A guide to the art collections
of the South Kensington museum
South Kensington musuem, London
CETHOMPSON.S

ARTES
1837
SCIENTIA
VERITAS
LIBRARY
OF THE
UNIVERSITY OF MICHIGAN
PLURIBUS UNUM
TUELOR
SQUAERIS PENINSULAM AMOE NAM
CIRCUMSPICE

N
1150
.A75
1870
.
A
1
1
Sanctioned by the Science and Art Department
A GUIDE
124522
TO THE ART COLLECTIONS OF THE
SOUTH KENSINGTON
MUSEUM
ILLUSTRATED with PLANS and WOOD ENGRAVINGS
LONDON
PRINTED BY
SPOTTISWOODE & CO., NEW-STREET SQUARE, FARRINGDON STREET
AND 30 PARLIAMENT STREET, WESTMINSTER
SOLD IN THE SOUTH KENSINGTON MUSEUM
February 1870

Sanctioned by the Science and Art Department
A GUIDE
TO THE
SOUTH KENSINGTON
MUSEUM
ILLUSTRATED with GROUND PLANS and WOOD ENGRAVINGS
ADMISSION
FREE on MOSDAY, TUESDAY, and SATURDAY. fram to a.m. bill to p.m.
SIXPENCEN WEDNESDAY, THURSDAY, and FRIDAY, frem to
till 4, 5. r 0p.m., according to the Scen
Ticks of Admission to the Musea, including the Art, Elvary and
Eduational Randing Room, are istud at the following rata
Weekly, 6; Mouthly, 1.6; Quarterly, 3re Half-Yearly, dr.; Yearly, for.
LONDON
SPOTTISWOODE & CO., NEW-STREET SQUARE, FARRINGDON SLE
AND 30 PARLIAMENT STREET, WESTMINSTER
SOLD IN THE SOUTH KENSINGTON MUSPY
PUBLIC GALLERIES-FREE DAYS
Suivien Musaru, Great Ruell St
NATAL GALLER, Trafalgar Square
East Juma Mosor, Whichali Yard
COL Mers, Jermyn Sre
Monday, Wednesday, Frimay,
Monday, Tuesday, Wenday, Saturda
Mamby, Wednesday, Friday
Daily escept Friday
PRIZE MEDALS,
1851, 1862, 1867.
.
W. S. DOBSON,
19 ST. JAMES'S STREET, LONDON, S.W.
GLASS MANUFACTURER,
BY SPECIAL APPOINTMENT TO THE
QUEEN,
PRINCE OF WALES,
AND ROYAL FAMILY.
TABLE GLASS OF EVERY DESCRIPTION,
NEAT AND INEXPENSIVE PATTERNS, also some oF THE MOST RECHERCHÉ DESIGNS.
ANGLO-VENETIAN GLASS CHANDELIERS,
GRECIAN GASILIERS IN CHINA AND GLASS.
A VERY LARGE COLLECTION OF
FLOWER GLASSES FOR DINING AND DRAWING ROOMS.
N.B.-NEW AND SPECIAL DESIGNS FOR
MIRRORS
AND
PLATEAUX.
CRITIQUES ON THE PARIS
EXHIBITION.
MORNING POST, MAY 11, 1867.
'The English Department for Glass is best represented by Mr. DOBSON.' ·
ART JOURNAL, APRIL 1867.
Mr. DOBSON stands unsurpassed by any other manufacturer in the world.'
ON,
Re-d
PRIZE
1862, 1865, 1867
MEDALS.
W. P. & G. PHILLIPS & PEARCE
155 NEW BOND ST., 358 & 359 OXFORD ST., LONDON,
DESIGNERS AND MANUFACTURERS OF
WORKS OF ART IN GLASS AND CHINA,
For Decorative and Useful Purposes,
GLASS
AS
CHANDELIERS, GIRANDOLES AND BRACKETS.
ETRUSCAN AND OTHER GASELIERS IN ORMOLU AND CHINA
CANDELABRA, &c.
ORNAMENTAL FOUNTAINS IN GLASS FOR THE CONSERVATOR
OR TABLE.
FLOWER STANDS, FERN STANDS, TABLE DECORATIONS,
DESSERT SERVICES, &c.
VENETIAN MIRRORS, FOR THE DRAWING-ROOM OR BOUDOIR
ASS.
DOMS
FAMILY MOURNING.
MESSRS.
JAY
Respectfully announce that great economy is effected by purchasing MOURNING at their
247 & 249
Establishment,
REGENT
THEIR STOCK OF
STREET,
FAMILY MOURNING BEING THE LARGEST IN EUROPE.
MOURNING FOR FAMILIES.-Messrs. JAY are anxious to remove an impression
which they find has gained undue circulation, that none but the richest materials in made-up
Skirts, Mantles, and Millinery are sold at their Establishment. Messrs. Jay beg therefore to
assure all families who may be under this false impression, and who in consequence may not have
dealt at the LONDON GENERAL MOURNING WAREHOUSE, that they sell for the small price of ONE
GUINEA only, and cnt to the full length, a really excellent FAMILY MOURNING DRESS.
Good wearing materials of more than equivalent value for the cost, are cut from the piec', at
One Shilling per yard and upwards,
JAY'S,
THE LONDON GENERAL MOURNING WAREHOUSE,
247, 249, & 251 Regent Street.
A. BORGEN & CO.
DEPOT FOR DANISH MANUFACTURES AND
WORKS OF ART,
142 NEW BOND STREET, W.
Under the Immediate Patronage of
H.R.H. THE
Danish Jewellery,
Danish Terra Cotta,
PRINCESS
OF WALES,
Comprising a most Récherché Collection of
Danish Porcelain,
Danish Bisquit,
Danish Ivory Goods,
From the best Makers and Artists in Denmark.
Danish Pictures,
Danish Sculpture,
It is only natural that an especial interest should be taken by the English public in anything to which the Princess o
Wales in particular and very expressly wishes to accord her favour. This Her Royal Highness has done in a letter of warm
pproval, bestowing her patronage on the undertaking commenced by Messrs. A. BORGEN & Co., of 142 New Bond Street.
The house is a Danish one, and the object, it may be briefly stated, is to bring before the English public the choicest selection
of those articles of manufacture, art works, &c. in which the Dnes particularly excel. The collection consists of pictures,
eulpture, jewellery, porcelain, terra-c tta, bisquit, ivory goods, with sundry other knick-knacks useful and ornamental.
The visitor must be at once struck by the uniformity in the tone which pervades al the productions. There is a classic purity
n the form, the design, the ornament, and the colour, which is evidently peculiar to the people. It is shown in the jewel,
which is a facsimile of ancient Norse ornaments, and it is mani'ested in the modern porcelain, bisquit, ivory, and terra-cotta
goods. The cheap but fine porcelain from the Royal Manufactory of Copenhagen quite equals the Dresden, and the equisite
painting and novelty in the subjects and designs place the ware in the foremost ranks. We are certain that the good favour
of the Princess of Wales has fallen wisely, and that the Danish productions will meet with the highest approbation from a
arge class, and most especially from those who can appreciate art excellence.'-COURT JOURNAL, Oct. 31, 1868.
AN ILLUSTRATED AND DESCRIPTIVE HANDBOOK OF DANISH MANUFACTURES
AND WORKS OF ART, POST-FREE ON APPLICATION.
USEFUL
PORTRAIT ALBUMS.
JEWEL BOXES.
TEA CADDIES.
WORK BOXES,
CHURCH SERVICES,
DRESSING CASES,
PRESENTS,
CONSISTING OF
BLOTTING & ENVELOPE CASES.
GLOVE & HANDKERCHIEF BOXES.
INKSTANDS & BOOKSLIDES.
PURSES & POCKET BOOKS.
PORTMONNAIES IN IVORY, &c.
BIBLES AND PRAYER BOOKS.
ALBUMS FOR DRAWINGS, &c.
ELGIN WRITING CASES.
CARD CASES (PATENT).
WRITING DESKS.
PENCIL CASES in Gold and Aluminium. DESPATCH BOXES.
SMELLING BOTTLES. GILT ORNAMENTS for Writing Table.
STUDENTS' WRITING CASES.
One of the Largest Stocks in LONDON at
T. STEPHENSON'S STATIONERY WAREHOUSE, 99 Oxford Street, W.
engengengengengengengengengengengengengeng!
NISSEN, PARKER & ARNOLD.
43, MARK LANE, LONDON.
ENGRAVERS.
MANUFACTURING & EXPORTING
STATIONERS,
FOR BANKERS MERCHANTS AND
PUBLIC COMPANIES.

SOUTH KENSINGTON MUSEUM.
OPEN DAILY.
CONTAINING WORKS OF DECORATIVE ART; MODERN PICTURES,
SCULPTURE, AND ENGRAVINGS; ARCHITECTURAL ILLUSTRATIONS;
EDUCATIONAL APPARATUS AND BOOKS; ILLUSTRATIONS OF FOOD.
THE MUSEUM is open FREE on Mondays, Tuesdays, and Saturdays.
The Students' days are Wednesdays, Thursdays, and Fridays, when the
public are admitted on payment of SIXPENCE each person. The hours
on Mondays, Tuesdays, and Saturdays, are from 10 A.M. till 10 P.M.; on
Wednesdays, Thursdays, and Fridays, from 10 A.M. till 4, 5, or 6 P.M.,
according to the season.
Tickets of Admission to the Museum, including the Art Library and
Educational Reading Room, are issued at the following rates:-Weekly,
6d.; Monthly, Is. 6d. ; Quarterly, 35.; Half-year, 6s. ;. Yearly, 10s.
Yearly Tickets are also issued to any School at 17., which will admit all
the pupils of such schools on all Students' days; Tickets may be obtained
at the Catalogue Sale Stall of the Museum.
LIST OF WORKS ON SALE AT CATALOGUE STALL.
Guide to the South Kensington
Museum
Catalogue of Sheepshanks' Pictures
Dr. Ruland's Notes on the Cartoons.
Catalogue of Educational Division
Structural Division
Naval Models.
·
the Loan Collection of 1862
Musical Instruments.
s. d.
0 6
•
0 6
•
o 6
•
30
•
I O
•
36
50
·
ΙΟ
Gems and Precious Stones. 06
Miniature Exhibition of 1865. 5 o
s. a.
26
National Portrait Exhibition of
1866.
Catalogue of National Portrait Exhi-
bition of 1867 and 1868 (each) 1 6
Classified List of Photographs of
Drawings and Paintings
Classified List of Photographs of Pre-
cious Metals and Enamels
06
0 6
0 6
•
06
0 6
Classified List of Photographs of Pot-
tery and Porcelain
Science Directory.
Art Directory
EXHIBITION GALLERIES,
EXHIBITION ROAD,
OVERLOOKING THE HORTICULTURAL GARDENS.
Subject to the same Regulations as the South Kensington Museum.
Open from 10 A.M. till 4 P.M.
Collections temporarily removed from the South Kensington Museum.
NAVAL MODELS, lent by the Admiralty and private Shipbuilders.
A COLLECTION OF ENGRAVED NATIONAL PORTRAITS.
COLLECTION OF ANCIENT ARMS AND ARMOUR, lent by Colonel Meyrick.
MUNITIONS OF WAR, contributed by the War Department.
BUILDING MATERIALS.
ANIMAL PRODUCTS.
In a range of rooms up-stairs is now exhibited the National Portrait Gallery.
THE METROPOLITAN RAILWAY.
The Trains of the Metropolitan Railway run at intervals of about 10 minutes throughout
the day between the Stations at Moorgate Street, Aldersgate Street, Farringdon Street,
King's Cross, Gower Street, Portland Road, Baker Street, Edgware Road, Paddington,
Bayswater (Queen's Road), Notting Hill Gate, Kensington (High Street), Gloucester
Road, Victoria, St. James's Park, Westminster, and that at South Kensington, which is
close to the South Kensington Museum and the Horticultural Gardens.
a
SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF
COUNCIL ON EDUCATION.
SCHOOLS OF SCIENCE.
EXTRACTS FROM THE Science DirectORY.
VI. The following are the Sciences towards in-
struction in which aid is given :-
Subject 1, Practical Plane and Solid Geometry.
2, Machine Construction and Drawing.
3, Building Construction, or Naval Är-
chitecture.
5, Higher Mathematics.
"
""
99
4, Elementary Mathematics.
"9
".
6, Theoretical Mechanics.
"9
7, Applied Mechanics.
""
8, Acoustics, Light, Heat.
31
9, Magnetism and Electricity.
99
10, Inorganic Chemistry.
99
11, Organic Chemistry.
99
12, Geology.
"
13, Mineralogy.
"
14, Animal Physiology.
""
""
""
"
18, Mining.
19, Metallurgy.
"
20, Navigation.
39
21, Nautical Astronomy.
"
22, Steam.
15, Zoology.
16, Vegetable Anatomy and Physiology.
17, Systematic and Economic Botany.
23, Physical Geography.
VII. The assistance granted by the Science and
Art Department is in the form of—
1. Public examinations in which Queen's Medals
and Queen's Prizes are awarded, held at all
places complying with certain conditions.
2. Payments on results to teachers.
3. Scholarships and Exhibitions.
4. Building Grants.
5. Grants towards the purchase of apparatus, &c.
IX. A Local Committee of Management of not
less than five well known responsible persons must
be formed in connection with every Science class
who will carry out the instructions.
X. The Science and Art Department holds
annually, about May, through the agency of the
Local Committees, a public examination in all the
before-mentioned Sciences in any place in the
United Kingdom which complies with the requi-
site conditions.
XI. The examinations are of two kinds, but
held on the same evening and conducted by the
same Committee.
a. The class examinations for students under
instruction in Science Classes, whether
taught by teachers qualified to earn pay-
ments on results or not.
b. The honours examination, of a highly ad-
vanced character.
The class examination is of two grades or
stages; the first stage or elementary examination,
and the second stage or advanced examination.
On this examination the payments on results and
prizes, &c. are awarded.
XVI. Besides the registered students of a
class, any other person may present himself for
examination before the Local Committee when-
ever an examination is being held for the class.
He must apply to the local Secretary.
XVII. At the May class examinations and the
quarterly examinations of seamen, the grades
of success are:-in the first stage or elementary
paper, first, second, and third class; and in the
second stage or advanced paper, first and second
class. For the third or lowest class the standard
of attainment is only such as will justify the
examiner in reporting that the instruction has
been sound, and that the students have benefited
by it. The standard may be raised from year to
year.
XVIII. To all successful students are given
printed lists of results showing their position; to
the first class in both stages are given Queen's
prizes, consisting of books or instruments chosen
by the candidates from lists furnished for that
purpose.
These are unlimited in number, and are open
to all candidates who come within either of the
following categories: (1) Students in Science
Classes under Teachers qualified to earn pay-
ments; (2) Registered Students in Artisan Classes
taught by other Teachers.
Other candidates, if successful, only receive
Cards of Merit.
The following are exceptions to the above
rule:-
a. Teachers earning or who have earned pay-
ments on the results of instruction; and
b. Students who have previously received the
same, or a higher class, in the same subject.
XIX. Four medals-one gold, one silver, and
two bronze, are given in each subject for compe-
tition.
XX. Persons are qualified to earn payments on
results who have-
a. Obtained certificates as teachers in any of
the before-mentioned sciences according to
the rules in force previous to January 1867,
or,
b. Obtained a First or Second Class at the May
examination since that date, or,
c. Taken honours at the May examination.
Such examination will be dispensed with in the
case of a candidate who has taken a degree at any
University of the United Kingdom, or who has
obtained the Associateship of the Royal School
of Mines, London, or the Royal College of Science,
Ireland. Full particulars must be furnished by
the applicant, accompanied by his diploma or a
certificate from the Registrar of his University.
This action must have been taken, and the appli-
cant recognised by the Department, before pay-
ments on results can be claimed.
No payments are made to a teacher on account
of instruction given in subjects in which he is not
so qualified.
XXI. Payments on results are made either
directly to teachers or to the Committee or ma-
nagers of the School. Where classes are formed
by a teacher incidentally, in addition to his
regular duties, the payments may be made di-
rectly to him. Where there is a regularly
organised Science School with day, or day and
evening, classes in science, the payments will be
made to the Committee. The question of a
school claiming under this last head will be
specially considered by the Department.
XXIII. Payments are made to the qualified
teacher on account of the instruction of students
of the Artisan classes (for definition of Artisan
class see Science Form No. 51) in the following
manner :-The payments claimable for each sub-
ject are-3. for a first class in the elementary
stage, 27. for a second class, and 1. for a third
class; and a further payment of 27. for a first
class and 1l. for a second class in the advanced
stage, provided the student has in a previous year
passed in the elementary stage, but these
amounts are reduced in the following ways:-
1st. If the student has been previously success-
ful in the same stage of the same subject, such
payments are reduced by the normal payment
which was claimable on such previous success.
2nd. When on this scale they would amount to
more than 6ol, the excess up to 40%. is diminished
by one quarter, the excess above 40%. by one half.
If the teacher be instructing classes three miles
or more apart, this deduction will be reduced by
the amount of his travelling expenses.
SCHOOLS OF SCIENCE.
XXIV. Payments are made to the Committees
on the same scale as that given in § XXIII. with
the exception of the reductions described in the
last paragraph (XXIII. 2nd) which do not apply,
but no payment of more than 157. will be made
on account of any one student, nor will the total
payment to the school exceed a maximum of 27.
per successful paper worked at the examination
by artisan students taught during the preceding
year.
These payments may be divided in any pro-
portion the Committee think fit among the teachers
of the school, and a proportion not exceeding 20
per cent., nor exceeding the local voluntary con-
tribution to the expenses of the school, may be
deducted by the Committee in aid of such ex-
penses.
XXIX. The detailed rules as to Scholarships
and Exhibitions are given in the Minute of the
21st December 1867 (Science Form No. 275).
This Minute provides for two forms of scholar-
ship in connection with elementary schools,
whether receiving State aid, as such, or not.
The first of these is the elementary school scholar-
ship. 5. are granted to the managers of any
elementary school for the support of a deserving
pupil, if they undertake to support him for a year
and subscribe 51. for that purpose. One such
scholarship is allowed per 100 pupils in the school.
The selection of the pupil for the scholarship is to
be by competition; the details of this, however,
the managers of the school may arrange as they
please, subject to the approval of the Science and
Art Department. The payment of 5. by the
Science and Art Department is made conditional
on the scholar passing in a branch of Science at
the May examination.
XXX. The second, a more advanced, scholar-
ship is the Science and Art Scholarship,' of
which, again, there may be one per 100 pupils.
This is granted without any corresponding con-
tribution on the part of the locality. The Science
and Art Department makes grants of tol. towards
the maintenance, for one year, of the most de-
serving pupil or pupils in an elementary school
who may have taken a first grade in elementary
Geometry and Freehand or Model Drawing, and
passed in some branch of science, on condition
that, at the end of the year, the Scholar obtain at
least a third class in the subject of science in
which he originally passed, or pass in some other
*
subject. In both these cases the Scholar must
be from 12 to 16 years of age.
XXXI. Thirdly, for advanced scientific in-
struction, the Minute offers local exhibitions to
enable students to complete their education at
some college or school where scientific instruction
of an advanced character may be obtained. The
Science and Art Department will make a grant
of 25% per annum, for one, two, or three years,
for this purpose, when the locality raises a like
sum by voluntary subscriptions. And if the stu-
dent attend a State school, such as the Royal
School of Mines in London, the Royal College
of Chemistry in London, or Royal College of
Science in Ireland, the fees are remitted. It is
a condition that the Exhibition be awarded in
competition, the branch or branches of science
for which may be fixed by the locality, and that
the student pursue his studies satisfactorily.
XXXII. Royal Exhibitions, of the value of
50l. per annum, tenable for three years, to the
Royal School of Mines, London, and the Royal
College of Science, Dublin, are given in compe-
tition at the May examinatious.
XXXIII. Whitworth scholarships, of the value
of 100l. per annum, tenable for two or three years,
are also given in competition at the May exami-
nations. The special conditions which have been
framed for these can be obtained on application.
XXXIV. A grant in aid of a new building, or
for the adaptation of an existing building, for a
School of Science, may be made at a rate not
exceeding 2s. 6d. per square foot of internal area,
up to a maximum of 500l. for any one School.
(For conditions, see Science Directory.)
XXXV. A grant towards the purchase of
apparatus, diagrams, &c. of 50 per cent. on the
cost of them, is made to Science Schools and
Classes in Mechanics' and similar institutions
with a properly constituted Committee.
XXXVI. Science teachers who have taught
two years consecutively, and passed not less than
thirty students each year, are allowed second
class railway fare and 37. towards their expenses
while living in London, for the purpose of visiting
the South Kensington Museum and other Metro-
politan institutions, in order that they may
acquire, for the benefit of their students, a know-
ledge of the latest progress in those educational
subjects which affect the schools, on condition
that they remain in London five days at least.
* After May 1869 this condition will be :-passes in the advanced or second grade paper.
SCIENCE LECTURES. Twopence each.
To be had at the Catalogue Stall, at the Entrance Door.
Geometrical Drawing, &c.
Mechanical Physics (two Lectures)
Chemistry
Geology
Mineralogy
Zoology
Botany
Vegetable Physiology, and
Economic Botany
Mining
Navigation and Nautical Astronomy
Physical Geography.
•
Examination Papers, November 1863-4-5-6
May 1867 and May 1868
·
Prof. T. Bradley.
·
Rev. B. M. Cowie, B.D.
Prof. Hofmann, F.R.S.
}
Prof. Ramsay, M. A., F.R.S.
W. W. Smyth, M.A., F.R.S.
Prof. Huxley, F.R.S.
Edwin Lankester, M.D., F.R.S.
W. W. Smyth, M.A., F.R.S.
J. Riddle, F.R.C.S.
Dr. G. Kinkel, F.R.G.S.
•
6d. each.
2d.
11
SCIENCE AND ART DEPARTMENT OF THE COMMITTEE OF
COUNCIL ON EDUCATION.
SCHOOLS OF
OF ART.
Summary of the nature of the assistance which is afforded in promoting Instruc-
tion in Drawing in Schools for the Poor, Night Classes of Mechanics' and
other Institutions, and Schools of Art.
The Committee of Council on Education, through
the Science and Art Department, affords assist-
ance in promoting Art-instruction by the following
means:-
I. SCHOOLS FOR THE POOR.
Annual examinations in drawing are to be con-
ducted in the month of May, by the Managers of
Schools for the Poor who will provide the neces-
sary room or rooms. The children must have
been taught drawing by teachers holding certifi-
cates granted by the Department. The papers
will be supplied by the Department if application
be made before the 14th April; and when worked,
under prescribed regulations, are to be returned
to the Secretary of the Science and Art Depart-
ment by the first post after the examination. Pay-
ments in proportion to the proficiency shown by
the children and by the pupil-teachers, will be
made to the Managers of the School, who will
also receive an allowance for conducting the
examination in accordance with the regulations.
A prize will be given to every child who may ex-
hibit the required standard of excellence.
II. NIGHT CLASSES.
Annual examinations in drawing in the month
of March may be held by the Local Committees
or Managers of Night Classes for instruction in
drawing, to which the public are admitted on pay-
ment of fees within the reach of persons who sup-
port themselves by manual labour. The papers
will be supplied by the Department if application
be made before the 10th February; and when
worked are to be returned to the Secretary of the
Science and Art Department by the first post
after the examination. If instruction in drawing
has been given by teachers holding certificates
granted by the Department, a payment, under
prescribed regulations, will be made to the Local
Committee, or Managers, on every exercise satis-
factorily worked in a given time by an artisan,
and on every artisan who may submit a set of
satisfactory works executed by him in the class
during the previous year. The Local Committee,
or Managers, will also receive an allowance for
conducting the examination in accordance with
the regulations. Prizes will be awarded to stu-
dents, whether they be artisans or not, who excel
in the examinations, or who submit satisfactory
works. If a Night Class meet in and form part of
a School of Art, or elsewhere under the direction
of the Local Committee, and be taught by a
teacher holding 3rd grade certificates, works in
drawing, painting, modelling, and designing may
be sent up with those of the School of Art to the
National Competition. (See under Schools of Art.)
Examinations may be held in places where no
Night Class exists, provided they are conducted
by a responsible Committee approved by the.
Department. Prizes will be given to successful
candidates, but no payments can be made on ac-
count of the success of students instructed by un-
certificated teachers. The examinations in Night
Classes must be open to all students who may.
present themselves to be examined.
III. SCHOOLS OF ART.
Annual examinations in drawing in the month
of March will be held by the Local Committee or
Managers of the School of Art, of which the
teacher must hold an Art-teacher's certificate of
the 3rd grade. The papers will be supplied by
the Department if application be made before the
roth February, and when worked are to be re
turned to the Secretary of the Science and Art
Department by the first post after the examina-
tion. Payments will be made to the Local Com
mittee on every exercise satisfactorily worked in
a given time by an artisan; on every artisan who
may submit a set of satisfactory works executed
by him in the school; in aid of the salary of Art-
pupil-teachers; on every artisan student trained
in the school who may obtain a National Scholar-
ship; on 3rd grade certificates obtained by arti-
sans or teachers trained in the school; and on the
proper keeping of the necessary registers, and for
forwarding an annual report on a prescribed form.
Prizes will be given to students who excel in the
examinations, and to students who send up ele-
mentary works of great merit. The examinations
are open to all persons who may desire to present
themselves.
The best works in other than the elementary
stages of instruction by students, whether artisans
or not, in drawing, painting, modelling, or de-
signing, will be selected to enter into a National
Competition between the works of all the Schools
of Art in the Kingdom, and medals of gold, silver,
and bronze, and prizes will be awarded to the
students who have executed the most meritorious
of the competing works.
IV. NATIONAL ART TRAINING
SCHOOL.
Established at South Kensington for the pur-
pose of training Art-masters and mistresses for the
United Kingdom, and for the instruction of stu-
dents in designing, &c., to which male and female
students are admitted when properly qualified;
receiving an allowance in aid of their maintenance
which is proportioned to their attainments, and to
their qualification for the duties of teaching re-
quired from them. When such students have ob-
tained certificates of qualification, they may be
appointed teachers to the Local Schools of Art
throughout the United Kingdom.
National Scholarships in the Art Training
School are offered for competition amongst
Schools of Art. They are tenable for one year
by successful students, who are admitted to study
in the Art Museum, with special reference to the
manufactures of the district from which the stu-
dents are selected. A maintenance allowance is
made during the time allotted to study.
V. CIRCULATION OF EXAMPLES AND
BOOKS.
Every School of Art is privileged to borrow ob-
jects from the Museum, and examples, books,
&c., from the National Art Library; both these
institutions being, as far as possible, circulating
institutions for the benefit of the United Kingdom.
VI. GRANTS FOR PURCHASE OF
EXAMPLES.
All Schools of Art, Public Schools for the edu-
cation of the poor, and Mechanics' and other
institutions for artisans, may obtain grants in aid
of purchasing examples, models, casts, and other
apparatus for Art-instruction.
More detailed information may be obtained on
application to the Secretary, Science and Art
Department, South Kensington, London W.
Further information is given in the 'Art Directory,' price 6d.
INSTRUCTION IN
IN ART
AS AFFORDED AT THE
NATIONAL ART TRAINING SCHOOL, SOUTH KENSINGTON.
INSPECTOR-GENERAI. FOR ART, Richard Redgrave, R.A.
HEAD-MASTER, Richard Burchett. DEPUTY HEAD-MASTER, R. W. Herman.
Mechanical and Architectural Drawing, H. B. | Modelling, F. M. Miller.
Hagreen.
Geometry and Perspective, E. S. Burchett.
Painting, Freehand Drawing of Ornament, &c.
the Figure and Anatomy, and Ornamental De-
sign, R. Burchett, R. W. Herman, W. Denby,
R. Collinson, and C. P. Slocombe.
FEMALE CLASSES.
Lady Superintendent, Miss Trulock.
Female Teachers, Mrs. S. E. Casabianca, and
Miss Channon.
Matron, Mrs. Garrett. Attendant, Mrs. Abel.
1. The courses of instruction pursued in the School have for their object the systematic training of
teachers, male and female, in the practice of Art and in the knowledge of its scientific principles, with
the view of qualifying them to impart to others a careful Art-education, and to develop its
application to the common uses of life, and its relation to the requirements of Trade and Manufactures.
Special courses are arranged in order to qualify Schoolmasters of Parochial and other Schools to teach
Elementary Drawing as a part of general education concurrently with writing.
2. The instruction comprehends the following subjects:-Freehand, Architectural, and Mechanical
Drawing; Practical Geometry and Perspective; Painting in Oil, Tempera, and Water Colours;
Modelling, Moulding, and Casting. The classes for Drawing, Painting, and Modelling include
Architectural and other Ornament, Flowers, Objects of still-life, &c., the Figure from the Antique and
the Life, and the study of Anatomy as applicable to Art.
3. The Annual Sessions, each lasting five months, commence on the 1st of March and the 1st of
October, and end on the last day of February and the last day of July, respectively. The months of
August and September, one week at Christmas, and one week at Easter or Whitsuntide are Vacations.
The classes meet every day, except Saturday. Hours of Study-Day, 10 to 3; Evening, 7 to 9.
4. In connection with the Training School, and open to the public, separate classes are established
for male and female students; the studies comprising Drawing, Painting, and Modelling, as applied
to Ornament, the Figure, Landscape, and still-life.
Fees for classes studying for five whole days in- | For the half day, morning or afternoon:-
cluding evenings:-
£5 for the session of five months.
£4 for three months.
£3 for two months.
For three whole days including evenings :-
£4 for the session of five months.
£3 for three months.
£2 for two months.
£4 for the session of five months.
£3 for three months.
£2 for two months.
To all these classes there is an entrance fee of 10s.
Evening Classes: Male school, £2 per session.
Artisan Class, ros. per session; 35. per month.
Female school, £1 per session, three evenings
a week.
5. Classes for Schoolmasters, Schoolmistresses, and Pupil-Teachers, meet on two evenings in each
week. Fee 55. for the session. Similar classes are formed at the Spitalfields, St. Martin's, and Lam-
beth District Schools.
6. The morning classes for Practical Geometry and Perspective, and also for Drawing from Models,
are open to all students, but they may be attended independently of the general course, on payment
of a fee of £1 per session for either class.
7. With the view to meet the applications of parents, young persons at home for the Christmas and
Midsummer vacations can attend the drawing classes at South Kensington, from the 15th December to
the 14th February, or from the 15th June to the 31st July, on a payment of £1. Hours of attendance
daily, except Saturday, from 10 to 12.30, or from 1 to 3.
8. Students properly qualified have full access to the collections of the Museum and Library,
either for consultation or copying, as well as to all the School Lectures of the Department. The
public also are admitted to the same privileges on payment of small admission fees; for which see the
prospectuses of the Museum and Library.
9. A Register of the student's attendance is kept, and may be consulted by parents and guardians.
LECTURES AT SOUTH KENSINGTON.
LECTURER ON ANATOMY, JOHN MARSHALL, F. R.S., F. R.C.S. A course
of Twelve Lectures on Anatomy as applicable to the Arts is given in each session. The spring course
may be attended by ladies. Fee for the course, 6s. For a single lecture, 1s.
LECTURER ON BOTANY, CHRISTOPHER DRESSER, Ph.D. (Jena). The
course of lectures on Botany may be attended separately on payment of a fee of 6s. for the course.
Other lectures are delivered occasionally, which will be duly announced.
Metropolitan District Schools of Art are now established at the following places: Entrance fee, 25.
Fees, 25. and 35 per month. These Schools are open in the evening from 7 to 9.
1. The Female School of Art, 43 Queen Square, 5. St. Martin-in-the-Fields, Castle Street, Long
Bloomsbury, W. C. (removed from 37 Gower
Street).
2. Spitalfields, 12 White Lion St., Norton Folgate.
3. St. Thomas' Charterhouse, Goswell Street.
4. Rotherhithe Grammar School, Deptford Road.
Acre.
6. Lambeth, St. Oswald's Pl., Up. Kennington La.
7. St. George's-in-the-East, Cannon Street Road.
8. St. Mary's, Hide Pl., Vincent Sq., Westminster.
9. West London, 204 Great Portland Street.
At the Bloomsbury, Spitalfields, Charterhouse, Westminster, Lambeth, and West London Schools,
there are Female Classes. Applications for admission, prospectuses, or any other information, to be
made at the Schools in each district.
There is an Annual Examination for Prizes in all the Schools and a National Competition.
By order of the Committee of Council on Education,
HENRY COLE, Secretary.
February 1867. No. 607.
SOUTH KENSINGTON
KENSINGTON MUSEUM.
REGULATIONS FOR COPYING PICTURES.
1. Any person may on any day during the time the Museum is open copy or make
notes of any objects in the Museum, so long as such copying does not necessitate his or
her using an easel, or extra seat, or otherwise obstructing the circulation of visitors.
2. Any person wishing to copy by using drawing implements, easel, &c., can do
so on any Students' day, under proper arrangements to prevent inconvenience to
the public. (See first page.)
3. PICTURES BELONGING TO THE NATIONAL GALLERY, the VERNON,
TURNER, and BELL BEQUESTS, &c. Application for permission to copy these
paintings must be addressed to R. N. Wornum, Esq., Keeper of the National
Gallery, Trafalgar Square.
4. EXCEPTIONS to the above are :-
A. THE PAINTINGS IN WATER COLOURS, for which no permission to copy
is granted.
B. OBJECTS ON LOAN. These can only be copied on the production of the
written permission of the Owners.
C. PICTURES IN THE SHEEPSHANKS' GALLERY, for which special permission
must be obtained.
Forms of application for permission to copy are supplied by the Attendant in the Gallery, or will be
sent in reply to letter addressed to the Secretary, Science and Art Department, South Kensington
Museum, London, W.
By order of the Committee of Council on Education,
THE
ARUNDEL
HENRY COLE, Secretary.
SOCIETY'S ROOM,
FOR THE SALE OF PHOTOGRAPHS.
(In the corridor on the west side of the Entrance-hall) is OPEN DAILY from 10 till 4
o'clock in accordance with the regulations. Specimens of each Series are framed and
hung upon the adjoining walls, and an officer is always in attendance to take orders
and give explanations.
Complete sets of the Photographs issued by the SCIENCE AND ART Department,
and published by the ARUNDEL SOCIETY, may be consulted in this Room.
PRICE OF PHOTOGRAPHS.
Pictures in National Portrait Exhibition, 1866, 1867, and 1868. I
Portrait Miniatures, Exhibition of 1865.
Lettered
Α
ABCDEFGHL
•
Photographs, not exceeding 5 in. by 4 in.
""
39
Photographs,
61/1 by 4
Photographs,
81 by 64
Photographs,
ΙΟ
by 8
99
Photographs,
12
by 10
""
Photographs,
16
by II
99
Photographs,
18
by 12
99
Photographs,
19
29
99
by 14
""
Photographs,
22
by 15
99
s. d.
460
I
I
I
I 6
I 10
0200 300 0 0 0
22346
I
Mounted upon Plate Paper.
All orders must be paid for previous to delivery, and, except under special circum-
stances, will be executed within fourteen days.
DIRECTIONS FOR OBTAINING PHOTOGRAPHS
Of Objects in the Art Collections at the South Kensington Museum.
Artists, manufacturers, and the public generally may obtain NEGATIVES from the objects in the
permanent collections in the ART MUSEUM, taken by the official photographer, at the following rate
of charge:-
£ s. d.
O 10 O
I O O
I IO O
NEGATIVES not exceeding 4 inches by 6 inches, and one copy of the Positive.
NEGATIVES not exceeding 8 inches by 10 inches, and a copy of the Positive
NEGATIVES not exceeding to inches by 12 inches, and a copy of the Positive.
More than one object may be taken on the same Negative when required.
Applications for obtaining the Negatives should be addressed to THE SECRETARY, Science and Art
Department, South Kensington Museum. Payment to be made at the time of giving the order.

