
 
 James Ferguson, 
 
 England. 
 
 29 Eiver by Moonlight, . 
 
 G. A. Roth, 
 
 Holland. 
 
 30 Attala and Chactas [Property of 
 
 
 
 Mr. Beaumont], . 
 
 P. J. Van Brie, 
 
 New York. 
 
 31 Portrait, -Count Vincens, . 
 
 Unknown, 
 
 New York. 
 
 32 View near Morel Marley, near St. 
 
 
 
 
 
 France. 
 
 33 Bank of the Seine, near Paris, . 
 
 A. Gwoux, 
 
 France. 
 
 »4 View of the little Village of 
 
 
 
 L'Etanglaville in France, . 
 
 M. Rlcois, 
 
 France. 
 
 35 Portrait of a Lady, 
 
 H. G. P. Hanau, 
 
 Holland. 
 
 36 View taken from the Terrace of 
 
 
 
 St. Germain en Layes, 
 
 Rlcois, 
 
 France. 
 
 37 Portrait of Mme. de Montespan, 
 
 Gaspar Netscher, 
 
 New York. 
 
 38 Cardinal de Bochechonart, 
 
 Pampw Bettani, 
 
 New York. 
 
 39 Landscape with Cattle, 
 
 W. D. Klerh, 
 
 New York. 
 
 40 Buin with Figures, 
 
 Jan. Baptist Weeninx, 
 
 New York. 
 
 41 Wood Scene, .... 
 
 Unknoivn, 
 
 Holland. 
 
CATALOGUE OF PICTURE GALLERY. 33 
 
 Title. Artist. Eesidence. 
 
 42 Christ Disputing with the Doctors, Artemisia Gentilesclii, New York. 
 
 43 Portrait of Galileo Galilei, . . Justus Sustermans, New York. 
 
 44 William Prince of Orange (Win. 
 
 III.) Gerard Terburg, New York. 
 
 45 Dutch Landscape, Unknown, Holland. 
 
 46 Evening Market Scene, . . G-rootvert, Holland. 
 
 47 Stillwater Bay, . . . . F. J. Van Den BlyTc, Holland. 
 
 48 A Eavine, Bouquet, France. 
 
 49 Subll Giving the First Lesson in 
 
 Entomology, .... Biard, France. 
 
 50 View in the Gulf of Salerno, . Baker, England. 
 
 51 Waterfall, J. Coignet, Germany. 
 
 52 Italian Costume, .... Mrs. Bassel, New York. 
 
 53 An Old Dutch Hall, . . . E. Van Horn, Holland. 
 
 54 Landscape and Old Castle, . . J. J. Destree, Holland. 
 
 55 Dead Birds, M. Coie, France. 
 
 56 The Stag Hunt, .... Alex. Michelis, Dusseldorf. 
 
 57 Landscape, Vanderlurg, Holland. 
 
 58 Sketch from Lafosse, . . M. Colm, France. 
 
 59 Landscape, J. A. Be RyJc, Holland. 
 
 60 The Donkey Trader, . . . Lummais, France. 
 
 61 Holy Family (on copper), . . Allori, Italy. 
 
 62 A Sketch from Watteau, . . M. Colin, France. 
 
 63 The Blacksmith of Naarden, . J. E. Egenberger, Holland. 
 [Hubert Willelmz Vanden Eyken, a blacksmith, on the fatal day of the mas- 
 sacre of Naarden, defended his house and workshop against the Spaniards, with 
 his sword in one hand and his stool in the other, till, faint with loss of blood, 
 he sunk upon the floor, and in spite of the prayers oNiis daughter, was killed 
 by the infuriated assailants.] 
 
 64 Outside of a Farm House, . . E. Euygens, Holland. 
 
 65 Shipping in a Bay, . . . B.F. J. Vanderblyh, Holland. 
 68 Good and Bad Luck, . . . Denaussy, France. 
 
 67 Two Ladies Eeading by Lamp- 
 
 light, P. Kiers, Holland. 
 
 68 The Confessional, . W. West, New York. 
 
34 
 
 CATALOGUE OF PICTURE GALLERY. 
 
 Title. 
 
 69 Landscape and Kiver View, 
 
 70 Columbus before the Council of 
 
 Salamanca, 
 
 71 Scene after Shipwreck on 
 Coast of Africa, 
 
 the 
 
 Artist. 
 Q. W. Wageuer, 
 
 Powell. 
 
 Biard, 
 
 G-lnllo Romano. 
 A. Colin, 
 Unknown, 
 Ed. De Vigne, 
 
 P. Van Schendel, 
 T. Cole, 
 
 Residence. 
 Holland. 
 
 France. 
 
 New York. 
 France. 
 Germany. 
 Belgium. 
 
 Belgium. 
 New York. 
 
 72 Choir of Cherubs, . 
 
 73 Landing of Columbus, . 
 
 74 Vintage Festival, . 
 
 75 Landscape, . 
 
 76 Flemish Market Women by Can- 
 
 dlelight, .... 
 
 77 The Picnic, . . . * . 
 ["He never used his pencil," says Cooper in writing to a friend of Cole, 
 
 "without eliciting poetry and feeling exhibited with singular fidelity to 
 nature. I mix but little with the world, and . rarely visit exhibitions. 
 When I did I could tell one of those pieces (Cole's landscapes) as far as sight 
 enabled me to see it. On one occasion I remember to have been misled as to 
 the artist, and to have stood before a small landscape that was said to have 
 come from another hand. Here then is another artist, I said, who has caught 
 the spirit of Cole. After all it turned out to be a picture by Cole himself. No 
 one ever could paint such a picture."] 
 
 78 The Archangel Michael, copy from 
 
 Esuben, . 
 
 79 Destruction of Pompeii, 
 
 Carlm. 
 
 80 The Toilet, B. Winveld, 
 
 81 The Calling of St. Matthew, . Jordano, 
 
 82 Swiss Landscape and Bridge, . Guignon, 
 
 83 Eepose, a Landscape, . . . Wm. Brown, 
 
 84 Washington, on horseback, . Rembrandt Peale, 
 [The venerable artist is the last survivor of the original painters of Wash- 
 ington. The piece now exhibited was copied by him from the original pain t- 
 ing in his eightieth year.] 
 
 New York. 
 
 New York. 
 
 Holland. 
 
 New York. 
 
 Geneva. 
 
 New Jersey. 
 
 New York. 
 
 85 Mountain Scenery, 
 
 86 The Five Senses, .... 
 
 87 Garden of the Tuileries in Pans, 
 
 88 The Eeception, .... 
 
 89 Cupid Whispering a Secret to 
 
 Venus, ..... 
 
 G. Cole, 
 Van Dyck. 
 Linden Sclimit, 
 C. W. JToevenaar, 
 
 Schiavont 
 
 United States. 
 New York. 
 France. 
 Holland. 
 
 Austria. 
 
CATALOGUE OF PICTURE GALLERY. 
 
 35 
 
 Title. 
 
 Artipt. 
 
 Zzbouys, 
 A. Lapito, 
 F. J. Boulanger, 
 J. B. Thorn, 
 
 Unknowns 
 
 m 
 
 T. For/ant, 
 
 B. G. Koekoek, 
 
 T. J. Vanden Blyk, 
 
 G. Lepaulle, 
 
 L. Verwee, 
 
 90 A Nymph, in the Woods of the 
 
 God Pan, .... 
 
 91 Mountain Scenery, 
 
 92 View of Town in Belgium, . 
 
 93 Landscape and Cattle, . 
 
 94 Landscape, W. D. Klerk, 
 
 95 The Three Ages, . . . .A. Van Mvgden 
 
 96 Escape from Captivity, . . . Gudin, 
 
 97 Der Garda See en Tyrol (the Sea 
 
 of Garda in Tyrol), 
 
 98 The Cloister of St. Marc, . 
 
 99 Landscape, .... 
 
 100 Stillwater Bay, . 
 
 101 The Sultana Nourmahal, . 
 
 102 Winter Landscape and Skaters 
 
 103 Shipwreck, H.H. Opderheyde, 
 
 104 Landscape, J. G. Hans, 
 
 105 Interior of a Harem, . . . G. Zepaulle, 
 
 106 View of the Gulf of Naples, . P.Thuillier, 
 
 107 The Sultana Nourmahal, . . G. Lepaulle. 
 
 108 Seizure of Charlotte Corday after 
 
 killing Marat, . . . F. 0. Connell. 
 
 109 Shepherds and Shepherdesses in 
 
 the Woods, . 
 
 110 Spanish Group, . 
 
 111 Winter Landscape, . 
 
 112 Group of Neapolitan Peasants, 
 
 113 Shipwrecked persons attacked 
 
 hy a Shark, .... 
 
 114 Cattle near a "Farm, . 
 
 115 The Faithful Guardian, . 
 
 116 Child and Pet Greyhound, 
 
 117 Flowers, ..... 
 
 Residence. 
 
 France. 
 
 Dutch. 
 
 Ghent. 
 
 Holland. 
 
 Holland. 
 
 New York. 
 
 France. 
 
 Germany. 
 
 France. 
 
 Holland. 
 
 Holland. 
 
 France. 
 
 Brussels. 
 
 Holland. 
 
 Holland. 
 
 France. 
 
 France. 
 
 France. 
 
 A. J. Woolmer, 
 
 England. 
 
 Mrrn. F. Thwwanger, 
 
 United States. 
 
 L. Verwee, 
 
 Holland. 
 
 Mme. F. TJiurwanger* 
 
 United States. 
 
 Biard, 
 
 France. 
 
 G. De Ryk, 
 
 Holland. 
 
 Amelia, Champem, 
 
 Belgium. 
 
 Amelia Champem, 
 
 Belgium. 
 
 Adelina, 
 
 Paris. 
 
36 
 
 CATALOGUE OF PICTURE GALLERY. 
 
 Title. 
 
 118 Garden Scene, . 
 
 119 Inundation of the Loh 
 
 120 Marine View, 
 
 121 Euins, 
 
 122 Group, 
 
 123 Mother and Child, 
 
 124 Town in Belgium, 
 
 125 Talent Discovered, 
 
 Artist. 
 A. J. JVbolmer, 
 A. Antigna, 
 H. Kannemans, 
 Van Mbe)\ 
 S. A. Comte, 
 A. J. Woolmer, 
 Van Jbfoer, 
 Morilz Calisch, 
 
 Residence. 
 England. 
 
 France. 
 
 Holland. 
 
 Belgium. 
 
 France. 
 
 England. 
 
 Belgium. 
 
 Holland. 
 
 [One day, in the year of grace 1286, as Cimabue was goin? from Florence to 
 Vesp lg nano, he saw a shepherd-boy drawing on a smooth nag, with a p ece of 
 sharp stone, the figure of .one of his sheep that were feeding near him < Wm 
 
 SlSS "f " V th me aUd l6arn t0 Paint ? ' ' "** Cima°bue. « Willing " 
 replied the boy, « * my father ^ ^ me „ ^ consen and 
 
 before many years Dante could write with truth : ' 
 
 " Credette Cimabue, nella pittura 
 Tenerlo Campo : ed ora pa Giotto il grido, 
 Si che la fama di eolui oscura."] 
 
 126 Marine View, .... 0. O. Bannernuus, 
 
 127 Euins of an Ancient Temple, . jf m Schmidt, 
 
 128 Castle of Usse, near Tours, in 
 
 Holland. 
 Germany 
 
 France ' Justin Ouvrie, 
 
 129 View of a Country Town, . . J. a. Be JTaan, 
 
 130 View in Egypt, . . . . F% Bossuet ^ 
 
 131 Landscape, Shepherd and Sheep, Vandenberg, 
 
 132 King Henry 1st of England re- 
 
 ceiving the tidings of the loss 
 of his Son by Shipwreck, 
 
 133 View near Naples, 
 
 134 View of an Interior, 
 
 135 St. Jerome in the Desert, . 
 
 136 Moorish Fortress and Mill on the 
 
 Adra, in South Spain, . 
 
 137 Landscape, . 
 
 138 View at Candebeek, . 
 
 139 Interior of a Church, . 
 
 140 Mother and Child, . 
 
 W. Maw Egley, 
 
 Coignet, 
 .Plassan, 
 M. Aligny, 
 
 F. Bossuet, 
 Van Stry, 
 M. Pinel, 
 A. Waldorp, 
 Moritz, 
 
 France. 
 Holland. 
 Belgium. 
 Holland. 
 
 England. 
 France. 
 France. 
 France. 
 
 Brussels. 
 
 Holland. 
 
 France. 
 
 Holland. 
 
 Germany. 
 
CATALOGUE OF PICTURE GALLERY. 
 
 37 
 
 Title, 
 
 "•gin, 
 
 Levi, 
 
 141 Nun, 
 
 142 Landscape and Kiver View, 
 
 143 Portrait of Herring, founder of 
 
 the Art Union, 
 
 144 Flower Piece, 
 
 145 Presentation of the V 
 
 (Copy from Titian,) . 
 
 146 Supper at the House of 
 
 from Paul Veronnese, 
 
 147 Flower Piece, 
 
 148 Landscape, Evening, . 
 
 149 View of Amsterdam, . 
 
 150 Justice sitting on a Throne, 
 
 151 Requesting Hospitality, 
 
 151 Landscape, 
 
 152 Marine View, 
 
 153 Scene in a Tavern, 
 
 154 Scene on the Ice, Dutch 
 
 scape, 
 
 155 Portrait of an Old Woman, 
 
 156 View on the Maas, 
 
 157 The Knife Grinder, . 
 
 158 The Washerwoman, . 
 
 159 A Hilly Landscape, 
 
 160 Dutch Kitchen, . 
 
 161 Fancy Cottage, . 
 102 America, 
 
 163 Boy playing with a Mouse, 
 
 164 View of a Town in Holland, 
 
 165 A Social Chat, . 
 
 166 Flowers, 
 
 167 Soap Bubbles, . 
 
 168 A Landscape, 
 
 169 Mouth of a River in Holland, 
 
 Land- 
 
 Artist. 
 J. B. Flugg, 
 
 G. W. Wagener, 
 
 Ris Son, 
 Unknown, 
 
 Residence. 
 
 u. s. 
 
 Holland. 
 
 U. S. 
 New York. 
 
 J. K. Fisher, 59 Murray St., N.Y, 
 
 J. K. Fisher, New York. 
 
 Unknown, New York. 
 
 Louis Verwee, Brussels. 
 
 J. J. Bestree, Holland. 
 Anthony Be Pereda, 
 
 Robert Van Eysden, Holland. 
 R. B. Kruseman Vanelte, Holland. 
 
 R. K, Holland. 
 
 JVeurdenburg, . Holland. 
 
 Van Stry, Holland. 
 
 J. Verryt, Cologne. 
 Pierre T, Van Elvers, Holland. 
 Rove, 
 
 R. Rove, Holland. 
 
 G. A. Both, Holland. 
 
 Van Brill, Germany. 
 
 Neurdenburg, Holland. 
 
 Fanny Geefs Corr, Belgium. 
 
 R. Billens, Belgium. 
 
 L. J. Verveer, Holland. 
 
 Monfollet, France. 
 
 Saint Jean, France. 
 
 Waldmuller, Austria. 
 
 A. Lapita, France. 
 
 A. Waldoi'V, Holland. 
 
38 CATALOGUE OF PICTURE GALLERY. 
 
 Title. Artist. Residence. 
 
 170 The Cantatore, . . . . Mme. F. Thurwanger, Philadelphia. 
 
 171 Portrait, Italian Costume, . G. Guff ens, Belgium. 
 , 172 Game Piece, .... Alida StoTk, Holland. 
 
 173 Landscape, .... Louis Verwee, Brussels. 
 
 174TyroleseGirl,fromtheZillertHall,</: W. Wander, Munich. 
 
 175 Midnight Eeflections on a Skull, P. Van Schendel, Belgium. 
 
 176 Portraits, Zephaniah Bell, England. 
 
 1 77 Leonora. (Exhibited by Fend- 
 
 ler & Co.) .... Unknown, Germany. 
 
 1 78 Eiver View in Holland, . . A. Waldorp, Holland. 
 
 179 Entrance of a Mosque at Eosette, F. Bossuet, Belgium. 
 
 180 End of School, . . . . Waldmuller, Austria. 
 
 181 Eorest Scene, .... H. E. Rademaker, Holland. 
 
 182 A Mother and her Child, . E. Sckeffer, France. 
 
 183 Christ in the Temple, . . E. Sckeffer, France. 
 
 1 84 King Lear, .... Oppenkdm, Germany. 
 
 185 Portrait, Unknown, New York. 
 
 186 All Saints' Night, . . . La Loir, France. 
 
 187 The Flemish Lawyer, . . J. Getoni, Belgium. 
 
 188 The Lacemaker, . . . G. B. ScJiiatUno, Genoa. 
 
 189 Landscape, .... Solomon Ruysdael, New York. 
 
 190 Portrait of Prince Ferdinand, . Sir Anthony Reubens, New York. 
 
 191 Landscape, .... Jacob Ruysdael, New York. 
 
 192 Landscape, . . . . S. Ruysdael. New York. 
 
 193 Marine Piece, .... James Fernet, New York. 
 
 194 " Battle," Antonio Tempesta. 
 
 195 Historical Landscape, . . Caspar Bugliet Poussin, b. 1613, d. 1675 
 
 196 A Head, Francis Porbus, born 1570, died 1632. 
 
 197 Interim', Adrian Van Ostade, b. 1610, d. 1685. 
 
 198 Siege — Battle, Horses, an dWar- 
 
 riors, Antonio Tempesta. 
 
 199 Magdalen before the Cross, Preti Cavalier e Matha. 
 
 200 Adoration of the Magi, . Carlo Maratta^ born 1625, died 1713. 
 
 201 Battle, . . . . . Antonio Tempesta. 
 
CATALOGUE OF PICTURE GALLERY. 
 
 39 
 
 Title. Artist. Residence. 
 
 202 Battle, ... . Antonio Tempesta, born 1655, died 1630. 
 
 203 Seaport with Statues, . . . John Lvnglbach, b>rn 1625, died 1687. 
 
 204 The Temptation of St. An;hony, David Teniers, bom 1610, died 1694. 
 
 205 Head of the Virgin, . . . Andrea del Sarto Vannucci, born 1488, 
 
 died 1530. 
 
