Over the Ocean Part 16

The sail up the Thames upon one of these little river steamers, of a fine day, is a very pleasant excursion. A good view of the Houses of Parliament and all the great London bridges is had, the little steamer pa.s.sing directly under the arches of the latter; but at some of them, whose arches were evidently constructed before steam pa.s.sages of this kind were dreamed of, the arches were so low that the smoke-pipe, constructed with a hinge for that purpose, was lowered backwards flat to the deck, and after pa.s.sing the arch, at once resumed its upright position. Landing not far from Kew Green, we pursued our way along a road evidently used by the common cla.s.ses, who came out here for Sunday excursions, for it was past a series of little back gardens of houses, apparently of mechanics, who turned an honest penny by fitting up these little plots into cheap tea gardens, by making arbors of hop vines or cheap running plants, beneath which tables were spread, and signs, in various styles of orthography, informed the pedestrian that hot tea and tea cakes were always ready, or that boiling water could be had by those wishing to make their own tea, and that excursion parties could "take tea in the arbor" at a very moderate sum.

Kew Gardens contain nearly three hundred and fifty acres, and are open to the public every afternoon, Sunday _not_ excepted. Upon the latter day, which was when I visited them, there are--if the weather is pleasant--from ten to twelve thousand people, chiefly of the lower orders, present; but the very best of order prevailed, and all seemed to be enjoying themselves very much. Beside the tea gardens, on the road of approach, just outside the gardens, there were every species of hucksters' refreshments--all kinds of buns, cakes, fruits, &c., in little booths and stands of those who vended them, for the refreshment of little family parties, or individuals who had come from London here to pa.s.s the day. Hot waffles were baked and sold at two pence each, as fast as the vender could turn his hand to it; an uncertain sort of coffee at two pence a cup, and tea ditto, were served out by a vender from a portable urn kept hot by a spirit lamp beneath it; and servant girls out for a holiday, workmen with their wives and children, shop-boys and shop-men, and throngs of work people, were streaming on in through the ornamented gates, beyond which boundary no costermonger is allowed to vend his wares, and within the precincts of the gardens no eating and throwing of fragments of fruit or food permitted.

The gardens are beautifully laid out in pleasure-grounds, broad walks, groves, flower gardens, greensward, &c.--a pleasing combination of the natural and artificial; the public may walk where they wish; they may saunter here and there; they may lie down or walk on the greensward, only they must not pluck the flowers or break the trees and plants; the garden is a perfect wealth of floral treasures. Seventy-five of its three hundred and fifty acres are devoted to the Botanic Gardens, with different hot-houses for rare and tropical plants, all open to the public.

Here are the great Palm House, with its palm trees, screw pines, bananas, bamboos, sugar-canes, fig trees, and other vegetable wonders; the Victoria Regia House, with that huge-leafed production spread out upon its waters, with specimens of lotus, lilies, papyrus, and other plants of that nature; the tropical hot-house, full of elegant flowery tropical plants; a Fern House, containing an immense variety of ferns, and a building in which an extensive and curious collection of the cactus family are displayed. These hot-houses and nurseries are all kept in perfect order, heated with steam, and the plants in them properly arranged and cla.s.sified.

The great parterre of flowers presents a brilliant sight, showing all the rich and gorgeous hues, so skilfully arranged as to look in the distance like a silken robe of many colors spread upon the earth.