TRADE
MARK
ART SON PEARD &Gº
23
MANUFACTURERS OF ARTWORK METAL WOOD & STONE.
IRON & BRASS FOUNDERS IRON & SILVERSMITHS ENAMELLERS:
ENGRAVERS OF MEMORIAL BRASSES MAKERS OF GAS FITTINGS
ALSO CABINET & ECCLESIASTICAL BRASS WORK: GOTHIC
WOOD FURNITURE DECORATIVE & MONUMENTALSTONE WORK
53 TO 58WYCH STREET STRAND.W.C.
&BROOK STREET HANOVER SQUARE. W. LONDON.
AND GROSVENOR WORKS, GROSVENOR ST., BIRMINGHAM.
PRIZE MEDALS-LONDON, 1851 & 1862; DUBLIN, 1853 & 1885;
PARIS, 1855 & 1867.
"FOR GREAT BEAUTY AND VARIETY OF DESIGN AND PERFECTION
OF WORKMANSHIP."-Juries' Report, 1862-p. 346.
DESIGNS AND ESTIMATES FOR SPECIAL WORK.
PRIZE MEDALS, INTERNATIONAL EXHIBITIONS, LONDON 1862, PARIS 1867.
REEVES & SONS,
MANUFACTURING ARTISTS' COLOURMEN,
Black Lead Pencil and Mathematical Instrument Makers.
MANUFACTURERS AND IMPORTERS OF EVERY ARTICLE CONNECTED WITH DRAWING
PAINTING, AND THE FINE ARTS.
REEVES & SONS' COLOURS ARE GROUND BY IMPROVED STEAM MACHINERY.
REEVES & SONS' WATER COLOURS IN CAKES AND HALF CAKES.
REEVES & SONS' MOIST WATER COLOURS IN PANS, HALF PANS, AND TUBES.
REEVES & SONS' ELEMENTARY WATER COLOURS FOR SCHOOL USE.
REEVES & SONS' BOXES OF WATER COLOURS FITTED WITH EVERY REQUISITE.
REEVES & SONS' JAPANNED TIN BOXES OF MOIST WATER COLOURS.
REEVES & SONS' OIL COLOURS IN COLLAPSIBLE TUBES.
REEVES & SONS' VARNISHES, OILS, MEDIUMS, MEGILPHS, &c. &c.
REEVES & SONS' BEST CUMBERLAND AND PREPARED LEAD DRAWING PENCILS.
REEVES & SONS' POLISHED AND GILT AND PENNY DRAWING PENCILS.
REEVES & SONS' CRAYONS, CHALKS, STUMPS, AND PORTCRAYONS.
REEVES & SONS' DRAWING PAPERS, SOLID AND OTHER DRAWING BOOKS. !
REEVES & SONS' TRACING PAPERS AND TRACING CLOTHS.
REEVES & SONS' DRAWING, MOUNTING, AND BRISTOL BOARDS.
REEVES & SONS' MATHEMATICAL DRAWING INSTRUMENTS AND RULES.
REEVES & SONS' MACHINE MADE T SQUARES IN PEAR-TREE AND MAHOGANY.
REEVES & SONS' MACHINE MADE CLAMPED AND PANELLED DRAWING BOARDS.
REEVES & SONS' MACHINE MADE EASELS IN DEAL AND MAHOGANY.
REEVES & SONS' CAMEL HAIR, SABLE HAIR, AND HOG HAIR BRUSHES.
REEVES & SONS' ECONOMIC SERIES OF ONE SHILLING
BOX OF WATER COLOURS
CASE OF PENCILS
BOX OF COLOURED CHALKS
DEAL DRAWING BOARD
SOLID DRAWING TABLET
PORTFOLIO
DRAWING MATERIALS:-comprising
T SQUARE
PARALLEL RULE
SET OF ANGLES, ETC.
HALF SET OF INSTRUMENTS, ALSO THE EIGHTEENPENNY HALF SET OF INSTRUMENTS.
CHEAPSIDE, LONDON, E.C.

OSLER'S CRYSTAL GLASS CHANDELIERS.
Wall Lights and Lustres for Gas and Candles.
CHANDELIERS in Bronze and Ormolu, Moderator Lamps.
TABLE GLASS OF ALL KINDS.
ORNAMENTAL GLASS, English and Foreign.
Mess, Export, and Furnishing Orders promptly executed. All Articles marked in Plain Figures.
LONDON-Show-Rooms, 45 Oxford Street, W.
BIRMINGHAM-Manufactory and Show-Rooms, Broad Street.
Established 1807.
JACKSON & GRAHAM,
Cabinet Makers, Upholsterers, Builders, and Decorators,
29, 33, 34, 35, 36, 37, & 38 OXFORD STREET,
LONDON, W.
PERRY'S PLACE, AND NEWMAN YARD ADJOINING.
Also at OGLE STREET, MARYLEBONE.
Prize Medal,
Great Exhibition, 1851.
Medal, 1862,
and Workmanship.
Gold Medal, 1855,
For Improvements in For great Excellence of Design
English Furniture.
Hors Concours, 1867,
Jackson et Graham
JA
ACKSON & GRAHAM respectfully inform the Nobility and Gentry that they have
recently made great additions to their former extensive premises, which render their Establishment the
largest and most complete of its kind in this or any other country.
The spacious Show-rooms and Galleries comprise a superficial area of 45,000 feet, and are filled with an
unrivalled stock, the prices of which are all marked in plain figures, at the most moderate rate for ready money.
The extensive Manufactory adjoining, together with the large newly-erected premises in Ogle Street, are
fitted with Machinery, worked by steam power, comprising all means and appliances to ensure superiority and
economise cost.
Each of the undermentioned departments will be found as complete as if it formed a separate business, viz. :-
PAPER HANGINGS. Painting and Interior Decorations of all kinds. Experienced workmen sent to all
parts of the kingdom.
PARQUET FLOORING.-Prize Medal, 1862.
CARPETS of superior manufacture of every description.
CABINET FURNITURE-Chairs, Sofas, Ottomans, &c.
SILK AND SILK-AND-WOOL DAMASKS, Aubusson and Venetian Tapestries, Chintzes, Utrecht Velvets,
Arras, Reps, Merino Damasks, Cloths, &c. &c.
BEDSTEADS of Iron, Brass, and various Woods, superior BEDDING AND BED-ROOM FURNITURE.
The new and extensive Premises, No. 29 Oxford Street, consisting of Four Floors, with a superficial area of
20,000 feet, are devoted to this Department, and contains Suites of Bedroom Furniture in Oak, painted and
polished Deal, Mahogany, Walnut, and other Fancy Woods, tastefully inlaid.
PLATE GLASS, Carving and Gilding.
GALLERY OF BRONZES D'ART (Sole Depôt for the productions of F. Barbedienne & Co., Paris), Clocks,
Candelabra, Vases, and Ornamental Porcelain.
The Public are thus enabled to select their Paper Hangings or Decorations, Carpets, Curtains, and Furni-
ture all in harmony with each other, at one Establishment.
DEPARTMENT.
HOUSE AND ESTATE
From the very extensive connexions of the Firm, this Department affords the greatest facilities for Letting
or Selling Houses and Estates, either in Town or Country, and no charge is made for registration.

& Son lith
ENTRANCE HALL.
CONTENTS.
KERAMIC GALLERY.
PAGE
THE PORTICO DELLA GLORIA OF
SANTIAGO
4I
LAIN
PAGE
ENGLISH POTTERY AND PORCE-
SEVRES, DRESDEN, AND OTHER
34
SOUTH COURT.
MOSAIC PORTRAITS OF ARTISTS
LOAN COLLECTION, including
Goldsmith's Work, Jewellery,
Carved Ivories, Limoges Ena-
mels, Crystals, Venetian Glass,
Maiolica, Sèvres, &c.
MUSICAL INSTRUMENTS
THE DYCE COLLECTION
ELECTROTYPE REPRODUCTIONS.
MOSAICS-Ancient and Modern
ORIENTAL COURTS.
FRENCH BOUDOIR
·
NORTH COURT.
SINGING GALLERY (FLORENCE).
PORCELAIN.
34
7
HENRI DEUX AND PALISSY WARE 34
PERSIAN WARE
33
35
MAIOLICA AND HISPANO-MOR-
ESCO WARE
35
ORIENTAL PORCELAIN
333
36
9
•
14
IN PICTURE GALLERIES.
14
ANCIENT GLASS.
15
VENETIAN GLASS
16
•
GERMAN GLASS TANKARDS, &c. 37
333333
37
37
•
17
17
19
PRINCE CONSORT GALLERY.
BYZANTINE SHRINE (Soltikoff)
TRIPTYCHS, &C., IN ENAMEL
37
·
38
ABYSSINIAN TROPHIES
LIMOGES ENAMELS.
•
·
19
38
THE MARTELLI BRONZE
PULPIT FROM CAIRO
21
39
•
TRAJAN'S COLUMN .
THE GLOUCESTER CANDLESTICK
•
22
39
MICHAEL ANGELO'S DAVID
22
•
22
•
22
24
·
24
.
24
26
·
.
·
•
27
28
WINDOW OF THE CHURCH OF
THE CERTOSA AT PAVIA .
PULPIT CATHEDRAL OF PISA
PULPIT: BAPTISTERY OF PISA.
::
ST. GEORGE, BY DONATELLO
MICHAEL ANGELO'S MOSES
ITALIAN SCULPTURE
DELLA ROBBIA WARE.
TEXTILE FABRICS, LACE, &c.
REFRESHMENT ROOMS
Are in the Corridor on the West Side of
the North Court.
WEST SCHOOL-CLOISTERS.
Palissy Ware.
PICTURE GALLERIES.
NATIONAL COLLECTION OF PIC-
TURES. Left by Robert Vernon
and Jacob Bell.
RAPHAEL CARTOONS
SHEEPSHANKS COLLECTION
DAMASCENED METALLIC MIRROR
ANCIENT JEWELLERY, WATCHES,
40
&c.
•
40
NOTES.
On Carvings in Ivory
43
Enamels on Metals
44
Venetian and German Glass
•
46
Maiolica Ware
48
Della Robbia Ware.
50
Henri Deux Ware
50
51
METAL WORK-Weapons, &c.
·
29
•
52
57
ALTAR-PIECES OR RETABLES
·
31
STATE CARRIAGES
31
PLUMLEY ENAMELS
•
95555
63
NORTH SCHOOL-CLOISTERS.
ELLISON COLLECTION OF WATER-
COLOUR DRAWINGS.
63
FRENCH AND FLEMISH TAPESTRY
ANCIENT FURNITURE.
32
32
EDUCATIONAL DIVISION
64
THE CANDLESTICK OF MILAN.
ANCIENT DRESSES AND PER-
SONAL DECORATIONS
32
•
•
32
CARVED IVORIES
33
FOOD COLLECTION.
EXHIBITION GALLERIES . 65
64
A 2
SOUTH KENSINGTON MUSEUM.
THE MUSEUM is open daily; FREE on Mondays, Tuesdays, and Satur-
days. On Students' days, Wednesdays, Thursdays, and Fridays, the
public are admitted on payment of SIXPENCE each person.
The hours
on Mondays, Tuesdays, and Saturdays are from 10 A.M. till 10 P.M.; on
Wednesdays, Thursdays, and Fridays, from 10 A.M. till 4, 5, or 6 P.M.,
according to the daylight.
Tickets of Admission to the Museum, including the Art Library and
Educational Reading Room, are issued at the following rates:-Weekly,
6d.; Monthly, 1s. 6d.; Quarterly, 3s.; Half-yearly, 6s.; Yearly, 10s.
Yearly Tickets are also issued to any School at 17., which will admit all
the pupils of such schools on all Students' days. Tickets to be obtained
at the Catalogue Sale Stall of the Museum.
THE ART LIBRARY.
THE LIBRARY is contained in the new Rooms, on the West side of the
North Court, and is entered through a door in the West Cloisters of the
North Court. (See Ground Plan.) It consists at present of upwards of
20,000 volumes, and possesses a collection of Engravings, Drawings,
and Photographs, illustrative of Architecture, Ornament, &c. A portion
of these are framed, and exhibited in the Museum of Art, to illustrate
its various sections. It is emphatically a special Library, the object of
which is to aid in the acquisition and development of artistic knowledge
and taste, and to furnish means of reference on questions connected with
Art. In order, as far as possible, to extend its utility, books not readily
to be procured in local libraries are allowed to circulate from it to the
Provincial Schools of Art.
The Library is open morning and evening, during the same hours as
the Museum. (See above.)
THE EDUCATIONAL READING ROOM.
THIS READING ROOM is at present situated in the range of temporary
buildings at the left or western side of the principal entrance to the
Museum. The books and periodicals relate chiefly to elementary instruc-
tion at home and abroad; but several standard works in History, Science,
and General Literature are included in the Collection. The number of
volumes exceeds 18,000; many of these are presentations or contribu-
tions on loan from the various educational publishers. On Students' days
the Reading Room is open to all visitors; on Free days admission is
restricted to Clergymen, Teachers of Schools for the Poor, or holders of
tickets. (See above.)
LIST OF ILLUSTRATIONS.
PRINCIPAL FRONT OF THE MUSEUM (coloured)
THE CELLINI EWER
•
II
THE SINGING GALLERY
18
TABERNACLE OR SHRINE.
23
CHRIST IN THE SEPULCHRE.
HENRI DEUX CANDLESTICK
ALTAR PIECE : THE VIRGIN
WITH THE INFANT SAVIOUR. 49
Frontispiece
34
25
LIST OF PLANS.
GENERAL GROUND PLAN (cold). 5 PICTURE GALLERIES
52