 206 Portrait of Mme. deMa.ntenon, Pierre Mignard, 
 
 207 Interior of a Forest, . . . Verburg, born 1690. 
 
 208 A View in Flanders, . . Solomon Euysdael, born 1616, died 1670. 
 
 209 Portrait of Arnold Booner, . Painted by himself, born 1669, d. 1729. 
 
 210 View on a Lake in Switzerland, Guignan, 
 
 211 Mary Magdalen, . . . G. F. B. Guertino. 
 
 212 Italian Scene, .... Peter Van Saar. 
 
 213 Portrait, Unknown, 
 
 214 Harbor in Holland, . . . J. Pelgrom, 
 
 215 The Flower Girl, . . . J Spellemacher, 
 218 Flowers, Johanna North, 
 
 217 The Arch of Drusus, in Kome, F. W. Baler, 
 
 218 Nero and Narcissus, . . A. Colin, 
 
 219 Eegret, Schiavoni, 
 
 220 A Hut in Beauce, France, . Wdndei'bwrch 
 
 221 Expectation, .... Schiavoni, 
 
 222 The Cook, . H. Hove, 
 
 223 A Cook Baking Wafers, . 
 
 224 Return with Game, . 
 
 225 A Girl at the Cellar Door, 
 
 226 A Girl in an Ancient Hall, 
 
 227 Landscape, .... 
 
 228 Landscape and Water, 
 
 229 A Farm in Holland, . 
 
 230 Winter Scene, Skating, 
 
 231 View in Switzerland, 
 
 232 The Adulteress at the Feet of 
 
 Christ, 
 
 233 A Steamer neai the Coast, 
 
 H. Move, 
 H. Hove, 
 H. Hove, 
 H. Hove, 
 H. F. P., 
 J. J. Destree, 
 G. Immerzeel, 
 J. G. Hans, 
 Teppmg, 
 
 Em. Signol, 
 
 G. G. Kannemans, 
 
 Geneva. 
 
 New York. 
 
 Holland. 
 
 Holland. 
 
 Holland. 
 
 London. 
 
 France. 
 
 Austria. 
 
 France. 
 
 Austria. 
 
 Holland. 
 
 Holland. 
 
 Holland. 
 
 Holland. 
 
 Holland. 
 
 Germany. 
 
 Holland. 
 
 Holland. 
 
 Holland. 
 
 Switzerland, 
 
 France. 
 Holland. 
 
40 
 
 CATALOGUE OF PICTURE GALLE 
 
 RY. 
 
 Title. 
 
 234 Battle of Leipsic in 1630, 
 
 235 Sleeping Beauty, 
 
 23G Landscape, view of a Lake and 
 Alps, 
 
 237 Portrait of Chief Justice Marshall 
 
 238 Corpse of a Female driven ashore 
 
 defended against the attack 
 of an eagle by two fisher- 
 man's dogs, . 
 
 239 Christ Pardoning the Adulteress, 
 
 240 Engraving of painting 241. 
 
 241 Columbus, .... 
 
 242 Miniature, .... 
 
 243 First Lord Lovet, 
 
 244 Landscape, . . , 
 
 245 Landscape, . 
 
 246 Louis X1IL, (for sale by H. 
 
 Whittemore, office 13), 
 
 247 Galileo, .... 
 
 248 Country Bathing, 
 
 249 Ann of Austria, wife of Louis 
 
 XIII., (for sale by H. Whitte- 
 more, office 13), 
 
 250 Landscape, .... 
 
 25 1 Interrupted Labor, . 
 
 252 Landscape on Panel, . 
 
 253 The Wreckers, 
 
 254 The Fairy in the Grotto, . 
 
 255 Wooded Landscape, . 
 
 256 Sheep Shearing, 
 
 257 View of a Canal in Holland, 
 
 258 Madonna and Child, . 
 
 259 Effie Dean, .... 
 
 260 Devotion, . 
 
 Artist. 
 W. Lindemchmidt, 
 Schiavoni, 
 
 Tapping, 
 
 J. B. Martin, 
 
 John Mlverdink, 
 M. Signol, 
 
 Watteau, 
 Miss Wagner, 
 Van Dylc, 
 Okie's, 
 Claes, 
 
 Phil, de Champagne, 
 A. F. Ewald, 
 Waldmuller, 
 
 Phil, de Champagne, 
 
 0. Zinmerzeel, 
 
 Monfallet, 
 
 Schelfhout, 
 Ed. Luminals, 
 
 UhTcnoiun, 
 
 Voleriani, 
 H. & A. A. Knip, 
 A. Waldorf, 
 A. De La Croix, 
 Unknown, 
 G. Verryt, 
 
 Residence. 
 France. 
 
 Austria. 
 
 Switzerland. 
 United States. 
 
 Holland. 
 France. 
 
 Franco. 
 
 Albany. 
 
 9969 
 
 Germany 
 
 Germany. 
 
 New York. 
 
 Berlin. 
 
 Austria. 
 
 New York. 
 
 Holland. 
 
 France. 
 
 Holland. 
 
 France. 
 
 Italy. 
 
 Italy. 
 
 Holland. 
 
 Holland. 
 
 Pome. 
 
 New York. 
 
 Germany. 
 
CATALOGUE OF PICTURE GALLERY. 
 
 41 
 
 1 Title. 
 
 Artist. 
 
 Residence. 
 
 ] 261 The Mendicant, 
 
 De Groot, 
 
 Breslau. 
 
 1 262 Jacob and Benjamin, 
 
 C. Molllnger, 
 
 Holland. 
 
 j 263 Cattle, 
 
 Verwee, 
 
 Holland. 
 
 I 264 Ophelia, 
 
 Leopold Burthe, 
 
 France. 
 
 1 265 The Witch of Endor, 
 
 Copy from Feonbrandt, 
 
 Germany. 
 
 1 266 Eocky Landscape, 
 
 M. De Marneffe, 
 
 Brussels. 
 
 
 
 Heidelberg. 
 
 1 268 The Holy Women at the Tomb 
 
 
 
 I of Christ, . 
 
 Giuseppe Bellucci, 
 
 Florence. 
 
 1 269 Stillwater Bay, .... 
 
 F. J. Vanderblylc, 
 
 Holland. 
 
 270 Head of a Bull, . 
 
 
 Holland. 
 
 271 Female Portrait, 
 
 Fupatzhy, 
 
 Nuremberg 
 
 272 Child and Dove, portrait, 
 
 F. Deicelirt, 
 
 New York. 
 
 273 Disturbed Lovers, . 
 
 Faisins, 
 
 Holland. 
 
 274 Artemesia Drinking the Ashes 
 
 
 
 of her Husband, . 
 
 A. Belle Plane, 
 
 Genoa. 
 
 275 Euins of Saalbeck, . 
 
 M. Schmit, 
 
 Germany. 
 
 276 View of a Dutch Town, . 
 
 C. Immerzeel, 
 
 Holland. 
 
 
 
 Italy. 
 
 278 Judith with the Head of Holo- 
 
 
 
 
 Conrad Fitz, 
 
 Munich. 
 
 279 Winter Landscape, . 
 
 F. Haanen, 
 
 Holland. 
 
 
 
 Holland. 
 
 281 Stealing Apples, 
 
 C. Keurdenburg, 
 
 Holland. 
 
 282 Landscape, .... 
 
 C. If. W. Mongers, 
 
 Holland. 
 
 283 Victor Emanuel, king of Sar- 
 
 
 
 dinia, 
 
 F. MarabotU, 
 
 Turin. 
 
 284 Still Water Scene, . 
 
 L. G. Verveer, 
 
 Holland. 
 
 285 Bagpipe Player, 
 
 Unknown, 
 
 Holland. 
 
 286 Eiver by Moonlight, 
 
 Jacob Ferryt, 
 
 Cologne. 
 
 287 Mother and Child, . 
 
 C. Immerzeel, 
 
 Holland. 
 
 288 Swamp at Sunset, 
 
 Ziem, 
 
 France. 
 
 289 Scene from Don Juan, 
 
 lochbilder, 
 
 Bavaria. 
 
 290 Castle on Fire, .... 
 
 Vanderworp, 
 
 Holland 
 
42 CATALOGUE OF PICTURE GALLERY. 
 
 Title. Artist. Residence. 
 
 291 French Squadron, Marine View, Morel, France. 
 
 292 Cattle, Verkuyp, Germany. 
 
 293 Game, C. de Cocq Holland. 
 
 294 A Monk Preaching at the Coli- 
 
 seum, Flavio, England. 
 
 295 Spinning, A. Pvnwi, Holland. 
 
 296 Forest Scene, . . . . J. H. Jansen, Holland. 
 
 297 Lady in a Hunting Dress, . W. Verschum, Holland. 
 
 298 Estefania, Bouche, New York. 
 
 299 Castle and Winter Landscape, . F. L. Huygens, Holland. 
 
 300 View at Capri, .... Alligny, France. 
 
 301 The Amateur in his Studio, . Verveer, Frankfort." 
 
 302 Mary Magdalen, . . . MarUlo, Spain. 
 
 303 The Madonna del Trono, copied 
 
 from Perugino, . . . G. Mazzolini, Eome. 
 
 304 A Eide in the Woods, . . K F. BlomUea, Holland. 
 
 305 St. Peter, Carlo Bold, New York. 
 
 306 A very ancient Italian Painting, Giotto, 
 
 307 St. Cecilia, Guido Reni, Italy. 
 
 308 Miracle of St. Anthony, in an 
 
 Antique Frame, . . . Unknown, Italy. 
 
 309 Tobias and the Angel, . . Unknown, Italy. 
 
 310 Portrait of Pope Julius II., from 
 
 Eaphael, .... Giovanni Mazzolmi, Eome. 
 
 311 Columbus at the Monastery of 
 
 Eabida, in Spain, . . L. Berlingieri, Genoa. 
 
 312 Village Church, . . . L. Stephan, Germany. 
 
 313 The Temptation of Christ, . Elizner, Diisseldorf. 
 
 314 Christopher Columbus at Sala- 
 
 manca, A. Colin, France. 
 
 315 Destruction of Pompeii, . . Lochbililer, Bavaria. 
 
 316 Fleur de Marie, from the Mys- 
 
 teries of Paris, . . . G. Berti, Florence. 
 
 317 Village Landscape, Evening, . A. Zwengaicer, Munich. 
 
CATALOGUE OF PICTURE GALLERY, 
 
 48 
 
 Title. 
 
 318 Flowers, 
 
 319 Contempt, .... 
 
 319 Landscape, . . . 
 
 320 Landscape with Eocks, 
 
 321 Joseph Sold by his Brethren, . 
 
 322 Girl Returning from Market, 
 
 323 Stag, 
 
 324 Winter Landscape, 
 
 325 Return of Napoleon's Ashes to 
 
 France, 
 
 326 Loch Lang, Scotland, 
 
 327 Cupid and Psyche, 
 
 328 Tyrolese Girl, .... 
 
 329 Revolution of Palermo in 1848, . 
 
 330 Death of an Italian Volunteer, . 
 
 331 Landscape, .... 
 
 332 Calculating Cook, 
 
 333 Moonlight Scene on Panel, 
 
 334 Fishing Smack, Normandy, 
 
 335 Mary Magdalen (Original,) 
 
 336 Marine View, .... 
 
 337 Copy from Raphael, . 
 
 338 St. Martin de Cluse in the Dau- 
 
 phinee, .... 
 
 •339 An Old Ship Stranded, 
 
 340 Portrait of a Boy, 
 
 341 Moonlight Scene, 
 
 342 A Woman Spinning, 
 
 343 David calming Saul, by the 
 
 sound of his Harp, 
 
 344 The Arch of Janus, in Rome, 
 
 during an overflow of the 
 Tiber 
 
 Artist. Residence. 
 
 Miza KoningJi, Holland. 
 
 N. Schiavoni, Austria. 
 
 F. Perotti, Turin. 
 
 Beniochi, Italy. 
 
 Jong Be Wett, (Pupil 
 
 of Rembrandt, ) Germany. 
 
 H. Rove, Holland. 
 
 Unknown, Germany. 
 
 B. 0. Koek'oek, Holland. 
 
 A. Colin, 
 James Ferguson, 
 G. B. Mulfedo, 
 0. Hitz, 
 Giacomo, 
 Fmilio Zapi, : 
 Spengel, 
 Moritz, 
 KerTchof, 
 M. Pinel, 
 Guido Reni ? 
 P. Schilager, 
 Masabolti, 
 
 A. Bubuisson, 
 
 J. J. Oroverwick, 
 
 Masse, 
 
 J. Verbougt, 
 
 Neuremberg, 
 
 G. Maccio, 
 
 F. W. Baker, 
 
 France. 
 
 England. 
 
 Genoa. 
 
 Munich. 
 
 Florence. 
 
 Florence. 
 
 Munich. 
 
 Germany. 
 
 Holland. 
 
 France. 
 
 Italy. 
 
 Holland. 
 
 Italy. 
 
 France. 
 
 Holland. 
 
 France. 
 
 Holland. 
 
 Holland. 
 
 Italy. 
 England. 
 
44 
 
 CATALOGUE OF PICTURE GALLERV 
 
 Title. 
 
 345 Pond by a Hut, . 
 
 346 Landscape, 
 
 347 Shipwreck, . 
 
 348 Cupid awaking Venus, 
 
 349 Portrait of Raphael, 
 
 350 Teguin Ferry and Harleck Cas- 
 
 tle, North "Wales, . 
 
 35 1 The Village Bride at her Toilet, 
 
 352 The Children of Frauenburg, . 
 
 353 Greeks at Missolonghi, 
 
 354 Bathing in the Country, 
 
 355 Group, Ancient Painting, 
 
 356 Scene from the Beggars' Opera, 
 
 357 The Good Mother, 
 
 358 The Return of Regulus to Car- 
 
 thage, 
 
 Artist. 
 Wanderburch, 
 
 Hanshofer, 
 T. Gudin, 
 Mme. F. <9' Connell, 
 Unknown, 
 
 Cornelius Varley, 
 
 F. Schaen, 
 
 Professor Gh. Schulz, 
 Per ig no n, 
 
 G. Perti, 
 Varni, of Genoa, 
 
 Zephania Bell, 
 G. Parti, 
 
 Cammuccini, 
 
 Kesidence. 
 France. 
 
 Germany. 
 France. 
 France. 
 Italy. 
 
 England. 
 
 Germany. 
 
 Germany. 
 
 France. 
 
 Florence. 
 
 Genoa. 
 
 London. 
 
 Italy. 
 
 Rome. 
 
 [The story which forms the subject of this piece is too well known to require 
 repetition ; but the painting calls for a few remarks, as one of the best speci- 
 mens of the modern classic school in Italy. Cammuccini died about twelve 
 years ago, at an advanced age, and sharing with Benvenuti, of Florence, the 
 reputation of the .greatest Italian painter of his time. His works are very 
 numerous, almost all of them historical, and many of them upon subjects 
 which, however unsuggestive they may seem to us, are still perfectly natural 
 for a Roman. Most of his paintings from Roman history are widely known by 
 engravings made under his own eye. His style is pure and correct, with a 
 strong tendency to mannerism, particularly in the grouping of his figures and 
 in the management of drapery. His drawing is accurate and fine, though not 
 bold or free. In his earlier paintings the coloring was good, but in his later 
 pieces he fell into an artificial style of contrasts, which is very disagreeable. 
 In invention he displayed a fertility which would have given him a high rank, 
 if there were more inspiration or spontaneity about it. But his groups recall 
 other works somewhat too often, and his figures are evident elaborations of 
 suggested ideas ; yet, though not an original genius, Cammuccini was an artist 
 of a high order, and his works will always hold an eminent place among the 
 Italian paintings of the nineteenth century.] 
 3 >9 Febecca's Farewell, . . . F. Nebel, Germany. 
 
 360 The Guitar Player, . G. Perti, Florence. 
 
 361 Ophelia, F, Geefs Corr, Belgium. 
 
 362 Landscape, . . . . M. Hamilton, Canada West. 
 
CATALOGUE OF PICTURE GALLERY, 
 
 45 
 
 Title. 
 
 363 Dante Alighieri taking leave of 
 
 his Family on going into 
 Exile, 
 
 364 Landscape, 
 
 365 Euins and Waterfall, . 
 
 366 Swiss Scene, .... 
 
 367 View in Italy, .... 
 
 368 View at Clifson, near Nantes, . 
 
 369 Forest Scene 
 
 370 Interior of a Forest, . 
 
 371 Dutch Village, . 
 
 372 Columbus, 
 
 373 View of a Seaport, 
 
 374 The Exiles, .... 
 
 375 Neapolitan Gleaner, . 
 
 376 Pauline Bonaparte, 
 
 377 Music, Mathematical Instru- 
 
 ments, Books, &c., on Table, 
 
 378 Ba.cchus presented to Silenus, . 
 
 379 Castle of Edinburgh, . 
 
 380 Mountain Landscape, 
 
 381 Borneo and Juliet, 
 
 382 Adam and Eve, . 
 
 383 Saul and David, . 
 
 384 Jean Jacques Eousseau, 
 
 385 Boys and Cat, 
 
 386 Euins of Castle Koche, Chinard, 
 387 
 
 388 Venus Rising from the Waves, 
 
 389 Landscape, near Villa d' Array, 
 
 390 Girl Selling Fish, 
 
 391 Group, Italian girl with lamb, . 
 
 392 Sunrise, 
 
 Artist 
 
 Edwin Giabatti, 
 A. Booking, 
 
 Do. 
 R. Hermanstorfer 
 Unknown, 
 K Pinel, 
 A. Booking, 
 Daubigny, 
 J. Doua, 
 A. PuccineMi, 
 Kannemans, 
 G. Ademollo, 
 Fioruzzi, 
 David, 
 
 Dumaresq, 
 
 Giaoomo Gonti, 
 
 A. De Mercey, 
 
 G. De Fries, 
 
 A. Colin, 
 
 G. H. Woolmer, 
 
 L. BeccM, 
 
 H. Vlger Duvignan, 
 
 Armand, 
 
 Peter Thullier, 
 
 Steinbruck, 
 Justin Ouvrie, 
 Van Eyckrans, 
 Hurlstone, 
 Pelgrom, 
 
 Residence. 
 
 Italy. 
 Germany. 
 
 do. 
 Germany. 
 England. 
 France. 
 Germany. 
 France. 
 Holland. 
 Italy. 
 Holland. 
 Italy. 
 Florence. 
 New York. 
 
 France. 
 
 Florence. 
 
 France. 
 
 Holland. 
 
 France. 
 
 England. 
 
 Italy. 
 
 France. 
 
 France. 
 
 France. 
 
 Berlin. 
 
 France. 
 
 Germany. 
 
 England. 
 
 Holland. 
 
46 
 
 CATALOGUE OF PICTURE GALLERY. 
 
 Title. 
 