These winding walks, ornamental buildings, ferneries, azalea, camellia, rhododendron, and heath "houses" afford every opportunity for the botanist to study the habits of plants, the lover of flowers to feast on their beauty, and the poor man and his family an agreeable, pleasant, and rational enjoyment. Then there is a museum of all the different kinds of wood known in the world, and the forms into which it is or can be wrought. Here is rose-wood in the rough and polish; great rough pieces of mahogany in a log, and wrought into a piece of elegant carving; willow, in its long, slender wands, and twisted into elegant baskets; a great chunk of iron-wood in the rough, or shaped with the rude implement and patient industry of the savage into an elaborately-wrought war-club or paddle; tough lance-wood, and its carriage work beside it; maple and its pretty panels; ash; pine of every kind, and then numerous wonderful woods I had never heard of, from distant lands, some brilliant in hue and elegant in grain, others curious in form, of wondrous weight or astonishing lightness; ebony and cork-wood; bamboo, sandal-wood, camphor, cedar and cocoa-wood; stunted sticks from arctic sh.o.r.es, solid timber from the temperate, and the curious fibrous stems of the tropics. It was really astonishing to see what an extensive, curious, and interesting collection this museum of the different woods of the world formed.

A short, brisk ride, of little more than a couple of miles, brought us to the celebrated Star and Garter Hotel,[A] at Richmond Hill, where one of the most beautiful English landscapes in the vicinity of London can be obtained. The hotel, which was situated upon a high terrace, commanded an extensive view of the Thames far below it, in its devious windings through a wooded country of hill and dale, with Windsor Castle in the distance. This house, so famed in novels and plays, is the resort of the aristocracy; its terraced gardens are elegant, and Richmond Park, in the immediate vicinity, with its two thousand acres, is crowded every afternoon during the season with their equipages--equipages, however, which do not begin to compare in grace and elegance with those of Central Park, New York.

[A] Since the author's visit the "Star and Garter" has been destroyed by fire.

There can be no pleasanter place to sit and dine of an afternoon in May than the dining-room of the Star and Garter, with its broad windows thrown open upon the beautiful gardens, with their terraces and gravelled walks running down towards the river, and rich in flowers, vases, and ornamental bal.u.s.trades, with gay and fashionable promenaders pa.s.sing to and fro, enjoying the scene. For more than a hundred feet below flashes the river, meandering on its crooked course, with pleasure-boats, great and small, sporting upon it; and, perched upon hill-sides and in pleasant nooks, here and there, are the beautiful villas of the aristocracy and wealthy people. The dinner was good, and served with true English disregard of time, requiring about two hours or less to accomplish it; but the attendance was excellent, and the price of the entertainment could be only rivalled in America by one person--Delmonico.

But then one _must_ dine at the Star and Garter in order to answer affirmatively the question of every Englishman who learns that you have been to Richmond Hill, and who is as much gratified to hear the _cuisine_ and excellent wines of this hotel extolled by the visitor, as the splendid panoramic view from its windows, or the wild and natural beauties of the magnificent great park in the immediate neighborhood.

CHAPTER VII.

If there is any one exhibition that seems to possess interest to the inhabitants of the rural districts of both America and England, it is "wax works." Mrs. Jarley understood the taste of the English public in this direction, if we are to believe her celebrated chronicler. Artemus Ward commenced his career with his celebrated collection of "wax figgers;" and one of the sights of London, at the present day,--and a sight, let me a.s.sure the reader, that is well worth the seeing,--is Madame Tussaud's "exhibition of distinguished characters."

Let not the unsophisticated reader suppose that this is a collection of frightful caricatures, similar to those he has seen at travelling exhibitions or cheap shows, where one sees the same figure that has done duty as Semmes, the pirate, transformed, by change of costume, into the Duke of Wellington, or Jefferson Davis, or that it is one of those sets of figures with expressionless-looking faces, and great, staring gla.s.s eyes, dressed in cast-off theatrical wardrobes, or garments suggestive of an old-clothes shop. Nothing of the sort. Madame Tussaud's exhibition was first opened in the Palais Royal, Paris, in 1772, and in London 1802, and is the oldest exhibition of the kind known; and although the celebrated Madame is dead, her sons still keep up the exhibition, improving upon it each season, and display an imposing list of n.o.ble patrons upon their catalogue, among whom figure the names of Prince Albert, Louis XVIII., the late Duke of Wellington, &c.