ENTRANCE
ENTRANCE
EXHIBITION GALLERIES
IN THE
EXHIBITION GALLERIES
ARE
ARMS AND ARMOUR
Col. Meyrick's Collection.
PICTURES AND DRAWINGS
Rev. C. H. Townshend's Bequest.
ENGRAVED
NATIONAL PORTRAITS
Of the 18th and 19th Centuries.
MUNITIONS OF WAR
Lent by the War Department.
MODELS OF SHIPS
Lent by the Admiralty, &c.
BUILDING MATERIALS
AND APPLIANCES.
FISH-HATCHING
APPARATUS.
By Mr. Frank Buckland,
ANIMAL PRODUCTS
SITE OF
EXHIBITION
OF 1862.
EXHIBITION
ROAD
New Entrance
Art Schools
SCIENCE
&
EUM
NAVAL
SCHOOLS
(New Building)
FAN
TURE
Temporary
Entranc
Educational Collections (T
To Naval School (Te
NAVAL SCHOOL
(Temporary)
Permanent Buildings colored Re
Temporary Buildings
Buildings in progress
JP
77
Bl
Yel
CROMWELL
ROAD
RIENTAL
COURT
Offices
OFFICES
ENTRANCE TO OFFICES
THE
ORATORY
GUIDE
TO THE ART COLLECTIONS OF THE
SOUTH KENSINGTON MUSEUM.
THE MUSEUM OF ORNAMENTAL ART at South Kensington
contains a collection of rare and choice examples of Media-
val and Modern Art workmanship of various countries-
acquired by purchase, gift, and bequest; and comprising
upwards of fifteen thousand objects; together with repro-
ductions, by the electrotype process and in plaster, of objects
in other collections which have been judged to be of special
interest or value to the Art student.
The beginning of this collection dates from the year 1852,
when certain rooms in Marlborough House, now the residence
of H.R.H. the Prince of Wales, were granted by the Queen
for the purpose of forming a Museum in connection with the
Schools of Art. The collection was removed to temporary
iron buildings at South Kensington (popularly known, from
their material and from some peculiarities of construction, as
'the Brompton Boilers '), in the year 1857. These temporary
buildings are gradually being replaced by a permanent edifice,
which is still far from complete.
From the year 1853 it has been the practice to include
in this Museum objects contributed on loan by private owners.
In the year 1862, the year of the International Exhibition, a
special Loan Exhibition of works, chiefly of Medieval and
Renaissance Art, was held in the South Kensington Museum;
and since that time the number of objects on loan has
always been considerable: and thus very many of the rarest
and most precious examples of Art workmanship in this
country have been generously permitted by their owners
to be seen and studied by the public.
The following is a brief summary of the principal classes
of objects, chiefly of Medieval and Modern Art, whether
6
South Court.
the property of the Museum or on loan, which will be found
in this collection :-
Sculpture, in Stone, Terra Cotta, Bronze, Wood, Ivory, &c.
Painting.
Works in Metal, including Goldsmith's Work.
Jewellery.
Watches and Clocks.
Enamels.
Painted Glass.
Pottery, including Earthenware, Stoneware, and Porcelain.
Glass Manufactures.
Mosaics and Marquetry.
Furniture.
Textile or Woven Fabrics and Embroidery.
Leather work, including Bookbinding.
Reproductions in Plaster and by the Electrotype Process.
Brief historical and explanatory notes on some of these
classes will be found at pages 41 to 53.
The accompanying plans show that at present the Art
Collections are chiefly contained in two large Courts, and
a long range of cloisters on the ground floor, and that a few
cases are also for the present placed in the Picture Galleries
upstairs, from which access is obtained to the gallery or corridor
containing the collection of European pottery, and also to the
Prince Consort Gallery, which crosses the South Court, and in
which many rare and valuable objects are shown.
The Visitor entering the Museum from the Cromwell Road
will pass along the temporary corridor to the right, and will
first reach the
SOUTH COURT.
The decorations of this Court, which are still incomplete,
are chiefly from the designs of the late Godfrey Sykes. The
whole of the iron columns, ribs, and girders, are exposed to
view, and have been treated as surfaces for decoration, even
the bolts and rivets forming ornamental details.
The upper portion of the side-walls is divided into twenty-
eight alcoves (fourteen on each side),† intended to contain
* In this corridor is the Arundel Society's Sale Room, for the publication of
photographs issued by the Department. Here are arranged Photographs of
Paintings, Portraits, Miniatures, works of Medieval Art, &c. Classified Catalogues
of the works for sale may be had of the attendants.
†The Court when completed will contain thirty-six of these alcoves.
Mosaic Portraits of Artists.
7
portraits, in mosaic, of eminent men of all ages connected
with the arts, especially those who have been distinguished
as ornamentalists, or as workers in bronze, marble, or pottery.
Twenty-two of these mosaic portraits are already in their places,
and the remaining six alcoves are, for the present, occupied
by the original paintings for these and for other portraits.
Hence the visitor has an opportunity of comparing in several
instances the copy in mosaic with the original drawing.
The following are the Artists represented :-
Artists represented
PHIDIAS-Greek Sculptor
Painted by
E. J. Poynter, A.R.A.
(The Elgin Marbles from the Parthenon at Athens, now in the British
Museum, were his work.) Died B.C. 432.
(In English Glass Mosaic by Harland & Fisher.)
APELLES-Greek Painter at the Court of Alexander the Great.
Died B.C. 332.
(In Italian Glass Mosaic by Salviati.)
NICOLA PISANO-Italian Sculptor
·
E. J. Poynter, A.R.A.
•
F. Leighton, A.R.A.
(The Pulpit in the Baptistery at Pisa, of which a cast is in the North
Court, was his work.) Died 1280.
(In Italian Glass Mosaic by Salviati.)
GIOVANNI CIMABUE-Early Italian Painter
Died 1300.
Sculptor.
·
F. Leighton, A.R.A.
(In Keramic Mosaic by Minton & Co.)
WILLIAM TOREL-'Goldsmith and citizen of London,' English
•
R. Burchett
(The Monuments of Henry III., and Eleanor of Castile, Queen of
Edward I., in Westminster Abbey.) Died 1300.
(In Keramic Mosaic by Simpson & Co.)
WILLIAM OF WYKEHAM-Bishop of Winchester, Architect of
Winchester Cathedral, Windsor Castle, &c. R. Burchett
The Pastoral Staff in his hand is copied from one which belonged to him,
and is now preserved at New College, Oxford.
Died 1404.
(In Italian Glass Mosaic by Salviati.)
FRA ANGELICO (Fra Giovanni da Fiesole)—a Dominican Friar,
Tuscan Painter.
Died 1455.
•
(In Keramic Mosaic by Minton & Co.)
LORENZO GHIBERTI - Florentine Sculptor
•
C. W. Cope, R.A.
E. H. Wehnert
(An electrotype copy of his second bronze gate for the Baptistery at
Florence is in the Museum.) Died 1455.
DONATELLO-Florentine Sculptor
R. Redgrave, R.A.
He holds in his hand the Mirror Case, known as the Martelli Bronze,
now in the Prince Consort Gallery. Several other original examples and
casts of his works are also in the Museum. Died 1466.
(In Keramic Mosaic by Minton & Co.)
8
South Court.
Artists represented
Painted by
E. Armitage, A.R.A.
(Frescos in the Campo Santo at Pisa, and elsewhere. A copy of a portion
of a Fresco by him in Florence, in which his own portrait occurs, is in
the Museum.) Died 1478.
BENOZZO GOZZOLI--Italian Painter
(In Italian Glass Mosaic by Salviati.)
LUCA DELLA ROBBIA-Florentine Sculptor, and Worker in
enamelled Terra Cotta.
F. W. Moody
(Numerous examples by him and his nephew are in the Museum.) Died 1481.
(In English Glass Mosaic by Harland & Fisher.)
ANDREA MANTEGNA-Italian Painter.
F. R. Pickersgill, R.A.
(The Triumphs of Julius Cæsar, at Hampton Court Palace.) Died 1506.
GIORGIONE (Giorgio Barbarelli)-Venetian Painter
Died 1511.
(In Italian Glass Mosaic by Salviati.)
V. Prinsep
FRA BEATO GIACOMO DA ULMA-Dominican Friar and Painter
on Glass at Bologna
N. H. J. Westlake
Died 1517.
(In Italian Glass Mosaic by Salviati.)
LEONARDO DA VINCI-Florentine Painter, Sculptor, and Architect.
Died 1520.
(In Keramic Mosaic by Minton & Co.)
RAPHAEL D' URBINO-Italian Painter
•
J. Tenniel
Godfrey Sykes
(The Cartoons formerly at Hampton Court, now exhibited in the South
Kensington Museum.) Died 1520.
TORRIGIANO-Italian Sculptor
•
W. F. Yeames, A.R.A.
(Visited England, and took part in the construction of the Tomb of
Henry VII. in Westminster Abbey.) Died 1522.
(In Keramic Mosaic by Minton & Co.)
ALBERT DÜRER-of Nuremberg, Painter and Engraver.
Died 1528.
W. Cave Thomas
PETER VISCHER-of Nuremberg, Sculptor and Worker in Iron.
(The Shrine of St. Sebald at Nuremberg, of which the Museum contains
a cast.) Died 1529.
(In Keramic Mosaic by Minton & Co.)
HANS HOLBEIN-German Painter
W. B. Scott
•
W. F. Yeames, A.R.A.
Lived many years in England. (Portraits of Henry VIII. and his
Queens, Sir Thomas More, &c.) Died 1543.
(In Italian Glass Mosaic by Salviati.)
MAESTRO GIORGIO-of Gubbio (Giorgio Andreoli), Italian
Sculptor, and Painter of Maiolica . S. A. Hart, R.A.
(Many specimens of his ruby lustre ware are in the Museum.) Died 1552?
MICHAEL ANGELO BUONARROTI-Florentine Sculptor & Painter.
Godfrey Sykes
(The Museum possesses a Cupid and some other pieces attributed to him,
and several casts of his more celebrated works.) Died 1564.
(In Keramic Mosaic by Minton & Co.)
Mosaic Portraits of Artists.
Artists represented
Painted by
9
PRIMATICCIO-Italian Painter
H. O'Neil, A.R.A.
Settled in France, and greatly influenced the French School of Art.
(Decorations at Fontainebleau.) Died 1570.
JEAN GOUJON-French Sculptor and Architect
H. A. Bowler
Much of the carving of the older portion of the Louvre is attributed to
him. Died 1572?
TITIAN.-Italian Painter of the Venetian School. G. F. Watts, R.A.
Died 1576 (aged 99).
BERNARD PALISSY-French Potter
•
R. Townroe
(Numerous examples of his work are in the Museum.) Died 1590.
(In English Glass Mosaic by Rüst & Co.)
IL FIAMMINGO (François du Quesnoy)-Flemish Sculptor and
Carver in Ivory
.E. M. Ward, R.A.
Worked chiefly in Italy. (Ivory plaques attributed to him in the
Museum.) Died 1646.
INIGO JONES-English Architect
(Whitehall, St. John's Church, Westminster, &c.) Died 1652.
(In Keramic Mosaic by Simpson & Co.)
GRINLING GIBBONS-Carver in Wood.
(Stalls in St. Paul's Cathedral, &c.) Died 1721.
SIR CHRISTOPHER WREN-English Architect
(St. Paul's Cathedral, and many other London churches.)
WILLIAM HOGARTH-English Painter and Engraver
(Several paintings by him are in the National Gallery.)
(In Keramic Mosaic by Simpson & Co.)
SIR JOSHUA REYNOLDS-English Portrait Painter
(Several paintings by him are in the Picture Galleries.)
(In Italian Glass Mosaic by Salviati.)
WILLIAM MULREADY-English Painter
•
•
A. Morgan
J. D. Watson
Eyre Crowe
Died 1723.
Eyre Crowe
Died 1764.
H. W. Phillips
Died 1792.
F. B. Barwell
(Several pictures by him are in the Sheepshanks Collection.) Died 1863.
(In Keramic Mosaic by Minton & Co.)
This Court is divided into two parts by the broad passage
which crosses it. (Above this passage is the Prince Consort
Gallery, already mentioned.) It will be convenient for the
visitor to begin with an examination of the contents of the
western, or left-hand side of the Court, which is assigned to
THE LOAN COLLECTIONS.
The central part of the south wall of this Court is occupied
by a large ALTAR-PIECE painted in distemper on panel, brought
from a destroyed church at Valencia in Spain. This work,
which is of the 15th century, represents the legendary his-
tory of St. George: several of the nineteen compartments, of
ΙΟ
South Court.
which it consists, contain scenes of martyrdoms represented
with the terrible details so often met with in Spanish art.
On either side of this is an Altar-piece of German origin.
One of these, elaborately carved and painted, represents in a
series of groups the legendary history of Saint Margaret.
Four desk cases stand below these Altar-pieces, containing
contributions from Mr. Beresford Hope, M.P., Mr. Heywood
Hawkins, Mr. I. Tennant, and other gentlemen.
Mr. Hope lends a large and very varied collection of Rare
and Precious Stones, among which are the largest known
Pearl, weighing three ounces, and set as a pendent jewel; the
largest known Aquamarine, set as a sword-hilt, which for-
merly belonged to Joachim Murat, King of Naples; 'The
Mexican Sun Opal,' a historical gem; a Catseye, formerly be-
longing to the King of Kandy, and believed to be the largest
known; a piece of Amber, in which is a small fish; and nume-
rous Agates bearing natural representations of the human face
and of various animals; also a tray of Pearls illustrating the
varieties of form and colour which characterise these gems.
Mr. Tennant's contributions are unset Diamonds, Mocha
Stones, Crystals, &c., in great variety.
In one of these cases is the Season Ticket of Admission to
the Exhibition of 1851 used by the late Prince Consort, and
bearing the signature of his Royal Highness. This has
recently been deposited in the Museum by her Majesty;
together with copies of The Early Years of the Prince
Consort,' and a volume of his Speeches, each bearing her
Majesty's Autograph Inscription.
A Mosaic Portrait of the Prince, by Dr. Salviati, also given
by Her Majesty, shows the adaptability of the glass tesseræ,
used in the large figures in the Alcoves, to minute work.
One large case is devoted to a collection of valuable works
of Art, chiefly European, of the 17th and 18th centuries,
lent by Lord Chesham, comprising a Silver Toilet Service,
Sèvres and Oriental Porcelain Vases, Enamelled Watches
and Snuff-boxes, several Miniature Portraits, and numerous
Cups in Jade, Crystal, and Oriental agate.
In the next case is a Violin, lent by the Earl of Warwick,
and recorded to have been given by Queen Elizabeth to

CETHOMPSON S
SARDONYX EWER, MOUNTED IN ENAMELLED GOLD AND SET WITH GEMS.
Known as the CELLINI EWER. Italian, 16th Century.
In the Collection of A. 7. B. Beresford-Hope. Esq., M.P.
Loan Collection.
I I
the Earl of Leicester. It is most elaborately carved, and
bears the date 1579, though believed by some to have been
made as early as the year 1340.
In a case containing a collection of Ecclesiastical Utensils,
Clocks, Ivory Carvings, Enamels, &c., lent by Mr. Beresford
Hope, will be found the famous so-called CELLINI EWER, part
of the Crown Jewels of France, before the first Revolution.
(See Illustration.) The body is formed of two convex pieces of
carved sardonyx, and a third piece serves as a foot; the handle,
stem, and spout are of gold, covered with the most exquisite
enamel figures, masks, &c., and set with rubies and diamonds;
it is 10 inches high.
Among the other contributions by Mr. Hope is a small
pectoral Cross of gold encrusted with cloisonné enamels. This
is one of the earliest known specimens of this rare species of
enamelling, and is believed to have been made at Constanti-
nople not later than the 11th century. (See notes, p. 44.)
Several examples of Champlevé Enamels are in a neigh-
bouring case, especially a very remarkable Ciborium or
Covered Bowl for the reservation of the consecrated host.
This is of copper gilt, and enamelled with scenes from Old
and New Testament history; six on the cover relate to events
in the life of Christ, while six on the bowl relate to Old
Testament types of these events. A Latin verse surrounds
each inscription. This interesting object is of German 12th
century workmanship. It is lent by the Rev. G. W. Braiken-
ridge, who also contributes the Mazer Bowl in the same case,
known from an inscription which surrounds the rim as the
'Tokerus Bowl.' In the same case is the Dunvegan Cup,' a
vessel of yew wood, of great antiquity; its elaborate silver
mounting, a subsequent addition, is dated 1493. This cup
is lent by MacLeod of MacLeod, in whose family it has been
from time immemorial.
This case also contains some good examples of the later
painted enamels of Limoges; and several fine ivory carvings,
especially one unusually large standing figure of the Virgin
bearing the infant Saviour in her arms, and a seated figure
also of the Virgin and infant Saviour, remarkable for the
expressiveness of the countenances.
12
South Court.
A neighbouring case, chiefly filled with plate, contains a
curious Silver Gilt Dessert Service made at Augsburg in
the 16th century, lent by the Earl of Kinnoull; and some
German Carved Ivory Tankards of the same date, lent by Vis-
countess Strangford. With these is a remarkable Portuguese
Salver of silver gilt (date about 1480), having around the
bordergrotesque representations of the seven deadly sins; in the
centre are shown Heaven and Hell. This belongs to the Earl
of Dunraven. A Lamp, of Arab glazed pottery, said to have
formerly hung in the Mosque of Omar at Jerusalem, is in the
same case; it is the property of Mr. C. Drury Fortnum.
One case is appropriated to a collection of examples of
Medieval and Renaissance Art, the property of Mr. John
Webb. Almost every object in this case will repay careful
examination. Among the most important are an Altar
Cross covered with pierced foliage, and set with gems and
medallions of glass, below which are pieces of parchment
bearing lists of the relics enclosed; several Italian and
German Chalices and Monstrances or Ostensoirs of the 14th
and 15th centuries; a Casket and other objects in Limoges
painted enamel; carved ivory Plaques of early date; a German
Goblet of gilt metal in the form of a castle; and cups of
crystal, agate, chalcedony, &c., in enamelled mounting.
Another case contains a valuable collection of objects,
chiefly of Renaissance Art, lent by Mrs. H. T. Hope, including
two specimens of Henri Deux Ware, one a small Ewer of late.
date, showing an approximation to the characteristics of
Palissy Ware, the other a fragment of a large and very fine
ewer; also some remarkable pieces of Maiolica and Palissy
Ware, and later painted Enamels of Limoges. Here also is
one of Wedgwood's original copies of the Portland Vase.
In two desk cases are shown specimens of Russian and
Albanian metal work: Bowls, Girdles, Clasps, Brooches, &c.,
lent by Sir Ivor Bertie Guest, Bart. ; and in another desk case
is a collection of Italian Medals of the 15th and 16th centuries,
lent by Sir Thos. Gresley, Bart.
A collection of Russian Metal Work of the 15th, 16th,
and 17th centuries, consisting of Crosses, Pendent Orna-
ments, Buttons, Book Mounts, &c., is lent by Mr. Peter
Loan Collection.
13
Akhotchinsky, of St. Petersburg. It includes an ancient
Silver Parcel Gilt Ewer, of unusual character, apparently of
Persian origin, embossed with winged beasts, flowers, and
foliage in bold relief.
Collections of English Pottery and Porcelain are lent by
Lady Charlotte Schreiber, Mr. F. S. Teesdale, Mr. Willett,
and others. The comparatively rare porcelain of Plymouth,
Bristol, and Bow, is well represented.
In three cases is shown a portion of the large and im-
portant collection of ancient Venetian Glass, belonging to Mr.
E. W. Cooke, R.A.; in cases up-stairs will be found several
specimens of the modern revival of this manufacture, from
the works of Dr. A. Salviati, at Murano, near Venice.
Some fine examples of modern Porcelain, manufactured
and lent by Messrs. Copeland and by the Royal Pottery
Works at Worcester, fill two cases.
The visitor will find much more in this Court worthy of
his attention than has been noticed here; but, as the Loan
Collection is liable to constant change, it is not expedient to
go more fully into detail, especially as the labels affixed to
the objects furnish all needful information.
The WEST CLOISTER of the South Court should next be
examined. A considerable portion of this Cloister has been
assigned to the exhibition of Furniture and Wood Carvings
of English origin. Among these may be noticed some grace-
ful columns from Fife House, a fireplace and doorway from
an old house in Carey Street recently demolished, some
panelling from the Bishop's Palace in Exeter; and a Cabinet of
Marquetry, the fronts of the drawers carved with emblematic
groups of figures in high relief. This is said to have been
made from the designs of Hans Holbein for Henry VIII.
It was formerly in the Strawberry Hill Collection.
The remainder of this Cloister is occupied by Furniture and
by miscellaneous objects. One case is filled with bronze
figures modelled by the late Baron Marochetti. In another
is a collection of Ancient Glass and Pottery lent by the Hon.
Ashley Ponsonby.
In this cloister is at present deposited THE VOLUNTEER
INTERNATIONAL TROPHY, presented by the National Rifle
14
South Court.
Association, and shot for annually by the Volunteer Riflemen
of England, Scotland, and Ireland. It was manufactured by
Messrs. Elkington and Co. from a design by A. Willms, and
is of silver. On one side is engraved the result of the different
annual competitions. It is now exhibited here, as having
been won by England on July 14, 1869.
THE DYCE COLLECTION of Books, Paintings, Drawings,
Engravings, and Miscellaneous Art objects, bequeathed to
the Museum by the Reverend Alexander Dyce, the well-
known Shakespearean editor and commentator, is at present
deposited in two Rooms adjoining this Cloister.
Now leave the western side, and passing below the Prince
Consort Gallery, enter
THE EASTERN SIDE OF THE SOUTH COURT.
It will be convenient to begin at the north end of the
Court. Under the Arcade are wall cases in which hang
Woven Fabrics, chiefly Oriental. Others will be found in
the Oriental Courts adjoining. In one of these cases is an
embroidered processional banner representing the Adoration
of the Lamb-a remarkable specimen of modern Belgian
ecclesiastical needlework.
Near here stands a French Clock, in the form of a large
gilt globe, supported by a bronze group of three boys. An
enamelled band, on which the figures are marked, revolves
round the globe, the hour being indicated by a bronze ser-
pent. This Clock is supposed to have been made about the
year 1700; the works were repaired some years since by
Vulliamy, and it is now in good working order.
A portion of this Court is at present applied to the exhibi-
tion of Musical Instruments of various ages and countries.
Here is a Harpsichord formerly the property of Handel; it
has recently been presented to the Museum by Messrs. Broad-
wood and Sons. Near it is a Spinet made by Annibale de
Rossi, of Milan, and dated 1577; it is remarkable for the
decoration of its case, of pear-tree wood carved and encrusted
with ebony, ivory, lapis lazuli, and rare marbles. Two other
Italian Spinets, dated 1555 and 1568, stand near; also a small
Musical Instruments, Electrotypes, &c.
15
German Finger Organ of the 16th century, in a highly
decorated case: this organ was said by its late owner to have
once belonged to Martin Luther. By the side of cases
containing harps, violoncellos, lutes, mandolines, and other
musical instruments of the 16th, 17th, and 18th centuries,
many of them remarkable for the beauty and delicacy of
their decoration, are other cases filled with the popular
Musical Instruments used at the present day in China, Japan,
Persia, Russia, Roumania, Upper Egypt, Central Africa, &c.,
some of them of excessively rude construction. The Instru-
ments from China were chiefly given by the Alexandra Park
Company. Mr. Carl Engel lends many curious Instruments.
Next come two cases containing figures in carved wood
and terra cotta from Spain and Portugal. Among these are
some curious clothed figures of Moors made in Spain in
the 18th century. One of these cases is exclusively assigned
to sacred figures, some of them remarkable for that expression
of intensity of suffering already noticed as characterising
Spanish Art.
Near is a Sideboard or Buffet designed by Mr. W. Burges,
after mediæval patterns, and painted by Mr. E. J. Poynter,
with humorous figures representing the conflict of wines and
beers. This was in the Medieval Court of the Exhibition
of 1862.
Here has recently been arranged a complete series of the
ELECTROTYPE REPRODUCTIONS made for the Department
by Messrs. Elkington and Messrs. Franchi and Son, together
with others purchased from various foreign manufacturers.
Among these fac-simile reproductions are several pieces
from the regalia in the Tower of London, and from the Royal
Collection at Windsor Castle; a large collection of decorated
armour from the Louvre and other Museums in Paris, copied
by permission of the Emperor; ancient and mediæval gold
and silver vessels lent to the Museum by the Roumanian
Government, at the close of the Paris Exhibition of 1867;
and numerous examples of decorative plate, medals, &c., from
originals in this Museum and in other public and private
collections. The examples of old English Plate from Knole
are of great beauty.
Though these reproductions are specially made for the use
16
South Court.
of local Museums and Schools of Art, copies of several of them
are permitted to be sold to the public by the electrotypists at
fixed prices shown on the labels.
Here also is an electrotype reproduction, made in Paris, of
the famous Chair of Dagobert, preserved in the Louvre.
Against the wall is erected a fac-simile reproduction in
copper, by Messrs. Franchi, of the world-famous Old Testa-
ment Gates of the Baptistery of Florence, completed by
Lorenzo Ghiberti in 1452; and by the side of these is a
similar reproduction, also by Messrs. Franchi, of the Bronze
Gate of the South Transept of the Cathedral of Pisa, known
as the PORTA DI SAN RANIERI, executed by Bonanno, a
Pisan sculptor, and completed in the year 1180. It contains
numerous representations of events from the life of Our
Saviour, and is of special value as an example of early
mediæval art of authenticated date.
Under the Central Gallery are two large Cabinets from the
Paris Exhibition of 1867. One of these, of various woods,
inlaid and carved, was manufactured by M. Fourdinois, of
Paris, and acquired for this Museum, as the most elaborate
and remarkable piece of furniture in the Exhibition, for the
sum of £2,800. The other, of satin wood, inlaid with sage
green Wedgwood jasper ware plaques, was manufactured by
Messrs. Wright and Mansfield, of London.
A third Cabinet, of walnut wood, was bought in the
Exhibition of 1851; it was made by Barbetti, of Siena, and
is in the Italian style of the 16th century.
Near these is a Chimney-Piece of Alabaster inlaid with
sage green Wedgwood jasper ware plaques, manufactured by
Messrs. Wedgwood and Sons for the Paris Exhibition of 1867.
Several examples of Mosaics, ancient and modern, occupy
a large portion of the central passage. The modern Roman,
Venetian, and Florentine Mosaics are well represented. The
few ancient examples are supplemented by a series of draw-
ings of Roman wall and floor mosaics collected by Dr.
Robert Wollaston, and given to the Museum by Mrs. Wol-
laston. A large mosaic by Triqueti, dated 1847, is an early
example of the process invented by him, and since applied
to the decoration of Wolsey's Chapel at Windsor as a Memo-
rial of the late Prince Consort by his children.
Oriental Courts.
The CLOISTERS to the east of the South Court form
THE ORIENTAL COURTS.
DECORATED BY MR. OWEN JONES.
17
Here are shown examples of the Art workmanship of the
East Indies, China, Japan, Persia, &c.; and for convenience of
comparison, objects on loan, if of Eastern origin, are also
exhibited in this Court.
At the south end are four cases containing Japanese Har-
ness, Lacquered Work, Painted and Woven Blinds and
Screens, Swords and other Weapons, together with a com-
plete suit of Armour, all the gift of Her Majesty the Queen.
Near these is a case containing several fine Bronze Vases
from Japan, with groups of figures in very high relief.
Here are fine specimens of the ancient Chinese and Japanese
cloisonné and champlevé Enamels now much imitated in
France.
Interesting collections of Oriental Enamels, Porcelain,
Bronzes, Jade and Ivory Carvings, Lacquered Ware, &c., are
lent by Lady Boxer, Mr. Barnes Dallas, Col. Hope Crealock,
the Rev. J. O. Stephens, Mr. William Tayler, and others.
A fine Screen of Carved Wood, from the Emperor's summer
palace at Pekin, is lent by Major-General Sir J. Michel, K.C.B.
The Architectural Museum lends pieces of Indian Stone
Carving of the beginning of the twelfth century, brought by Sir
Bartle Frere from the ruined city of Saitron in Rajpootana.
Near these is a large collection of Photographs of Indian
Architecture, made by Mr. James Fergusson, F.R.S.
The magnificent Oriental Textiles in this Court are chiefly
from the Indian Collection in the Exhibition of 1851.
A Painting on Silk of a crouching tiger, said to be by
Gauko, a celebrated Japanese animal painter of the beginning
of the 18th century, deserves careful examination. It is lent
by Dr. A. Barton.
At the south end of this Cloister has lately been set up a
complete Parisian Boudoir of the period of Louis XVI. It
is a small room of about 13 feet square. The various decora-
tions are by Clodion, Natoire, and others of the ablest artist
B