 393 Landscape, Swiss Scenery, 
 
 394 Flowers, 
 
 395 The Message, . . • . 
 
 396 Launce and Speed, 
 
 397 The Mussel Vender, . 
 
 398 Child taking a thorn from the 
 
 foot of a Shepherd, 
 
 399 Landscape, 
 
 400 Shepherd receiving instruction 
 
 on the Eeeds, 
 
 401 Bass Rock, Frith of Forth, Scot- 
 
 land, 
 
 402 Cattle in a Stable, . 
 
 403 Portrait of Columbus^ 
 
 404 Brigands in a Tavern, 
 
 Artist. 
 Bernard Fries, 
 
 Adelaide Dietrich, 
 
 G. Benti, 
 
 W. Maw Egley, 
 
 J. SpillemacJier, 
 
 Cuminade, 
 Jacob Verryt, 
 
 Cummade, 
 
 Rudolf Hardorf, 
 Augusts Knip, 
 G. B. Multedo, 
 Augustus Vacha, 
 
 Residence. 
 Heidelberg. 
 
 Germany. 
 
 Florence. 
 
 England. 
 
 Holland. 
 
 France. 
 Cologne. 
 
 France. 
 
 Hamburg. 
 
 Holland. 
 
 Genoa. 
 
 Germany. 
 
 Munich. 
 
 405 Sacuntala, 0. Hitz, 
 
 [The subject of this piece is taken from a Sanscrit drama. The piece itself 
 
 is a copy of a picture by Risdel, which was exhibited in Rome in 1S39, winning 
 much commendation for its coloring.] 
 
 406 Interior of a Church, . . Prof. Ck, Schulz, Germany. 
 
 407 Arianna with the Satyrs, . . G. Berti, Florence. 
 
 408 Sunset near Naples, . . . L. GurUt, Vienna. 
 
 409 The Match Vender, . G. Berti, Italy. 
 
 410 Holy Women at the Tomb of 
 
 Christ, . . ... . G. Belucci, Italy. 
 
 411 Martin Luther,before the Diet of 
 
 Worms, . . . . . A. Fan Pelt, Holland. 
 
 [No act of Luther's life was more characteristic of his bold spirit and firm 
 convictions than his appearance before the Diet of Worms on the 17th and 
 18th of April, 1521. To his friends who, mindful of the conduct of the Council 
 of Constance, had advised him not to go, he replied, " that he would go, even 
 if there were as many devils in Worms as there were tiles on the housetops." 
 On his approach to the city, the inhabitants hurried out to meet him in greatej 
 numbers than had come together for the solemn entrance of the Emperor 
 The hall of the Diet was filled, friends and enemies mixed up together. Charier 
 was present, in the pomp of imperial majesty. Girolamo Aleandro represented 
 the church as Papal Nuncio. Bishops, electors, and nobles were ranged in the 
 order of their dignity. The Chancellor of the Archbishop of Treves, John 
 
CATALOGUE Oi PICTURE GALLERY. 
 
 47 
 
 Title. Artist. Eesidence. 
 
 ab Eyk, acted as interrogator. Luther was introduced by Marshal Count 
 Pappenheim, and told that lie must simply answer the questions asked him, 
 without entering into any discussion. From the thronged galleries he could 
 heai - the voices of his friends, exhorting him not to fear those who can kill the 
 body only, and mingled with these came the hisses and reproaches of his 
 enemies. On the first day he merely asked for time to answer the questions : 
 on the second — the subject of this painting — he replied at length, closing with 
 a firm and dignified admonition to the young Emperor not to act incautiously 
 and hastily in this beginning of his reign. The orator of the Assembly told 
 him, in severe terms, that he had not answered to the purpose, but must say, 
 categorically, whether he would retract his opinions or not. In a few dignified 
 words, he refused to retract anything, unless his conscience were subdued to 
 the Word of God ; and then added in German, for thus far he had spoken in 
 Latin, " Here I take my stand : I can do no other : God be my help. Amen."] 
 
 412 St. Lucie, Michael Angelo Orsi, Italy. 
 
 413 Costume of Peasant Girl of Sora, 
 
 Naples, Francesco Ferrari, Eome. 
 
 414 Landscape, . . . • . G. Saal, Germany. 
 
 415 Mythological Group, . . G. Eauseman, Germany. 
 
 416 The Pacha and Gulnare, Scene 
 
 from the Corsair, . . . F. Y. Eurlstone, England. 
 
 417 Landscape, Fdivard Schleich, Munich. 
 
 418 Cattle, J. Ryh, Holland. 
 
 419 Autumn, J. Grund, Germany. 
 
 420 Domino and Shepherdess — time, 
 
 Louis XV., . 
 
 421 Interior of a Forest, . 
 
 422 Sweeps Fighting, 
 
 423 The Jesting Sportsman, 
 
 424 Hindoo Girl drawing water, 
 
 425 Ehenish Kitchen, 
 
 426 Landscape, . 
 
 427 Fox and Duck, . 
 
 428 Westphalia Farm, 
 
 429 The Thunderstorm, 
 
 430 Sunset on the Lake of Geneva, 
 
 431 The Good Samaritan, . 
 
 Lereuf, 
 
 J. W. Schirmer, 
 
 E. Lapi, 
 
 J. B. Sonderland, 
 
 A. Plum, 
 
 France. 
 
 Dusseldorf. 
 
 Italy. 
 
 Dusseldorf. 
 
 Dusseldorf. 
 
 Eermwi Joseph Schmitz, Dusseldorf. 
 G. Jungheim, Dusseldorf. 
 
 F. R. Eappel, 
 Theodore Nocken, 
 P. E. Eappel, 
 William Portman, 
 Moritz Ulffers, 
 
 Dusseldorf. 
 Dusseldorf. 
 Dusseldorf. 
 Dusseldorf. 
 Dusseldorf. 
 
48 
 
 CATALOGUE OF PICTURE GALLERY. 
 
 Title. 
 
 432 Forest Scene, 
 
 433 Evening in Autumn, . 
 
 434 After the Storm, . 
 
 435 Swedish Fisherman, . 
 
 436 Fisherman's Hut on Fire, 
 
 437 Family Devotions, 
 
 438 The Stag Hunt, . 
 
 439 Italian Singers, . 
 
 440 Christ and the Two Disciples at 
 
 Immaus, . " . 
 
 441 Italian Dancers, .... 
 
 442 Peasants in an Inn dividing a 
 
 Lottery Prize, 
 [A scene in a German inn. The principal figure is busied in counting out the 
 money for distribution, while his companions, standing or sitting, surround 
 him in various attitudes, with their attention divided between the money and 
 the preparations for a carouse.] 
 
 Artist. 
 C. Jungheim, 
 
 Caspar Scheuren, 
 
 J. G. Lange, 
 
 M. Larson, 
 
 Chs. Hubner, 
 
 Ohs. Hubner, 
 
 Alex. Mlchelis 
 
 Joseph Fay, 
 
 Fred. Ittenbach, 
 Joseph Fay, 
 
 Residence. 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 Diisseldorf. 
 
 J. P. Hdsenclever, Diisseldorf. 
 
 443 Landscape, 
 
 444 Westphalian Mill, 
 
 445 Landscape in the Environs of 
 
 Diisseldorf, .... 
 
 446 Mill in the Woods, . 
 
 447 Castle of Kronenberg, in Den- 
 
 mark, 
 
 448 Landscape, 
 
 449 Yard in the Castle of Elz, on the 
 
 Moselle, 
 
 450 Chicken surprised by a Fitchet, F. R. Happel, 
 
 451 Mountain Bridge, . . . Jungheim, 
 
 452 Winter Landscape, . . . J. G. Lange, 
 
 453 Shipwreck, K JTunten, 
 
 454 Marble Well of Uttersberg, near 
 
 Salsburg, Caspar Scheuren, 
 
 455 Banditti in a Forest, . . O. Achmbach, 
 
 C. Jungheim, 
 Theodore Nocken, 
 
 Caspar Seheuren, 
 J. Zielhe, 
 
 M. Larson, 
 J. G. Lange, 
 
 Fhemant, 
 
 Diisseldorf. 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 Diisseldorf. 
 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 
 Diisseldorf. 
 Diisseldorf. 
 
CATALOGUE OF PICTURE GALLERY. 
 
 49 
 
 F. S. ZacTienwilz, 
 O. Adbf, 
 
 K Gessellschap, 
 
 Dusseidorf. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 
 Title. Artist. Kesidence. 
 
 458 Wolf with, his Prey attacked by 
 
 Dogs, ..... 
 
 457 Winter View of Highwater Gate 
 
 near Amsterdam, . 
 
 458 Discovery of the dead body of 
 
 Gustavus Adolphus after the 
 
 Battle of Liitzen. . 
 
 [Gustavus had already been wounded in the arm when a second shot struck 
 him. " I have got enough, brother," he said to the Duke of Lunenburg, who 
 "was leading him from the field, "save yourself;" and sinking from his horse, 
 pierced by new wounds, and forsaken by all his attendants, he breathed his 
 last under the hands of the Croats. After the battle his victorious army 
 sought the body of their king. They found it amid the common dead, 
 bruised by horses' hoofs, stripped of its ornaments and clothes, and so dis- 
 figured by wounds that those who knew him best were at a loss to recognize 
 it. A great stone, near the spot where he fell, was long called the " Stone of 
 the Swede."] 
 
 459 Landscape in Lower Germany, . George Jabin, Diisseldorf. 
 
 460 A Forest Inn, .... William Klein, Diisseldorf. 
 
 461 Bacchus and Ariadne, . . E. Becker <& A. Weber, Diisseldorf. 
 
 462 The Landgrave of Thuringen, 
 
 Frederick, with the bitten 
 
 cheek, B. Sieger t, Diisseldorf. 
 
 463 Flora Mclvor and Kathleen wait- 
 
 ing for Waverly, . . . L. Blank, Diisseldorf. 
 
 464 Lake Scenery, . . . . B. Schulz, Diisseldorf. 
 646 The Eising Thunderstorm, . Augustus Weber, Dusseidorf. 
 
 465 Mountain Views in Norway, . Sans Glide, Diisseldorf. 
 
 466 Landscape, A. Weber, Dusseidorf. 
 
 467 Mill by a Brook, .... George Jabin, Dusseidorf. 
 
 468 Winter Scene in Holland, . O. Adloss, Dusseidorf. 
 
 469 Landscape in the Mountains, . George Jabin, Dusseidorf. 
 
 470 Diana and her Nymphs in the 
 
 Bath, Professor 0. Sohn, Dusseidorf. 
 
 471 The Singing Lesson, . . . Joseph Niessen, Dusseidorf. 
 
 472 Eevolution in the Artist's Studio, Wilms, Dusseidorf. 
 
50 
 
 CATALOGUE OF PICTURE GALLERY. 
 
 Title. 
 
 473 Scene in a Schoolroom from the 
 
 Jobsiade, a German comic 
 poem. See also !No. 481 
 
 474 Italian Woman Playing with 
 
 Child, 
 
 475 Mill in the Dale, . 
 
 476 The Admiral Taking Leave of 
 
 his Wife, .-.'.. 
 
 477 Forest Scene, .... 
 
 478 View of a Dutch Harbor, . 
 
 479 Avenue in Autumn, . 
 
 480 Perspective View, 
 
 48 1 Jeronimus Jobs, a Night Watch, 
 
 482 The Faithful Watchman, . 
 
 483 Deputation of Workmen before 
 
 the City Council, . 
 
 Artist. 
 
 J. P. Hasenclever, 
 
 Joseph Fay, 
 George Jabvn, 
 
 A. Plum, 
 G. Jungnem, 
 G. Adloff, 
 George Jabvn, 
 I. G. Lange, 
 J. P. Hasenclever, 
 Fred. Happell, 
 
 J. P. Hasenclever, 
 
 Residence. 
 
 Diisseldorf. 
 
 Diisseldorf. 
 Diisseldorf. 
 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 Diisseldorf. 
 
 Diisseldorf. 
 
 [This is a very remarkable picture, both as a work of art and a historical 
 record. Eighteen hundred and forty-eight saw many of these scenes, in which 
 the ruler was brought, for the first time, face to face with the people. The charac- 
 ter of the members of the council reveals itself in their faces, and requires no 
 explanation. The scene in the square, too, where a popular leader is harangu- 
 ing the multitude, is perfectly intelligible. But in the group at the door do 
 not pass lightly over the skilful discrimination of the artist. Observe the 
 leader — bold, self-possessed, and sincere. Observe the figure just behind 
 twisting his moustache with his fingers. What a contrast to the earnest dig- 
 nity of the speaker, and how truthfully the rum bottle peering from his pocket, 
 tells what kind of freedom he asks for. Then behind them all, the wire pull- 
 er whispering words of impatience from his covert in the back ground. The 
 grouping, study of heads, and all the artistic details, will richly repay a care- 
 ful examination.] 
 
 484 Sybil burning her Books, . . H. Goldschmit, Frankfort. 
 
 485 The Calabrese .... Polak, Pome. 
 
r. 
 
 RE-OPENING 
 
 OF THE 
 
 CRYSTAL PALACE, 
 
 FOE THE 
 
 EXHIBITION OF THE INDUSTRY OF ALL NATIONS. 
 \From the New York Tribune, May 5, 1854] 
 
 PEOCESSION TO THE PALACE. 
 
 Yesterday the New-York Crystal Palace for the Exhibition of 
 the Industry of all Nations was re-inaugurated, the ceremonies 
 on the occasion being conducted with great spirit, and in a man- 
 ner worthy of the enterprise. * * * * 
 
 AT THE PALACE. 
 
 We arrived at the Palace at twelve o'clock, and found a large 
 crowd, composed in great part of ladies. 
 
 The head of the procession reached the Palace at half past 
 twelve, entering from the Sixth-avenue entrance. The view at 
 the moment taken from the stand, if it could have been daguer- 
 reotyped in colors, would have made a picture worth a voyage to 
 look at. 
 
 All of the front of the galleries, all the great stairways and 
 portions of the lower floor, were crowded with bright faces of 
 beauty and intelligence shining amid the gay colors of the pre- 
 sent fashion of ladies' dresses. 
 
6 2- 
 
 RE-INAUGURATION OF THE 
 
 The speakers' stand was placed upon a raised platform in the 
 East Nave just under the outer rim of the dome. Immediately 
 under the centre of the dome, where the equestrian statue of 
 Washington stood, a large fountain has been placed, in the centre 
 of which stands a colossal figure, twelve feet in height, standing 
 upon a rock six feet high. The figure represents America, In 
 the right hand is a spear piercing the rock, from which the wa- 
 ter gushes forth ; and in the left hand the figure holds a wreath 
 of laurel over the water. The artists were Messrs. Borup and 
 Muller ; the former is a pupil of the celebrated Thorwalsden. 
 This statue was suggested by the architect, George Carstensen, 
 and executed in the Crystal Palace in six days- 
 
 The ceremonies commenced precisely at a quarter to one 
 o'clock, with music and the singing of the following 
 
 PKIZE ODE, 
 
 BY "WILLIAM BOSS "WALLACE. 
 
 Lo ! the transitory darkness 
 
 From our Palace floats away ; 
 Lo ! the glorious gems of Genius 
 
 Glitter in the rising day. 
 
 See again the mighty Nations 
 
 Meet and clasp each other's palms, 
 And hy Labor's glowing altar 
 
 Lift on high according psalms. 
 
 Here behold the true Evangel ! 
 
 Not from War may Earth increase ; 
 God has stamped his shining patent 
 
 Only on the brow of Peace. 
 
 Only by the arm of Labor, 
 
 Swinging to Invention's chime, 
 Can the Nations build their Eden 
 
 In the wilderness of Time. 
 
 Nations ! hear that mighty music 
 Polling through the mountain-bars — 
 
 Plantiug deserts, bridging oceans, 
 Marrying the choral stars : 
 
 Telling that our Crystal Palace 
 
 Glorifies the joyous sod — 
 Making Man, with Art and Nature, 
 
 Worthy of the Builder— God ! 
 
 Nations ! then rejoice that darkness 
 
 From our Palace floats away, 
 And the glowing gems of Genius 
 
 Glitter in the light of day ! 
 
 The effect produced upon the audience by the music foresha* 
 
NEW YORK CRTSTAL PALACE. 
 
 dows the success of keeping up that source of enjoyment for the 
 million as long as the Exhibition may be kept open. 
 
 PRAYER BY THE REV. MR. HOYEY. 
 
 After the Ode was sung, the following Prayer was made by 
 KeY. Mr. Hovey: 
 
 Oh, Lord ! Thou art God ! God over all, and blessed for ever- 
 more. Thy kingdom is an everlasting kingdom, and to Thy dominion 
 there is no end. Thy power is omnipotent, and Thy presence is om- 
 nipresence. We render to Thee our sincere and hearty thanks, that 
 we are still the monuments of Thy mercy ; that we are still permitted 
 to exist in this world of hope, of light and life. We thank Thee, our 
 Father, for all that Thou art doing for us ; for all the improvements 
 that Thou art carrying forward in this world ; for all that Thou hast 
 done, and for all that Thou wilt do ; for displays of Thy grace and 
 mercy. We pray that Thou wilt cause Thy blessing to descend upon 
 us, and all the exercises of this occasion. We pray that Thou wilt be 
 with us, and smile upon us, and do us good. We pray that we may 
 have hearts to trace to that goodness and mercy every improvement 
 that takes place in the world ; and as we see around us so much that 
 is calculated to bless our race, and to make us comfortable and happy, 
 to advance us in civilization — we pray that we may trace it all to Thy 
 goodness, to Thy mercy, and to render to Thee according to all the 
 benefits that we receive. It is not because we deserve these blessings, 
 that Thou dost bestow them. It is of Thy rich grace and mercy 
 through Jesus Christ, our Lord. Oh, let Thy blessing descend, and 
 Thy banner over us be love. We pray that Thou wilt cause us to 
 thrive under Thy shadow, and here to receive the blessings that we 
 need from Infinite Fulness. 
 
 These favors we ask, Lord our God ! in the name of Him who 
 taught us to pray, saying: a Our Father who art in heaven, hallowed 
 be Thy name ; Thy kingdom come ; Thy will be done on earth as it 
 is in heaven. Give us day by day our daily bread. Forgive us our 
 sins, as we forgive those who trespass against us. Lead us not into 
 temptation, but deliver us from evil. For Thine is the kingdom, and 
 the power, and the glory for ever. Amen." 
 
 A Grand Chorus was next sung. Everybody in the immense 
 audience could hear the music, while not one in ten knew wheth- 
 er the prayer or half the speeches were made in the English, 
 French, Turkish, or Russian language. 
 
 MR. BARNTJMS SPEECH. 
 