The price of admission is a shilling; an additional sixpence is charged to visit the Chamber of Horrors; and a catalogue costs the visitor another sixpence, so that it is a two-shilling affair, but richly worth it. The exhibition consists of a series of rooms, in which the figures, three hundred in number, are cla.s.sified and arranged. The first I sauntered into was designated the Hall of Kings, and contained fifty figures of kings and queens, from William the Conqueror to Victoria; they were all richly clad in appropriate costumes, some armed with mail and weapons, and with faces, limbs, and att.i.tudes so artistically and strikingly natural, as to startle one by their marvellous semblance of reality; then the costumes, ornaments, and arms are exact copies of those worn at the different periods, and the catalogue a.s.serts that the faces are carefully modelled from the best portraits and historical authorities.

Here are William the Conqueror and his Queen Matilda; here is William Rufus, with his red locks and covetous brow; here stands Richard I.

(Coeur de Lion), his tall figure enclosed in shirt of chain-mail; and there sits King John, with dark frown and clinched hand, as if cursing the fate that compelled him to yield to the revolting barons, and sign Magna Charta; Edward III. and his Queen, Philippa, the latter wearing a girdle of the order of knighthood; and near at hand, Edward's n.o.ble, valiant son, the Black Prince--a magnificent figure, looking every inch a warrior, and n.o.ble gentleman. The artist had succeeded in face, costume, and att.i.tude in representing in this work one of the most grand and chivalric-looking figures I ever looked upon, and which caused me, again and again, to turn and gaze at what appeared such an embodiment of n.o.bleness and bravery as one might read of in poetry and romance, but never see in living person. Among others of great merit was the figure of Edward IV. in his coronation robes, who was considered the handsomest man of his time; and Richard III. in a splendid suit of armor of the period, and the face copied from an original portrait owned by the Duke of Norfolk; Henry VII. in the same splendid costume in which he figures on his monument in Westminster Abbey; and then bluff old Henry VIII., habited in a full suit of armor, as worn by him on the Field of the Cloth of Gold.

Queen Mary (b.l.o.o.d.y Mary) in her rich costume; then comes Queen Elizabeth, dressed exactly as she is in Holbein's well-known picture at Hampton Court Palace; Charles I. in the splendid suit of chevalier armor of his time; and Oliver Cromwell in his russet boots, leather surcoat, steel gorget and breastplate, broad hat, and coa.r.s.e, square features; George III. in the robes of the Order of St. Patrick; his majesty George IV. in that stunning costume of silk stockings, breeches, &c., and the robes of the Order of the Garter over it, in which he figures in the picture that we are all so familiar with.

Then we have Victoria and her whole family, a formidable group in point of numbers, very well executed figures, and clad in rich and fashionably-made costumes, some of which are veritable court dresses, which have been purchased after being cast aside by the wearers.

Certainly the outfit of these figures must be a heavy expense, as is evident to the most casual observer.

So much for the hall of English sovereigns. The other statues embrace representations of other monarchs and celebrated personages. Nicholas I.

of Russia's tall figure looms up in his uniform of Russian Guards; Napoleon III., Marshal St. Arnaud, and General Canrobert in their dresses of French generals; Abdul Medjid in full Turkish costume, and the Empress Eugenie in a splendid court dress.

A very fine figure of Charlemagne in full armor, equipped for battle, which was manufactured for the great exhibition of 1862, is a splendid specimen of figure-work and modern armor manufacture. Then we came to a fine figure of Wolsey in his cardinal's dress. Mrs. Siddons in the character of Queen Katherine, Macready as Coriola.n.u.s, and Charles Kean as Macbeth, are evidence that the theatrical profession is remembered, while Knox, Calvin, and Wesley indicate attention to the clergy.

The few American figures were for the most part cheaper affairs than the rest of the collection, and might be suspected, some of them, of being old ones altered to suit the times. For instance, that of General McClellan, President Lincoln and his a.s.sa.s.sin, _George_ Wilkes Booth, as the catalogue has it, would hardly pa.s.s for likenesses.