OPA
'CANTORIA' OR SINGING GALLERY.
In marble.
By BACCIO D'AGNOLO.
Died 1543.
OPA
From the Church of Santa Maria Novella, Florence. Now in the South Kensington Museum.
North Court.
19
workmen of that age, the age of Reisner and Gouthière. This
Boudoir is said to have been originally fitted up by the wife
of a Monsieur Serilly, with the assistance of Queen Marie
Antoinette, to whom she had been a favourite maid of honour,
and to have been completed during a temporary absence of
her husband as a pleasant surprise for him on his return. It
has been partly furnished with suitable contemporary objects,
selected chiefly from loan contributions of A. Barker, Esq.
Having thus completed the survey of the South Court and
its Cloisters, now pass through the central doorway into
THE NORTH COURT.
This lofty and spacious building is specially appropriated
to the exhibition of Sculpture and of Architectural Models and
Casts of large dimensions, designed for erection in the open
air, or in large halls or churches. Many of the most beau-
tiful of these objects are, so to speak, incorporated into the
building; the decoration here is much simpler than that of
the South Court.
The North Court is 107 feet long, 106 feet wide (exclusive
of the cloisters), and 33 feet high, and the roof is of a single
span without pillars. Around the cornice is a broad band of
blue and gold, on which are inscribed appropriate passages
from Ecclesiasticus.
Over the doorway by which this Court is entered is fixed
the marble SINGING GALLERY or 'CANTORIA' from the
church of Santa Maria Novella, Florence, the work of BACCIO
D'AGNOLO, a Florentine sculptor, and erected about the year
1500. (See Illustration, p. 18.)
On the opposite side of the Court stands the CHAPEL or
TRIBUNE from the conventual church of Santa Chiara, also
in Florence, erected in the year 1493. The architecture of
this chapel is ascribed to SIMON POLLAIUOLO; the Frieze of
enamelled Terra-cotta is by ANDREA DELLA ROBBIA. The
REREDOS or Altar-piece which formerly stood in this chapel
is placed on the opposite side of the Court, to the right of
the Singing Gallery.
Against the wall at the south side of the Court are erected
two FOUNTAINS: one from a house in Florence, and erected
B2
20
North Court.
about the year 1520; the other from a house in Venice, and
erected about twenty years earlier;
And two ALTAR-PIECES: one from the chapel of the
Palazzo Ambron, Florence, by BENEDETTO DA MAIANO
(1424-1498); the other, originally standing in the chapel
from Santa Chiara, and already referred to; the Tabernacle or
Shrine in this is of earlier date than the rest of the work, and
is attributed to DESIDERIO DA SETTIGNANO (1410-1485).
In the centre of this Court are at present THE ROYAL
TREASURES FROM ABYSSINIA, exhibited by command of
her Majesty, and other objects collected during the recent
expedition, lent by the owners to the Museum. Among the
objects lent by her Majesty the Queen are—
1. ROBE, BURNOOS,' embroidered silk. Intended by King Theo-
dore to be sent with an Embassy as a present to her Majesty.
2. 'TARBOOSH,' or close-fitting cap, mounted in silver filigree.
3. SEAL, ordinarily used by Theodore inscribed in Amharic and
Arabic Theodorus King of the Kings of Abyssinia.'
4. SEALS, belonging probably to the Metropolitan of Abyssinia,
with inscriptions in Coptic and Arabic.
5. ROBE, silk and gold damask, worn by King Theodore on the 8th
April only, the day of his death, probably to encourage his troops.
6. SLIPPERS, silver filigree, intended by King Theodore to be sent
with an Embassy as a present to her Majesty.
7. CROWN worn by Theodore on the occasion of his Coronation
at Axum.
The other objects consist of articles used in churches;
costumes, arms, &c.
At intervals in this Court are placed several WROUGHT-IRON
SCREENS, or Gates, which for more than 150 years formed a
portion of the railings between the Gardens and the Home
Park at Hampton Court Palace. These Gates, which are
among the most admirable existing specimens of English iron-
work, were wrought about the year 1695 by HUNTINGDON
SHAW, a native of Nottingham, whose monument still exists
in Hampton churchyard. They were rapidly perishing from
exposure to the weather, when, by permission of H. M. the
Queen, they were removed to this Museum.
Sculpture, Casts, &c.
21
On brackets around this Court are placed several TERRA-
COTTA BUSTS, chiefly contemporary Portraits of Florentine
Citizens of the 15th century. The evident fidelity of these por-
traits is very striking. Among them is one of the celebrated
Dominican preacher and reformer, JEROME SAVONAROLA, who
was burnt in the Piazza del Signoria, at Florence, in 1498.
A PULPIT of carved wood, inlaid with ebony and ivory,
and retaining traces of ancient colour ornament, has recently
been acquired from a mosque at Cairo. It bears several
inscriptions, one of which states that it was constructed in
the second half of the 15th century. Much interesting in-
formation respecting this rare example of ancient Moorish
Art is given on a label affixed to it. Near it are other exam-
ples of Moorish work of the same period, also from Cairo-
illuminated Arabic MSS., Wood Carving, Bookbinding, &c.
The other most important original objects in this Court are-
A life-sized STATUE in porcelain of BERNARD PALISSY, the French
Potter, designed by M. Ch. Lévy, and manufactured by MM. Poyard,
Vion, and Baury, of Paris.
THE WATERLOO VASE, of marble, 12 feet high, executed by Sir
R. Westmacott for George IV. when Prince Regent. The band
of figures in classic costume is designed to commemorate the battle.
A MARBLE FOUNTAIN with a circular basin surmounted by a
statuette of BACCHUS. From a palace in Florence. Date about 1600.
STATUE OF CUPID, by MICHAEL ANGELO; believed to have been
executed in his 24th year, A.D. 1497.
STATUETTE (unfinished) OF ST. SEBASTIAN, also by MICHAEL
ANGELO; an example of his recorded practice of cutting his works
at once from the marble, without availing himself of the mechanical
appliances in general use among sculptors for chiselling out in
marble a figure previously modelled in clay.
BUST OF A WOMAN, life size, ascribed to the same sculptor.
STATUE OF JASON, probably by one of the earlier scholars of
Michael Angelo.
Near these statues is a case containing a number of small
MODELS, in WAX and TERRA-COTTA, by various Italian
sculptors of the sixteenth century. Of these, twelve are attri-
buted to MICHAEL ANGELO. These Models were purchased
for the Museum by parliamentary grant for the sum of 2,110%.
in the year 1854: they had been for a long period in the
possession of the Gherardini family of Florence.
22
North Court.
The following are the most important Casts, or Re-produc-
tions in Plaster, &c., placed in this Court:—
A FOUNTAIN with circular basin, surmounted by a group of PERSEUS
and MEDUSA. The original was erected about 1680 in one of the
courts of the Old Palace at Munich; the water issues from the neck
and head of the Gorgon.
TRAJAN'S COLUMN at Rome, erected between the years A. D. 106
and 114. The portion shown here is seventeen feet high. The cast
was obtained from the moulds made by order of the Emperor of the
French. A photograph of the original column, with the surrounding
buildings, is placed near.
COLOSSAL STATUe of Melpomene-Græco-Roman. The original
is in the Museum of the Louvre.
THE MONUMENT OF SIR FRANCIS VERE, from the original in
Westminster Abbey; erected about the year 1610.
THE PRINCE CONSORT MEMORIAL now in process of erection in
Hyde Park. A large Model sent by the Architect, G. Gilbert Scott,
R.A., to the Paris Exhibition of 1867.
THE BIGA, Or Two-horse Chariot-Græco-Roman. The original,
of marble, is now in the Museum of the Vatican at Rome. It has
undergone considerable restoration in modern times.
COLOSSAL FIGURE OF DAVID as a youth. The original was sculp-
tured by MICHAEL ANGELO from a huge block of marble, on which
another sculptor had unsuccessfully tried his hand. It now stands in
the open air, in front of the Palazzo Vecchio, at Florence. This cast
was presented to the Museum by the late Grand Duke of Tuscany.
THE BRONZE WOLF OF THE CAPITOL at Rome, a Scagliola cast-
Ancient Roman. The figures of Romulus and Remus are medieval
restorations, and are attributed to the fifteenth century.
WINDOW from the west front of the Church of the CERTOSA* of
PAVIA, one of the most elaborate edifices of the Renaissance period in
Northern Italy, erected in the 15th century. The original is of marble.
Two DOORWAYS, carved in relief with interlaced serpent decora-
tions, and coloured to imitate the originals of pine-wood. These
casts are taken from two ancient Norwegian doorways formerly
belonging to two recently demolished wooden Churches of the 11th
or early 12th century.
PULPIT, erected in the CATHEDRAL OF PISA by GIOVANNI PISANO
in the years 1302-1311. This pulpit suffered great damage from a
fire which destroyed the roof of the cathedral in the year 1596. The
panels were then deposited in the crypt of the cathedral; many other
portions were removed to the arcades of the Campo Santo, and the
* A Carthusian monastery-the Italian form of the French Chartreuse, which
has in England been corrupted into Charterhouse.

HICE PAIS VIVSO DEELO JESENDIT
TABERNACLE OR SHRINE.
In Carrara marble. By ANDREA FERRUCCI.
Died 1520.
From the Church of San Girolamo at Fiesole. Now in the South Kensington Museum.
24
North Court.
remainder were incorporated into the new pulpit, a much smaller and
plainer structure, which is still in the cathedral. Casts of the various
portions were taken for the Museum in 1864 and 1865 by Mr. Franchi,
with the permission of the authorities of the cathedral, and thus,
more than 250 years after its destruction, a nearly accurate re-produc-
tion of the pulpit was set up in the Museum.
PULPIT IN THE BAPTISTERY OF PISA, erected by NICOLA PISANO
in the year 1260. This sculptor was the father of Giovanni Pisano,
and is generally regarded as the earliest of the distinguished series of
Italian sculptors of the Middle Ages. He is believed to have studied
the numerous remains of classic sculpture which existed at Pisa, and
traces of the results of this study are discovered in several of the
figures in the panels of this pulpit, which strongly resemble those on
antique bas-reliefs still in the Campo Santo in that city.
THE SHRINE OF ST. SEBALD. The original of bronze, by Peter
VISCHER, is in the Church of St. Sebald at Nuremberg. Begun 1506,
finished 1519.
THE SHRINE OF ST. PETER MARTYR. The original, of marble,
by Balduccio of Pisa, is in the Church of St. Eustorgio, at Milan.
Dated 1339.
THE FLORENTINE BOAR-Græco-Roman. Museum of the Uffizi,
Florence.
STATUE OF ST. GEORGE, by DONATELLO, set up in 1411 on the
exterior of the church known as Or San Michele, in Florence.
COLOSSAL STATUE OF MOSES. This figure and those of the Two
SLAVES which are placed near are portions of MICHAEL ANGELO'S
grand but unfinished design for the monument of Pope Julius II.
The MOSES is in the church of San Pietro in Vincoli, at Rome, and
the two Slaves are in the Louvre. An original sketch or model for
one of these is in the case of wax models already noticed.
BUST OF BRUTUS (unfinished), by MICHAEL ANGELO. Museum of
the Uffizi, Florence.
STATUETTE of a Kneeling Angel bearing a Candlestick, from the
shrine of St. Dominic at Bologna-a very early work of MICHAEL
ANGELO, probably executed in the year 1494.
The following Casts are fixed on the upper part of the
walls of this Court :-
FRIEZE, by ALBERT THORWALDSEN, the Danish sculptor (1770-
1844), representing the triumphal entry of Alexander the Great into
Babylon. This cast was given to the Museum by the Danish
Government, after the Exhibition of 1862.
FIGURE OF DIANA, in high relief. The original was executed in
bronze by BENvenuto CellINI, about 1544, for Fontainebleau. It
is now in the Museum of the Louvre.
THREE SLABS, sculptured in low relief by JEAN GOUJON. These

CHRIST IN THE SEPULCHRE, SUPPORTED BY ANGELS.
Carving in marble, in very low relief.
By DONATELLO.
In the Sauth
Died 1466.
26
North Court.
formed portions of a Fountain in Paris erected in the year 1550, now
destroyed. They are preserved in the Museum of the Louvre.
TWO SCULPTURED SLABS, now in Chichester Cathedral, said to
have been removed in the eleventh century from the earlier Cathedral
at Selsey. One represents the Raising of Lazarus, the other the
Raising of the Widow's Son.
THE MINSTREL'S GALLERY in Exeter Cathedral. 14th century.
On one side of the Chapel from Santa Chiara are hung
several Casts of details of Monumental Sculpture of the six-
teenth century, from Brescia. On the other side are Casts
of Classical Sculpture, collected some years ago for the use
of students in the Art Schools.
The visitor should now enter the EAST CLOISTER of the
North Court, behind the colossal Statue of Moses. Here are
placed numerous examples of ITALIAN SCULPTURE, chiefly of
the thirteenth to the sixteenth centuries.
The Cloister is divided into bays by transverse walls, into
which are built some of the larger works, including several fine
carved stone CHIMNEY-PIECES. Conspicuous among these
is one brought from Padua, and executed about the year
1530. Its frieze is filled by a continuous band of hunting
scenes, in which are represented human figures, horses, dogs,
and wild animals in full relief. It is protected by a glass case.
Opposite this is an ALTAR-PIECE by ANDREA FERRUCCI
or ANDREA DA FIESOLE, executed about the year 1490. This,
and the TABERNACLE fixed in the wall by its side, and
also the work of this sculptor, are from the church of San
Girolamo at Fiesole near Florence. (See Illustration, p. 23.)
Bas-reliefs of the Virgin, holding the Infant Saviour on her
knee, are here in great number, many of them by the most
renowned Italian sculptors, as JACOPO DELLA QUERCIA,
DONATELLO, DESIDERIO DA SETTIGNANO, and ANTONIO
ROSSELLINO.
Two fine examples of the peculiar flat relief introduced by
DONATELLO should be studied; his Christ in the Sepulchre,
supported by Angels (see Illustration, p. 25), and the Delivering
of the Keys to St. Peter.
Some Statues of Saints and Angels, attributed to NICOLA
or GIOVANNI PISANO, may be compared with the Casts of
two Pulpits by these sculptors already noticed.
Della Robbia Ware, &c.
27
On the wall of this Cloister are hung casts of details of
Renaissance Sculpture, chiefly from monuments in Venice by
the Lombardi Family.
The Cloister is continued along the north end of the Court.
This portion contains a large collection of Sculpture in Terra-
cotta, both plain and enamelled. Of the enamelled Terra-
cotta known as DELLA ROBBIA Ware, the Museum possesses
more than fifty examples, several of them of a high degree of
excellence. An imposing specimen is the MEDALLION,
eleven feet in diameter, bearing the arms and emblems of
King René of Anjou, and surrounded by a massive border of
fruit and foliage. It is believed that this was executed about
the year 1453, and fixed at a considerable elevation on the
exterior wall of a villa near Florence in memory of a visit of
the king. It was only a few years since removed from its
original position, having therefore endured the action of the
atmosphere for more than 400 years. A label affixed to this
Medallion gives some interesting particulars respecting the
arms displayed on it. (See note on Della Robbia Ware, p. 50.)
Near it is an ALTAR-PIECE, also of Della Robbia Ware,
representing the Annunciation, in high relief; this is in white
enamel, uncoloured, but shows some traces of gilding.
Opposite this is a very important example, also an ALTAR-
PIECE, representing the Adoration of the Magi, and containing
upwards of twenty figures, many of whom are believed to be
portraits of contemporaries of the sculptor, probably Andrea
della Robbia, during the lifetime of his uncle Luca.
Another very beautiful example of Della Robbia Ware is
a full-length figure of the Virgin, with the Infant Saviour in
her lap, under an arched border of fruit and flowers, and
supported on a triangular bracket. (See Illustration, p. 49.)
Twelve circular MEDALLIONS of enamelled Terra-cotta
painted in blue, with representations of the agricultural ope-
rations of the twelve months of the year, and with the zodiacal
signs, are attributed to LUCA DELLA ROBBIA, and are supposed
to have been used for the interior decoration of the writing-
cabinet of Cosmo de' Medici.
The remainder of the North Cloister contains Bas-reliefs,
Figures, and Groups chiefly in unglazed Terra-cotta; some
of these are of singular beauty.
28
Cloisters of North Court.
Through the windows of this Cloister is seen the Fernery,
which was designed to enable the students in training as Art-
teachers to draw from plants at all seasons.
THE READING-ROOM OF THE ART LIBRARY*
occupies a considerable portion of the West Cloister of the
North Court.
The remainder of this Cloister is at present assigned to
Textile or Woven Fabrics of European origin, including
several Ecclesiastical Vestments and rare fragments of
Mediæval Embroidery. Here is the 'incomparable' SYON
COPE of English embroidery of the thirteenth century,
worked, perhaps, while the rebuilding of Westminster Abbey
by Henry III. was still incomplete; the orfreys are some
years later in date. From the armorial bearings it is con-
jectured to have been worked in Warwickshire.
This Cope once belonged to the monastery of Syon, near
Isleworth, and was, at the period of the English Reformation,
carried to Portugal. It returned to England in the beginning
of the present century, in the possession of some poor nuns to
whom one of the Earls of Shrewsbury gave an asylum. They
bequeathed to him their few possessions, and in 1864 this Cope,
which had attracted great attention in the Loan Exhibition
of 1862, was secured for the Museum at the cost of 110%.
Several other copes, chasubles, and dalmatics of early date
are also shown here.
Here also is shown, in frames, a collection of LACE. Some
of the oldest pieces are unfinished, and are still attached
to the parchment pattern; the process by which they were
worked can thus be studied.
On the walls are fixed Casts of two Monuments now in
the Campo Santo at Pisa, one originally erected in the
cathedral of that city to the German emperor Henry VII.
(of Luxemburg), who died in Tuscany in the year 1313, the
other erected to an eminent lawyer, Filippo Decio, in the
year 1530. The latter is by STAGIO STAGI, a distinguished
sculptor of the sixteenth century.
*For conditions of Admission to the Art Library, see p. 4.
Sculpture, &c.
29
Near this Monument is a doorway which leads into the
Refreshment Room Corridor. Specimens of ancient and
modern Stained Glass are fixed in the windows, including
some beautiful fragments lent by Mr. H. Vaughan, and said
to have once formed part of the famous windows of the Saint
Chapelle at Paris. In the recesses of this Corridor are several
examples of Sculpture, Original Models for Statues by Baron
Marochetti, Campbell, and Baily; and three Marble Statues,
Puck, Titania, and Jaques, by J. G. Lough. Here are also a
Marble Bust and casts of two other busts by the recently
deceased Italian sculptor Bastianini, whose name was brought
prominently before the world in 1868 in connection with the
Benevieni bust purchased for the Museum of the Louvre as
an original work of the 15th century.
ROOMS,
THE NEW REFRESHMENT
LAVATORIES, and WAITING ROOMS, are on the right
hand.
The decoration of the Central Refreshment Room (as yet
incomplete) is chiefly from designs of Artists connected with
the Department; that of the Small Dining Room has been
entrusted to the firm of Morris, Marshall, and Faulkner; the
Grill Room, or Dutch Kitchen, has been designed by Mr.
E. J. Poynter, A.R.A.
Having passed through this Corridor, the visitor will have
before him a Staircase, decorated from the designs of Mr.
F. W. Moody, which leads to the Gallery containing the
Museum Collection of Pottery. It will be better to postpone
the visit to this Gallery until the tour of the Ground Floor of
the Art Museum has been completed. Turn to the right (to
the left is the Food Museum*), and thus reach
THE WEST SCHOOL-CLOISTERS.
These Cloisters form the basement of the building in which
are the Schools of Art.
Here is placed a large collection of examples of METAL
WORK, chiefly bronze, copper, and steel.
In desk cases under the windows on the right hand are
Medals, Plaques, and Seals of various countries and periods;
* See brief notice of the Food Museum on p. 64.
30
33%
School-Cloisters.
while, in larger cases on the left hand, are Art Bronzes,
Statuettes and Groups, Inkstands, Candlesticks, Snuffers,
Ewers, Mortars, Door-knockers, Handles, and Lock Plates.
One case is filled with Steel Coffers, some of them remark-
able for their large and intricate locks.
Here also are Weapons of War, Swords, Spanish Rapiers,
Daggers, Wheel-lock Rifles, Pistols, Powder Flasks, &c.; show-
ing peculiarities of ancient construction or artistic decoration.
Many of these formed part of the celebrated Bernal Collec-
tion, the sale of which in the year 1855 had so great an influence
in spreading the taste for collections of Mediæval Art.
In small upright cases between the windows is a miscella-
neous collection of Art objects, some of great interest:
Carvings in Lithographic Stone, Alabaster, and Boxwood,
Bellows of Walnut-wood, carved in high relief, with elaborate
designs; Caskets, Flasks, and other objects in cuir bouilli, or
leather softened by heat and moulded into various forms.
In three frames are shown three sets of ROUNDELS, of
beech-wood, painted on one side with mottoes. These are
of the sixteenth century, and one of them, at least, is pro-
bably as old as the reign of Henry VIII. Similar sets exist
in various private collections.*
* Various conjectures have been started as to the original use of these
Roundels. It has been suggested that they were counters used in some game
now obsolete; but the most probable theory seems to be that they were distributed
to guests at dessert, and used as fruit plates, or stands for wine cups, the mottoes
supplying subjects for conversation. The mottoes on different sets vary in
character: some are grave and sententious, others humorous and sarcastic, while
in some sets they transgress the bounds of strict propriety. The following are
examples of these mottoes :-
Hee that climes higher yn hee shold
Is like to fall lower yn he would.
O death y power is great I must confesse
I often wish that itt were lesse.
Be nether dumbe nor give yi tonge the lease
But speake thou well or heare and hold y' peace.
Thy love that thou to one haste lent
In labor lost thy tyme was spent.
In wedlocke twisse thou shalt be found,
A shrowe at last shall the confounde.
Thy youthe in follie thou haste spent,
Defere not now for to repent.
If women were as litle as they are good
A pesecod would make yem a goune and a hood.
Women are like netles, who toucheth them they sting them
But hurte not those that wringe them.
Metal Work.-Carriages, &c.
31
Here are also Damascened Salvers and Ewers, both Sara-
cenic and Venetian, and other Salvers of Pewter by, or in
the manner of, FRANÇOIS BRIOT, a French goldsmith of the
seventeenth century, who lavished on this comparatively
poor material skill and labour worthy of the precious metals.
Many small objects in steel and bronze, such as Keys, Lock
Escutcheons, Drawer Handles, and Decorative Mounts, are
contained in frames within the recesses of the windows.
On the left-hand side of the Cloister are several Altar-
pieces or RETABLES; one from Troyes in France, of carved
and painted stone, showing, in great detail, the events of the
Passion of Our Lord, while above is the Annunciation.
Others, of German origin, of carved wood, have already been
noticed in the South Court.
Works of this kind are still frequently met with in Con-
tinental churches; they are usually of the fifteenth or first
half of the sixteenth century, and as they represent the
costume, weapons, furniture, &c., of the age in which they
were made, they afford excellent illustrations of these details.
State Carriages and Sedan Chairs fill a large space in this
Cloister. On the walls are Wood Carvings and Casts of
Architectural details of the Medieval and Renaissance periods.
[From this Cloister a door leads out of the Museum to
the EXHIBITION GALLERIES, in Exhibition Road.
(See p. 65.)]
THE NORTH SCHOOL-CLOISTER
Is continued at right angles with the part already traversed,
still forming the basement of the Schools of Art.
In the bay at the angle is shown a selection from the
objects contributed by English workmen to the recent annual
competitions for prizes offered by the Society of Arts for the
best examples of metal work, damascening, die sinking,
painting on porcelain, carving in wood and ivory, bookbind-
ing, and other art works.
In this bay is set up a cast of a Chimney-piece by GERMAIN
PILON, a French sculptor of the sixteenth century: from the
original in the Louvre.
32
School-Cloisters.
The left wall of the North division of the School Cloister
is hung with fine pieces of French and Flemish TAPESTRY
of the fifteenth and sixteenth centuries.
Below these are placed Sideboards, Cabinets, Wardrobes,
Chests, Tables, &c., in ebony, oak, walnut, chestnut, and other
woods; some inlaid with marquetry, others remarkable for
their elaborate and occasionally grotesque carving.
Among these last are the Cabinets ascribed to BACHELIER,
an architect and sculptor of Toulouse, in the sixteenth century.
The right-hand side is divided into bays; three of these
contain examples of Italian, French, and German Ironwork
on a large scale, as Window-grilles, Balconies, Cressets or
Lamps, Braziers, and Fire-dogs.
In another bay is a plaster cast of the great bronze SEVEN-
BRANCHED CANDLESTICK in Milan Cathedral, said to be of
twelfth century workmanship.
One bay is almost entirely occupied by the collection pre-
sented to the Museum by the Rev. R. Brooke.
This seems
to consist of the accumulations of a family for three or four
generations, the different members treasuring up objects of
daily use in the belief that these would be of interest to their
descendants. Hence we have here the dresses, watches,
jewellery, seals, shoe-buckles, &c., of an English gentleman's
family of the eighteenth century. A small collection of
English Coins, also presented by Mr. Brooke, is shown here.
The Cloister terminates at the staircase leading to the
Picture Galleries. The hall at the foot of this staircase,
though really a portion of the west cloister of the North
Court, has not yet been noticed. It is mainly devoted to
Carvings in Ivory,* a branch of early Medieval Art which
is very fully illustrated by the Museum Collection, supple-
mented by fac-simile reproductions in prepared plaster (fictile
ivory') of the finest specimens from all quarters, chiefly made
under the direction of the Arundel Society.
Among the original carvings should be noticed three
examples of the rare Consular diptychs; one, the 'Diptychon
Meleretense' of the fourth century; a Byzantine casket of the
* See notes on Ivory Carvings, p. 43.
The Keramic or Pottery Gallery.
33
10th or 11th century; some fine Mirror Covers; and the six
Plaques of infant Bacchanals and Fauns attributed to FRAN-
ÇOIS DU QUESNOY (Il Fiammingo).
In a neighbouring case is contained the collection issued
about twenty years ago under the name of Summerly Art
Manufactures, intended to show how the principles of Art
design could be applied to objects of daily use.
ART OBJECTS IN THE GALLERIES (up-stairs).
The whole of the ground floor of the Museum Buildings
appropriated to the Art Collection has now been briefly de-
scribed. As already stated, certain objects are for the present
placed in the Picture Galleries upstairs, and these, together
with the contents of the Keramic or Pottery Gallery, and the
Prince Consort Gallery, remain to be noticed.
The STAIRCASE leading to these galleries is lighted by a
large Stained-glass Window, made by Messrs. Lavers and
Barraud from the design of Mr. Reuben Townroe, a pupil of
the late Mr. Godfrey Sykes. The design is suggested by the
passage in Ecclesiasticus c. 38 v. 24 to end, descriptive of
trades. Around the upper part of the Staircase are placed
five cartoons or original designs for Fresco paintings in the
Houses of Parliament, by Messrs. Cope, Dyce, Horsley,
Redgrave, and Cave Thomas.
The Visitor will pass through the two rooms facing the
head of the Staircase, and turning to the right will enter
THE KERAMIC OR POTTERY GALLERY.
Here is now arranged in cases the whole of the Museum
collection of Earthenware, Stoneware, and Porcelain.
We first meet with early English pottery of the 17th and
18th centuries. A large collection of Wedgwood's Jasper and
other wares follows; in side cases are examples of the Porcelain
of Bow, Chelsea, Bristol, Plymouth, Worcester, and Derby.
Several cases contain fine examples of Modern Pottery and
Porcelain, chiefly selected from the different Exhibitions. Two
large Porcelain Vases from the Exhibition of 1862, one by
Copeland, the other by Minton, stand side by side.
The great manufacturers of pottery of the present day
in Italy, France, and England are here represented. Some
C
34
The Keramic or Pottery Gallery.
modern Maiolica from the Marquess Ginori's factory near
Florence shows a partially successful revival of the ruby
lustre of the 16th century.
The English reproductions of Maiolica, Palissy, and Della
Robbia Ware are chiefly adaptations rather than direct imita-
tions of the old methods; modern designs and modern forms
are in many cases employed with signal success.
Close by is a Fountain in Enamelled Earthenware, suited
for a hall or conservatory, and made by Messrs. Minton for
the Paris Exhibition of 1855.
Next follow the Porcelain of Sèvres and the other less
renowned French manufactories of the 18th century, and near
these are the productions of the rival manufactories of
Germany, with Dresden at their head. Several very fine
specimens of Sèvres China are lent by Her Majesty the
Queen; three Vases of Turquoise Blue are unsurpassed for
their beauty of colour. A few examples of Venetian, Capo
di Monte, and other Italian Porcelain are also placed here,
chief among which are three pieces of the exceedingly rare
Florentine porcelain of the 17th century, probably the earliest
porcelain ever made in Europe.
Several neighbouring cases contain the Museum Collection
of French Earthenware of the 16th century, including no
less than five pieces of the celebrated Henri Deux Ware,
namely, two Tazzas, a Salt-Cellar, a Candlestick, and a
Plateau. (See notes, p. 50.) Near these are some modern
imitations of this ware by English manufacturers.
The collection of Palissy Ware is unusually fine, including
some good specimens of his so-called Rustic Pieces; also
Statuettes, Salt-cellars, Ewers, and Dishes with sacred and
classical subjects in relief. (See notes, p. 51.)
An Ewer of graceful form has been copied, with some
modifications, by Messrs. Minton; the copy is in a neigh-
bouring case. Other modern imitations of Palissy Ware, by
Avisseau and Landais of Tours, will be found in this Gallery.
Several fine Delft and Rouen Earthenware Vases of
grotesque design, from Hampton Court, part of the collec-
tion made by William III. and his queen Mary, were removed
hither some years since by Her Majesty's permission.