 After the Chorus, the following speech was made by the 
 President of the Association, P. T. Barnum : 
 
 Fellow-Citizens : — This is our Congress of Peace. This is our 
 popular Coronation of Labor. We leave it to others to erect their 
 
RE-INAUGURATION OF THE 
 
 monuments to the sword. Let them blazon in the pages of history 
 the " fossil poetry " of names written only in human blood, and crown 
 with laurel only the genius of destruction. We have a prouder and 
 holier mission. Be it ours to dedicate this temple to Human Indus- 
 try — to celebrate the " peaceful victories " of Toil and Skill — to place 
 among the imperishable records of the earth this living eulogy of a 
 wiser age, and a Christian people. My friends ! this is eminently a 
 " Christian," as well as a Crystal Palace — for God himself was the 
 first artificer. He ennobled Labor by His own original example : and 
 in setting up this Altar to Universal Production, we have but made a 
 finite copy of His infinite work, and done it up in glass and iron, as a 
 gift-hymn for worshipping Humanity. Instead of smoking battle- 
 fields, we have the furnace, with its breath of fire, moulding the stub- 
 born iron to its work of peace. The merry ring of the anvil is our 
 substitute for the rolling drum. The gigantic steam engine supplies 
 us with creative thunder ; while God's own lightning, snatched from 
 its sun-path in the sky, and harnessed to the car of trade, telegraphs 
 our thoughts from pole to pole, and speaks in every tongue the elo- 
 quent language of Industry. Every age has its hero. We must have 
 ours. The Past points to its Bonaparte and Wellington. The public 
 debts of nations live to plead their claims to immortality as benefac- 
 tors of mankind. The Present whispers in the ear of Fame the names 
 of Morse, of Hoe. of Collins, and their compeers ; and it will syllable 
 yet the name of many a gifted representative of Labor, with whom 
 this occasion has surrounded me. These, and such as these, are our 
 heroes. To Morse we owe that " still, small voice," which murmurs 
 along its prison-wires our slightest command, and mocks at time and dis- 
 tance. Collins has bridged for us the turbulent ocean, with a palace-way 
 of boats. Hoe has accomplished what Archimedes could not, and in the 
 Monster Press, has given us the fulcrum and the lever that, spite of 
 tyrant voice and hope, now moves the world, while the builders of 
 this universe of thoughts, reserving for us the culminating glory of the 
 age, have taught us how to bind together the East and the West in 
 the cords of mutual production ; to unite the ambition of the swelter- 
 ing tropics and the shivering North, in one grand effort to produce a 
 home where every man may find a welcome for the product of his 
 head and hands, regardless of his hue, his country, or his religion. In 
 conclusion, ladies and gentlemen, let me mention, that the Directors 
 of this Association, in establishing the Crystal Palace as a permanent 
 institution, have resolved to make the occasion an interesting epoch in 
 the memory of the inventors and artificers generally throughout the 
 world. With this view, I have been authorized to announce the fol- 
 lowing incentives to the development of mechanical ingenuity and cre- 
 ative art : 
 
 The Association offers a prize of a Gold Medal, costing one thou- 
 sand dollars, or its equivalent in cash, if preferred, for the most useful 
 and valuable Invention or Discovery which shall have been patented 
 or entered in the United States Patent Office, during the year closing 
 the first day of December next, provided only that the said Invention 
 or Discovery, by specimen, model, or product, shall have, meantime, 
 been exhibited in the Crystal Palace. 
 
NEW YORK CRYSTAL PALACE. 
 
 Second, A Gold Medal, costing one thousand dollars, or its equiva- 
 lent in cash, to the Artist whose work, having been exhibited in the 
 Crystal Palace during the three months closing on the first day of De- 
 cember next, shall be deemed most worthy of such testimonial. 
 
 Third, Five medals, costing one hundred dollars each, or their 
 equivalent in cash, if preferred, to the five inventors, whose inventions 
 in the various departments of useful arts, patented, entered, or caveat- 
 ed within the year, and exhibited in the Crystal Palace as aforesaid, 
 shall be adjudged most worthy of such testimonials next after the one 
 adjudged most excellent, as aforesaid. 
 
 Fourth, Five medals, costing one hundred dollars each, or their 
 equivalent in plate or cash, if preferred, to the five artists whose origi- 
 nal works, completed since the first opening of the Crystal Palace, and 
 exhibited therein as aforesaid, shall be adjudged most worthy of such 
 distinction next after the most excellent, as aforesaid. 
 
 The ablest and most respectable Jury or Juries that can be select- 
 ed, shall be appointed to examine critically the several articles exhib- 
 ited, and award the prizes mentioned. The Directors will proceed, as 
 early as practicable, to select such Jury or Jurors, and hope to be able 
 to announce the appointments on or before the first day of June next. 
 I am also authorized to announce, that the Association will, in their 
 discretion, award medals or diplomas to the exhibitors or inventors of 
 such articles as possess merit sufficient to entitle them to such distinc- 
 tion. By stimulants like these, ladies and gentlemen, we hope to 
 bring forth our new race of heroes — heroes in art — conquerors upon 
 the battle-field of labor — victors in the sublime struggle of handicraft 
 and intellect with ignorance and inertia. We hope to make such he- 
 roes of you, industrials, who listen to me — to immortalize you in the 
 immortalization of our age and nation. And, if we cannot have you 
 canonized in Notre Dame or St. Paul's, we shall find you a resting- 
 place in the cathedral-cloisters of the human heart, wherever Genius 
 may be known, or Science may win a hopeful idolater. (Mr. Bar- 
 num was frequently interrupted by loud applause.) 
 
 I cannot conclude these remarks, without reading to you a short 
 extract from a morning paper, printed this morning in the city of New 
 York, in which our Directors most unanimously coincide : 
 
 "We trust the day is not distant, when the several trades of our city will 
 invite their brethren of the vicinity to meet them for an evening's instruction 
 and recreation in the Crystal Palace — when the Carpenters and House-Joiners, 
 on an evening designated hy their organized society or rocieties in this city — 
 the Iron-workers on another — the Masons and Plasterers on another — the work- 
 ers in Leather on another — the Firemen perhaps on another — shall assemble 
 with their wives and children at the Crystal Palace, to examine its objects of 
 interest, extend and improve their mutual acquaintanceships, listen to an Ad- 
 dxess (if they choose) by some speaker of their own choice, and thus combine 
 instruction with rational and elevating enjoyment. All that the Crystal Palace 
 has yet been, is but a beginning of what it shall be, if our citizens, whom it is 
 calculated to benefit, shall see fit to manifest a proper interest in its well-being." 
 
 "We have great satisfaction in adding, that the public press through- 
 cut the Union, have given their co-operation to this magnificent enter- 
 prise, with, perhaps, a possible single exception in the city of New 
 York. 
 
A 
 
 RE-INAUGURATION OF THE 
 
 This speech, particularly the part suggestive of visits from 
 all the trades of the city, in which they shall invite their breth- 
 ren in other cities to join them, and thus become mutually ac- 
 quainted, gave the audience great satisfaction. 
 
 Mr. Barnum's speech was followed by the soft music of the 
 flute, by M. Drotjet, which, notwithstanding the immense space 
 it had to fill, gave the audience extreme delight. 
 
 JUDGE CAMPBELL'S SPEECH. 
 
 The next speech was by Judge W. W. Campbell. He was 
 introduced by Mr. Barnum, and the first few words of his ad- 
 dress led the audience to think that in it they would find but lit- 
 tle to interest them. How they were disappointed, may be 
 judged by the following words : 
 
 Mr.. President and Gentlemen: — It is recorded in ancient 
 mythology, that when Vulcan cleaved the head of Jupiter, Minerva 
 stepped forth, full grown, and clad in armor. She struck the earth 
 with her spear, and the olive-tree sprouted. The loom, the spindle, 
 and the embroidering needle, were also her atttibutes, and with her 
 own hands she made the dresses of the gods. The painter, the sculp- 
 tor, and the architect, with the philosopher, the poet, and the orator, 
 acknowledged her as their tutelary deity. She was the Goddess of 
 Wisdom. Temples were erected in her honor, and the ruins of the 
 Parthenon, which contained her statue by Phidias, and was dedicated 
 to her, still look down upon all that remains of the Athens of old. 
 This gorgeous temple, in which we are now assembled, is our Palace 
 of Minerva, raised in honor of Labor and of Art. Our youthful 
 imaginations were taxed to comprehend the wonderful structure 
 reared by the genius of the lamp of Aladdin. But we have lived to 
 see the embodiment of the romance of our boyhood ; to see fiction 
 become reality ; to see how Labor and Art have formed and fashioned 
 it, and thus given 
 
 " To airy nothings, a local habitation, and a name." 
 
 But while this Palace is a beautiful, it is also a stern reality. The 
 intellects which designed, and the hands which wrought it, operated 
 in obedience to that command, imposed upon us at the very commence- 
 ment of our race. Labor in some form or other, intellectual or 
 physical, is not only the duty, but it is the great necessity of man. 
 All the works of nature proclaim this law. The rolling ocean, 
 the running stream, the growing plants, and the moving air, are a 1 
 teachers of labor. The waters stagnate, and the air becomes noxious, 
 and the earth barren, without motion and change. Nature revels 
 and renews herself in the abundance of her life and activity. The 
 great Author of the works of Nature, the Creator of us and of ail 
 things, rested, it is said, from the work which he had done, and pro- 
 nounced it good ; and the same command which enjoined an observ- 
 
NEW YORK CE.YSTAL PALACE. 
 
 ance of a day of rest also required from us, the creatures of His moral 
 government, continued labor for the remaining time, and promised as 
 a reward the seed-time and the harvest, the genial rain and sunshine. 
 Labor thus exampled and commanded, may well be said to be digni- 
 fied. Our attention to-day is chiefly devoted to physical labor as di- 
 rected by the intellectual. We are surrounded by art, which is but 
 the united production of the intellectual and plrysical labor of man. 
 Gathered under this crystal roof ace some of the most rare and beau- 
 tiful specimens of man's handiwork. Here the representative labor of 
 most of the civilized nations of the earth may be seen. In this view 
 our objects in this day's commemoration have a peculiar interest. A 
 Congress of Nations has been often suggested, and to a certain extent 
 carried out. Combinations of armies and confederation of States have 
 been witnessed. The Grecian youth from all parts of their country 
 assembled at the Olympic Games, and exhibited feats of strength and 
 contended in the race ; and occasional^ the pcet and the historian 
 then first published the productions of their pens. Separate states 
 have had their Fairs of Agriculture and the Mechanic Arts ; but a fair 
 where the representative labor of the world should be gathered was 
 novel, and owed its existence to our age of peace and enterprise. The 
 philanthropist fondly hoped that a new era had thus been inaugurated, 
 and that " lands intersected by a narrow frith " would no longer " ab- 
 hor each other," and " mountains interposed " no more "make enemies 
 of nations." If perchance the war now commenced in Europe shall be- 
 come general, the " World's Fairs " will be remembered and cherished 
 as memorials of a period when all the nations of the earth came toge- 
 ther and contended, not to see who could do the others most harm, 
 but who could exhibit the best productions of Labor and Art — who 
 could best illustrate the triumphs of peace. Even in war, let the Crys- 
 tal Palaces of Europe stand ; let the rays of the morning sun salute 
 them, and the rays of the evening sun gild them ; let them remain as 
 emblems of peace and good will to men ; and let the sojourner and 
 stranger even from hostile lands find in them a home and a place of 
 refuge, and be safe from the avenger of blood. 
 
 This Palace of ours brings up in strong contrast the present and 
 the past. The world was old when here our fathers first made the 
 wild woods ring with their " hymns of lofty cheer." When they first 
 touched these siiores, it was as if they had landed on a new planet, 
 and they styled the country emphatically the " New World." New 
 varieties of plants and unknown races of animals were presented to 
 view, while man was equally strange in complexion, language, and in- 
 stitutions. They had homes to erect in the wilderness. They had to 
 battle with the elements, and to dispute dominion over the land with 
 the Indian and the beasts of prey. Present wants and the struggles 
 for the necessary means of subsistence left little time for the cultiva- 
 tion of the refinements of civilized life. The land from whence they 
 came was far oif across tempestuous oceans, and only at long intervals 
 came news of the homes, and the kindred and friends they had left be- 
 hind. The forests were to be hewn down and the earth made to pro- 
 duce her fruits, and the axe, the hoe, and the ploughshare were the in- 
 ternments which they wielded with skill. But standing here this day 
 
RE-INAUGURATION OF THE 
 
 and looking around on the varied productions of art. the contributions 
 from different portions of our own wide-spread country, and from 
 various and far-off nations of the earth, we are struck with the mar- 
 vellous changes which time has wrought. Modern discoveries and 
 civilization bring the ends of the world together ; and judging from 
 what is now before us, it might be difficult to determine whether we 
 are assembled in the chief city of the western hemisphere, or in one 
 of the principal capitals of Europe. If, in those peaceful contests for 
 supremacy with the Old World, we have been found wanting in the 
 ornamental, but not in the useful — if in these modern Olympic games 
 of nations — we have not gained the principal victory, we have at least 
 shown that we have the strength of muscle, and that time and experi- 
 r ence alone are necessa^ to enable us to reach the goal in triumph, 
 and win the prize. This re-inauguration to-day is an earnest of re- 
 newed efforts to press forward in the race, and to emblazon if possible 
 the motto of the great Roman conqueror, veni, vidi : vici, upon the 
 American standard of Labor arid of Art. 
 
 This speech was followed by a chorus by the Harmonic So- 
 ciety. This was followed by a piece of music by Drouet, execu- 
 ted by L. Drouet, Jr. 
 
 the rev. t. l. cuylers speech. 
 
 The following speech of the Rev. T. L. Cuyler was received 
 with unbounded applause. Mr. Cuyler said : 
 
 You will pardon me, Mr. President, if I feel some embarrassment 
 to-day, for it is the first time that I ever spoke in a Palace or ever 
 took part in a coronation. I am very proud to stand up in this royal 
 assemblage, where the men are all native sovereigns, and the queens 
 are the queens of beauty, who rule us with the sceptre of domestic 
 love. I am proud to greet these ambassadors who are here present ; 
 they are not titled noblemen from the Old World, but ambassadors 
 from the work-shop, wearing the grand cross of the Legion of Labor — 
 the men, 
 
 " Whose brows are wet with honest sweat, 
 "Who earn whate'er they can." 
 
 Whatever may be said of former exhibitions, here it shall not be said 
 that you this morning have made the mistake of omitting the " Prince 
 of Denmark " from the play of Hamlet. It shall not be said to-day 
 that the genius of American Labor comes to his own and his own re- 
 ceives him not. It cannot be said that gowns and epaulettes are taking 
 the place of the workman's frock, or that the sword is driving away 
 the plough and the hammer. Artisans of New York ! The building 
 that covers us is the most graceful structure on this continent. It is 
 a perfect dream of beauty. They tell us that it surpasses its European 
 models. But beautiful as is this fairy work of glass and metal, superb 
 as swells yonder dome above our heads, blazing at night like a minia- 
 
NEW YORK CRYSTAL PALACE. 
 
 ture sky, yet this building has its chief beauty to me in being one of 
 the world's grandest temples of Peace. While the armies of Europe 
 are measuring their strength on the battle-field, the soldiers of peace 
 shall in this place measure their skill in the productions of art. On this 
 spot the States of our firm Union shall compete in generous rivalry. 
 We meet to welcome here the shrewd sons of New-England, the land 
 where labor has always been honored, from the days when she sent 
 Roger Sherman, the shoemaker, to Congress, down to the time when 
 she made her ablest statesman out of the " little black Dan, who used 
 to water the teamsters' horses " before his father's doorway in Salis- 
 bury. Here we meet to welcome the mem" musicians of Lowell, who 
 play on their cotton spindles to the tune of twenty millions a year, and 
 who find the " waters of the Merrimac better than all the rivers of 
 Damascus." Here we will exhibit the products of the Empire State, 
 brought hither over the canals which her Clinton dug, and upon her 
 steamers which her Fulton invented. We will levy contributions on 
 Quaker Philadelphia, where Franklin pulled his press and Godfrey 
 made his quadrants. We will send our greetings to Cincinnati, saying 
 ho ! send us the " Greek Slaves and the Fisher Boys " which your 
 Powers has created ; and we will say to Chicago, send us your " Vir- 
 ginia Reapers," which cut down the pride of John Bull ; and to Caro- 
 lina, send us the fruits of those fields over which Gen. Greene, the 
 blacksmith, fought the battles of American freedom. And when the 
 fairy Palace is full, and the genius of Art has beckoned hither her 
 choicest treasures, when the Congress of nations shall meet here day 
 by day, then shall America be able to vindicate herself from the unjust 
 sneers and reproaches heaped upon her at the World's Exhibition in 
 Hyde Park, two years ago. In closing, and in the presence of the 
 man who has done so much for labor, let me say : 
 
 " Then let our toast be freely quaffed, 
 
 In water ccol and brimming, 
 All honor to all handicraft, 
 To toiling men and women. 
 
 " Oh ! workmen in your bright array, 
 Send out your free hosanna, 
 We celebrate Saint Labor" 1 s day 
 Beneath her starry banner." 
 
 This was followed by another performance by the band. 
 
 Mr. Barntjm now said he wished to introduce to the audience 
 a celebrated stranger, by the name of Horace Greeley. Mr. 
 Greeley was received by cheers of welcome. He said that he 
 held in his hand the following letters, and read that from Dr. 
 Tyng as a specimen of the spirit of the whole : 
 
 LETTEES. 
 
 FROM THE REV. STEPHEN H. TYNG. 
 
 St. George's Rectory, Monday, April 24, 1854. 
 Sir • J should feel it to be a great honor and pleasure to aid in the relnaugura- 
 tion of the great Exhibition of the Industry of all Nations. In no aspect of our 
 country o^ my fellowmen do I take a deeper interest, than in the elevation and 
 
RE-INAUGURATION OF THE 
 
 honor which the industry and skill of the laboring classes deserve and receive. 
 Religion and virtue in the family of man are indissolubly bound to the industry 
 and honorable labor of man. We cannot honor the labor of our freemen too 
 highly, and ought not to esteem any remuneration which they actually earn, 
 beyond their rights, or rightful claim. Better far employ the skill of men, and 
 elevate their condition, and thus give them the spirit and the ability to elevate 
 and support themselves and each other, than wait to relieve their necessities, 
 from the abundance we may accumulate in their depression. The one scheme 
 may suit the monarchical distinctions ; the other ought to characterize the 
 Republican independence and equality. I rejoice to see that the prospect _ of 
 reopening of the Exhibition of Industry is so promising under your presiding 
 care and effort. But I much regret that my engagements and probable absence 
 from the City will necessarily prevent my uniting with you. in the exercises of 
 the occasion. I am, Sir, your most ob't serv't, STEPHEN II. TYNG. 
 P. T. Barnum, Esq., N. Y. 
 
 FROM THE REV. GEO. W. BETHUNE. 
 