There is a very natural, life-like-looking figure of Madame Tussaud herself, a little old lady in a large old-fashioned bonnet, looking at a couch upon which reposes a splendid figure of a Sleeping Beauty, so arranged with clock-work that the bosom rises and falls in regular pulsations, as if breathing and asleep. Madame Tussaud died in 1850, at the age of ninety years.

A very clever deception is that of an old gentleman, seated in the middle of a bench, holding a programme in his hand, and apparently studying a large group of figures. By an ingenious operation of machinery, he is made to occasionally raise his head from the paper he is so carefully perusing, and regard the group in the most natural manner possible, and afterwards resume his study. This figure is repeatedly taken by strangers to be a living person, and questions or observations are frequently addressed to it. One of my own party politely solicited the loan of the old gentleman's programme a moment, and only discovered from the wooden character of the shoulder he laid his hand on, why he was not answered. Ere long he had the satisfaction of witnessing another person ask the quiet old gentleman to "move along a bit," and repeat the request till the smothered laughter of the spectators revealed the deception.

Perhaps the most interesting part of Madame Tussaud's exhibition was the Napoleon rooms, containing an extensive collection of relics of Napoleon the Great. These relics are unquestionably authentic, and, of course, from their character, of great value. There is the camp bedstead upon which the great warrior rested during seven years of his weary exile at St. Helena, with the very mattresses and pillows upon which he died, and, in a gla.s.s case near by, the counterpane used upon the bed, and stained with his blood. This last, a relic, indeed, which the possessors might, as Mark Antony suggested of napkins dipped in dead Caesar's wounds,

"Dying, mention it within their wills, Bequeathing it, as a rich legacy, Unto their issue."

This bed was purchased of Prince Lucien, Napoleon's brother, for four hundred and fifty pounds. Then, as if in mockery of human greatness, there was hung close by this death-bed the coronation robe of Napoleon, sold at the restoration of Louis XVIII., from the Cathedral of Notre Dame; also the robe of the Empress Josephine, sold at the same time.

Here, upon the bed, is a wax figure of the great emperor, partially enveloped in a cloak, the identical one he wore at the battle of Marengo, and which served as a pall when he was conveyed to the grave in his rocky prison.

In the room adjoining, the princ.i.p.al object of interest was the military carriage of the emperor, the same one in which he made the campaign of Russia, and which was captured by the Prussians on the evening of the battle of Waterloo. Here also is the carriage used by him during his exile at St. Helena. Near by is the sword worn during the campaign in Egypt, his gold repeating watch, cameo ring, tooth-brushes, coffee-pot, camp knife, fork, and spoon, gold snuff-box, &c.

But the most actual relic, perhaps, is a portion of the real corporeal Napoleon himself, being nothing more nor less than one of his teeth, which was drawn by Dr. O'Meara. These relics are of a description to gratify the taste of the most inveterate relic-hunter. I give a few more that are pencilled in my note-book as attracting my own attention; the atlas that Bonaparte used many years, and on which are the plans of several battles sketched by his own hand,--a most suggestive relic this of the anxious hours spent in poring over it by the great captain, who marked out on this little volume those plans which crumbled kingdoms and dissolved dynasties; simple sketches to look upon, but which were once fraught with the fate of nations,--his dessert services, locks of his hair, camp service, shirts, under-waistcoats, and linen handkerchiefs, pieces of furniture, &c. Besides this large collection of relics of the great emperor, there are a number of other interesting historical relics of undoubted authenticity, such as the ribbon of Lord Nelson, a lock of Wellington's hair, George IV.'s handkerchief, the shirt of Henry IV. of France, the very one worn by him when a.s.sa.s.sinated by Ravaillac, and stained with the blood which followed the murderous knife, Lord Nelson's coat, the shoe of Pius VI., a ribbon of the Legion of Honor worn by Louis Philippe, coat and waistcoat of the Duke of Wellington, and, in a gla.s.s case, the three great state robes of George IV. These are of purple and crimson velvet, lined with ermine, and richly embroidered, the "three together containing five hundred and sixty-seven feet of velvet and embroidery,"--so the catalogue tells you,--"and costing eighteen thousand pounds."