CANDLESTICK, IN HENRI DEUX EARTHENWARE.
French. Date about 1550.
In the Collection of Andrew Fountaine. Esq.
Maiolica, &c.
35
Next comes the Museum Collection of German and Flemish
Stoneware, which has recently been largely increased. One
important addition is a lofty German Stove bearing the date
1578. This is covered with embossed plaques of enamelled
and glazed earthenware; in front is a group in high relief
representing the triumph of Mordecai.
Other cases contain Persian, Arabian, and Rhodian Glazed
Pottery. Some pieces are remarkable for their beauty of
form and colour, particularly for the happy combination of
tints of blue.
Three lofty wall cases occupy the centre of the Gallery, two
containing Console Tables, Candelabra, and other specimens
of furniture, chiefly in the ornate style of Louis XV.
In the centre case is a Cabinet, surmounted by a Mirror,
made for the Paris Exhibition of 1855, by Messrs. Jackson and
Graham, and bought by the Museum for the sum of 1,200/.
Opposite this stand two large Porcelain Vases from the
Imperial Manufactory at St. Petersburg, which were sent to
the International Exhibition of 1862, and after its close were
presented to the Museum by the Emperor Alexander II.
They bear Portraits of Locke and Inigo Jones.
The remainder of this Gallery is chiefly occupied by an
extensive Collection of the various Italian Wares known as
Maiolica. A brief sketch of the history of this interesting
variety of Pottery will be found in a note at p. 48. Many of
the pieces in this Collection have an European celebrity, and
find a place in every notice, whether English or foreign, of
this Ware; such as the Plateau on which is a Portrait of
Pietro Perugino; that on which a Painter of Maiolica is
represented at work; that with the Figure of St. George, an
adaptation of Donatello's famous statue, in the centre (see
p. 24), and several of the signed and dated pieces of Gubbio
Ware by Maestro Giorgio.
The so-called Hispano-Moresco Ware of Spain (see p. 48)
fills several cases at the further end of the Gallery, while in
an adjoining case is a remarkable collection of ancient Terra
Cotta Figures found in Southern Italy, lent by Signor
Castellani; and a small case contains a few examples of the
Classical Pottery of Greece and Italy, placed here in order to
C 2
36
Maiolica, &c.
complete the series of European Keramic Art. The student
of Ancient Pottery will, however, go to the British Museum,
where he will find an unrivalled Collection of this Ware.
In a side bay of the Gallery is shown the Museum Collec-
tion of Chinese and Japanese Porcelain. This includes several
remarkable specimens, among which is a Dish bearing a rude
representation of the Baptism of Our Saviour. It is believed
that this was made in Japan before the extirpation of
Christianity in 1641, when 40,000 native Christians are said
to have suffered martyrdom.
The Staircases at the side of this Gallery lead to the new
LECTURE THEATRE of the Museum, and to various private
offices and workrooms.
Ten columns supporting the roof of this gallery are covered with Embossed
and Glazed Tiles of the various tints peculiar to the Modern Celadon Porcelain of
Sèvres. These are from the manufactory of Messrs. Minton & Co. Around each
column will be seen certain letters which, when decyphered, give the names of
celebrated potters. The following are thus honoured :—
POUSA. Chinese tradition records that he was a workman in the imperial
porcelain factory, where, in despair at the repeated failures of himself and his
fellows in producing some great work commanded by the Emperor, he
plunged into the furnace. His self-immolation secured the success of the
work, which came out perfect. He has ever since been regarded as the
tutelary saint of the porcelain makers of China, and is represented by those
little corpulent porcelain figures often met with in collections.
VITALIS. Probably a potter in Britain during the period of Roman ascendancy.
A vase of the red Roman pottery known as Samian ware, on which this
name was stamped, was found in London in 1845.
GIORGIO ANDREOLI-Maestro Giorgio,' the greatest of the manufacturers of
Lustred Maiolica. (See page 48.)
LUCA DELLA ROBBIA, the inventor of the enamelled terra cotta bearing his
name. (See page 50.)
VEIT HIRSCHVOGEL (1441-1525), a potter of Nuremberg, celebrated for his
German enamelled earthenware, somewhat resembling the Italian Maiolica.
XANTO-Francesco Xanto of Rovigo-a celebrated painter of Maiolica at
Urbino between 1518 and 1547.
BERNARD PALISSY (1510-1589), the inventor of the well-known French pottery
bearing his name. (See page 51.)
FRANCOIS CHERPENTIER-supposed to have been the potter engaged in the
manufacture of the Faïence d'Oiron or Henri Deux Ware. (See page 50.)
J. F. BÖTTCHER (1681-1719), the inventor of Dresden Porcelain, and of the
peculiar ware bearing his name.
JOSIAH WEDGWOOD (1730-1795), the well-known English potter, and inventor
of Jasper and other wares.
The Staircase at the West end of the Gallery leads down
to the School Cloisters already noticed (p. 29). The
Visitor is recommended not to descend, but to
along the Keramic Gallery. On again reaching the Picture
The Prince Consort Gallery.
37
Galleries, he should turn to the right and examine the
cases containing a collection of Venetian, German, and other
ancient and modern Glass Vessels which stand in the two
rooms hung with Turner's drawings. In the first is contained
early Venetian Glass Vessels, chiefly of the 15th century,
together with a rare specimen of an Arab Glass Lamp of the
13th or 14th century. (See notes on Glass, p. 46.)
The second case contains Venetian Coloured Glass, speci-
mens of Schmelze, Avanturine, Millefiore, and other varieties.
In the third case are examples of the beautiful Vitro di Trina,
or Lace-work Glass, and numerous vessels of elegant and
varied form in the Plain Glass, of somewhat horny colour
and texture, characteristic of the early Venetian manufacture.
German enamelled Glass Tankards and Goblets, with French
and Dutch engraved and cut-glass vessels, fill the fourth case.
Examples of Ancient Egyptian, Greek, and Roman Glass are
shown in other cases, as are also several fine examples of
Modern Glass from the various International Exhibitions.
On passing through a door to the right, and crossing the
adjoining room, the visitor will reach the gallery at the end
of the South Court, by which access is obtained to
THE PRINCE CONSORT GALLERY.
Here, in a triple row of cases, are placed many of the most
interesting and costly possessions of the Museum, and a careful
examination of the contents of this Gallery alone would require
many hours.
The FIRST case, standing somewhat in advance of the others, is
devoted to Ancient Enamelled Objects, chiefly of ecclesiastical use.
The most important of these is the large SHRINE or Reliquary, in
the form of a Byzantine Church, surmounted by a dome. This
Shrine, which is 22in. high, and 20in. wide, was bought for the Museum
in 1861, at the sale of the celebrated Soltikoff Collection, for 2,1427.
The columns, walls, and roof are covered with champlevé enamelling,
and four panels and twenty-eight statuettes of carved ivory are in-
corporated in the design. Altogether it is one of the most important
existing remains of Rhenish Byzantine Art of the 12th century.
At one end of this case is an unusually fine German TRIPTYCH
of champlevé enamel of the 13th century.
In the centre are
represented the Crucifixion of Our Saviour, His Descent into Hades,
and the Angel at the Sepulchre; on either wing are represented
38
The Prince Consort Gallery.
events from Old Testament history, selected by the artist as typical
of those in the centre. By the Crucifixion are, on one side, the Sacri-
fice of Abraham, on the other, the Brazen Serpent; by the Descent
into Hades, are Samson with the Gates of Gaza, and a Fisherman
with a large fish, in allusion to the victory over Leviathan or Satan ;
by the empty Sepulchre are Jonah released by the whale, and the Dead
Man restored to life by touching the bones of Elisha. Latin rhyming
inscriptions surround each subject.
A large ALTAR-CROSS of Rhenish Byzantine work, of the 12th
century, is also specially interesting, on account of its symbolism.
Five medallions of champlevé enamel are inserted in it; one in the
centre bears the Holy Lamb, the others bear representations of—
1. Jacob blessing the Sons of Joseph, by crossing his arms. 2. Aaron
marking the house of an Israelite with the letter tau, a recognised emblem
of the Cross. 3. The Brazen Serpent. 4. The Widow of Zarephath
standing before Elijah, with the two sticks she had gathered held in the
form of a cross.
In the upper arm of this Cross is a cavity for the insertion of a relic.
Many of the Altar-crosses in this collection have similar cavities.
A smaller CROSS of cedar-wood covered with thin gold plates, of
Byzantine 10th century workmanship. The figure of Our Saviour is
of walrus ivory; the inscription at the head and four evangelistic
symbols are early and good examples of the rare cloisonné enamel.
A TRIPTYCH at the further end of the case was apparently
constructed in Germany in the 13th century, for the purpose of
containing relics, probably believed to be portions of the true Cross.
These still remain under glass. The wings exhibit figures of the
Twelve Apostles, in six plates of embossed metal, and it will be
noticed how the workman has made two designs only serve his
purpose, alternating them in different order on the two wings.
Several small TRIPTYCHS in translucent enamel, Pastoral Staffs or
Croziers, and Enamelled Plaques of great beauty, will also be found
in this and in the neighbouring cases.
THE EIGHT CASES immediately following contain numerous
examples of the various classes of Enamel, Ancient and Modern.
Pre-eminent among these are the PAINTED ENAMELS of LIMOGES of
the 16th and 17th centuries. These consist of Plaques, Salvers,
Ewers, Salt-cellars, Caskets, &c.; and furnish to the Art student a
very complete illustration of this manufacture. The most important
example in these cases is the large Casket, enamelled on plates
of silver, on which is painted a band of dancing figures. It is attri-
buted to JEAN LIMOSIN, about the close of the 16th century, and is
accounted the finest work of this artist. It was acquired for the
Museum at a cost of 1,000l. (See notes, p. 44.)
Specimens of the enamels produced at Battersea in the middle of
the last century fill one of these cases. Another is assigned to
modern French Enamels, generally in imitation of the earlier pro-
Enamels, Plate, &c.
39
cesses. The finest of these examples are from the various Inter-
national Exhibitions.
THREE CASES follow, in which are arranged objects chiefly of
ecclesiastical use, generally in metal only, those decorated with
enamel being placed in neighbouring cases. Here are several
RELIQUARIES of varied form, one in imitation of a Rhenish-Byzantine
Church, another the Bust of a Saint; Altar-crosses, Chalices, and
Monstrances. One remarkable Chalice has the foot and stem elabo-
rately decorated with tabernacle work, and figures of angels and
saints.
TWO CASES are filled with objects in the Precious Metals, generally
combined with other materials, as Crystal, Agate, Ivory, Nautilus
Shells, Cocoa-nut Shells, Amber, and Alabaster. Among these are
some examples of Mazer Bowls formed of maple wood and mounted
in silver, together with several stoneware jugs, and vessels of oriental
porcelain in silver mounting of the 16th and 17th centuries.
A CUP of Oriental Sardonyx is distinguished for the beauty of its
mounting, which bears the English Hall-mark for the year 1567.
Among several examples of engraved crystal, the most remarkable
is a EWER of Byzantine workmanship of the 9th or 10th century.
It is difficult to conjecture how such a vessel could be carved and
hollowed out in so hard a substance.
FOUR CASES follow, chiefly occupied by vessels in the precious
metals designed for secular use, many of them admirable in form and
decoration. Here will be noticed four deep SILVER PLATES, of the
14th century, two having an enamelled medallion in the centre;
these were discovered in 1864, together with some Silver Spoons, con-
tained in an iron chest which had been for centuries concealed in the
wall of a house in Rouen. Some Coins were found with them, one
of which, a gold Coin of Philip of Valois, lies near.
He
Here also are several examples of Early English work, pre-
eminent among which is the GLOUCESTER CANDLESTICK of gilt bronze
covered with pierced foliage, figures of monsters, &c., bearing several
Latin inscriptions, one of which records that it was given by the
Abbot Peter to the Abbey Church of St. Peter at Gloucester.
became Abbot in the year 1104. Near this is a tall silver-gilt cup,
bearing the London Hall-mark for the year 1611, and elaborately
engraved with bands of hunting subjects alternating with scroll work
in relief. Close by is an Enamelled Casket, diapered with several
armorial shields, and believed to have been made in England for
William or Aymer de Valence between the years 1290 and 1305.
ANOTHER CASE contains Clocks and other scientific instruments,
chiefly of German manufacture. Some of the clocks are elaborate
representations of pavilions and fortified towers. A remarkable
ASTRONOMICAL GLOBE, made at Augsburg in the year 1584, for
the Emperor Rudolph II., was given to the Museum by the late
Mr. Robert Goff, in 1865.
40
The Prince Consort Gallery.
The remaining Cases contain Jewellery, ancient and modern,
Watches, Snuff-boxes, Enamelled Miniatures, Cameos, Intaglios, and
numerous other small objects of artistic value and interest. Among
these should be noticed the Gold Missal Case said to have belonged
to Henrietta Maria, the queen of Charles I. It is covered with
delicately chased figures encrusted with brilliant translucent enamels
of various colours.
Here also is the celebrated MARTELLI BRONZE or Mirror Cover,
which has been reproduced in electrotype by Messrs. Franchi. This
work of the great Italian sculptor DONATELLO was made about the
year 1440 for the Martelli family of Florence, and it was obtained
for the Museum from the representative of this family in the year
1863, for the sum of 650/
One case contains a METALLIC MIRROR in a lofty and elaborate
stand of steel, damascened with gold and silver. This is one of the
finest existing specimens of the damascened work of Milan.
It was
made in that city for one of the Dukes of Savoy, about the year 1550.
From an arched opening at the end of this Gallery a view
of the North Court is obtained. The balcony here is the
Singing Gallery from Florence (see p. 19). Over this arched
opening is set a Medallion Portrait, in mosaic, of the late Prince
Consort: hence the name by which the Gallery is known.
Owing to the crowded state of the Museum, the walls on
either side of this opening are at present occupied with objects
which would be more fitly shown elsewhere. On one side is
a set of paintings attributed to Sandro Botticelli, lent bý
Mr. A. Barker. One of these, a representation of a scene
from Boccaccio, is of great interest; the incident is fully
described on the label.
On the other side of the arch are hung numerous frames of
Jewellery of all ages and styles, from that of ancient Etruria,
Greece, and Rome, to the cheap jewels worn by the Italian
peasantry at the present day. These last were collected for
exhibition at Paris in 1867 by Signor Castellani, and after-
wards purchased for the Museum as suggestive examples for
Art workmen. Other and no less valuable examples are
afforded by the specimens of popular jewellery of several
other countries, also placed here.
This completes the notice of Art Museum objects upstairs,
and from this point the visitor can, by returning to the rooms
The Portico de la Gloria of Santiago.
4I
containing the National Gallery of British Pictures, begin the
examination of the Picture Galleries according to the scheme
suggested at page 52.
Before leaving the Museum, the visitor should not omit to see
the cast of the PORTICO DE LA GLORIA of the famous Pilgrim-
age Church of Santiago de Compostella, in Spain. The dimen-
sions of this grand work render it impossible to set it up as
a whole in the existing edifice; it is therefore only to be seen in
portions, at some disadvantage, in the Entrance Hall.
This Triple Portal, which is stated by an inscription on the lintel
to have been executed by one MASTER MATEO, in the year 1188,
consists of a large semicircular arch, with a smaller arch on either side.
The central arch is filled by a tympanum, on which are numerous
figures in high relief, the principal being a colossal seated figure of
our Blessed Lord, surrounded by figures of the Evangelists and of
Angels bearing the instruments of His Passion; the rest of the space
being filled by a number of small figures representing the blessed.
Around this tympanum are twenty-four life-sized seated figures,
representing the Twenty-four Elders seen by St. John in the Apo-
calypse, each with an instrument of music.* These instruments are
carefully represented, and are of great interest as showing those in
general use in the 12th century.
Below the central figure in the tympanum is another, little inferior
in size, of St. James (Sant Iago), the patron saint of the church and of
Spain. This figure is supported by a beautifully carved pillar repre-
senting the Tree of Jesse, and resting on figures of crouching beasts.
The piers on either side rest on similar crouching beasts, and are
surmounted by figures of the Twelve Apostles.
On one of the two smaller arches is represented Purgatory, the
souls being confined by a broad band, from which they are released
by angels, who place them among the blessed in the centre; on the
other arch, the lost souls are represented as borne away by demons.
This cast was made in 1866 at Santiago, by Mr. Dominic Bruc-
ciani, for the Museum, by the special permission of the authorities of
the Cathedral; and on its completion a formal testimonial of their
entire satisfaction with the manner in which Mr. Brucciani had
conducted the operation was delivered to him by the dean and
* It should be remembered that these figures were intended by the sculptor to
be seen at an elevation of from twenty to thirty feet, when any apparent dispro-
portion, now observable, would be corrected.
42
The Portico de la Gloria of Santiago.
canons of the cathedral; and the whole of the casts were set up within
the building, where they were visited by many thousands of persons,
who evinced the greatest interest in the work.
When fully set up, this cast will be 35 feet high and 60 feet wide.
The visitor who may happen to be in the Museum at dusk,
on those evenings when it is not closed till 10 o'clock, will not
fail to be struck with the ingenious mechanism by which the
lighting of the ranges of gas-burners near the roof of the
courts is effected. The Travelling Scaffolds, of telescopic
construction, which pack away into a case II feet 6 inches
high, and by which heavy objects can readily be lifted to the
height of 35 feet, are also deserving of notice.
Radiating Pillar Cases, by which many drawings, &c., can
be shown under glass at one time, without the necessity of
extensive wall space, have been recently adopted in the
Museum. They are also suited for the exhibition of medals
and other flat objects of which it is necessary that both sides
should be seen.
·
NOTES ON SOME OF THE CLASSES OF
ART MANUFACTURES.
These notes are partly taken from the introductory notices in the Catalogue of
the Special Loan Exhibition, held at South Kensington in 1862.
CARVINGS IN IVORY.
FROM the earliest periods ivory has been a favourite material for sculpture, and
ancient Egyptian works in ivory are by no means uncommon. Of the Assyrian
period many ivory carvings have been recently discovered. In ancient Greek art
it was highly valued, and during the Roman period it was in universal use. Many
remains still exist of the classical epochs, chiefly in fragments of caskets, small
statuettes, tessera or carved counters, combs, handles of weapons and utensils, and
the diptychs; these latter consist of two carved tablets or plaques of ivory, hinged
together so as to close like a book; they appear to have been of most frequent
occurrence in the later Roman period. In their origin they were writing tablets
covered on their inner surfaces with wax, on which the writing was traced with a
stylus or hard point. These tablets, bound round with a thread and sealed, were
sent as letters. They were, however, afterwards employed in a manner which had
special reference to art. In the time of the Emperors, diptychs of large propor-
tions, now termed 'consular diptychs,' were sent by consuls and other magis-
trates, on their elevation to office, as presents to public corporations and to their
private friends. These diptychs are generally elaborately carved with a portrait of
the consul in his robes of office, and with various representations and allegorical
devices, inscriptions, &c. After the establishment of Christianity they were fre-
quently presented to the churches, or to ecclesiastical dignitaries, by whom likewise
they appear to have been sometimes issued. The Greek artists of the Byzantine
empire made still more frequent use of ivory. Dating from the 9th century, it
was particularly employed in ecclesiastical utensils and appliances. Diptychs
similar in form to those in use in Pagan epochs were still made, being, however,
sculptured with Scriptural subjects; likewise book-covers, pastoral staffs, coffers,
or reliquaries, &c.
Ivory carving was soon equally practised in the rest of Europe, particularly in
France and Germany. Throughout the medieval epoch we have innumerable
tablets, diptychs, triptychs, &c., of a devotional character, shrines, coffers for
relics, statuettes of the Virgin, Saints, and Apostles; and for secular use, horns,
caskets, combs, and circular cases or covers for portable mirrors. In the 16th
and 17th centuries, after the Renaissance, secular objects predominate; statuettes
and groups, bas-reliefs of classical subjects, hilts of knives and forks, tankards,
cups, snuff-boxes, pommels of canes, &c.
In the 17th century the most renowned ivory sculptors were Flemings or
Germans, who had either studied in Italy or had formed their style on Italian
models. Ivory carving became a distinct and separate branch of the sculptor's art.
François du Quesnoy, called 'Il Fiammingo,' or the Fleming (b. 1594, d. 1643),
is esteemed the chief of this well-known school. The town of Dieppe has for many
years been celebrated for the skill of its workers in ivory.
Indian and Chinese carvings in ivory are remarkable for the elaboration of
minute detail lavished on them. Those from Japan, chiefly small figures, are
characterised by their grotesque humour.
Casts of many of the best examples of ancient carvings still existing in the
various Collections of Europe have been taken for the Arundel Society, by which
copies in fictile ivory' (a preparation of plaster) are supplied at a cheap rate.
Hence unusual opportunities exist for study and comparison of examples of this
branch of medieval art.
44
Notes on Art Manufactures.
ENAMELS ON METALS.
THE term 'enamelling,' in its widest signification, is applied to the art of orna-
menting any substance with a vitreous material, which is made to adhere to its
surface by heat; so that not only metal, but also stone, earthenware, and even
glass itself, may be said to be enamelled.
It is, however, more usual to restrict the term of an enamel' to metal work
ornamented in this manner; the one requisite being that the vitreous material shall
have been fixed in its place by fusion.
There are several ways of using the enamel. It may be sunk into cavities, as in
the encrusted processes; it may be floated over an engraved bas-relief, the details
of which are revealed through its transparent body, a mode of decoration peculiarly
suitable to silver, and which has been termed translucid on relief, or by the French,
émaux de basse taille; or it may entirely conceal the metal surface, as in painted
enamels. Moreover, in encrusted enamels, the cavities to receive the enamel may
be either hollowed out in the metal, constituting what is termed in French champ-
levé, or à taille d'épargne; or they may be cells composed of a kind of filigree of
narrow bands of metal, which keep the colours separate, and with their edges form
the outlines of the designs. This latter process is known as cloisonné enamel, and
is peculiarly suitable to gold, though occasionally applied to copper. The Greeks
unquestionably employed enamel to enrich their beautiful jewellery, though to a
very limited extent, and the same process seems to have been carried on in Nubia
about the Christian era.
It is not till the reign of Severus that we find any direct mention of enamelling
in any classical author. An oft-quoted passage in Philostratus informs us that the
barbarians who live either in or near the ocean had a way of ornamenting horse-
trappings by means of vitrified colours. Such horse-trappings have been found in
Britain, and the same colours and peculiar patterns may be discerned in Irish
works of a later date.
Under the Roman dominion the art of enamelling was practised both in Gaul
and Britain. The ornaments often show a decided influence of Celtic taste; and
from the comparative rarity of such enamels in Italy, it is probable that the
manufactures were carried on only in the colonies. These enamels are all executed
by the champlevé process on copper.
In the 9th, 10th, and 11th centuries, the Anglo-Saxons and the Celts in Ireland
and Scotland are proved, by numerous remains, to have practised the art of
enamelling on metal.
Under the Byzantine emperors the working in cloisonné enamel seems to have
been much practised. The principal monument of this kind of work is the famous
Pala d'oro at Venice, which is supposed to have been made at Constantinople,
brought to Venice in 1105, and added to and enlarged in 1209 and 1345.
sonné enamels are rare, and seldom to be met with out of church treasuries.
Cloi-
In the 12th century two important centres of working in enamel seem to have
been in existence, one at Limoges in the west of France, the other in the neigh-
bourhood of the Rhine. Both employed the champlevé process in copper.
The German enamels may be distinguished from the French by the greater
variety of colours employed, by the tints being brought into stronger contrast, and
by the greater erudition displayed in the subjects and inscriptions. They are
constantly covered with inscriptions describing the subjects, and have often
borders with small cloisonné patterns.
The earliest enamel which can with any certainty be referred to the Limoges
school is the sepulchral memorial of Geoffrey Plantagenet, who died in 1151; it
was formerly in the cathedral of Le Mans, and is now in the museum of that city.
The great repute of Limoges enamels seems to have been in the 13th century;
at that time the opus Lemoviticum, or work of Limoges, must have been well
known in all parts of Europe, and it occurs frequently in the inventories of the
period. During the 12th, 13th, 14th, and 15th centuries champlevé enamelling
was applied to the surface of almost every object of ecclesiastical use, as shrines or
reliquaries, portable altars, crosses, pastoral staffs, monstrances, and chalices.
Notes on Art Manufactures.
45
The goldsmiths of Florence and Siena seem to have made use of champlevé
enamel during the 14th and 15th centuries, though to a limited extent. The
process which the Italian enameller carried to the greatest perfection was, how-
ever, that of translucid enamel on relief, of which the principal monument is the
great Shrine at Orvieto, made in 1338. In France similar enamels were produced
at quite as early a period, and it is not improbable that the art was practised by
goldsmiths all over Europe, including our own country and Ireland. The
beautiful silver-gilt and enamelled cup belonging to the corporation of King's
Lynn is generally acknowledged to be of English 14th century workmanship.
Small triptychs for devotional use in this species of enamelling are of frequent
occurrence in collections of medieval art.
The champlevé process, which had been so extensively practised at Limoges in
the 12th and 13th centuries, seems to have died out in the 14th century, and it was
not till the latter part of the 15th century that a new school of enamellers arose,
destined to throw still greater lustre on the city of Limoges. These artists, though
still working on copper, employed a different mode of applying the enamel, to
which they may have been led by the recent extension of enamel painting on glass;
at any rate some of the earliest of the enamellers were themselves glass painters.
The painted enamels of Limoges have been divided into four classes.
Early or Gothic Style, from about 1475 to 1530; 2. The Fine Style, from 1530 to
1580; 3. The Minute Style, to about 1630; 4. The Decadence, to the termination
of the manufacture in the 18th century.
1. The
1. The Early or Gothic Style.—The enamels of this period were generally on stout
plates of copper, nearly flat; the back was coated with a thick and opaque layer
of enamel, to prevent the metal from warping in passing through the furnace. The
front or surface to be painted was covered with brown enamel, and the details of all
kinds painted on it in opaque white. Such portions as were to appear coloured
were then glazed over with transparent enamels, and the lights and details were
picked out with gold. To increase the rich effect of the painting small raised
discs of foil, called paillettes, were attached to the enamel and covered with
colour, so as to have the appearance of gems. The principal enamellers of this
period were Nardon or Leonard Penicaud and Jean Penicaud. One of the most
important specimens which has been preserved to us is a triptych with figures of
Louis XII. and Anne of Brittany on the wings, belonging to Mr. Danby Seymour.
2. The Fine Style.-Many of the most successful enamels of this period are
merely painted in chiaroscuro, with light flesh tints, and occasionally a cool tone
in the foreground. The use of the paillettes was abandoned, the plates were made
thinner and consequently more convex, and the enamel at the back nearly trans-
parent. The family of Penicaud still continued their labours. The greatest, how-
ever, of the artists of this, the finest period, was unquestionably Leonard Limosin,
whether we look to the variety or the artistic merit of his works. Pierre Raimond
commenced enamelling nearly as early as Leonard Limosin. Then we find Jean
Court, dit Vigier, and three members of the Courtois family, shining chiefly in the
production of enamelled services for the table.
3. The Minute Style.-Jean Courtois, by the profuse use of foil and the over-rich-
ness of his colouring, prepared the way for several enamellers, possibly his pupils,
who appeared towards the close of the 16th century, and are all distinguished by a
very finical execution. The principal of these is Susanne Court, who made several
fine ewers and dishes. There were also four members of the Limosin family, viz.,
Jean, Joseph, François, and Leonard. Their works are usually small, and their
designs are frequently borrowed from the engravings of Étienne de Laulne. A
casket, enamelled on silver, in the South Kensington Museum, is one of the finest
examples of Jean Limosin.
4. The Decadence.-After 1620 the fashion for Limoges enamels seems to have
gone by. We rarely find on the works subsequent to that period the devices of
royal or noble personages. The enamellers of this later period are numerous, but
chiefly of the families Laudin and Nouailher. Of these Jacques Laudin produced
some grisaille paintings of merit, rendered attractive by the fine glossy black ground
which he employed. The later productions, especially those of the Nouailher
family, are more like paintings on earthenware than enamels.
46
Notes on Art Manufactures.
Nicholas Hilliard, an English goldsmith and miniature painter, of the reigns of
Elizabeth and James I., executed some beautiful works, chiefly miniature cases,
lockets, and pendent jewels, in a species of translucent champlevé enamel on gold.
In the 17th century the art of painting, in various colours, on a white enamel
ground, generally on plates of gold, was introduced by Toutin in France; this art
soon spread over Europe, and was applied to watch-cases, snuff-boxes, etuis, rings,
and other articles of jewellery, and especially to miniature portraits, in which the
names of Petitot, Zincke, and in this century, Essex and H. Bone, stand pre-
eminent. The well-known Battersea enamels on copper were produced by a
modification of this process. The manufactory lasted from 1750 to 1775; the
chief articles were candlesticks, salt-cellars, snuff-boxes, and watch-cases. A
similar but somewhat inferior kind of enamelling was practised at Bilston, in
Staffordshire, at about the same period.
A coarse kind of enamelling on brass by the champlevé process was practised in
England during the reigns of Elizabeth and the earlier Stuarts, consisting of an inlay
of blue, green, and white, in the interstices of a pattern in relief. Several fire-
dogs of this work have been preserved in old houses: on some are the royal arms
of England. Candlesticks of similar design are also sometimes met with.
The art of enamelling in the East seems to have gone through many of the same
phases as in Europe, though at different times. The earlier Chinese enamels are
executed on copper, by the cloisonné process; the later by the champlevé process.
Modern Chinese enamels are entirely painted, a process said to have been borrowed
from Europe.
GLASS VESSELS, &c.
THE art of glass-making has been practised from a very remote antiquity; its
processes are represented in the paintings of Egyptian tombs, considered to have
been made at least 2,000 years before the Christian era; and a glass bead has been
preserved bearing the name of an Egyptian monarch who is believed to have
reigned 1,450 years before Christ. Under the Roman dominion Egypt appears to
have supplied the capital of the world with glass, evidently, from the terms that are
used by classic writers, of a costly description.
The Phoenicians probably derived the art of glass-making from Egypt, and
established very considerable workshops at Sidon, from which it seems that Greece
was supplied with glass vases, although manufactories of common glass may have
existed in Greece during the Roman dominion.
In Rome itself no extensive workshops seem to have been established till the
Imperial times, when they were introduced, apparently, from Egypt. The Romans
had a special predilection for ornamental glass, and sought to decorate it in various
ways; anticipating not only many of the productions which have been deemed
peculiar to Venice, but even some of the patented improvements of modern times.
Vessels of ancient white clear glass which have come down to us are frequently
distinguished by a brilliant prismatic lustre, due to the partial decomposition of the
surface. This effect may sometimes be seen in comparatively modern glass.
The Arab conquerors of Asia Minor may have found the glass-works at Sidon
still in existence, or they may have learned the art from the Byzantine Greeks. At
any rate, during the 13th and 14th centuries, they produced some very remarkable
specimens of enamelled glass, many of which, being lamps to ornament mosques,
have been preserved to this day.
In the middle ages, and even down to the 17th or 18th century, Venice was the
great emporium of glass manufactures, the productions of Murano finding their way
all over Europe.
There are many varieties of Venetian glass, the earliest in date, ranging from
1450 to 1520, being the enamelled. This is somewhat massive in character, but of
fine shape, with some reminiscences of Gothic outline: though generally white,
specimens of blue, green, and a dusky purple are met with. Gilding is largely
employed, frequently over the whole surface. The enamel decorations-usually
Notes on Art Manufactures.
47
arabesques or armorial bearings in various colours—are opaque, and rather hard in
execution; the borders of the vessels are generally enriched with gilding, over
which dots of enamel in high relief are interspersed. The enamelled vessels are
usually bowls, tazzas, vases, and ewers.
To the 16th and 17th centuries are attributed the drinking vessels of thin blown
glass, frequently of a horny colour and texture, which command universal admira-
tion for the exquisite grace and endless variety of their form. The earliest in date
are of a uniform colour, generally plain, but sometimes of a green, blue, purple.
or golden brown tint. Afterwards was introduced the Latticinio, or filigree glass,
known to the ancients, in which threads of opaque white and coloured glass are
incorporated in the transparent body of the vessel, and these, by various methods of
manipulation, are twisted or woven into regular spiral or reticulated patterns, pro-
ducing in some specimens a kind of network of delicate lines spread through the
piece. When these lines cross each other we have the Vitro di Trina, or lacework
glass. Sometimes the lofty stem of a wine glass is formed of an elaborately involved
rod of glass of various colours, resembling a serpent. Many grotesque vessels
belong to this period of the Venetian manufacture.
Millefiore glass has a rich variegated appearance, exhibiting an infinity of eccen-
tric patterns, small stars, circles, &c., produced by mingling small cylindrical pieces
of various coloured filigree glass, cut from thin glass rods, with the melted mass
from which the vessels are blown.
Schmelze is a semi-opaque glass of a rich variegated brown, green, or bluish
colour, which, when seen through by transmitted light, takes a deep crimson tint.
Avanturine is produced by mingling metallic filings or particles of leaf gold with
melted glass, in the mass of which it is seen suspended in the shape of brilliant
particles. Frosted or crackle glass is another characteristic variety.
The works at Murano have lately been revived, and most of the early processes,
which had been forgotten, are now successfully imitated there.
In Germany, in the 16th and 17th centuries, enamel painting on glass was much
practised. The large cylindrical drinking vessels are the most characteristic pieces;
they are found decorated with a great variety of designs, armorial bearings, and
inscriptions. Cutting and engraving were first practised in Germany in the 17th
century, this process having been coincident with the improvement of the material,
which had gradually been assimilated to the limpidity of crystal, and naturally sug-
gested facet cutting for its most effectual display.
The massive old ruby glass of Germany, which is usually cut and polished,
belongs to the latter part of the 17th century, though vessels of ruby glass were
undoubtedly made by the Venetians. They are, however, usually blown; and,
from the tenuity of the material, are lighter and clearer in tint than those of
German origin.
Wine glasses with tall stems, frequently enclosing opaque twisted threads of
various colours, were made in large numbers at Bristol in the 18th century.
POTTERY.
THE term Pottery strictly includes not only earthenware and stoneware but also
porcelain, though the expression 'pottery and porcelain' is of common occurrence.
The subdivisions of these classes are very numerous, varying according to the
material, the glaze or enamel, and the surface decoration. Pottery is not now usually
sent out from the manufactory in an unglazed state, the absorbent nature of the
material making it necessary that its surface should be protected with a vitreous
coating impervious to moisture. This coating may be a transparent glaze showing
the material of which the vessel is constructed, as in porcelain, the body of which is
translucent, and in much of the modern English earthenware, the body of which is
an artificial composition and perfectly white; or it may be an opaque covering or
enamel as in the most celebrated wares of France and Italy, the body of which is
usually formed of coarse clay. The discoveries of the various enamels, with which
these wares are covered, were among the greatest triumphs of early potters.
Ancient authors, both Sacred and Classic, make frequent and honourable
48
Notes on Art Manufactures.
mention of the potter's art. The Greek writers inform us that their potteries were
celebrated in the time of Homer, and that medals were struck and statues erected
in honour of their Ceramic artists. The names of some of them are still preserved
to us; but what is far more important, numerous specimens of their work, after
having been buried more than 1,500 years, have appeared again fresh as from the
maker's hand, to represent their period of art in our museums, and to give sugges-
tions to that industry which has brought the Ceramic art to its highest perfection
in our own day.
The manufacture of pottery was general throughout the Roman Empire, includ-
ing Britain, but although it was not lost during the dark ages, it was not specially
cultivated until the 15th century, and even then the object of the potter was orna-
ment rather than use. The rich used vessels of silver at their tables, while drinking
cups of pewter and platters of wood continued in general use until a comparatively
late date, and indeed it is within the memory of persons still living that earthen-
ware and glass have become sufficiently cheap to supplant these.
6
HISPANO-MORESCO WARE AND MAIOLICA.
The earliest examples of enamelled earthenware in modern Europe are the tiles
or azulejos' which line the Moorish edifices in Spain. Many existing specimens
of these are attributed to the 14th century. Besides these tiles the Moorish potters
made vases, ewers, dishes, &c.: one beautiful vase, 4 ft. 3 in. in height, the date
of which is fixed at 1320, was discovered beneath the pavement of the Alhambra.
It is conjectured that the Moors introduced this art into Spain. After their expul-
sion the manufacture of enamelled pottery was continued by the Christians. This
variety of pottery is known as Hispano-Moresco or Hispano-Arabic ware. It is
remarkable for its lustrous surface, usually of a yellow or coppery-red colour.
The enamelled earthenware known as MAIOLICA is supposed to have derived its
origin from the pottery made by the Moors in Spain, and to have taken its name
from the Spanish island of Majorca, whence the first specimens were probably
exported to Italy. During the 15th and 16th, and, in a less degree, the 17th cen-
turies, its manufacture was extensively carried on in Italy, especially in the central
districts of the Peninsula, where Faenza, Gubbio, Pesaro, Castel-Durante, Urbino,
and other neighbouring towns gained great reputation for their fine productions.
There is great diversity in the Maiolica manufactured in different towns and at
different periods. The distinguishing feature of this ware is the painting, on the
opaque glaze, of figures, foliage, arabesques, and frequently of elaborate subjects,
battle pieces, &c., sometimes copied from pictures or engravings.* The painting
is in varied colours, and these colours must have been applied while the white glaze
was still unburnt, and therefore porous. Hence rapidity and accuracy of execution
were indispensable, as a line once inserted could not be erased. The piece, already
fired before glazing, was then subjected to a heat sufficient to vitrify the glaze, the
colours thus becoming permanently incorporated with the enamel. The range of
colours that would stand this heat was limited, being chiefly shades and combina-
tions of blue and yellow, though several other colours were discovered by different
potters.
The most remarkable variety of Maiolica is the iridescent lustre ware, which
reflects metallic lustrous tints of various colours, according to the angle at which
the light strikes its surface. The secret of the ruby lustre, which appears to have
been used principally at Gubbio, was lost even in the 16th century.
It has re-
cently been imitated with fair success in Italy. Giorgio Andreoli, known as
'Maestro Giorgio,' was one of the most successful artistic manufacturers of the
lustred wares; he lived between A. D. 1470 and 1552.
The forms of the vessels are very varied, and occasionally very graceful. Vases,
ewers, drug pots for use in dispensaries, salvers, and plateaus are among the vessels
most frequently met with; and, while many of these were doubtless intended
* From copies of portions of Raphael's works having frequently been met with on Maiolica, it
has sometimes been termed Raphael ware; and it was believed by many that this great artist not
only furnished designs, but actually worked himself as a painter of this ware. There is, however,
no sufficient proof to support this belief.