 Brooklyn, Tuesday, May 2, 1854. 
 My Dear Sir: I should be happy to serve you and the Directors of the 
 Crystal Palace, if it were in my power, but I have for the whole of Thursday 
 another engagement of importance which cannot be postponed. Your note has 
 just reached me, and I send a messenger Immediately with this. 
 
 Very respectfully, your ob't serv't, 'GEO. W. BETHUNE 
 
 P. T. Barnum, Esq. 
 
 FROM THE REV. FRANCIS L. HAWKS. 
 
 New- York, Thursday, April 20, 1854. 
 Dear Sir : While I am much gratified at the improved prospects of the 
 " Association for the Exhibition of the Industry of all Nations," and heartily 
 desire its prosperity, I am constrained by existing engagements respectfully to 
 decline being one of the speakers at the reopening of the Crystal Palace on the 
 4th of May. It will not be in my power to be present on that occasion, and I 
 am happy to know that you have secured the services of such gentlemen as will 
 render any little aid I could render quite unnecessary. 
 
 Respectfully, FRANCIS L. HAWKS. 
 
 P. T. Barnum, Esq. 
 
 FROM THE REV. GEO. POTTS. 
 
 New- York, May 1st, 1854. 
 
 Dear Sir : It would give me much pleasure to comply with the wish of the 
 Directors of the Exhibition ; but a previous and imperative public duty will 
 call me away from home on Wednesday. I regret this the more, as I feel, in 
 common with others, much interest in the success of the Exhibition. 
 
 Convey to the Directors my acknowledgments for the compliment they 
 have paid me. Yours, respectfullv, GEO. POTTS. 
 
 To P. T. Barnum, Esq., Pres't, &c, &c. " 
 
 FROM PROF. B. SILLIMAN. 
 
 New-Haven, May 2, 1854. 
 
 Gentlemen : I feel honored by your kind invitation to be present on 
 Thursday, at the reopening of the Crystal Palace. 
 
 I should have been very happy to attend, had not a public duty here as- 
 signed to that day interposed an "insuperable obstacle. 
 
 I am much gratified that this grand enterprise has not been suffered to 
 die out, and trust that the noble building, replete with the productions both 
 of foreign and domestic skill, will remain as a permanent source of honor 
 and benefit to our country. I remain, gentlemen, very respectfully, your 
 obliged servant, B. SILLIMAN, Senr. 
 
NEW YORK CRT ST Ah PALACE. 
 
 MR. GREELEY'S SPEECH. 
 
 Horace Greeley prefaced his address by observing that it 
 had been asked why the workingmen were not present as speak- 
 ers. It was the desire of the Committee that speakers of that 
 class should take part in the day's proceedings ; but they were 
 not forthcoming at the Committee's desire. He would be glad 
 to see the workingmen naming an evening, and appointing a 
 speaker of their own class, or not, and the platform would be 
 gladly assigned to them. He then spoke as follows : 
 
 The dignity of Labor — the elevation of Labor — the inherent worth 
 and desert of Labor — these are topics on which there has been some 
 rhetoric expended ere now. There are said to be efforts from time to 
 time put forth, termed Fourth-of-July Orations, in which these points 
 are urged with more fervor and poetry than originality. Far be it 
 from me to question the dignity or the intrinsic worth of Labor : on 
 the contrary. I insist ' that the laborer is worthy of his hire ' — that he 
 ought to receive that which he has honestly striven for and fairly earn- 
 ed, whether it be a wreath of laurel, a country's plaudit, or a silver 
 dollar. But this I do maintain, here and every where, that so long 
 as the Laboring Class cherish no hearty devotion to nor genuine pride 
 in their several callings, but pursue them only because they must work 
 or starve, and because they can find no easier way of gaining a liveli- 
 hood, all that is said in laudation of Labor, its dignity and its eminent 
 worth, will be out of place and fallacious on any other day than the 
 Fourth-of-July aforesaid. For there is nothing in Toil of any kind 
 that ennobles and dignifies its votary, unless it be the motive which 
 impels him to pursue it. He who digs ditches for a dollar a day,. may 
 deserve all praise for devoting the money thus earned to the relief of 
 distress or even the thorough education of his own children ; but for 
 the work itself he deserves just the dollar a day, and generally takes 
 good care not to merit more. 
 
 Yet the elevation of Labor is no fanatical nor fantastic idea, if sought 
 through the elevation of the laborer's impulses and aims. In spite of 
 the most indisputable Arithmetic, proving War a scourge and the 
 soldier's trade a relic of barbarism, the world has always honored, and 
 does to-day honor, the volunteer fighting for his native soil more than 
 the digger who cultivates and beautifies it. It does so, not because it 
 believes fighting a better business than spading, for it does not ; but 
 because there is a chance, if not a strong presumption, that the soldier 
 chose his vocation from a nobler impulse than the ploughman's. Burns 
 touched the key-note of true and noble aspiration when he avowed 
 that it had long been his secretly cherished, inspiring hope, that he 
 might at length be able to write some song that would do honor to his 
 dear native land. Work done in this spirit, though on a tailor's board, 
 is ennobled and elevating ; while that which is impelled by selfishness 
 is base and ignoble, though performed in some Imperial Kremlin or 
 Presidential chair. 
 
RE-INAUGURATION OF THE 
 
 What the Crystal Palace has to do for Labor, then, is to dignify it 
 by enlarging its conceptions and elevating its aims. To-day the ap- 
 prentice or workman in our City looks forward to the end of his day's 
 work as the beginning of its enjoyment. He throws down the imple- 
 ments of his labor the moment the clock strikes six, and makes haste 
 to prepare for and indulge in the evening's recreations. And, in order 
 that these may be recreations, it is essential that they remind him of 
 any thing else than his work. The raree-show, the theatre, the negro 
 melodists — too often the grog-shop, and perhaps the gaming-house also 
 — secure his nightly attention ; while hardly one in a hundred devotes 
 the evening habitually to such observations or studies as would fit 
 him to discharge more admirably the duties of the day. In short, the 
 great majority of our Laboring Population endure existence through 
 the hours of Labor only that they may really live after those hours 
 shall have passed. 
 
 We are bound to change all this. It is high time the artisan's talk 
 through the day shall relate no longer to the tragedian's death-scene, 
 the comedian's jokes or the dancer's pirouettes of last night, but to the 
 newest invention or discovery in his own or some kindred pursuit, or 
 in the science which underlies them both. It is high time the appren- 
 tice should cogitate through the day, not on the possibility of borrow- 
 ing money wherewith to spend the evening at the Hippodrome, but 
 rather on the practicability of his effecting an improvement in some 
 implement or process incident to his vocation, which shall diminish 
 labor, increase production, and cause him to be recognized as a bene- 
 factor of his kind. And this, though not the work of a day, shall yet 
 be accomplished. 
 
 We Americans are a great people — in our own conceit. In our 
 blind confidence in our ability to do every thing better than any body 
 else, we forget to ask why it is, if our artisans are so intelligent and 
 skilful, that we receive, not our fashions merely, but our delicate and 
 tasteful fabrics also, in good part from Paris — nor why it is that, while 
 we beat the world in steamboats, we had no edifices until the building 
 of this Palace, that a European critic would not regard as either ser- 
 vile plagiarisms or beneath contempt. And even of this Palace, the 
 names of the architects were evidently not fashioned for or moulded by 
 Yankee mouths. Jefferson pronounced our architecture the acme of bad 
 taste and wretched execution, and it holds its own very well to this 
 day. Subjugated, trampled, impoverished Italy would not endure it. 
 Across the Arno, as it rushes from the girdling Apennines, through 
 the city of Florence, is thrown a bridge which has already withstood 
 the floods and storms of four centuries, and is safe to outlast any bridge 
 yet built in America by at least a hundred years. Where are our future 
 architects now learning to build such bridges as this ? Nay, where are 
 the five thousand masons and carpenters of our City proffered oppor- 
 tunity and instruction which shall qualify them for erecting better 
 houses than those nightly crumbling and crashing about our ears ? 
 
 The Crystal Palace, should it fulfil the expectations of its friends, 
 is to the Industry and Art of our City and its vicinity what the Peo- 
 ple's College is designed to be to the Agriculture and general Industry 
 of our State. I trust the day is not distant when five thousand me- 
 
NEW YORK CRYSTAL PALACE. 
 
 chanics shall nightly assemble here to listen to elucidations of Archi- 
 tecture, Mechanics and Manufacturing Industry, and of the principles 
 and facts of Science which underlie them all. I trust that Chemistry, 
 Geology, Metallurgy, and the kindred sciences, are here to be so illus- 
 trated, by the help of the treasures which this edifice contains, or will 
 gradually collect, that even the frivolous and the pleasure-seeking will 
 be gradually weaned from his unedifying haunts and habits, and drawn 
 hither to understand and acquire and enjoy. It was but recently that 
 Brown University awoke to the consciousness that she owed duties, 
 by virtue of her endowments and position, to others than the fortu- 
 nate few who were able to devote years wholly to her inculcations ; 
 and since then a course of Lectures under her auspices to the journey- 
 men jewellers of Providence (the emporium of the manufacture of jewel- 
 ry in America) have been heard by large audiences of those intelligent 
 artisans with equal profit and gratification. So it may be here, not 
 for one class only but for all — nay, it shall, it must be. If this Exhi- 
 bition be but sustained and cherished through its infancy as it deserves 
 to be, the day cannot be distant when the geologist, the chemist, the 
 instructor in almost any natural science or art, may find here facilities 
 for elucidating the truths of Nature, which can nowhere in America be 
 paralleled. In that day refining, spiritualizing Music shall vie with 
 Painting, Sculpture, and every other form of appeal to man's sense of 
 the Beautiful, in rendering the evening reunions of the Laboring Class 
 of our City under this glorious dome, such seasons of blended instruc- 
 tion and enjoyment as the world has not yet known. And thus shall 
 this grand enterprise move on, new fields of effort, new possibilities of 
 achievement, presenting themselves to its managers, as the steady and 
 generous patronage of the public shall enable them to provide more 
 liberally for the satisfaction of every intellectual want, until thou- 
 sands shall come hither from distant States and Cities, not merely to 
 see but to study, listen and acquire, and until this noble edifice, vast 
 as it is, shall be too small for the million trophies of inventive or artis- 
 tic triumph which, notwithstanding the opening of Exhibitions like ours 
 in other cities, shall be here treasured and displayed. Aid us, friends 
 of Industry and Progress ! to render this no flight of fancy but an as- 
 sured and beneficent realization ! 
 
 ME. O'GORMAN'S SPEECH. 
 
 After the applause subsided which followed Mr. Greeley's 
 speech, Richard O'Gorman was introduced, and said : 
 
 Mr. President : I esteem myself much honored by your invitation 
 to take part in the ceremonies of this day. I was not born in this 
 city, nor educated here. The best part of my life has been spent far 
 away. Yet, New York has been a very happy home to me for some 
 years past. I can say, in all sincerity, that I love it, and regard, with 
 fond and grateful interest, any enterprise by which its welfare and its 
 honor can be promoted. The relations of cities to the countries in 
 which they are placed should be, in all respects, those of sympathy 
 and mutual support. There should be between them a commerce of 
 
w 
 
 RE-INAUGURATION OF TILE 
 
 intelligence, a constant interchange of modes and habits of thought, 
 by means of which both may be strengthened and enriched. In the 
 country is found, more frequently perhaps, that stern patriotism, that 
 uncompromising love of fatherland, by which, in times of peril, great 
 evils are averted or great principles sustained. The bustle and tur- 
 moil of city life too often engross the mind in petty objects, and cor- 
 rupt it to merely selfish ends ; while, in the quiet homes of simple 
 men, a noble enthusiasm often dwells — an angel visitor, unrecognized 
 and unvalued, until, in some great hour, the celestial presence manifests 
 itself, and guides and inspires the aroused nation. This treasure of 
 purer impulse and more generous purpose, does the country keep in 
 store. A great city, on the other hand, should be the importer and 
 distributor of all that genius can create, or quickened intellect discover, 
 or skill execute. It should be a storehouse of information ; and, as 
 the sun collects moisture from the sea, and distils it in the clouds, 
 and scatters it far inland in fertilizing showers; so should a city gather 
 knowledge from abroad, and condense it and diffuse it throughout the 
 land. Such trade should there be, in every healthy community, be- 
 tween the cities and the fields. To facilitate, increase, and enrich it, 
 this edifice has arisen, itself a miracle of art, to be the repository of 
 what wonders of labor and skill men's hands have wrought in these 
 days. It is not now, I am well aware, that New York begins to fulfil 
 its duties by this State and this Nation. It has provided schools for 
 the 3 r oung — well stocked libraries for all — books in plenty ; books for 
 the theologian — books for the lawyer — books from whose pages the 
 poet may draw inspiration, or the statesman learn the story of other 
 lands, and conjure up the dead past to speak to him, and give him 
 counsel of the future. For all these men, books are sufficient teachers. 
 They are to them the tokens and the signs of an intellectual brother- 
 hood — the currency of an ample and unreserved interchange of 
 thought, by which they teach and learn of one another. But for the 
 artisan — the worker in metal, or stone, or wood — books will not suffice. 
 What his fellow-workers did long ago, or what they are doing in dis- 
 tant lands to-day, no wordy description can ever make clear to him. 
 He must see the work — the thing done before his eyes, and study it 
 and compare the excelling performance with his own ; or else his craft 
 remains still a mystery and a secret to him. Thus must the craftsman 
 learn. Thus, in this great school, can he learn. He need not travel 
 beyond these walls in quest of knowledge of his craft. Here, assem- 
 bled under this roof, are the wonders wrought by their skilful hands, 
 the master-workers of all times and from all places, speak to him — 
 point to what they have done, and what he may do, arouse in him a 
 noble ambition, and teach him how labor, guided by taste, can arise to 
 the dignity of art. I know, Sir, that this nineteenth century is a 
 highly popular century, and I mean in no way to detract from the 
 credit due to it, when I venture to suggest that in some respects it 
 may have still to learn. It is, no doubt, a progressive century, a fast 
 century. Men live fast and die fast, and work fast and think fast, and 
 learn last and move fast. We have fast horses, and fast ships, and 
 fast men. I am even informed, fast Avomen too. Speed seems to be 
 the prime object. To convey men quickly to their work, and then to 
 
NEW YORK CRYSTAL PALACE. 
 
 get the work quickly done, are feats on which this age especially 
 plumes itself — and with justice too. All this is very good. To have 
 conquered distance, and broken down its checks and obstacles — to 
 have enabled the worker to set himself with ease and rapidity by the 
 side of his work, is surely great gain. Yet this is not all. There is 
 still something more, and I often question whether, after all, other and 
 more modest centuries have not had better objects and done better 
 things. Slow centuries, old fogy centuries one might call them, yet 
 very sure for all that ; when men labored not so fast, but well — when 
 the work done was well done, and nothing left their hands that was 
 not perfect of its kind — a true expression of a soul of symmetry and 
 beaut}?". In such days they built the Parthenon, and set it high on a 
 rock, to be for ever a sign and a trophy of Athens in the eyes of an 
 admiring world. In the shadow of that temple's presiding beauty 
 grew up a city of fair women and brave men. Rich in freedom — rich 
 in every treasure of genius, of science and of art, its soldiers were he- 
 roes, its statesmen philosophers, and its orators sages, from whose lips 
 fell, in a language of unrivalled melody, the great thoughts that have 
 since then agitated and inspired mankind. It was summer time with 
 human intelligence, and it bloomed in the genial atmosphere of free- 
 dom. Patriotism was with the Athenian no occasional impulse, but a 
 confirmed habit of soul. The glad earth repaid with smiles the care 
 of the husbandman, and, from end to end, the little Republic blossom- 
 ed like a rose. The land of Attica was lovely and beloved. So was 
 it with Athens, while Athens still lived. At last her destiny was ac- 
 complished ; the flower of civilization began to droop and wither. An 
 hour came when hearts grew cold and hands grew weak. A Roman 
 fleet was in her harbor, and Roman standards overtopped her walls. 
 Even then, in that last hour of the nation's life, when Athenian swords 
 could not save Athenian liberties, Athens, the city of temples and pa- 
 laces, stood still unconquered and unharmed. The victors, awed and 
 softened in the presence of that unimagined excellence of art which on 
 all sides met their eyes, stayed their hands, forgot their fury in admi- 
 ration, and spared to Greece and to the world those stately monuments 
 of symmetry and grace, on which men still gaze with reverence and 
 delight. It is known to most of you how art, led captive, in the train 
 of Roman conquest, toiled for new masters, and taught them to raise 
 edifices, whose massive splendor fitly represented the majestic power 
 of the undisputed lords of the earth. Rome fell before the storm of 
 northern invasion, and art sickened and lay long as if dead — a spell- 
 bound Ariel, mute, motionless, and forgotten. Christianity was the 
 Prospero that untied the spell and bade the delicate spirit again go 
 forth in life and freedom. Since then, art has been a wanderer, tra- 
 velling always westward — visiting city after city — beautifying each, 
 and leaving some fair memorial of her stay. Once again, a fearful fu- 
 ture lowers over Europe. Once again, we hear the distant surging of 
 that fierce torrent that desolated her cities and fair fields long ago. 
 Again, the banks of the Don and the Vistula resound to the clang of 
 arms and the tramp of squadrons hurrying to the South. Again, the 
 gentle spirit takes wing, now for a longer flight, and crosses the ocean, 
 and alights on your shores. With kindly hand bid her welcome j and 
 
RE-INAUGURATION OF THE 
 
 in this fairy structure let her find a temple and a home. Let this in- 
 stitution be permanent in your City ; erect in it a school of native art ; 
 collect under this roof the worthiest works of painting and sculpture 
 within your reach ; learn architecture of Greece and Rome. Let Pom- 
 peii teach your citizens how the simplest articles of household use can 
 be beautified by a garb of elegance and grace. The eyes of your citi- 
 zens, accustomed to forms of artistic beauty, will grow critical ; and a 
 correct taste will from this centre radiate and be diffused. Some may 
 think all this of small importance. The tastes and habits of a people 
 are all important. You seek to reform the drunkard, to check a base 
 and degrading appetite, to civilize by law. You will fail, unless you 
 supply the public with pure and refined luxuries in place of the fatal 
 pleasures you snatch from their lips. Create in your citizens a new 
 appetite, an instinct for the beautiful ; teach them in the quick appre- 
 ciation of artistic excellence to find a new treasure, an unfailing de- 
 light. All the world is ahead of you in this effort, and beckons you to 
 follow. Paris has its Louvre, London has its National Gallery. Scarce 
 a petty duchy or little province on the shores of the Mediterranean but 
 can show its treasures of art. My own native city, Dublin, has its 
 School of Art, in which many an aspirant has found the road to excel- 
 lence. And shall kings and dukes and petty potentates be more muni- 
 ficent than this people ? Shall they do all this for their subjects, and 
 this Republic. " heir of all the ages, foremost in the files of Time," be 
 less generous in the education of its citizens ? No, sir. I do not be- 
 lieve it. This enterprise shall go on and prosper. This City, as it 
 grows in wealth, will grow too in beauty and civilization ; and here on 
 this continent, of whose existence Athenian mariner never dreamt, 
 another and statelier Athens will arise. There is nothing permanent 
 under the sun. The new is ever built out of the ruins of the old, and 
 change overmasters us all. A time will come when this great Repub- 
 lic, in whose growing might we now rejoice, will have passed like a 
 dream away. When its projects and its achievements will be remem- 
 bered only in history, and afford subject for a winter's tale. Commerce 
 will then have chosen some other home, and this island, wherein now 
 we stand, be again lonely and desolate, as it was long ago, when the 
 red Indian paddled across its encircling waters in his light canoe. 
 Then, should some stranger come hither to muse among ruins, or trace 
 the outlines of what was once the capital city and the pride of the 
 Western World, let him find durable monuments — majestic even in 
 their decay — to testify to your power. Monuments of symmetry and 
 strength, such as become a race fit to govern and instruct mankind ; 
 and let him take away with him this lesson, which all the past has 
 taught to us, that art wants no king for a patron, no palace for a 
 dwelling, but that it thrives best and accomplishes most when wel- 
 comed by the kindly hand of honest labor, and cherished in the hearts 
 and homes of a free people. 
 