The last department of this exhibition is one the name of which is quite familiar, and often quoted by American readers, viz., the Chamber of Horrors. The collection here is of figures of noted murderers and criminals, said to be portraits of the originals, and various models and relics. Perhaps the most interesting of the latter to the spectator is the original knife of the guillotine, used during the Reign of Terror in Paris. This axe, the catalogue tells us, was bought by Madame Tussaud of Sanson, grandson of the original executioner; and the now harmless-looking iron blade, that the spectator may lay his hands upon, is the terrible instrument that decapitated over twenty thousand human victims. It has reeked with the blood of the good, the great, and the tyrannical--the proudest blood of France and the basest. The visitor may well be excused a shudder as his hand touches the cold steel that has been bathed in the blood of the unfortunate Louis XVI., Marie Antoinette, the tyrant Robespierre, and the thousands of unhappy victims that yielded up their lives beneath its fatal stroke. I confess that this Chamber of Horrors is unpleasantly interesting even to the sight-seer. I felt uncomfortable the brief time I spent there, breathed freer as I emerged from it, and felt as if escaping pursuit from some of its ruffianly inmates as I dashed away through the throng of vehicles in a Hansom cab to my hotel.

Theatre-going in London is an expensive amus.e.m.e.nt. In the theatres--that is, the good and respectable ones--there is no chance for people of moderate means, except the undesirable places that cannot be filled in any other way than by selling the admission at a rate within their reach. There is no theatre in London in size, appointments, and conveniences equal in all respects to the great ones in some of our large cities, and nothing that can compare with Booth's, of New York, or the Globe, of Boston. It is impossible to get such an entertainment as you may have in America at Booth's, Wallack's, or the Globe at anything like the price.

For instance, at Drury Lane Theatre the prices are, stalls, one dollar and seventy-five cents, gold; dress circle, one dollar and twenty-eight cents; second ditto, one dollar; pit, fifty cents; gallery, twenty-five cents. It should be understood that "stalls" take in the whole of the desirable part of the parquet, and that some half dozen rows of extreme back seats, in the draught of the doors, and almost beyond hearing and sight of the stage, are denominated "the pit;" and in some theatres it is a "pit" indeed. The auditoriums of their theatres are in no way so clean, well kept, or bright looking as those of leading American theatres in New York and Boston. Even at the old dirty Princess's Theatre, where I saw Shakespeare's Antony and Cleopatra very handsomely put upon the stage, and Miss Glyn as Cleopatra, the orchestra stalls cost one dollar and fifty cents, gold, and the pit, which was way back under the boxes, was vocal between the acts with venders of oranges, nuts, and ginger beer.

The Lyceum Theatre, where I saw Fechter play, was a neat and well-ordered establishment, and stalls, one dollar and sixty cents; upper circle, one dollar; pit, fifty cents. I give the prices in American money, gold, that they may be compared with our own. There is not a theatre in London where a performance, and accommodation to the auditor equal to that at the Boston Museum, can be had for three times the price of admission to that establishment. The prices above given being about the average at the leading theatres, what does the reader expect he will have to pay for the opera? Let us see.

At Her Majesty's Theatre, where I had the pleasure of listening to Nilsson in Traviata and t.i.tiens, in Oberon, Fidelio, &c., my play-bill informs me the prices are, pit stalls, fifteen shillings (about three dollars and forty cents in gold), boxes, two dollars and a half, and gallery, sixty cents. The pit, at this theatre, consists of four or five rows of narrow boards, at the extreme rear of the parquet, purposely made as narrow, uncomfortable, and inconvenient as can be, so that it is almost impossible to sit through a performance on them; yet, during the one act that I occupied a seat there, it was nearly filled with very respectable people, in full dress, no one being admitted who is not so costumed. I presume that the labor expended to render these seats disagreeable, is to force the public into the higher-priced ones, which are easy, comfortable, and even luxurious, and where one may be pretty sure that he is in the best society.