2500000000000
ALTAR-PIECE: THE VIRGIN WITH THE INFANT SAVIOUR.
Enamelled terra-cotta or Della Robbia ware, in high relief. By ANDREA DELLA ROBBIA. Died 1528.
In the South Kensington Museum.
D
50
Notes on Art Manufactures.
chiefly for display, it is certain that services for use were occasionally manufactured
and sent as presents to persons of high rank by the princely patrons of the various
manufactories.
Generally speaking, Maiolica first attained prominence as an artistic manufacture
during the second half of the 15th century. Its period of perfection extended from
the beginning to the middle of the 16th century, after which time (although down
to the last many admirable examples were exceptionally produced, especially those
of Castelli in the Abruzzi) Maiolica gradually lost its artistic character, and fell to
its lowest point with the decline of art in general at the end of the 17th century.
It is now imitated in England, France, and Italy with considerable success. From
the manufactory of the Marquess Ginori, at Doccia, near Florence, large quantities
were a few years since obtained by fraudulent dealers and passed off on unwary
collectors as original specimens.
DELLA ROBBIA WARE.
This application of the potter's art might perhaps be more fitly included under
the head of Sculpture than under that of Pottery.
It derives its name from Luca della Robbia, a Florentine, born in the year 1400.
He was at first a goldsmith, then became a sculptor, and wrought with great skill
in marble and in bronze. But wishing to carry out his designs more speedily and
more cheaply than was possible with these materials, he set himself to discover
some method of rendering his models as durable as marble; and, after several
experiments, he either invented, or, as some hold, adapted from others, the process
of coating terra-cotta (literally cooked earth, i.e. burnt clay) with an opaque enamel.
His first work in this material was produced about the year 1438, and set up in the
cathedral of Florence, above some bronze doors which he had already wrought.
He died in the year 1481, and his work was carried on by his nephew, Andrea
della Robbia, who was assisted by his four sons. Luca had confined himself
almost exclusively to two colours, white and blue, but Andrea availed himself
freely of the resources of his art, introducing wreaths of fruit and foliage in natural
colours, and his work is generally more ornate and elaborate than that of his uncle.
Girolamo, the youngest son of Andrea, went to France, where he executed many
works for Francis I. at the Château de Madrid, near Paris (destroyed in the first
French Revolution). The secrets of the art are said to have died with him.
Della Robbia ware is almost exclusively confined to statuettes and groups, or to
objects in relief, panels, altar-pieces, escutcheons, friezes, and other large works
suited for architectural decoration, whether internal or external. Numerous exam-
ples still remain in their original sites in Florence, and in other Italian towns, not-
withstanding the great number that have been acquired of late years by various
museums. The collection of this beautiful art manufacture in the South Kensing-
ton Museum is unusually large and varied.
Like every other branch of the potter's art, Della Robbia ware has of late years
been successfully imitated, both in England and on the Continent. Indeed, in
several instances modern imitations supply in Florence the place of original works
that have been removed or destroyed.
HENRI DEUX WARE.
·
The pottery known in France as Faïence de Henri Deux,' or more recently as
'Faïence d'Oiron,' has, from its rarity and its artistic merit, and also doubtless in
some degree from the mystery which, for so many years, attached to its origin, ex-
cited the keenest interest amongst amateurs and collectors, and the pecuniary value
of the few existing specimens has in consequence attained to a fabulous height.
The style of its decoration pointed to France as the country of its origin, and to the
reign of Henri II. as the period of its manufacture, but nothing definite had been
ascertained respecting it until the appearance of a pamphlet written by M. Benjamin
The municipal authorities of Florence some years since prohibited the removal of any remain-
ing examples, even from the walls of private dwellings.
Notes on Art Manufactures.
51
Fillon (dated 8th December, 1862), in the form of a letter addressed to M. Riocreux,
of the Imperial Museum of Sèvres, in which the writer states, and apparently
with good authority, that this ware was made at Oiron near Thouars, and that
two artists were concerned in its production, namely, François Cherpentier,
a potter, and Jean Bernart or Bernard, librarian and secretary to Helène de Han-
gest-Genlis, widow of Artus Gouffier. After the death of Helène de Hangest in
1537, the two artists passed into the service of Claude Gouffier, her son, who was
Grand Ecuyer de France' and a celebrated patron of the arts. The wars of the
Huguenots, which desolated the province of Poitou, were, according to M. Fillon,
the cause of the cessation of the manufacture.
In the catalogue of the Loan Exhibition of 1862, at South Kensington, a list is
given of the 55 pieces then known to exist. Of these 25 were in England, and
were all included in that Exhibition. Five pieces are now the property of the South
Kensington Museum.
Unlike the wares already described, this pottery is formed of a white body, not
concealed by an enamel, but simply coated with a thin transparent glaze, while the
designs are apparently produced by engravings or indentations on the surface of
the paste, afterwards filled in with coloured paste, thus somewhat resembling niello
work. The forms of the pieces are very elaborate and frequently very elegant,
resembling the work of the goldsmiths of the 16th century. They are candlesticks,
ewers, tazzas, salt-cellars, and Biberons; one flat piece only is known, the
salver in the South Kensington Museum. To the inlaid surface decoration is added
a great variety of ornament in relief, masks, festoons, busts, statuettes, terminal
figures, brackets, shells, strap work, &c., the finest specimens being, so to speak,
built up by the application of these ornamental details. (See Illustration, p. 34.)
Although the mystery respecting the origin of this ware has been cleared up,
the prices it commands are as high as ever. The last important piece offered for
sale, the Biberon, now in the possession of Mr. J. Malcolm, fetched 1,100/. at the
Pourtales sale in Paris in 1865.
PALISSY WARE.
Bernard Palissy, who was born about 1510, in the province of Perigord, in the
south-west of France, was the inventor of this characteristic variety of pottery.
Palissy was originally a glass painter, but having accidentally seen a beautiful cup
in enamelled pottery of some foreign manufacture, he directed all his energies to
the application of coloured glazes or enamels on earthenware, a process then but
little known in France. After many years of unceasing experiment in the midst of
poverty and extreme privation, working likewise in ignorance of processes already
familiar in other countries, he completely succeeded in his endeavours; and, being
already conversant with the arts of design, soon produced beautiful and original
works. He was much patronised by the court, and allowed to build workshops in
the gardens of the Tuileries, where a short time since, in making excavations for
new buildings, the workmen discovered the ruins of his furnaces.
Having embraced the principles of the Huguenots, or French Protestants, Palissy
was, during the latter years of his life, subjected to various persecutions from the
Leaguers, the dominant party, and he died a prisoner in the Bastille, in 1589.
He left an autobiography, and various writings on philosophical and religious
subjects.
The productions of Palissy were very various and very peculiar. His designs
are in relief, and he seems rarely, if ever, to have painted figures or patterns on a
flat surface. The best known of his works are his so-called rustic pieces, usually
dishes, ornamented with fishes, lizards, snakes, shells, plants, &c., all closely
modelled and coloured after nature. These could only serve for the decoration of
sideboards or buffets. Besides these he made ewers, vases, salt-cellars, candle-
sticks, plateaus, tiles, and other objects, decorated with arabesques and with
subjects from sacred and profane history.
After his death his work was carried on for a time by relatives, and he has found
numerous imitators. At the present day Avisseau and Landais, both of Tours, are
celebrated for their pottery in the style of the Palissy ware.
D 2
PART II
GUIDE
TO THE PICTURE GALLERIES IN THE
SOUTH KENSINGTON MUSEUM.
--
THE PICTURE GALLERIES, which are above the Cloisters of the
South and North Courts, may be reached by either of three
Staircases; one at the North-West corner, another at the
North-East corner of the North Court, and a third at the
South-West corner of the South Court. (See ground-plan, p. 5.)
At the head of the Staircase at the North-West corner of
the Cloisters of the North Court are Ten Rooms or Galleries
devoted to the
NATIONAL COLLECTION OF PICTURES BY
BRITISH ARTISTS.
This includes, a portion of the Pictures bequeathed to the
nation by Mr. Robert Vernon and Mr. Jacob Bell; the rest
are now exhibited at the National Gallery, Trafalgar Square.
FIRST ROOM.-Paintings by Sir Joshua Reynolds, Haydon, Copley,
West, Lawrence, and others.
SECOND ROOM.-Paintings by Sir Edwin Landseer.
THIRD ROOM.-Paintings by Danby, and others.
FOURTH ROOM.-Turner's 'Liber Studiorum,' and other Drawings.
FIFTH ROOM.-Turner's Drawings in Water Colours.
Pass through the door, and enter the Sixth Room.
SIXTH ROOM.-Paintings by Charles Landseer, Frith, Ward, Leslie,
Rosa Bonheur, and others.
SEVENTH ROOM.-Paintings by Stanfield, Uwins, Lee, D. Roberts, and
others.
EIGHTH ROOM.-Paintings by Turner, Egg, Maclise, Webster, E. M.
Ward, and others.
NINTH ROOM.-Paintings by Wilkie, Etty, Mulready, Eastlake, and
others.
TENTH ROOM.-Paintings by Hogarth, Sir Joshua Reynolds, Gains-
borough, Wilson, West, and Constable.
Stairs down to
North Court.
PLAN OF THE PICTURE GALLERIES
SOUTH KENSINGTON MUSEUM.
TURNERS
ADUVE
PLATE
SIR EDWIN
SOUTH COURT
SOUTH COURT
LANDSEER
WATER
COLOURS
CLOCKS
C.LANDSEER
CLASS
EARLY ENGLISH
WATER COLOUR
DRAWINGS
Stairs down to
Oriental Courts
Vincent Brooks Day & Son, Lith
The National Collection of Pictures.
53
CATALOGUE of the PICTURES in the NATIONAL GALLERY at the SOUTH
KENSINGTON MUSEUM-Including the COLLECTIONS left to the
Nation by ROBERT Vernon and JACOB BELL.*
100 The Death of the Earl of Chatham.
105 A River Scene
106 A Man's Portrait
Copley
Beaumont
Reynolds
112 Portrait of Himself
119 Jaques and the Wounded Stag
120 Portrait of Joseph Nollekens, R.A., Sculptor.
121 Cleombrotus ordered into Banishment by Leonidas II.
123 A Landscape, with Figures, by Moonlight
124 Portrait of the Rev. William Holwell Carr
125 Portrait of Izaak Walton
126 Pylades and Orestes brought as Victims before
Iphigenia.
131 Christ Healing the Sick in the Temple
132 The Last Supper
133 Portrait of Mr. Smith, the Comedian
Hogarth
Beaumont
Beechey
West
Williams
Jackson
Huysman
West
99
29
142 John Philip Kemble as Hamlet
•
Hoppner
Lawrence
Kaufmann
136 Portrait of a Lady.
139 Religion attended by the Virtues
Lawrence
·
143 Portrait of Lord Ligonier on Horseback.
144 Portrait of Benjamin West, P.R.A.
175 Portrait of John Milton.
183 Portrait of Sir David Wilkie
185 Portrait of Sir William Hamilton, Kt.
188 Portrait of Mrs. Siddons
217 Portrait of William Woollett, the Engraver
220 Portrait of John Hall, the Engraver
Reynolds
Lawrence
Vander Plaes
Phillips
Reynolds
Lawrence
Stuart
""
229 Portrait of Benjamin West
231 Portrait of Thomas Daniell, R.A.
233 Portrait of William Pitt
267 River Scene
273 Portrait of John Smith, Engraver
302 Italy-Roman Ruin
303 Italy-Ruin with Arches
304 Italy Lake Avernus
305 Portrait of Sir Abraham Hume, Bart., F.R.S. .
306 Portrait of Himself
308 Musidora bathing her Feet
309 Landscape, with Cattle.
310 Landscape-The Watering Place
312 Study of Lady Hamilton as a Bacchante
313 London Bridge, 1745
314 Westminster Bridge
*
•
Wilkie
Hoppner
Wilson
Kneller
Wilson
"9
99
Reynolds
Gainsborough
""
99
Romney
Scott
99
A detailed Catalogue of this Collection, prepared by Mr. R. N. Wornum,
contains valuable information concerning the Pictures and the Artists; this may
be bought in the Galleries.
54
Paintings by British Artists.
315 The Installation of the Order of the Garter
•
Loutherbourg
West
Stothard
316 Lake Scene in Cumberland-Evening
317 A Greek Vintage
319 Nymphs Binding Cupid.
320 Diana and her Nymphs Bathing
322 A Battle
323 The Raffle for the Watch
324 Portrait of the Countess of Darnley
325 Portrait of John Fawcett, Comedian
326 Portrait of Miss Stephens
327 The Valley Farm
328 The First Ear-ring
329 The Bagpiper
330 A Woodland View.
332 Peep-o'-day Boy's Cabin-West of Ireland
333 Edith and the Monks finding the Body of Harold
334 Study of a Head
335 Study for a Head
336 Study for the Head of a Monk
337 Cupid Disarmed
•
338 Meeting of Abraham's Servant with Rebekah.
339 Wood Nymph
340 Returning from Market.
341 Coast Scene, with Jetty.
99
99
Bird
Lawrence
99
Jackson
Constable
Wilkie
""
""
Hilton
99
99
99
""
Phillips
Callcott
344 The Benighted Traveller
347 Dutch Village
348 Sea Coast of Holland-
349 The Flower Girl
350 The Dead Robin
352 The Prawn Catchers
354 Dutch Girl at a Window.
355 Dull Reading.
357 Man in Persian Costume
99
Howard
Thomson
Collins
Newton
Geddes
Etty
.
"9
"9
99
29
358 The Imprudence of Candaules, King of Lydia
359 The Lute-player
360 The Dangerous Playmate
361 Study for a Head of Christ
362 Christ appearing to Mary Magdalen after His Resur-
rection
363 The Duet
365 A Magdalen.
367 The Infant Bacchus
364 Window in Venice, during a Festa
368 Portrait of Thomas Morton, Dramatist
369 The Prince of Orange, afterwards William III.,
landing at Torbay, November 5th, 1688
370 Grand Canal, Venice
371 Lake Avernus-The Fates and the Golden Bough
372 Venice-The Guidecca.
373 Tartars dividing the Spoil
•
•
19
99
93
Shee
""
Turner
""
""
77
Allan
The National Collection of Pictures.
55
375 Conference between the Spaniards and Peruvians,
1531.
Briggs
376 Juliet and the Nurse
377 Falstaff and Mistress Ford
Clint
378 Reading the Newspaper.
Good
379 Landscape: Two Lycian Peasants
Muller
Nasmyth
99
380 A Cottage formerly in Hyde Park
381 The Angler's Nook
382 The Head of a Negro
383 Vigilance
•
384 Galileo and the Astronomer
·
385 Lake and Tower of De Tabley Park
386 The Council of Horses
·
387 The Vintage on the Banks of the Gironde
388 'Le Chapeau de Brigand'
389 The Burning Fiery Furnace
·
390 Lady Godiva preparing to ride through Coventry
392 Townhall, Utrecht.
391 Battle of the Borodino, 1812
396 The Young Brother
397 Christ Lamenting over Jerusalem
399 Escape of the Carrera Family from the Pursuit of the
Duke of Milan .
400 Interior of the Cathedral at Burgos
406 The Lake of Como
407 The Giudecca, and Jesuits' Church, Venice
408 Clarissa Harlowe in the Spunging-house.
409 Spaniels of King Charles' Breed
410 Low Life-High Life
411 Highland Music
412 The Hunted Stag
413 Peace
414 War
•
·
415 A Dialogue at Waterloo.
•
416 A Portrait of Robert Vernon
417 A Syrian Maid
418 The Cover Side
•
419 Showery Weather--Coast Scene
420 The Stepping Stones
421 The Hop Garland .
422 The Play Scene in Hamlet
423 Malvolio and the Countess
•
424 A Synagogue-the Elevation of the Law.
425 Sir Thomas More and his Daughter
426 Going into School .
427 A Dame's School
428 Country Cousins
429 Pathway to Church
Simpson
Wyatt
J. Ward
Twins
Jones
Mulready
Eastlake
99
Roberts
Stanfield
99
C. Landseer
Sir E. Landseer
""
29
99
""
29
99
H. W. Pickersgill
99
Lee
Witherington
""
Maclise
Hart
Herbert
Webster
430 Dr. Johnson Waiting for an Audience of Lord
Chesterfield
19
Redgrave
Creswick
F. M. Ward
56
Paintings by British Artists.
431 The Disgrace of Lord Clarendon
E. M. Ward
432 The South-Sea Bubble
433 Italian Girl with Tambourine .
434 Italian Peasants resting by the Road Side
435 Farmyard-Milking Time
436 Cattle Scene in Cumberland
437 The Fisherman's Home-Sunrise
438 Wood Cutters
439 The Windmill
440 The Gouty Angler.
441 A Basket of Fruit
442 Red Cap
443 Fruit
444 Scene from 'Le Diable Boiteux'
Williams
"Cooper
""
Danby
Linnell
Lane
Lance
""
99
Egg
. F. R. Pickersgill
445 Amoret, Aemylia, and Prince Arthur in the Cottage
of Sclaunder
446 The Pride of the Village
447 Dutch Boats in a Calm
448 The Boat House
•
449 Lord and Lady Russell receiving the Sacrament
450 A Village Holiday .
451 The Tired Soldier
452 The Scanty Meal
•
453 Interior of a Highland Cottage
454 Study of a Girl's Head
455 A Capuchin Friar .
457 The Surprise
563 Jerusalem and the Valley of Jehoshaphat
600 The Blind Beggar
601 Geraldine
•
603 The Sleeping Bloodhound
604 Dignity and Impudence.
605 Defeat of Comus
Horsley
Cooke
99
Johnston
Goodall
99
Herring, sen.
Fraser
Rippingille
99
Dubufe
Seddon
Dyckmans
Boxall
Sir E. Landseer
""
""
606 Shoeing the Bay Mare
607 Highland Dogs
608 Alexander and Diogenes
609 The Maid and the Magpie
610 Bloodhound and Pups
611 The Pillaging of a Jew's House in the Reign of
Richard I..
612 The Sacking of Basing House
613 Uncle Toby and Widow Wadman
•
615 The Derby Day, Epsom Race Course, 1856
616 James II. receiving the news of the Landing of the
Prince of Orange
617 Bibliomania
618 The Foundling
619 Evening in the Meadows
620 River Scene.
621 The Horse Fair
99
""
99
C. Landseer
99
Leslie
Frith
E. M. Ward
•
Douglas
O' Neili
Lee and Cooper
99
•
Rosa Bonheur
The Raphael Cartoons.
662 Neapolitan Peasants at a Fountain.
675 Portrait of Mary Hogarth
677 Portrait of Lewis as the Marquis in the 'Midnight
57
Williams
Hogarth
Hour'
Shee
678 Study of a Head
Gainsborough
682 Punch; or, May-day
Haydon
730 Sir Guyon-Fighting for Temperance
Uwins
731 Loch-an-Eilan, Rothiemurchus, Inverness-shire Rev. J. Thomson
738 An Incident in a Battle .
•
Tschaggeny
743 Portrait of Sir David Brewster, F.R.S.
Gordon
754 Portraits of Two Gentlemen
759 The Remorse of Judas
·
761 to 764 Illustrations of Don Quixote
765 Mawworm, Dr. Cantwell, &c.
784 Portrait of Mr. W. Siddons
785 Portrait of Mrs. Siddons
791 The Nun
792 The Woodman
793 Destruction of Pompeii.
794 Portrait of Sir Charles Morgan
795 The Worship of Bacchus.
•
·
Reynolds
Armitage
R. Smirke
""
Opie
Lawrence
Pickersgill
•
·
T. Barker
•
J. Martin
Gainsborough
G. Cruikshank
Critical notices of many of the Paintings in these Galleries
will be found in Redgrave's 'Century of British Art.'
In the NORTH GALLERY, adjoining these rooms, are now
hung
THE RAPHAEL CARTOONS.
These celebrated cartoons, which are drawn with chalk upon strong
paper and coloured in distemper, are the Original Designs executed
by Raphael and his Scholars for Pope Leo X., in the year 1513, as
copies for Tapestry work. Each Cartoon is about twelve feet high.
There were originally ten, but three are lost, viz. :—
The Stoning of St. Stephen, The Conversion of St. Paul, and St. Paul
in his Dungeon at Philippi.
The Tapestries, worked in wool, silk, and gold, were hung in the
Sistine Chapel at Rome in the year 1519, the year before Raphael
died, and excited the greatest applause. These tapestries are now
in the Vatican.
The Cartoons remained neglected in the warehouse of the manu-
facturer at Arras, and were seen there by Rubens, who advised
Charles I. to purchase them for the use of a Tapestry Manufactory
which was then established at Mortlake. On the death of Charles
I., Cromwell bought them for 300l. for the nation. They remained
for a long time in a lumber-room at Whitehall, till, by command of
William III., Sir Christopher Wren erected a room for them at
Hampton Court, in which they have hung till her Majesty permitted
them to be removed to South Kensington.
Raphael Sanzio was born at Urbino in Italy on Good Friday,
58
The Raphael Cartoons.
March 28, 1483, and died at Rome on Good Friday, April 6, 1520.
He received his Art Education in the school of Pietro Perugino, at
Perugia. He afterwards painted at Florence, and for many years at
Rome.
On entering the North Gallery from the West side the
Cartoons are thus arranged, beginning on the right hand :—
Christ's Charge to Peter.
The Death of Ananias.
Peter and John Healing the Lame Man.
Paul and Barnabas at Lystra.
And then turning to the opposite wall, follow-
Elymas the Sorcerer struck Blind.
Paul Preaching at Athens.
The Miraculous Draught of Fishes.
Between the last-mentioned Cartoons is a copy in black
chalk by Casanova of the Transfiguration now in the Vatican;
this was Raphael's last work, and was carried in the pro-
cession at his funeral.
A copy in Tapestry of Christ's Charge to Peter is hung
opposite the original Cartoon.
There are likewise hung in this Gallery-
A Series of Drawings copied from Raphael's Fresco Decorations in
the State Apartments in the Vatican, for Pope Julius II., about
the year 1511.
A Series of Arabesque Pilasters, copied from the Loggie of Raphael
in the Vatican.
Sixteen Lunettes, also copied from the Loggie.
A Tapestry from the Imperial Manufactory, The Gobelins, at Paris
-A Copy of the Holy Family by Raphael in the Louvre. Pre-
sented to the South Kensington Museum by Napoleon III.
Replicas of the well-known paintings La belle Jardinière in the Louvre,
and the Madonna del Cardellino in the Uffizi Gallery at Florence.
At the ends of the Gallery are Copies in Oil, on a reduced
scale, of the following frescoes by Raphael in the Stanze of
the Vatican:-
The Dispute of the Sacrament.
Heliodorus driven from the Temple.
The Defeat of the Saracens by Pope Leo IV. at Ostia.
The Donation of Constantine.
St. Peter released from Prison.
The Repulse of Attila by Pope Leo I.
The School of Athens.
The Miracle of Bolsena.
Parnassus.
The Fire in the Borgo under Leo IV.
The Sheepshanks Collection of Pictures.
59
Passing through the door at the East End of the Gallery,
and turning to the right, we now come to three Galleries, in
which will be found
THE SHEEPSHANKS COLLECTION.
CATALOGUE of the OIL PAINTINGS in the BRITISH FINE ARTS COL-
LECTIONS, SOUTH Kensington, for the most part the GIFT of
the late JOHN SHEEPSHANKS, Esq.*
6 Cows Drinking
8 Italian Landscape
9 A Brisk Gale.
•
•
10 Slender and Anne Page
II Dort-A Sunny Meadow
13 A Seaport-Gale Rising
14 The Inn Door-Gravesend
15 A Sunny Morning-A Group of Cattle
17 Devotion-St. Francis
•
John Burnet
Callcott
99
99
99
""
99
97
M. Carpenter
18 The Sisters-Portraits of the Artist's Two Daughters
21 Scene from 'Paul Pry'-Liston, Madame Vestris,
Miss Glover, and Mr. Williams
25 The Caves of Ulysses at Sorrento
27 Rustic Civility
28 Hall Sands, Devonshire.
•
•
30 Bayham Abbey, near Tunbridge Wells
31 Seaford, Coast of Sussex
32 Cottage Interior
33 Salisbury Cathedral
34 Dedham Hill
""
Clint
Collins
99
99
""
99
99
Constable
35 Hampstead Heath.
36 Hampstead Heath.
37 Boat-building, near Flatford Mill
38 Water Meadows, near Salisbury
39 Lobster Pots.
41 Brighton Sands
45 Portsmouth Harbour-The Hulk
43 Mont St. Michael, Normandy
47 Windmills-Blackheath
50 A Donkey and Spaniel
52 Palpitation-A Young Lady Waiting for a Letter
""
99
""
""
99
Cooke
99
99
Cooper
Cope
99
53 The Young Mother
55 Maiden Meditation
56 Beneficence
57 Almsgiving
58 L'Allegro
59 Il Penseroso
"9
99
99
Cope
99
60 Mother and Child .
* A detailed Catalogue of the Paintings and Drawings in these Galleries,
containing much valuable information, may be purchased of the Attendants.
60
The Sheepshanks Collection of Pictures.
61 A Scene on the Tummel, Perthshire
62 A Summer's Afternoon
64 A Woody Landscape
65 Disappointed Love
66 Calypso's Islands
67 Liensford Lake, Norway
69 The Waefu' Heart.
70 A Peasant Woman Fainting from the Bite of a Ser-
pent
71 An Italian Contadina and her Children
72 The Head of a Cardinal
73 Cupid Sheltering Psyche
·
74 Honeywood introducing the Bailiffs to Miss Rich-
land as his Friends
78 Wild Boar and Wolf
81 The Contrast: Youth and Age
82 Waiting for an Answer
83 The Rival Performers
84 Portrait of the Artist
Creswick
99
Crome
Danby
99
T. Duncan
Eastlake
"Etty
39
Frith
Gauermann
Horsley
99
Jackson
85 Portrait of the late Earl Grey
86 Fruit
87 A Highland Breakfast
88 The Drover's Departure-A Scene in the
Grampians.
89 The Dog and the Shadow'
90 A Fireside Party
·
91 'There's no Place like Home
92 The Twa Dogs'
93 The Old Shepherd's Chief Mourner
94 A Jack in Office
95 Tethered Rams
96 Sancho Panza and Dapple
97 The Angler's Guard
98 A Naughty Child
99 Suspense
100 Comical Dogs
•
101 Young Roebuck and Rough Hounds.
102 The Eagle's Nest .
103 The Temptation of Andrew Marvell
104 Sterne's 'Maria'
105 The Hermit.
107 Gathering Seaweed
108 A Distant View of Windsor
109 Scene from 'The Taming of the Shrew
Lance
Sir E. Landseer
110 The Principal Characters in 'The Merry Wives
of Windsor'
III 'Who can this be?'
""
99
99
99
""
39
29
19
""
99
99
C. Landseer
99
99
Lee
Leslie
112
'Who can this be from?
113 My Uncle Toby and Widow Wadman
114 Florizel and Perdita
99
""
99
99
The Sheepshanks Collection of Pictures.
115 Autolycus
116 'Le Bourgeois Gentilhomme'
117 'Les Femmes Savantes'
118 'Le Malade Imaginaire'
119 Don Quixote and Dorothea
121 A Female Head .
122 Queen Katharine and Patience
124 The Two Princes in the Tower
125 The Toilette; a Lady Examining a Necklace
126 The Princess Royal
127 Portia.
128 Griselda
131 Dulcinea del Toboso
132 Sancho Panza
61
Leslie
99
99
99
99
99
99
99
99
99
99
99
133 The Wildflower Gatherers
134 Milking Time
135 Near the Mall, Kensington Gravel Pits
136 The Mall, Kensington Gravel Pits
137 Blackheath Park
•
138 The Seven Ages-All the World's a Stage'
139 The Fight Interrupted .
140 Giving a Bite
141 First Love
142 An Interior, including a Portrait of Mr. Sheepshanks
143 Open Your Mouth and Shut your Eyes.
144 Brother and Sister; or, Pinching the Ear
145 Choosing the Wedding Gown
146 The Sonnet .
147 The Sailing-match
148 The Butt-Shooting a Cherry
149 The Toy Seller
151 A Cottage at St. Albans
152 Portrait of Mr. Sheepshanks
154 Still Life
155 Hampstead Heath
•
156 Study for the Picture of 'The Rattle
157 Landscape with Cottage
159 A Sketch for the Picture of Punch'
162 Portrait of a Little Girl .
162*Cottages
163*The Mother Teaching her Son
163 Teal
164 An Interior
165 Landscape-Sir Philip Sidney's Oak
166 Portia and Bassanio
167 Cinderella about to try on the Glass Slipper
170 Throwing off her Weeds
171 Ophelia Weaving her Garlands
99
Linnell
Mulready
99
99
99
99
"9
99
99
99
""
99
99
99
"1
99
""
99
99
99
99
""
99
""
99
Mulready, jun.
Nasmyth
Newton
Redgrave
""
99
172 Bolton Abbey-Morning
173 Mendicants of the Campagna
99
Rippingille
62
The Sheepshanks Collection of Pictures.
174 Entrance to the Crypt, Roslyn Castle
175 Old Buildings on the Darro, Granada
176 The Gate of Cairo, called Báb el-Mutawellee.
178 Noviciate Mendicants
179 The Very Picture of Idleness
180 The Interior of a Cattle-shed.
186 Temptation-A Fruit-stall
187 Children Gathering Wild Flowers
188 Near Cologne
189 A Market-boat on the Scheldt
190 Sands near Boulogne
195 A Distant View of Windsor
196 Landscape
197 Shakespeare's Principal Characters
201 'Twelfth Night'
202 Brunetta and Phillis
203 Sancho and the Duchess
208 Venice
207 Line-fishing off Hastings
209 St. Michael's Mount, Cornwall
210 East Cowes Castle, Isle of Wight
Roberts
99
Rothwell
""
Simson
G. Smith
Stanfield
99
Stark
Stothard
""
99
Turner
99
99
211 Vessel in Distress off Yarmouth
212 Suspicion
213 An Italian Mother teaching her Child the Tarantella
216 Donkey and Pigs
217 Pigs
218 A Chinese Sow
219 Sickness and Health
220 Going to the Fair
221 Returning from the Fair
222 A Village Choir
223 Contrary Winds
•
224 Reading the Scriptures
225 The Broken Jar
•
226 The Refusal-(Duncan Gray)
233 The Hop Garden
.
99
Uwins
J. Ward
29
Webster
""
""
"9
99
Wilkie
Witherington
Chalon
•
Morland
234 Hastings-Fishing-Boats making for Shore in a
Breeze
235 Village Gossips
237 The Reckoning
238 Cows in a Landscape
241 The Dawn of Love
242 Peasants of Subiaco
245 Sabrina.
246 Idleness
147 Jack in his Glory
Gilpin
Brooks
H. Howard
99
E. Bird
Ibbettson
A bust of the late John Sheepshanks, Esq., by J. H. Foley,
R.A., has lately been placed in this Gallery by Miss Sheep-
shanks.
Gallery of Water-Colour Drawings, &c.
63
In one of these rooms is exhibited a collection of several
hundred small drawings and sketches by the late W. Mulready,
R.A., arranged in a series of radiating frames.
In the adjoining room is now hung a collection of Oil
Paintings, chiefly by modern foreign artists-a portion of
the bequest made to the Museum by the Reverend C. H.
Townshend; and on screens in the centre of the room is a
valuable collection of Enamels, Miniatures, &c., by Essex,
Bone, and other artists, bequeathed to the Museum by the
late Mrs. Louisa Plumley, of Brunswick Square, London.
GALLERY OF WATER-COLOUR DRAWINGS.
The large room or Gallery next entered was first used for
the Loan Exhibition of Portrait Miniatures in 1865. In it is
now exhibited a Collection of fifty Water-Colour Drawings
presented for public instruction, and for the purpose of forming
a National Collection of Water-Colour Paintings, by Mrs.
Ellison, of Sudbrooke Holme, Lincolnshire. Here also is
shown a large Collection of Water-Colour Drawings by the
best English Artists; including works by G. Cattermole,
E. W. Cooke, R.A., W. Collins, R.A., J. Sidney Cooper, R.A.,
J. S. Cotman, D. Cox, P. De Wint, Copley Fielding, Carl Haag,
Louis Haghe, J. Holland, W. Hunt, J. F. Lewis, R.A.,
S. Palmer, S. Prout, F. Tayler, &c.
Each of the Drawings has the name of the Subject and
the Painter legibly painted upon the frame. For further in-
formation, reference must be made to the Catalogue of the
Sheepshanks Collection. (See foot-note, p. 59.)
In the lunettes over the wall panels at either side of this
room are decorative paintings illustrative of Art Studies.
Among these are-
'DRAWING FROM THE LIFE'.
'GROUP OF COLOUR'
" ANATOMICAL STUDIES
'MODEL DRAWING'
'PAINTING, STILL LIFE'
'LANDSCAPE PAINTING'
'DISSECTING '
•
•
'MODELLING FROM THE LIFE'
'FLOWER PAINTING'
•
Painted by
W. F. Yeames, A.R.A.
A. Morgan
H. S. Marks
•
•
G. Sykes
•
D. W. Wynfield
•
G. D. Leslie, A.R.A.
F. W. Moody
E. Crowe
F. B. Barwell
64
Staircase of South Court.
Decorative paintings by other Artists are in course of
preparation.
On the Staircase at the end of this room are hung several
Paintings of the early Italian and German Schools, chiefly
selected as affording illustrations of costume. Here is also a
good copy of Domenichino's great painting 'THE COM-
MUNION OF ST. JEROME.' Over the doors of the Gallery
just quitted is placed an original Fresco Painting by
Pietro Perugino, the master of Raphael, said to be his last
work, and to have been painted in 1522 for the Church
at Fontignano. It has been successfully transferred to
canvas.
By this staircase the visitor can descend to the South
Court, thus returning to the spot whence he began his survey
of the Art Collections.
Pass across this Court, and regain the Entrance Corridor.
On the left or Western side of the entrance is a range of temporary
buildings at present forming
THE EDUCATIONAL DIVISION.
This Division contains models of school buildings and examples of
school fittings, and of books and apparatus used in elementary instruc-
tion. It also includes scientific apparatus, models of machinery, and other
appliances adapted for technical education. (See page 4.)
By a side door is next reached the Corridor or Gallery in which
is shown
THE FOOD COLLECTION.
The classification of this collection is on a chemical basis; and the
principal illustrations comprise the composition of the human body, the
chemical analysis of many kinds of vegetable and animal food, substances
used in adulterating food, examples of Chinese and Japanese food; an
extensive series of cereals, farinas, sugars, teas, and coffees; composition
of wines, condiments, and spices; specimens of hares and rabbits, and
game birds of Britain; illustrations of the chief breeds of British
oxen, &c.
Having passed through the Food Collection, go straight forward along
a portion of the corridor already visited, containing examples of metal
work, wood carving, &c. On the left side of this corridor is a small door-
way, leading from the Museum to the Exhibition Road. Pass through
this, thus quitting the Museum, cross the Exhibition Road, and enter the
EXHIBITION GALLERIES,
EXHIBITION ROAD,
OVERLOOKING THE HORTICULTURAL GARDENS.
(Closed at 4, 5, or 6 o'clock daily, according to the season.)
Here are temporarily deposited various collections for which space
cannot be provided in the Museum Buildings. [Just within the door of
the entrance corridor is a passage to the right, leading to
MR. FRANK BUCKLAND'S MUSEUM OF ECONOMIC FISH CULTURE,
At present shown in an enclosed portion of the entrance hall of the Horti-
cultural Garden.]
Pass along the entrance corridor, and enter the main building.
The entrance hall is hung with a collection, in progress of formation, of
ENGRAVED NATIONAL PORTRAITS.
Among these is a series of portraits of the present Royal Family, chiefly
lithographs, the gift of her Majesty. On the walls above hang copics of
some of the
FRESCOES IN THE LOWER Church of San Clemente, Rome,
Recently discovered after having been buried for nearly eight hundred
years. These copies were made on the spot for the Museum. Pass on to
the gallery containing
THE MEYRICK COLLECTION OF ARMS AND Armour,
From Goodrich Court, Herefordshire, formed by Sir Samuel Meyrick, and
lent to the Museum by the present owner, Colonel Meyrick. It has been
chronologically arranged by Mr. J. R. Planché.
This is the largest private collection of armour in Europe. It contains
numerous complete suits as worn from the time of Edward III. of England
down to the last century; and is rich in weapons used in the wars and
tournaments of the Middle Ages. The Ferrara suit of armour, the shields
of the Emperor Charles V. and of Francis I. of France, and the pistols of
a Duke of Tuscany are especially worthy of examination. The collection
also contains rare specimens of early British shields, and of Greek and
Etruscan helmets. Examples of Oriental Weapons, &c. are placed in a
Room at the end of the Gallery, together with miscellaneous objects of
Medieval and Renaissance Art, Bronzes, Enamels, Ivory Carvings, Fur-
niture, &c. also from Goodrich Court.
In this room is also shown a collection of early Italian Paintings, the
property of Mr. A. H. Layard; and a series of copies of Fresco and other
Paintings made in Italy by Mr. J. H. Wheelwright, and lent by Mr.
G. Redford.
Pass on to the adjoining Hall, where are exhibited
MUNITIONS of War.
A collection of Armstrong Guns, their projectiles, and other examples of
modern artillery science, contributed by the War Department from the
Royal Gun Factories and Laboratorics at Woolwich. Here also is a Case
E
66
Exhibition Galleries.
of Rifles, Swords, Cuirasses, &c. used by the English army at the present
day, from the Royal Small Arms Factory at Enfield. The Rifles illustrate
the long and short Enfields and their conversion from muzzle-loaders into
Snider breech loaders.
In the next Room is the foundation of a proposed Collection of Tools
and Working Models of Machinery adapted for technical instruction.
Next enter the range of Galleries devoted to
MATERIALS AND APPLIANCES USED IN BUILDING AND CONSTRUCTION,
Consisting of 1. Models of Buildings, examples of Woods, Drain Pipes,
Tiles for roofing and flooring, plain and ornamental Bricks, &c. 2. Metal
Work applied to building and ornamental purposes, as Brass Fittings,
Iron Castings, &c. 3. Terra Cotta and Keramic Ware applied to archi-
tectural purposes, both ancient and modern.
Proceed to the end of these Galleries, then return to the Division con-
taining Metal Work. Here ascend the Staircase which leads to
THE MUSEUM OF NAVAL ARCHITECTURE,
A collection of Models of Ships of War, &c. and of other naval and
marine objects, contributed by the Admiralty and by private ship builders
and inventors.
This collection contains models of ships of war from the time of
Henry VIII. down to the latest iron-clad and gun-boat built and launched
during the year 1868; also an extensive display of the rigging, masts,
yards, and other parts and fittings for ships of war at present used in the
Royal Navy. It also includes a series of Oil Paintings, presented by her
Majesty the Queen, illustrating the build and form of ships of war at
various periods.
In some small Rooms on the middle Staircase is at present deposited
THE ANIMAL PRODUCTS COLLECTION,
Originally formed by the Commissioners for the Exhibition of 1851 in
conjunction with the Society of Arts, assisted by Professor Solly and Dr.
Lyon Playfair, C.B. It comprises illustrations of animal products and
their application to industrial purposes; the principal sections are Wool,
Whalebone, Silk, Feathers, Leather, Bone and Ivory, Horn, Shells, Oils
and Fats, and Dyes.
The remaining Rooms upstairs are appropriated to the
NATIONAL PORTRAIT GALLERY,
Which has recently been removed hither from Great George Street,
Westminster. This collection consists of Portraits and Busts of famous
Englishmen. It is under the control of a body of Trustees; Mr. George
Scharf, F.S.A. is the keeper.
Spottiswoode & Co., Printers, New-street Square and 30 Parliament Street.
S. K. M. Guide.-All ADVERTISEMENTS to be forwarded to the
Contractor, Mr. PHILLIPS, Regent Circus, (326) Oxford Street, W.
SILVER MEDAL AWARDED PARIS EXHIBITION, 1867.
GEORGE ROWNEY & COMPANY'S
WATER COLOURS,
GROUND BY
STEAM-POWER.
WATER-COLOUR PAINTING has of late years attracted so much attention as
to become one of the most important branches of the Fine Arts in this
country. Such great advances of the British Artists in this mode of Painting has
necessitated a corresponding activity on the part of the manufacturers of Water
Colours. Messrs. Rowney & Co. have great pleasure in calling public attention to the
great improvements made by them in the preparation of their Colours; first, by the
perfecting of their system of GRINDING BY MACHINERY, which they were the first to
introduce as well as to perfect; secondly, by their improved chemical processes of pre-
paration, by which the pigments, selected with the greatest care, are rendered best adapted
for the manipulation of Artists. This combination of advantages will be found to
render their Water Colours superior to any hitherto manufactured in FINENESS,
BRIGHTNESS, and EVENNESS OF FLAT WASHES OF COLOUR.
TESTIMONIALS of their superior quality have been received from many of the most
eminent Artists of the day, among whom are the following :—
BIRKET FOSTER
T. M. RICHARDSON
AARON PENLEY
EDMUND WARREN
FREDERICK TAYLER
WALTER GOODALL
WILLIAM HUNT (the late)
EDWARD DUNCAN
H. BRITTAN WILLIS
H. J. LEWIS
W. J. MUCKLEY
G. ROSENBERG
GEORGE ROWNEY & CO.'S OIL COLOURS,
Ground by Steam-power, will be found to be FINER, BRIGHTER, LESS OILY, and to DRY
QUICKER than any others at present manufactured.
Among the Artists' Testimonials may be found the following names :-
A. COOPER, R.A.
W. C. T. DOBSON, A.R.A.
H. LEWIS, A.R.A.
E. M. WARD, R.A.
C. P. KNIGHT
R. TUCKER
W. J. MUCKLEY
H. J. CRIGHTON
C. LANDSEER, R.A.
GEORGE ROWNEY & CO., Manufacturing Artists' Colourmen,
52 RATHBONE PLACE & 29 OXFORD STREET, LONDON
WHOLESALE DEPARTMENT, 10 & 11 PERCY STREET.
F
THE BEST FOOD.
MAURICE
L. MAYAR & CO.'S SEMOLINA,