 Unfortunately the audience, many of whom had been stand- 
 ing for three hours, begun to be uneasy, and the foot falls of 
 thousands of feet, though many of them were of the Chinese pat- 
 
NEW YOE.K CRYSTAL PALACE. 
 
 tern, tended to drown the speaker's voice to such a degree, that 
 he could be heard by only a mere tithe of the throng. Fortun- 
 ately, not only those who were present and could not hear, but 
 millions of others, can read to-day what was said yesterday in the 
 Crystal Palace. Yet these lost much, for though we can print 
 the words, by the aid of the phonographer's skill, as they fell 
 from the speakers' mouths, yet types cannot give the effect of the 
 spoken words. Some of the beautiful sentiments of Mr. O'Gtor- 
 man's speech gave the audience great pleasure. 
 
 MR. J. B. BACON'S SPEECH. 
 
 The next speaker presented to the audience was J. B. Bacon, 
 who said : 
 
 At this auspicious reunion of those who represent the labor of the 
 brain and the labor of the sinew, I am requested briefly to speak for 
 that calling which unites both of these great forces — for the Engineer 
 — for that profession which is the embodiment of all progress — that 
 profession which conveys the true idea of the nineteenth century — 
 — that profession which has stamped its broad arrow upon this age, 
 and will brand its iron humanity upon the years to come. The queen 
 of this festival is the Genius of America, and the engineer claims his 
 position as her true and trusty Iron Duke — her right-hand supporter. 
 It is peculiarly fitting that at this Re-inauguration of the Crystal Pal- 
 ace — the pride of the Continent, and the Palace of the people — that 
 the profession which so eminently combines labor, science, and art, 
 should have its due position. On all other public occasions that I re- 
 member, the artist, the author, the architect, the army, the navy, and 
 the so-called learned professions have had their places, their due places 
 of honor. But the engineer was forgotten, or else politely received 
 the " cut direct." This is all contrary to the spirit of the age. The 
 name of this age is Progress. The engineer is the embodiment of Pro- 
 gress. In peace, as in war, the engineer precedes. He is first in the 
 field. He reconnoitres, he maps, he plans, he proves with compass 
 and with square. He seizes the standard, mounts the breach, and 
 when he has given the first cheer of victory, the reserve of the school- 
 men, the artist, the author, the architect, and the heroes of the closet 
 and the office, safely follow, and comfortably enjoy the fruits of his 
 daring. Former centuries were the ages of the schoolmen — the age of 
 laborious thought and cultivated talent. To-day is the day of tact 
 and action — the day of the engineer. Former centuries were the da} T s 
 of coaches, post-horses, and lazy sails. To-day claims as her motors, 
 steam, caloric, railroads, and steamships. The engineer is the true re- 
 presentative of Progress. Again, to remember him, is due to the spirit 
 of Young America. The schools delve among the ruins of the past. 
 They are the old fogies of intellect. They copy from the old masters. 
 They live and breathe among old forms, old orders, and old thoughts. 
 The architect cannot venture beyond the Corinthian. The artist must 
 still go to Rome for inspiration. The student must cling to his hic : hcec, 
 
RE-INAUGURATION OF THB 
 
 hoc, and his ho he to — and the author must stick to his scissors. 
 They are all still slaves to old masteis. Engineers alone have found 
 out a new path. They are free, unfettered, have dared the ele- 
 ments in their course. Earth, air, and water are their field of ac- 
 tion. The slender wire arch that spans the abyss — the racing, roar- 
 ing, iron horse and the swift steamer are the trophies of their tri- 
 umph. They are the true representatives of Young America. — 
 Young America is original, fresh, and new as the spring grass, " bound 
 to swear in the words of no master," free, bold, and all-conquering. 
 Young America seeks no copy ; she sets her type directly from her 
 own fast thought; she draws her inspiration from her own pictures of 
 " flood and field." Her own humanity is her life-school. The Ameri- 
 can continent is enough for her and enough for the engineer. Is he 
 not the man of Young America ? a}^, and the man of the Crystal Pal- 
 ace ? [Applause.] The true feature of this exhibition should be ori- 
 ginality — freshness — freedom from old. It must close its eyes to Lon- 
 don, and Dublin, and Paris. It must be American ; the Palace of the 
 twentieth century. Let others have the nineteenth. [Applause.] 
 This must stride ahead, and be " a new thing under the sun." It 
 has already been he-artisted, he-authored, he-architected. It is now, we 
 hope, to be he-engineered. Whence did the engineer arise ? What is his 
 history ? Is he one of the 0. F. M. — our first-men ? What are his 
 antecedents — his family — his genealogy ? Why " he neber was born." 
 He came like the electric spark — at the call of the years that were ripe 
 for him. But what word of cheer and welcome did he have ? That 
 which the man of progress ever hath — none. Ramsay, and Fitch, 
 and Fulton ! What cheer and welcome had ye, bold engineers ? Oft 
 sinking, yet ye rose, and the round world rejoices in the heaven of 
 your triumph. And so too shall Ericsson arise and be immortal. 
 Finally, what is the engineer ? What manner of man is he ? The en- 
 gineer is a duplex animal. Like other men, he hath an outer life and 
 an inner life. In his outward and physical manifestations he breathes 
 the free, fresh air, and bares his bosom to the glowing sun and beat- 
 ing storm on land and sea. Some of his frequent peculiarities are 
 (unpoetically speaking) muddy boots and a red face, of most un- 
 Broadway hue, caught from the summer sun or the boiler fire. Poli- 
 tically he belongs to that great and popular association to whose use 
 we have this day dedicated this Palace as a Lodge Room — the Order 
 of " Pully off Your Coat and Roily up Your Sleeves." [Great Ap- 
 plause.] In his inner life, his spiritual manifestations, he is a man of 
 triangles, polygons, tangents, secants and sines, and sometimes of very 
 eccentric ellipses. He dislikes crooked lines, save and except that he 
 has a most delicate appreciation of the line of beauty. [Applause.] If 
 it be the province of the artist to evolve forms of beauty, so is it the 
 occupation of the engineer. If the author be conversant with the 
 . graces of rhetoric — " with thoughts that breathe and words that burn" 
 — the engineer claims equal responsibilities. If the architect hath 
 reared the stately column and the noble arch, to these, too, the engi- 
 neer can point as his own. And he can sa} r , " These men of science, 
 with their algebraic signs and logarithmic mysteries, the alchemists of 
 this age, why they are not nry fathers, they are but my brothers.' 
 
NEW YORK CRYSTAL PALACE. 
 
 Memont, Latrobe, Jervis, Ericsson, Mifflin, Trautivine, Haupt ! — these 
 are names that are known wherever a tripod has pierced the earth, or 
 a square root been extracted. [Applause.] The true engineer must 
 think all, know all, and do all. His creations must combine strength, 
 spirituality, stability, beauty, utility. He must represent labor and 
 art. He must be the mechanic and the artist. In short, he must be 
 the Admirable Crichton of our day. Around me I see many who have 
 done good service under the Excelsior flag of the American Engineer. 
 These are the appropriate guests of this Palace of the strong arm and 
 the flashing intellect. On this day, and in this place, at least the en- 
 gineer has not been forgotten — he has not received the " cut direct." 
 No ! for he who now engineers the destinies of this Crystal Palace 
 Association knows that Mr. President Barnum might as well have cut 
 himself. 
 
 It will be understood from the reading of this excellent speech, 
 that it came from the mouth of a civil engineer. 
 
 After a piece by Dodworth's Band, 
 
 Mr. Charles Butler read the following letter from the 
 Hon. Erastus Brooks : 
 
 from erastus brooks. 
 
 New York, Wednesday, May, 3, 1854. 
 
 Gentlemen : It would give nie great pleasure to fulfil the part of the day's 
 engagement set against ray name in the ceremonies appointed for the re-inau- 
 guration of the Crystal Palace, but for an indisposition which makes it neces- 
 sary that I should leave the City for a few days to recruit my health. 
 
 I rejoice at the brighter auspices of the Crystal Palace, and trust that better 
 days await its future exhibitions. It is not alone as a citizen of New York, 
 that I am happy at the new life which the managers have breathed upon a 
 dying enterprise, but my gratification springs rather from the pride which I 
 feel as an American in those exhibitions of Nature and Art, which speak so 
 powerfully for the climate, genius and industry of our country. We have passed 
 from a period of time when alarm was felt in England, lest an American col- 
 ony should be able to manufacture a hob nail for herself, to a season when 
 our countrymen are able to win prizes upon English soil, and in a World's 
 Crystal Palace, for the most useful inventions known either to the terrors of 
 war, or the benign influences of peace. All is promising in the retrospect, and 
 as it is not the nature of our people to look backward in despair, or forward 
 without hope, so the future reveals only the prospects of still greater advance- 
 ment in science, art and labor. 
 
 As there should be harmony in a perfect piece of music, and symmetry in a 
 perfect piece of Architecture, so in a country like ours, where genius is unre- 
 strained, and freedom only regulated by reason, there ought to be no full satis- 
 faction until our country is alike perfect in the characters of its people, and in 
 all its creations of mind. Labor and capital should be associated without envy 
 or pride on the part of those who enjoy the one or perform the other. Be- 
 tween commerce, manufactures, and agriculture there should be a generous 
 rivalry, but no jealousy. The interior as the producing, the town as the con- 
 suming, and the seaboard as the shipping interest, should, 
 
 " Like kindred drops be mingled into one." 
 
 I would have been glad of an opportunity to have shown that, however distant 
 and diversified the sources of ah these great objects and pursuits of life, in the 
 end, like the meeting of the waters, from the far-oif mountain, hill-side and 
 ravine, they flow on in one harmonious whole until they reach the common 
 end designed by a wise and good Providence. 
 
y 
 
 
 
 RE-INAUGURATION OF THE 
 
 Thanking you, gentlemen, for your kind invitation to be present at the 
 ceremonies of the day, and regretting my inability to attend, I am, very re- 
 spectfully, your obedient servant, 
 
 ERASTUS BROOKS. 
 To Messrs. Whits and Hilton, Com. of Invitation. 
 
 THE EEV. HENRY W ARD BEECHERS SPEECH. 
 
 Mr. Barnum now introduced the Rev. Henry Ward Beech- 
 er, who said : 
 
 As the President of the Association has restricted me to a ten mi- 
 nutes' speech, I thought it necessary to measure it first, and so I have 
 put it down. For if a man is to speak without notes, and upon the im- 
 pulse of an occasion, and especially such an occasion as this, you might 
 as well in the midst of a fire ask an engineer to throw just one quart 
 of the water upon the building as to ask the speaker to confine himself 
 to just ten minutes; for in the inspiration of the moment he cannot 
 tell exactly when he will stop, any more than a lad, when a horse runs 
 away with him, as he undertakes to ride him to water, can tell when he 
 will hold up. If there were nothing in the Crystal Palace but a show 
 for curiosity, and a commercial operation by which stockholders seek 
 a dividend, and business men seek to draw to New York the largest 
 possible number of buyers, I should not take the trouble to say a word 
 on this occasion. But I regard this institution (for such I trust it 
 now is) as having very important relations to the welfare of our coun- 
 try, morally and politically. A nation's wealth consists in its citi- 
 zens — their quality and their power. It is not how wise and how 
 strong a few are, but how wise and how strong the w T hole bulk of citi- 
 zenship is. We have in America but one single distinctive thing as 
 compared with old and refining nations. M e have a people. Our 
 theory of Government assumes that political power resides in the peo- 
 ple — in the separate individuals of the whole of society. This is not 
 the theory alone of Government — it is the fact. Our people are strong 
 by intelligence, by industry, by virtues social and political, and by mo- 
 rality and religion. They are the sources of power. They are not a 
 usable mass, like dough for the moulding-hand, clay for the plastic 
 pattern. They are a people instinct with self-life. They have power 
 over nature to subdue it to their uses. They have power over them- 
 selves, to coerce an education, and to control themselves, and to fashion 
 their own public policy and Government. This is the peculiarity of 
 the American body politic. It is not our wealth, it is not our simple 
 political freedom, it is not our educated classes, and our stray public 
 men — it is the strength that resides in our whole people that consti- 
 tutes that difference between American society and European. Unless 
 they are strong and sound, unless there is endless recreative life among 
 the people, there is no hope for us. An educated class, a controlling 
 class at the top, will never make a strong nation. If the base of the 
 pyramid is clay, it is to but little purpose that you build the apex of 
 precious stones. But if the foundation be adamantine, and all the ba- 
 silar strata be granitic, then the top may bear up what polished stones 
 you please, and beauty has strength under it for ever ! In all our ex- 
 
NEW YORK CE.YSTAL PALACE. 
 
 ertions for the public weal, we must look out for the foundation. We 
 must see to it that the Power lies among the masses. They are the 
 soil. Mere great men are a very exhausting crop when they are se- 
 parated from the mass, and suck up the influence that can be safe only 
 when distributed among many, into a few hands. It becomes a mat- 
 ter of deep import to know the sources of power for the multitude. 
 
 1. It is not, simply, in giving them control of a vast political 
 machinery. If a man-of-war had a thousand children for her crew, all 
 her machinery and armament would not make them strong. They 
 would be children still. 
 
 2. It is not in augmenting their comforts — in multiplying first, 
 their wants and then the supply : and thus giving them physical con- 
 ditions of wealth. It is not the material wealth that enriches, but the 
 capacity to produce wealth. It is the cause of wealth that is true 
 popular riches — industry, skill, intelligence and religious virtue. 
 
 3. That, then, which the workmen, agricultural and artisan, need 
 for a perfect and perpetual power, is that they become producers of 
 ideas. That they think, and are capable of thinking; that their ma- 
 chines, their products of every sort, be, not alone samples of what 
 their hands have done, but of what their heads have done, and can do. 
 
 4. It is in vain to speak of any such equality as shall put an un- 
 educated mechanic upon a level with a thoroughly educated professional 
 man. They are not on a level. You might as well put a bar of pig- 
 metal by the side of an exquisite piece of cutlery, or a load of bog-ore 
 by the side of a steam-engine. You can put them side by side, but 
 that does not make them equal, nor on the same level. If laboring 
 men will be on a level with what are called influential classes, they 
 must like them be producers of ideas. 
 
 5. For there is nothing in the fact of being educated and trained 
 to a vocation that requires chiefly the exertion of thought, that gives 
 any superiority to an educated class over a class of artisans, if those 
 artisans have an equal power of producing and applying thought to 
 the purposes of life. 
 
 God has made matter, and he has made mind to rule over it. Men 
 can ally themselves to the one or the other element. Those who are 
 in sympathy with mere brute labor must be inferior to those who are 
 in sympathy with intelligence. But the road up is open to all. No 
 man need be a bond- slave in Egypt. The sea has become divided. The 
 promised land awaits. Whoever has courage to go forth and the pa- 
 tience to journey thither, may enter in and take possession. 
 
 6. It is not because I think that there is antagonism between the 
 educated and the laboring classes that I say these things. There is 
 none. I belong myself to what is called the literary class, or the in- 
 telligent class. I know its advantages. They are not exaggerated. It 
 is the very place for a man to stand in if he wishes to enjoy life. And 
 this is the very reason that I wish that every laboring man in the 
 country could belong to this class. I do not speak in the language of 
 an exclusive circle — nor of one who was willing, of gracious charity, 
 to confer the prerogative of intelligence upon an inferior class. In- 
 telligence is your birthright. I ask you not to despise it. I do not 
 say come up to us ; but I say come up to your own right. Come up 
 
7 t 
 
 RE-INAUGURATION OF THE 
 
 to that which God gave you, and which you cannot refuse without 
 Bhame. In every laboring man are the buds of those blossoms and those 
 fruits which hang from the bows of the strong and great. And I only 
 ask you to let those buds blossom forth, for your own sake and for the 
 sake of our country ! Our land is rich in its citizens. If they are 
 mean, it is poor ; if they are noble, it is great. I hope to see the day 
 when a man will require a collegiate education for the farm, for the 
 foundry, for the shop, the ship, as much as for medicine or law. If a 
 man's trade does not require such education, then all the more the 
 man himself requires it. His trade will not educate him, and he must 
 seek it elsewhere. 
 