An American lady, who goes to the theatre or opera in London, must remember that she will not be permitted to enter the stalls or boxes with a bonnet on, no matter how infinitesimal, elegant, or expensive it may be. Full dress means, no bonnet for ladies, and dress coats, dark vests and pantaloons for gentlemen. A lady seen pa.s.sing in with bonnet on is expected to leave it at the cloak-room, to be redeemed by payment of sixpence on coming out; and no amount of argument will admit an independent American voter, who comes in a frock coat and drab pantaloons. I saw an ingenious American once, who overcame the frock coat difficulty by stepping outside, and getting his companion to pin up the skirts of that offending garment at each side, so that it made an extemporaneous "claw hammer" that pa.s.sed without question.

Bills of the play are not furnished by the theatre to its patrons. You buy a big one for a penny of a boy outside the theatre, as you arrive at the door, that will soil your kid gloves with printer's ink; or a small one, for two or three pence, of the usher inside, who shows you a seat, and "expects something," as everybody does, in England. At the opera your bill will cost you sixpence, for it is expected that "the n.o.bs" who go there never carry anything so base as copper in their pouches.

Indeed, I noticed that one of the aforesaid ushers, to whom I handed a shilling, stepped briskly away, and omitted to return me any change. I learned better than to hand ushers shillings, and expect change, after a few nights' experience, and had threepences ready, after the English style.

We need not go through a description of the theatres of London. There are as many varieties, and more, than in New York; and you may go from the grand opera, which is the best of that kind of entertainment, to the Alhambra, a grand variety affair, but most completely got up in all departments, or the cheaper theatres, where the blood-and-thunder drama is produced for a shilling or sixpence a ticket.

The appearance of the dress circle boxes at the opera is magnificent.

The ladies fairly blaze with diamonds and jewels, while silks, luxurious laces, splendid fans, scarfs, shawls, and superb costumes, make a brilliant picture that it is interesting to look upon. The extreme _decollete_ style of dress, however, was most remarkable. I have seen nothing to compare with it, even at the Jardin Mabille, or at the Cafes Chantants, in Paris, where the performers are wont to make so much display of their charms. Upon the stage, such undressing of the neck and bust would excite severe criticism, but in the fashionable boxes of the opera, it pa.s.ses unchallenged.

The liberal encouragement which the opera receives in England enables the management to produce it in far more complete and perfect style than it is usually seen in America. Indeed, some of the wretched, slipshod performances that have been given under the name of grand opera in America, would be hissed from the stage in London, Paris, or Italy. In operatic performances in America, we have the parts of two or three princ.i.p.als well done, but all else slipshod and imperfect, and the effect of the opera itself too frequently marred by the outrageous cuttings, transpositions, and alterations made by managers to adapt it to their resources.

The production of the opera in London is made with an orchestra of nearly a hundred performers, a well-trained chorus of sixty voices, dresses of great elegance, and correct and appropriate costume and style, even to the humblest performer. The opera, in all its details, is well performed, and the music correctly given; the scenery and scenic effects excellent, the auxiliaries abundant, so that a stage army looks something like an army, and not a corporal's guard; a village festival something like that rustic celebration, and not like the caperings of a few Hibernians, who have plundered a p.a.w.nbroker's shop, and are dancing in the stolen clothes.

Apropos of amus.e.m.e.nts, a very pleasant excursion is it by rail to the Sydenham Crystal Palace, where great cheap concerts are given, and one of those places in England where the people can get so much amus.e.m.e.nt, entertainment, and recreation for so little money. A ticket, including admission to the palace and grounds, and pa.s.sage to and from London on the railroad, is sold at a very low sum, the entertainment being generally on Sat.u.r.days, which, with many, is a half holiday. Two of the London railways unite in a large, handsome station at Sydenham, from which one may walk under a broad, covered pa.s.sage directly into the palace, this covered way being a colonnade seven hundred and twenty feet long, seventeen feet wide, and twenty feet high, reaching one of the great wings of the palace.