THE CROSS OF
E LEGION OF HONOR
THE CROSS
OPORTO 1883
24 PRIZE MEDALS.
E&LAZARE
+D
PRESENTED BY
PRESENTED
BY HIM
NAPOLEON
H.M.THE KING OF ITALY
FIRST CLAE PARIS
+367
HIGHLY RECOMMENDED RY THE MEDICAL PROFESSION FOR
INFANTS, NURSES, INVALIDS, AND ADULTS.
IT IS APPLICABLE TO ALL THE USES OF RICE, SAGO, ARROWROOT,
TAPIOCA, CORN FLOUR, ETC.
For Puddings! Pastry! Custards! Blanc Mange! Soups! Beef Tea! Gruel!
Breakfasts! Supper! &c.
Sold by all Chemists and Grocers, Corn Chandlers, Bakers, &c. (in Tins, Canisters, and Packets.)
Report of Dr. ARTHUR HILL HASSALL, Analyst of the 'LANCET' SANITARY COMMISSION; Author of
Food and its Adulterations, &c. &c.
"I have carefully tested, chemically and microscopically, the samples of SEMOLINA sent by Messrs. L.
MAYAR & Co., 36 Mark Lane, E.C.
I find them to be perfectly genuine, of excellent quality, and eminently nutritious. They contain a very
arge per-centage of nitrogenous matter, chiefly gluten, and are far more nutritious than any other food, such
as Arrowroot, Tapioca, Sago, Corn Flour, Farinaceous Food, ordinary Wheat Flour, or any of the Cereals in.
use as food in this country.
'ARTHUR HILL HASSALL, M.D., London.'
TRADE MARK.
(Signed)