 7. From considerations of this kind it is that I regard all such in- 
 stitutions as the Crystal Palace as worthy of earnest support by 
 ever}* good citizen. First, because they will powerfully stimulate, not 
 industry, but the intelligence of industry. The Crystal Palace, as a 
 mechanic's exchange, a place where they shall show such literature 
 as men work out on an anvil, in letters of iron and brass. These vast 
 treasures are all of them thoughts. Men did not go to sleep and 
 dream of these things ; awake they executed them. All this is hard 
 thinking, and it is provocative of thought. Young workmen, young 
 machinists, young artists, coming hither find themselves spoken to in 
 their own language ; they look, they ponder, they strive with thoughts 
 of their own. The mind is developed. It is the head that makes 
 their hands strong. But, Secondly, I hope that such institutions as 
 these will gradually associate in the popular mind the ideas of honor, 
 of greatness, of true glory — not with the destructive deeds of war, 
 nor with the pretentious patriotism of all-consuming politicians — the 
 spiders of life, that spin webs, and continually obscure public windows 
 with meshes of mischief — but with the arts of industry, with intelli- 
 gence and virtue nobly applied for the elevation of society. In time, 
 I do not despair of hearing it said — a noble carpenter — a genius of a 
 blacksmith — an honorable hatter. War and public peculation shall 
 always arrogate the terms which declare superiority ; but intelligence 
 and religion must pluck them from undeserving hands, and confer 
 them on inventive labor. In conclusion, I cannot but perceive in the 
 multiplied objects acound me, the evidences of the connection of labor 
 historically. If you select any of these most intricate and useful 
 machines, you will find the whole world and all time epitomized in it. 
 The successive inventions, the continuous discoveries of centuries are 
 incorporated in single objects here. Before a ship could be built, some 
 hundred trades must exist, and each sends down its glass, its nails, its 
 copper, its plank, its various tools, its paint, its flexile fabric. Each 
 trade is itself dependent upon others that precede and prepare for it. 
 Each and all of these has had a growth ; it has been a growth that 
 came along in connection with the development of human society. 
 One of these mute articles on exhibition is a historical memorial ; it is 
 a chronicler of the past. That plough, could it speak, and were it learned 
 in its own pedigree, what history would it not reveal of its slow pro- 
 gress, from the day when the Oriental scratched the earth with a 
 crooked stick and called it ploughing? These life-boats— what a change 
 in human ideas, since those days when men crept as trespassers upon 
 
NEW YORK CRYSTAL PALACE. 
 
 the deep, and, easily wrecked, became the property of the inhospitable 
 people on whose shores they fell, down through the commercial history 
 of the earth, and its mighty regulations to morals, government and 
 knowledge, to this day, when our sharp-prowed fleets taste the winds 
 of every latitude, condense the earth by their speed, and when along 
 our shores are spread, not bands to rob the wreck, but boats and contri- 
 vances to save him and his imperiled property ' A loom would tell 
 you more of human conditions, in the range of life where the heart 
 has mostly lived, could you trace its history from the women weaving 
 with pegs in the ground, down to our day, than you can find in any 
 chronicler. These mills call up the two women grinding at the mill 
 in Palestine, which mill was but two stones upon the ground, the one 
 revolving a convex surface upon the other's concavity, and let them 
 bear witness to the growth of thought since that day. In this crys- 
 tal room (that itself could not have been built fifty years ago) there 
 are the mute memorials of human thought sinee the world began. If 
 one sat upon the prostrate columns of Persepolis, or mused along the 
 gates of Thebes, or in the dry audience of mummies, he could not 
 help saying to himself, "What were the thoughts and imaginations of 
 the men that lived here four thousand years ago ? " Here behold 
 embodied some of their thoughts. These are the perfect sentences 
 of which they invented the alphabetic letters. And from such a 
 place may we not prophesy 1 If these are the records of the past, 
 and time, like a yet young and growing tree, is lenthening her boughs 
 and sending forth new growths, what shall that day be when art and 
 intelligence shall stand in the full summer of the earth, bearing blos- 
 soms and fruit without pause, like orange groves in the tropics ? If 
 we have received from the past such treasures, and with a just usury 
 are adding the interest to its capital, and rolling it over to the future, 
 what shall that day be one hundred years hence, when our posterity 
 shall stand in a more magnificent palace than this, and look back, as 
 much farther advanced in art and science as we are beyond those who 
 lived a hundred years ago ? Who that has a prophet's eye can foretell 
 what shall be when we, faithful to our trust, hand over that which 
 we have received, improved and augmented, to the days that are 
 coming ? 
 
 To the many thousands of our readers who have either heard 
 Mr. Beecher, or read his speeches, we need not say that this 
 speech was the very crown of the dome which the previous speak- 
 ers had so gloriously erected. Not only his words, but his great 
 power of voice and earnest manner, always fascinate his hearers, 
 and to-day eminently so. 
 
 We have never before seen an audience, even an audience of 
 Henry Ward Beecher, more deeply interested than the crowd 
 that surrounded him this day. We earnestly hope that every 
 sentiment of this beautiful speech will be treasured up in the 
 heads and hearts of every one of our readers. It was now a 
 quarter past three, yet the crowd was still immense, and earnest 
 
RE-INAUGURATION OF THE 
 
 in their attention. True, a large number of those in the front 
 part of the galleries had given way, but their places were filled 
 with others who could not before get near enough to have a view 
 of the various speakers. As to hearing all that was said, that 
 was out of the question. But it was a satisfaction to see them, 
 and feel that what they said was glorious. 
 
 The afternoon ceremonies concluded with a performance by 
 the band, and an announcement by Mr. Barnum of the programme 
 of the evening, which was received with plaudits of approbation. 
 We little thought at that time that we should see another crowd 
 like the one which occupied the building in the day time ; but in 
 this we were disappointed. We returned to the Palace a little 
 before seven. At that time .there was no lack of elbow-room. 
 In less than an hour, however, standing upon the platform and 
 looking north, south, east or west, on the lower floor or gallery, 
 the eye fell upon one dense mass of human beings. The ladies 
 were not so numerous as in the day, yet by no means scarce. 
 
 THE EVENING CEREMONIES. 
 
 Mr. Barnum arrived twenty minutes before eight, which was 
 the signal for the commencement of the performances of the band, 
 the finest portions of which were only heard by those who were 
 fortunate to obtain seats or standing room in the neighborhood 
 of the musicians ; but the louder strains filled the monster dom 
 to the echo, and gave delight to the many thousands congregated 
 under that vast roof. 
 
 In consequence of an accident, Mr. Baldwin, of Connecticut, 
 was unable to attend. The following letter was read from 
 him : 
 
 LETTER FROM AUSTIN BALDWIN. 
 
 Meddijetown, Conn., Tuesday, May 2, 1854. 
 Dear Sir : I sincerely regret that my being obliged to give my personal at- 
 tention to the repair of damages sustained by our works during the' late freshet 
 ■will prevent me having the pleasure of participating in the exercises of the 
 reopening of the Crystal Palace. 
 
 I trust, however, that the omission of the part anticipated for me will create 
 no inconvenience in completing the arrangements for the occasion, and that the 
 important benefits to be derived from the permanent establishment of this great 
 Bchooi of industry and art, may be made so apparent as to secure that Measure 
 of support necessary to insure its complete success. 
 
 * Yours very truly, AUSTIN BALDWIN. 
 
 P. T. Barnum, President Crystal Palace Association. 
 
NEW YORK CRYSTAL PALACE. 
 
 Mr. Barnum then introduced Mr. Henry of the Mechanics' 
 Institute of this City. He spoke with a loud, clear voice that 
 could have been heard by all present if the uneasy portion of the 
 audience could have been induced to keep still. Mr. Henry 
 said : 
 
 ME. HENRY'S SPEECH. 
 
 Mr. President, Ladies and Gentlemen : Standing here in some 
 measure a representative of an interest which, if second to any, is se- 
 cond only to one in this City, I feel warranted in assuring you of the 
 deep interest which is felt on the part of that important interest in 
 behalf of this exhibition. We feel, Sir, that the mechanic is a man. 
 [Hear, Hear !] We feel that he is endowed with the same powers and 
 with the same faculties as other men ; and we feel here, in this free 
 country, if he will make the right use of those powers and faculties 
 with which his Creator endowed him ; he can stand up here and feel 
 himself to be indeed what our institutions proclaim him, the equal of 
 his fellow, however mighty that fellow may be. I say, Sir, the 
 Mechanics' Institute of the City of New York looks with unbounded 
 sympathy to the Crystal Palace now open before us. And what is the 
 thought which fills the breasts, the strong hearts, the clear heads of 
 that mighty association ? It is this, Sir, that the Crystal Palace may 
 be so administered as to become the mighty point of rational amuse- 
 ment in this first City of the Western World. Rational amusement ! 
 An attraction that shall call the people around this institution in such 
 copious measures as to make it indeed a self-sustaining institution, 
 Yes, sir ; from that basis of low admission which has been wisely fixed, 
 I trust in God a concourse is to flow to this building which will make 
 it indeed a self-sustaining institution, aS a place of rational amusement ! 
 And what more 1 Why, the multitude — the vast multitude — are wel- 
 comed here to be gratified and not corrupted. Hither shall come the 
 silent student in every department of art, and under these glorious 
 naves shall receive ideas that will make him mightier, abler and better 
 so long as he fives. This, Sir, will be, I trust, the issue of the re-inau- 
 guration of the Crytal Palace ; and, sir, if it is poetry, if there is a 
 " Divinity that shapes our ends," it is also true that the same Divinity 
 has given the administration of this mighty fabric to be intrusted to a 
 man who is already well armed for the task, by the qualities which 
 have procured for him the appellation by which he is generally recog- 
 nized, " The Napoleon of Showmen." I say, if the crude material, 
 committed to that gentleman's hands has been, in the short space of 
 less than twenty years, so managed as to extract a magnificent fortune 
 for himself without corrupting his fellow-citizens — if he has so admin- 
 istered the things heretofore given into his charge, and in a short 
 period amassed a splendid fortune, what may not be reasonably ex- 
 pected when such a charge as this is intrusted to the same hands, to 
 be administered for our amusement and instruction ? I felt, Sir, and 
 every other man felt, when this gentleman was called on to preside, 
 that there was still life and glory in the Crystal Palace ; that there is 
 to be a resurrection, a higher power. I saw from the noble speeches, 
 brief and to the point, made this afternoon, that the same thought pos- 
 

 RE-INAUGURATION OP THE 
 
 sessed others. Make it, as I have said, self-sustaining as a place of 
 rational amusement ; and give to the student, the silent thinking man, 
 the innumerable suggestions here conveyed to him ; and, to use the 
 words of the great Napoleon on another occasion, " You, too, shall be 
 immortal." [Applause.] 
 
 ME. SULLIVAN'S SPEECH. 
 
 After he closed, Mr. Sullivan, a delegate from the House 
 Painters, addressed the audience for a few minutes. This speech 
 illustrated the advantages which the trades may derive by giv- 
 ing their united support to this greatest of all American Me- 
 chanics' Institutes. 
 
 '* Mr. Sullivan expressed his pleasure in appearing as one of the 
 delegates from the United Trades of New York, who had cordially an- 
 swered the invitation issued to them. He alluded to the beautiful pro- 
 ducts displayed in the Crystal Palace, and said, if the men of thought 
 are the generals, the men of work are the soldiers. The Crystal Pal- 
 ace (he added) has another mission to perform, namely, to cultivate 
 the public taste of the rising youth of this country ; to teach them 
 that they should not be ashamed of labor, but, by its means, elevate 
 themselves. I assure the Directors, that the trades, by their presence, 
 will sustain the exchequer. [Applause.] 
 
 Mr. Henry's speech was followed by a piece from the Band, 
 loud and strong, and well suited to such a vast edifice. The 
 crowd at this time — 8 o'clock — had become so dense upon the 
 lower floor, on the great stairways, and in the front of all the 
 galleries, that it was a wonder how any more could find standing 
 room, yet they still continued to come. 
 
 ELIHU BUEEITT'S SPEECH. 
 
 Mr. Barnum now introduced Elihu Burritt, the learned 
 blacksmith of Massachusetts. Learned he is truly, yet the rep- 
 resentatives of labor present seemed to look upon him with 
 feelings of high, honorable pride, not because he is learned, but 
 because he became so while working at the forge with the black- 
 smith's hammer and anvil. He spoke as follows : 
 
 Mr. President and Gentlemen : — If there is one thing more 
 than another that shall give this extraordinary occasion a memory, 
 that shall live and glow in the hearts of coming ages, it is the idea 
 which we this day inaugurate — the coronation of Labor. [Applause.] 
 Glorious are the circumstances, and most auspicious and hopeful are 
 the auguries of time and associations of place with which we have 
 met on this May morning of the year, to throne that monarch, God, 
 upon the mind of the age. The coronation of Labor ! This, indeed, 
 will be a great day, if we shall make a worthy crowning for the no- 
 
NEW YORK CRYSTAL PALACE. 
 
 blest and most honorable prerogative of humanity, with all these bril- 
 liant offerings and trophies of this world-wide realm of activities and 
 industries — if we shall make a worthy crowning for this noble ovation 
 of humanity. Worthy of the grandest circumstances which could be 
 thrown around a human assembly, worthy of this occasion, and a hun- 
 dred like this, is that beautiful idea, the coronation of Labor. It were 
 worthy of the most august solemnity that the world has ever seen, 
 and, for a thousand years, merely to christen that idea in the infancy 
 of its conception. Aye, more ; if I may say it without irreverence, 
 this Crystal Palace were not too good for the manger-cradle of that 
 god, and all the silent and sublime regalia of human art and industry 
 which it contains, were not dignities too costly to put upon its baby 
 brow. [Applause.] But, ladies and gentlemen, we have not come to 
 the christening, but to the crowning of Labor — not to celebrate the 
 advent of an idea, but to instal a fact — to sceptre a condition which, 
 for more than four thousand years, has been deposed from its legiti- 
 mate dignity ; a condition which, with all the lineage and lineaments 
 of its divine origin and lofty destiny, has had its Egyptian prison- 
 house, its Red Sea of tribulation, its long and painful sojourn in the 
 wasting wilderness of poverty and oppression ; a condition that has 
 had Cain-marks, and task-marks, and chattel-marks burnt deeply into 
 its forehead by the red-hot branding-iron, prejudice ; a condition 
 which has been driven to the wall, to the galley, and the gutter ; a 
 condition that has worn upon its fretted sinews all the features of 
 bondago ; a condition that has gathered down by day for the couch of 
 indolent wealth, and slept on straw by night ; a condition that, clad 
 in sheep and goat-skin and unseemly rags, has wrought 
 
 " With, fingers weary and worn, 
 "With eyelids heavy and red," 
 
 the robes of ermine, and costly tissues of the spindle and loom, to 
 grace the palace of royalty, and the parlor of elegance and fashion. 
 In short, ladies and gentlemen, it is that condition which the Great 
 Architect of the Universe, after His six days' work of creation, called 
 Labor, that we would now raise to that high place in the estimation 
 of the world which He designed it should fill. Coronation of Labor ! 
 Not American labor, not British labor, not French labor, not the labor 
 of the New World or of the Old, but the labor of mankind as one un- 
 divided brotherhood — labor as the oldest, the noblest prerogative of 
 duty and humanity. It is this which is the distinguishing feature of 
 this occasion, that gives a brotherly welcome to the sea-divided and di- 
 versified-tongued families of mankind an opportunity to fraternize with 
 all other races and generations. It accepts with the homage of re- 
 spect, and with the sympathy of life-relationship, all other primary 
 ideas and ideals of art and industry which have been embodied and 
 perpetuated in these magnificent specimens of mechanical science and 
 artistic taste. We stand in the majestic presence of more than four 
 thousand years of human ingenuity and invention. Every one of 
 these implements, wrought oi^ brass or iron, holds inwrought within 
 its fabrication an unbroken lineage of improvements and conceptions, 
 
7? 
 
 RE-INAUGURATION OF THE 
 
 reaching back across the flood at its widest expanse, and linking that 
 implement with the forge of Tubal Cain. All of these glorious tri- 
 umphs of art and workmanship, of nearly all the living nations of the 
 earth, have each a long train of consecutive antecedents, reaching back 
 to the day of that normal machination of the antediluvian world. 
 The model of the largest ocean steamer that plows the billows of the 
 sea, inherited its idea from that mighty vessel with which the patri- 
 arch of the post-diluvian world embarked with his single family upon 
 the shoreless deluge, bearing with him the treasures of the first ideas 
 of art and industry which had been developed from the time of Adam. 
 Here, then, under this crystal dome, that over-arches, like a sky of 
 glass, these noble works of mechanism, science, and artistic taste, we 
 may say, with greater propriety than Napoleon said under the sha- 
 dow of the pyramids, " Forty centuries are looking down upon us 
 with their grand and solemn antiquity." [Applause.] All these no- 
 ble, these glorious works, are the congregated result of the long line 
 of ideas and activities of six thousand years. Mr. President, other 
 countries have had their great international exhibitions of art and in- 
 dustry, which have commanded the admiration of the world ; but the 
 novel and bold aspirations of the Directors of this institution soar to 
 a nobler height — the coronation of Industry. There is a moral gran- 
 deur in that very assumption, which seems to comprehend a patriot- 
 ism that beats with all the pulses of the human race. I trust that 
 every heart that responds to this idea, will generously share the re- 
 sponsibility which it involves. The coronation of Labor is the grand- 
 est word that a continent Republic could utter in this year of the 
 world, in the meridian of its manhood. It grasps all the painful and 
 progressive histories of humanity, and, standing on some Pisgah's 
 height, proclaims a new Canaan, and unfolds its green fields of prom- 
 ise to the view. A coronation of Labor ! Let not the lips of man or 
 woman in this crystal temple, or in this broad land, repeat these words 
 with levity. Let us not lower the dignity of this day, by unfurling to 
 the myriad-handed industry of the world a deceitful and empty ab- 
 straction. The coronation of a single human brow does not consist 
 merely in encircling it with the regalia of a king or queen. The dia- 
 monds that glitter in the diadem, are not the measure of the homage 
 or duty involved in that act. The real crowning is in the devotion of 
 loyal hearts, that shall be true, faithful, and unswerving in the fiercest 
 trials. Nor is it a coronation of Labor, to build for it a palace, a 
 costal palace, surpassing in magnificence the royal habitations of ori- 
 ental monarchs. It is not the crowning which we owe to Labor, to 
 enrich its brow with brilliant jewelry of its own handicraft, nor to 
 clothe it in the crimson robes of mock royalty, and bring it forth to 
 the people once in a century. No : there are weighty and sober obli- 
 gations devolving upon every person in this assembly, or out of it, 
 who accepts the term by which this demonstration has been submitted. 
 Gentlemen, are we in very deed inaugurating a reality, or merely play- 
 ing with a brilliant but delusive abstraction 1 If it is a reality, it is 
 the grandest to which any nation or race has ever attained. But is it 
 a reality? Gentlemen, I fear not yet, notwithstanding all the brilliant 
 circumstances with which we are surrounded. But shall it be a real- 
 
NEW YORK CRYSTAL PALACE. 
 
 ity 7 I think we may venture to answer " Yes " to that question. If 
 we shall not succeed this day in making such a crowning for Labor as 
 it deserves at our hands, let us pledge our personal efforts to make it 
 heir-apparent and heir-positive to all the noblest possibilities of human 
 life in this hemisphere. I will conclude with a sentiment in which I 
 hope you will all agree, and it is this, that we are now inaugurating a 
 new kind of Monroe doctrine ; and we say to all the industrial my- 
 riads of mankind, that Labor, intelligent, thought-producing, thought- 
 embodying, thought-honoring and thought-honored Labor, shall be 
 the only earthly potentate that shall ever be crowned on this conti- 
 nent. [Loud applause.] 
 