And this magnificent structure, its splendid grounds and endless museum of novelties, is a monument of English public spirit and liberality; for it was planned, erected, and the whole enterprise carried out by a number of gentlemen, who believed that a permanent edifice, like the one which held the great exhibition in Hyde Park in 1851, would be of great benefit in furthering the education of the people, and affording sensible and innocent recreation at the cheapest possible rate. And right n.o.bly have they performed their work in the production of this magnificent structure, which fairly staggers the American visitor by its beauty, as well as its vastness, and its wondrous grace and lightness.

It is a great monument of graceful curves and flashing gla.s.s, situated upon the summit of a gradual slope, with superb broad terraces, adorned with statues, grand flights of steps descending to elegantly laid out grounds, with shrubs, flowers, trees, fountains, ponds, rustic arbors, and beautiful walks; and these front terraces and grounds commanding one of those splendid landscape pictures for which England is so celebrated.

There is no better way of giving the reader an idea of the size of this magnificent structure, than by means of a few figures. The palace was completed in 1854 by a joint-stock company of gentlemen. It occupies, with its gardens and grounds, about three hundred acres, and cost, when completed, with its gardens, nearly two million pounds sterling. Think of the public being able to visit this splendid place for one shilling!

The length of the main building of the palace is over sixteen hundred feet; the width throughout the nave, three hundred and twelve feet, which, at the grand centre, is increased to three hundred and eighty-four feet; in addition to which are two great wings, of five hundred and seventy-four feet each; the height, from floor to ceiling, one hundred and ten feet; twenty-five acres of gla.s.s, weighing five hundred tons, were used in the building, and nine thousand six hundred and forty-one tons of iron. Graceful galleries run around the sides, and grand mammoth concerts and other entertainments are given in the central transept, the arch of which rises in a graceful span to the height of one hundred and seventy-five feet: the whole of one end of this transept is occupied by seats, rising one above the other, for the accommodation of four thousand performers, who performed at the great Handel Festival.

A great organ, built expressly for the place, occupies a position at the rear of these orchestra seats.

I was present at a grand musical performance in this transept, and, from an elevated seat in the orchestra, had a superb view of the whole audience below, which occupied chairs placed in the transept; these chairs which now faced the organ and orchestra, when turned directly about, would face the stage of a theatre, upon which other performances were given. The view of the crowd, from the elevated position I occupied, gave it the appearance of a huge variegated flower-bed, and its size may be realized when the reader is informed that there were _eight thousand_ people present; besides these, there were between three and four thousand more in different parts of the building and grounds. I obtained these figures from the official authorities, who informed me that on greater occasions, when the performance is more attractive, or upon whole holidays, the number is very much larger.

The nave is divided into sections, or courts; such as the Sheffield Court, Manufacturing Court, Gla.s.s and China Court, Stationary Court, Egyptian Court, Italian Court, Renaissance Court, &c. These courts are filled with the products of the industry or art of the periods for which they are named. Thus, in the English Mediaeval Court are splendid reproductions of mediaeval architecture, such as the elegant doorway of Rochester Cathedral, doorway of Worcester Cathedral, the splendid Easter sepulchre from Hawton Church, the monument of Humphrey do Bohun from Hereford Cathedral, with the effigy of the knight in complete armor, and various architectural specimens from the ancient churches and magnificent cathedrals of England, all exact counterfeit presentments, executed in a sort of composition in imitation of the original. The Renaissance Court contains elegant reproductions of celebrated specimens of architecture of that period, elaborate and profuse in decoration.

Then we have the Elizabethan, Italian, and Greek Courts, each a complete museum in itself of reproductions of architecture, and celebrated monuments of their periods. The Sheffield, Manufacturers, Gla.s.s and China Courts, &c., contain splendid exhibitions of specimens of the leading manufacturers, of those species of goods, of some of the best products of their factories.