 Mr. Burritt's speech was followed by a most beautiful cho- 
 rus by the Harmonic Society, in which a sweet female voice rose 
 above every obstacle, while the instrumental music filled the Pal- 
 ace to the remotest corner. It was Crystal Palace perfect har- 
 mony. 
 
 SPEECH OF LUTHER R. MARSH. 
 
 This was followed by a speech from Luther R. Marsh, of 
 this City. Unfortunately for the many thousands who were near 
 enough to hear this speech, there were many other thousands 
 outside the charmed circle who could not hear themselves, and 
 would not let others enjoy that pleasure, except to a very limit- 
 ed extent. Mr. Marsh spoke as follows : 
 
 The distinguished orator who has just preceded me, has reminded 
 you that this was no proclamation that has called us together, but that 
 we are assembled here for the Coronation of Labor. It is but just 
 that labor — the ruler and sovereign of the world through its length 
 and depth — should at last receive the circling diadem on its brow, and 
 wear the insignia of its value on its breast. It was ordained by divine 
 decree ; and, although shorn of its honor, it exacts the fealty of man 
 wherever he may be. It has penetrated every quarter of the globe, 
 and given to each clime the products of all others — lifted mineral trea- 
 sures from their beds, and brought them into life and existence. It 
 has covered the land with a laudable ambition, recorded its own pro- 
 gress, and made the regions of science administer to the immeasurable 
 wants of society. Shall we not, then, crown labor this day ? made by 
 its own hands, and filled by its own activity. [Applause.] Labor stands 
 as the representative of wealth. It holds the scales in which all wealth 
 is weighed, and if money cannot exchange itself for labor, it is worth- 
 less, and no man would be troubled with its weight. Labor ! that has 
 effected so much for man — that has led forth from darkness the grand 
 inventions of all time — that constitutes the basis of wealth and re- 
 presents its true value. Some there are, sir, who shrink from Phy- 
 sical labor, as unworthy of intellectual pursuits, forgetting that in its 
 exercise is held up the glowing strength and sinew of its followers. 
 Who can esteem the value labor has — the long, tedious nights when 
 

 RE-INAUGURATION OF THE 
 
 fermenting thought will not keep still, and when repeated attempts to 
 succeed lead to failure after failure — hope fainting by the way, and 
 poverty brandishing his fist — till at last triumph lights up the features 
 of despair and adds to the resources of man ? Delegates from every 
 country are coming to this great convention. Let us meet them with 
 proper inducements. Let California send her towering cedar tree, her 
 glittering gold or heavy strata of lead, her shining pebbles that mark 
 the source of the Sacramento and Joachin. America, too, where steam 
 first found the mechanism to assume her right, where the lightning 
 first spread its power over the wires ; let her, too, send to her brethren 
 throughout the length and breadth of the land these mementoes of her 
 own achievements. [Applause.] In the ingenious models around us 
 we meet generous rivalry and fair contest side by side, and the ensign 
 of peace which floats over them all, over this fair temple, lifts no 
 battlements to reproach them with, but opens wide the gates of wel- 
 come and lets the world come in. After reviewing the various beau- 
 tiful productions of other competing countries, Mr. Marsh concluded a 
 very eloquent address amid much applause. 
 
 PARKE GODWIN'S SPEECH. 
 
 Mr. Marsh was followed by the beautiful piece of music, the 
 grand Hallelujah Hymn, and that by an address from Park 
 Godwin. He spoke as follows : 
 
 There is a class of philosophers who lament what is called the 
 material character of this age and nation ; and they ascribe the degene- 
 racy to our practical devotion. They must be transcendentalist philo- 
 sophers — men who have left the earth and soared to the moon — to 
 whom we owe this sage opinion, for if they had not taken leave of the 
 earth and their senses, how could they have reached their sublime con- 
 clusion ? As for me, my purpose is to contend that they are wrong 
 both in their premises and inferences. This is not a peculiarly mate- 
 rial age ; and the reason is, it is peculiarly the age of labor. It is true 
 that our activity in respect to the physical well-being of man is unpre- 
 cedented, that the bowels of the earth are tortured for every means 
 of comfort and enjoyment, that popular cities and towns are all astir 
 with trade, that every sea is vexed with the remorseless keels of com- 
 merce, and that every where we behold busy, driving multitudes intent 
 upon thrift and gain. But it is because of this intense activity that 
 the world is not more material but more intellectual, more moral, 
 more spiritual than ever it was before. Yes, at no time in the history 
 of our race has mankind been so elevated in its aims, so benevolent in 
 its purposes and courses of action. It is a bad morality which main- 
 tains that general virtue can only spring from general indolence, general 
 indigence and general ignorance, for these three illustrious generals have 
 been companions from the first of time. They have walked the course 
 of the world as Franconi drove his chariots, three abreast, and always 
 leading in their rear, as the captives of their triumphs, general corrup- 
 tion and general misery. [Applause.] You see that on this peaceful 
 occasion we cannot get wholly rid of warlike allusions. [Loud applause.] 
 
NEW YORK CRYSTAL PALACE. 
 
 But what I mean to say is that industry — work- -a devotion to prac- 
 tical pursuits — is one of the quietest sources of health, individual 
 and collective, and of wisdom, morality, order and religion. Labor is 
 sometimes spoken of as a curse inflicted upon man, but it is one of 
 those curses which conceals a blessing as the poison of flowers lies 
 near the honey, or as the rude and dreary mine contains the precious 
 ore. Can there be any better proof of this than the fact which bursts 
 from every page of history, that the civilization of the nations of the 
 earth has walked hand in hand with the development of their labor by 
 means of the peaceful arts ? that they have been elevated in the scale 
 of all moral and social perfection just in the degree in which they 
 have been devoted to their material well-being 1 Look around upon 
 the existing nations, and tell me what rank they have attained as in- 
 dustrial nations, and I will tell you what is their rank in the ascending 
 scale of civilization. Are they developing their agricultural resources 
 — are they busy with manufactures — are they covering the sea with 
 ships — are they cultivating sciences, improving their laws, advancing 
 knowledge, educating the ignorant, caring for the poor, and working 
 out all kinds of moral, social and religious meliorations 1 If they are 
 travelling forward in this course they are on the high road to moral 
 and social perfection, and happy will be their condition. But are they 
 neglectful of the soil ? Is there no hum of wheels that is heard in 
 their factories 1 No rattle of carts in the streets of their cities — no 
 whistle of steam along the roads — no tramp of paddles on the water '? 
 If so it be, their populations are then besotted and degraded, their 
 nobles oppressors, and their rulers tyrants of the nations ; name the 
 degree of the industrial developments of a people and you name also 
 the degree of their enlightenment, prosperity and peace. Now whe- 
 ther you take the industry itself, or its cause, or its effect, there stands 
 the fact. The greatest nations, those that are most enlightened, are 
 the}' that are noted for their great practical movements. The most 
 abject and superstitious are those in which industry is not permitted 
 to breathe. Industry is the exponent of their advancement. It marks 
 the degree of their achievements in all that is noble, generous and 
 magniticent. But why is industry this touchstone ? Why does it 
 measure the altitude of man ? The answer is plain, because it is by 
 industry that man emancipates himself from all the tyrannies of his 
 natural condition, and places himself in a state of freedom for the ex- 
 ercise of his higher powers. It is industry which conquers the stub- 
 bornness of the globe, which shelters man from the persecuting cold 
 and heat, which baffles the storms, which exercises human reason, 
 which gives scope to human passions, which binds man to his brother 
 — in a word, which removes far out of the way, every thing that ob- 
 structs the nobler impulses of his soul. The loftiest dictate of morals 
 ever uttered was that " man should love his brother as himself," and 
 the only effective fulfilment of that command is to put your brother 
 in possession of the means by which he can become ; ' as yourself." 
 Industry, therefore, which develops and diffuses wealth, which puts 
 sustenance and comfort within the reach of all — which gives to the 
 lowest the opportunities of improvement which only the highest have 
 otherwise ever been able to possess, is a noble and true charity. Not 
 
RE-INAUGURATION OP THE 
 
 he, who out of his superfluity, bestows a generous gift upon your des- 
 titution — not he who is ever prodigal of his distribution of goods to 
 the poor, is the best and most benevolent man ; but he who brings 
 it within the power of the masses of society, by systematized labor, 
 to secure to them the ends of their own existence, is deserving of the 
 honorable title. It was a good saying of the old monks, laborare est 
 orare — to labor is to pray ; but it is a better view of labor that it is a 
 most effective and universal instrument of charity. Let us, then, 
 honor the occasions when there is made offering of our gratitude to 
 skill ; and in the midst of this glorious assemblage of all that the cun- 
 ning brain has devised and the cunning hand erected and the innocent 
 heart blessed ; let us lift our homages to the genius of art. Let us 
 say in the language of poetry : 
 
 Thou teachest man the useful skill, 
 
 Which lifts him from the vulgar clod, 
 Through every scale of greatness, till 
 He stands the image of his God. 
 
 Madame Chome was now introduced to sing one of her beau- 
 tiful songs. Mr. Barnum desired the audience to maintain the 
 most profound silence and then they would probably hear about 
 one note in ten. That proved to be the case to nine of every 
 ten persons present. It was estimated that the audience at this 
 time (nine o'clock) was greater than at any other hour of the 
 day. Ferdinand Meyer then sang " Largo al Factotum," from 
 the Barber of Seville. 
 
 Both these songs elicited immense applause from that portion 
 of the audience who were within hearing, and the last was so rap- 
 turously applauded that Mr. Meyer consented to repeat it. 
 
 THE REV. E. H. CIIAPIN'S SPEECH. 
 
 The Bev. E. H. Chapin was now introduced and received 
 with a storm of applause. He spoke in the following words : 
 
 It is hard for me to speak after the salvos of eloquence which here to- 
 day have saluted the resurrection of this magnificent enterprise. You 
 have heard whatever the strong mind can conceive, or the earnest tongue 
 utter upon the subject. You have been presented with an Exhibition 
 of the Industry of all nations. I fear, therefore, that I must necessarily 
 repeat ideas, and even phrases ; and so perform the thankless task of 
 proffering } r ou the cold fragments of a feast with which you are already 
 full. But, when I say that } r ou have heard about all that can be said 
 relative to this occasion, I would imply that there is a great deal in 
 regard to it that cannot be spoken. I presume that the most eloquent 
 oration of the day has been a silent sentiment, sweeping the diapasm of 
 every heart ; something inexpressible by logic, or rhetoric, or song. It 
 is a sentiment that blends the feelings of grandeur, and beauty, and 
 jubilant hope. So far as it is possible to define it by a single term, it 
 may be considered as a profound sense of the symbolical significance 
 
NEW YORK CRYSTAL PALACE. 
 
 of this Crystal Palace. This has been a popular inauguration ; and it 
 is fitting that the people, represented by all classes, should come here j 
 for, looking about them, they behold an epitome of the people's destiny. 
 This edifice, with all it contains, is a historical hieroglyph and prophecy. 
 And I trust I shall not be considered as entering upon a fanciful and 
 speculative disquisition, if I devote my remarks to the illustration of this 
 point. I know that generalizations are apt to prove very crude and in- 
 exact when we transfer them from the objects of natural science to the 
 field of human agency. But it is sufficiently correct for my purpose to 
 say, that the history of mankind appears to be characterized by the un- 
 folding of three great epochs, and the realization of three great ideals. 
 In the first place, there is an epoch of comparative quietude. The 
 early, Oriental age — the antique age in general, lying on the verge of 
 history, a vast, slumbrous tract, preparing the seeds of events. Com- 
 parative quietude, I say — for there has been no period without move- 
 ment. Movement is the inmost principle of the universe. There is 
 motion in all things. In the monad and the star — in the mountain that 
 stands like eternity — in this fresh, spring life now budding on the robe 
 of nature, as she goes forth to fill her costal palace with the contribu- 
 tions of Providence and the productions of the year. But, surely, there 
 is a unity of costume, a monotony of action, that sufficiently distinguishes 
 the period to which I refer. Its lymphatic polity is in vivid contrast to 
 our sanguine and electric temperament — our locomotive life. For this 
 it is that characterizes the second great epoch of history — the period in 
 which we are placed. It is an epoch full of epochs. It is remarkable 
 for its rapid vibrations ; for its succession of vast changes. To go back 
 no further than the Fifteenth Century, what a throng of great eras, 
 proving that " Mty years of Europe " and America are " better than a 
 cycle of Cathay ! " That was a great era when truth found in the 
 printing-press the gift of tongues, and roused the stagnant souls of men 
 with voJlies of thought. That was a great era when Columbus to the 
 Old World unveiled a virgin bride, the mother of splendid and incalcu- 
 lable destinies. That was a great era when Bacon shattered Aristotle's 
 web and Agrippa's mirror, and taught man to explore nature with the 
 lamp of experiment and the talisman of fact. That was a great era, in- 
 augurated by the Declaration of Independence, when, in the cradle of 
 battle and the baptism of blood, "a nation was born in a day." Eras! 
 Why, every man, every woman, without hinting that she has reached 
 any mysterious and unpronounceable age, every child, almost, has passed 
 through them. You also have seen our own New-York grow from a 
 provincial town to a vast metropolis, heaving in its heart with the 
 pulsations of a world, and wearing its Crystal Palace like a diadem. 
 You also have seen space cancelled by steam, and time beaten by the 
 telegraph, and tissues of identity and nerves of electric sympathy 
 stretched and woven around the globe. It's an epoch full of epochs, 
 marked by the greatness and rapidity of its changes. It is, therefore. 
 eyidentlj 7 a transition epoch, leading to a third, the phases of which we 
 can hardly conceive, which 1 may not linger to describe — but which we 
 may believe will be a period of unity again — a period of quietude, not a 
 stagnant quietude, but the serenity of full, deep life. A sunset epoch 
 it may be. of unimaginable splendor, in which the ripe world shall, for 
 
RE-INAUGURATION OF THE 
 
 ulterior purposes, be plucked by the hand of God. And corresponding 
 with these three epochs, though not strictly, I admit, there are three 
 ideals for man to realize — the Beautiful, the True, and the Good. The 
 realization of the first leads to the attainment of the second, and both 
 are absorbed in and glorify the third. Now, is it pot the fact that the 
 most special inheritance which we get from the antique age, is the heri- 
 tage of the Beautiful ? I am speaking now of what comes by human 
 development, not from Divine inspiration ; of the natural constituents in 
 history, not the great religious element. Is not the Beautiful the most 
 unsurpassable of all that the old time has bequeathed us? That 
 " beauty which is a joy for ever " — the beauty that was in its shrines 
 and temples, its marble deities, and its fresh, immortal poetry ? If the 
 old Past should bring its products to this Exhibition, would it not 
 challenge us the most successfully by this ? But is not our epoch 
 specially characterized by the knowledge and the application of Truth? 
 Are not its great achievements in the field of science, and by science 
 wedded to invention ? Go into any factory, and see what fine workmen 
 we have made of the great elements around us ! See how Nature toils 
 in shirt-sleeves — how diligently the iron fingers pick and sort, and the 
 muscles of steel retain their faithful gripe, and enormous energies run to 
 and fro with an obedient click ; while forces that heave volcanoes, and 
 tear the arteries of the earth, spin the fabrics of an infant's robe, and 
 weave the flowers in a lady's brocade. The seeking and attainment of 
 the same is the special characteristic of our period. Its activity is the 
 activit}' of knowledge. Its new eras burst forth from new facts. But, 
 around us. there are indications of something better than mere intellec- 
 tual acquisition or material power. Indications of a time when these 
 shall serve human and divine goodness. We see these instincts in 
 movements of love and help. The exaltation of the laborer. That war 
 now prevailing in Europe, I believe will be the last great diplomatic 
 war. There may be other conflicts with nobler issues involved. In the 
 geology of history there may be a few earthquake-bursts of freedom, 
 scattering their feudal detritus, laying down a stratum of thrones and 
 piling in crowns for fossils, shifting levels, and making God's world 
 really the people's heritage. But I am not ashamed to stay that I 
 believe in : ' a good time coming." I know that some may have a silly 
 notion about this good time, and regard it as a sort of philanthropic 
 jollification — a millennial Fourth-of-July. But in its essential signifi- 
 cance I believe in it. It is the nineteenth centur}' - vernacular for the old 
 prophetic idiom — " they shall beat their swords into plow shares and 
 their spears into pruning-hooks ; nation shall not lift up sword against 
 nation, neither shall they learn war any more." It is the secular ver- 
 sion of that Apocalyptic vision of which the Apostle tells us, : ' I John 
 saw the New Jerusalem coming down from God out of heaven." And 
 now for the symbolical significance of this Crystal Palace, to which I 
 referred in the commencement. It appears to me that these epochs and 
 ideals are epitomized and illustrated here. Permit me, in closing these 
 ceremonies, to interpret this symbolism. In these works of art we have 
 the representation of the Beautiful — old. yet ever new. In this splendid 
 artillery of invention we discover the characteristics of the present. 
 
NEW YORK CRYSTAL PALACE. 
 
 harnessing science to util'ty, and throbbing with the energies of fact. 
 While combining the glories of Art and Invention, taking them off in a 
 sublimer conception, I think the ablest production of all is this edifice 
 itself — the temple that sanctifies the gold ; fit emblem, is it not. of the 
 wider, nobler good that belongs to the coming time, and that now 
 encircles us in the vision of prophecy ? Have I been indulging in mere 
 mysticism and fancy ? Or do you recognize the symbolical significance 
 around you here? Do you recognize the realities behind the symbols ? 
 Addressing the symbols as therealities, I would say then : Oh ! genius of 
 Art, fill us with the inspiration of still higher and more spiritual beauty. 
 ! instruments of Invention, enlarge our dominion over reality. Let 
 iron and fire become as blood and muscle, and in this electric net-work 
 let heart and brain inclose the world with truth and sympathy. And 
 thou, ! beautiful dome of light, suggestive of the brooding future, the 
 future of human love and divine communion, expand and spread above 
 the tribes of men a canopy broad as the earth and glorious as the upper 
 heaven. 
 
 The splendid speech of Mr. Chapin closed the exercises of 
 the evening, and gave the mass of people an opportunity to be- 
 gin to move limbs which had been fixed in a cramped position for 
 over two hours. Yet, notwithstanding all this tiresomeness, we 
 venture to say that no great audience ever retired from a great 
 feast with greater satisfaction than did the immense throng who 
 visited the Crystal Palace this 4th day of May, 1854. 
 
Putnam's Monthly Magazine. 
 
 Third Volume Completed. 
 
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