N.B.-It having come to our
knowledge that some unprin-
cipled retailers are selling a very
inferior Semolina at a lower
price, and in order to deceive
purchasers, persuade them that
it is Mayar's Semolina. To pre-
vent this fraud, the public is
informed that our Semolina is
sold only in respectable shops in
tin canisters and in packets.
None is genuine unless bearing
the Trade Mark and Signature
on the label.
N.B.-For Best Pudding, use MAYAR'S SEMOLINA.
DEPOT: :36 MARK LANE, LONDON, E.C.
L
WRIGHT & MANSFIELD,
DECORATORS, UPHOLSTERERS,
AND
CABINET MAKERS.
LONDON, 1862.
FIRST PRIZE MEDAL.
PRIZE MEDALS
PARIS, 1867.


ONLY GOLD MEDAL.
Commendation-For Excellence of Design and Workmanship.'
BY ROYAL
LETTERS PATENT.
IMPROVED MARQUETERIE COVERING
FOR FLOORS.
It is inexpensive, soft to the footfall, and easily kept clean.
IT CAN BE LAID ON EXISTING FLOORS EITHER OF WOOD, STONE, OR CEMENT.
SPECIAL DESIGNS AND ESTIMATES PREPARED FREE OF CHARGE.
In the execution of all orders, plain or ornamental, the same careful
supervision of taste and excellence is bestowed.
104 NEW BOND
AND
STREET,
3 GT. PORTLAND STREET, OXFORD STREET.
PORTLAND WORKS-6 RIDING HOUSE STREET.

PRIZE MEDAL,
PRIZE MEDAL,
PARIS 1867.
BRUSSELS,
1835 AND 1847.
BELGIAN
FURNITURE.
Drawing and Dining Room and Library Furniture,
Of Superior Workmanship, Elegant Designs, and Moderate Prices.
MANUFACTURED BY MESSRS. SNYERS-RANG, OF BRUSSELS,
185
CAN BE SEEN AT
BONTOR & COLLINS,
OXFORD STREET, LONDON, W.
Sole Agents and Representatives for England.
SPECIAL DESIGNS AND ESTIMATES PREPARED.
JOHN W. SHARPUS,
49 and 50 OXFORD
OXFORD
STREET,
LONDON, W.
Begs respectfully to call the attention of the Public to his immense Stock, which is now
replete with all the most modern and classic designs in
CHINA, GLASS, EARTHENWARE, PARIAN
STATUARY, & BOHEMIAN GLASS.
COMPLETE TO DINE 12 PERSONS.
Dinner Services, in Plain Colours.....
Ditto, richly gilt
Handsome painted and gilt.
Rich coloured Bands, handsomely gilt
Porcelain Services, rich coloured Bands, hand-
somely gilt
A VARIETY OF
.from2 20
99
"
3 13 6
5 15 6
"770
...from 25 Guineas.
PATTERNS EXPRESSLY FOR INDIA AND THE COLONIES
AT THE SAME MODERATE PRICES.
DESSERT SERVICES.
99
18
For 12 persons, in neat coloured borders ......from£1
Ditto, antique borders and coloured wreaths..
A variety, coloured borders, with gold
flowers, on the finest Porcelain
Ditto, ditto, from 5 to 10 Guineas and upwards.
China Breakfast Set (gold edge), viz. 6
breakfast cups and saucers, 2 plates, 1 slop,
1 sugar basin, 1 milk jug....
"
0 12
...
A LARGE ASSORTMENT OF
PATTERNS AT THE SAME MODERATE PRICES.
TEA AND COFFEE SERVICES.
White China, gold edge...
Neat painted band and flowers
..from£0 17 6
18
"
0
Elegant pattern, handsomely painted and gilt. 220
19
Splendid Services, of the most elaborate work-
manship and design, richly painted and
gilt
GLASS DEPARTMENT.
ES 88. to £11 14s.
Particularly neat cut Wine Glasses
25 6
Handsome cut glass ditto........ from 12s. 6d. to 1 1 0
Neat good strong Tumblers
0 4 6
A large variety of parterns...
........10s. 6d. to 1 4 0
Pale Ale Tumblers, for India....from 12s. 6d. to 2 2 0)
per dozen
Modern shape Decanters
Cut glass and engraved...
20 8 6 per pair.
.......Zle. to 2 2 0 99
Custard and Jelly Glasses........ 48. 6d. to 0 10 6 per doz.
Cut Glass Water Jugs.....
..59. to 1 1 0 each.
Best Glass Salts (modern shape) ....9d. to 0 2 9 each.
A Price Catalogue may be had on application, containing full description of Kitchen Requisites, Toilet Ware,
Papier Trays, Cutlery, Plated Cruet Frames, Hot Water Plates and Dishes, and every requisite for furnishing at
extremely reduced cash prices.
All Orders from the Country must be accompanied with a Reference or Remittance.
WALKER'S CRYSTAL CASE WATCHES.
PRIZE MEDALS, 1862 1867.
JOHN WALKER,
CHRONOMETER, WATCH, AND CLOCK MAKER
By Appointment to the English, Indian, Colonial, and
Foreign Railways,
68 CORNHILL, 230 REGENT STREET,
AND
76 STRAND, LONDON.
J. W. solicits an inspection of his Crystal Case Watches, which entirely obviate the necessity
of a Hunting Case Watch, being much stronger and more convenient.
Silver, from £6 6s.; Gold, from £15 15s.
DESCRIPTIVE
PAMPHLET
FREE.
E. M. REILLY
& CO.,
MANUFACTURERS OF IMPROVED
BREECH-LOADING GUNS, DOUBLE RIFLES, AND PATENT REVOLVERS.
Large assortments always on hand for inspection and immediate trial.
Wild Fowl Guns, Military Fire Arms, Saloon Pistols and Rifles, Rook Rifles.
PRICE LISTS
POST-FREE.
315 OXFORD STREET, NEAR REGENT CIRCUS, W.;
502 NEW OXFORD STREET, LONDON, W.C.: AND 2 RUE SCRIBE, PARIS.

RICHARDSON LADE
X-XX-XXXXX
·
ART. METAL WORKERS IN
IRON BRASS SILVER
.
.
GATES RAILING HINGES VANES
CORONA STANDARDS MEMORIAL BRASSES
CHALICES FLAGONS ALMS PLATES &
SHOW-ROOM 18 BROWNLOW ST HOLBORN
FACTORY
RS & CO DES
2434 HIGH HOLBORN.o
3 54
LONDON
WG.S DEL
Churches, Chapels, Schools, and other Public or P.ivate Buildings
Lighted and Warmed in the most efficient manner.
PLANS AND ESTIMATES ON APPLICATION.
CARPETS, CURTAINS, CABINET FURNITURE,
BEDSTEADS AND BEDDING.
The most recherché variety of
SILK AND OTHER FABRICS
FOR
CURTAINS AND HANGINGS,
IN EVERY STYLE AND GREATEST NOVELTY.
CARPETS OF EVERY MAKE.
CABINET FURNITURE
Of the Soundest Manufacture and Materials, and in the Most Approved Taste.
BEDSTEADS AND BEDDING FITTED COMPLETE
From the Least Expensive to the Costliest.
BEDDING OF HIGHLY PURIFIED MATERIALS.
PATTERNS, SAMPLES, AND PRICES FORWARDED ON APPLICATION TO
G. DIACK, 212 & 213 OXFORD STREET, W.
CARVED OAK FURNITURE
SUITABLE FOR EVERY CLASS OF HOUSES.

JULIUS YACOBY,
52 REGENT STREET, W.
(Facing Waterloo Place),
THE ONLY MANUFACTURER IN LONDON
OF
RENAISSANCE & GOTHIC
FURNITURE.
CELEBRATED FOR EXCELLENCE OF
WORKMANSHIP,
Elegance and Purity in Design, and extremely
moderate prices.
(See ART JOURNAL OF THE PARIS EXHIBITION, 1867.)
SUITES OF CARVED OAK
DINING-ROOM FURNITURE,
CONSISTING OF
6 STUFFED CHAIRS, COUCH, TELESCOPE DINING TABLE, SIDEBOARD,
AND DINNER WAGGON,
FOR SIXTY
GUINEAS AND
UPWARDS.
PARQUETERIE FLOORING warranted for any number of years at prices considerably
below those of other houses.
GENERAL HOUSE FURNISHER AND DECORATOR.
FACTORY: 3
GLASSHOUSE
STREET,
ALLEN'S PORTMANTEAUS
37
WEST
STRAND,
LONDON.
W.


ALLEN'S
PATENT
BAC
ALLEN'S
PATENT BAG.
Allen's Illustrated Catalogue of Trunks,
Dressing Bags, Despatch Boxes, and 500
other articles for Continental travelling,
post free.
ALLEN'S
FITTED
BAC
PRIZE MEDAL awarded for General Excellence. ALLEN'S NEW
DRESSING BAG.
PERSONAL
APPEARANCE.
THIE ancients are certainly to be admired and praised for their scrupulous care
and attention to this important duty. Their constant use of baths and ablutions
must have been productive, not only of cleanliness, but in a great degree of health,
and exemption from disease. The moderns certainly seemed to have degenerated
in this respect; and not only during the middle ages, when some degree of negligence
and rudeness of manner might be expected, but even in times comparatively recent,
the same inattention seems to have prevailed even with personages of the highest
rank and station. It is a matter of history that Mary Queen of Scots very rarely
washed her hands! Her son, James I., was equally negligent; and like examples
are neither unfrequent nor uncommon. At the present day the means of cleanliness-
the appendages of the toilet, and the preservation and improvement of personal
appearance, are of course sedulously attended to; and among the various accessories
thus employed, the preparations submitted by the Messrs. Rowland, their inimitable
Macassar Oil for the hair, their invaluable Kalydor for the skin and complexion, and
their Odonto for the teeth and gums, and the embellishment of the mouth, are
deservedly in general use and estimation.
GREAT CAUTION is necessary as to where proprietary articles are purchased, particu-
larly those with reference to the toilet. Shopkeepers of small repute offer for sale their spurious
and pernicious imitations of proprietary articles under the lure of being cheap, regardless of the
consequences. ROWLANDS' TOILET REQUISITES their Macassar Oil, Kalydor, and
Odonto, are peculiarly the subjects of these innovations.-MORNING PAPER.
DR. J. COLLIS BROWNE'S
CHLORODYNE,
The Original and only Genuine.
ADVICE TO INVALIDS.-If you wish to obtain quiet refreshing sleep, free from headache, relief
from pain and anguish, to calm and assuage the weary achings of protracted disease, invigorate the
nervous media, and regulate the circulating systems of the body, you will provide yourself with that
marvellous remedy discovered by Dr. J. COLLIS BROWNE (late Army Medical Staff), to which he
gave the name of
CHLORODYNE,
and which is admitted by the Profession to be the most wonderful and valuable remedy ever
discovered.
Asthma.
Fever, Croup, Ague.
CHLORODYNE is the best remedy known for Coughs, Consumption, Bronchitis,
CHLORODYNE effectually checks and arrests those too often fatal diseases-Diptheria,
CHLORODYNE acts like a charm in Diarrhoea, and is the only specific in Cholera and
CHLORODYNE effectually cuts short all attacks of Epilepsy, Hysteria, Palpitation, and
Dysentery.
Spasms.
is the only palliative in Neuralgia, Rheumatism, Gout, Cancer, Toothache,
CHLORODYNE is Meningitis, &c.
CAUTION.-BEWARE of PIRACY and IMITATIONS.
CAUTION.-Vice-Chancellor Sir W. PAGE WOOD stated that Dr. J. COLLIS BROWNE was undoubtedly
the Inventor of CHLORODYNE; that the story of the Defendant FREEMAN was deliberately untrue,
which, he regretted to say, had been sworn to.-See Times, July 13, 1864.
Sold in Bottles at 1s. 14d., 2s. 9d., 4s. 6d., and 11s, each. None is genuine without the words 'Dr. J.
COLLIS BROWNE'S CHLORODYNE' on the Government Stamp. Overwhelming Medical Testi-
mony accompanies each bottle.
SOLE MANUFACTURER-
J. T. DAVENPORT, 33 Great Russell St., Bloomsbury, London.
THE GRAPHIC,
A NEW AND SUPERIOR ILLUSTRATED WEEKLY NEWSPAPER.
Containing Twenty-four Pages Imperial Folio, printed on a fine Toned Paper of beautiful quality.
The Froprietors of THE GRAPHIC having long been convinced that a better ILLUS-
TRATED NEWSPAPER could be produced than had hitherto been published; and having
abundant means at their command, determined to put their conviction to the proof, fully
assured that a triumphant success would speedily reward their efforts.
THE
GRAPHIC
Is a Journal combining Literary Excellence with Artistic Beauty, and as such, deals with all
the prominent TOPICS of the DAY; especially those belonging to LITERATURE, ARTS and
SCIENCES, FASHIONS, and Matters interesting to the FASHIONABLE WORLD, SPORTS and
PASTIMES, MUSIC, THE OPERA and THE DRAMA.
Among the numerous distinguished Artists who have promised to assist the enterprise in various ways,
ANSDELL, R., A.R.A.
ARCHER, J.
ARMITAGE, E., A.R.A.
BEVERLEY, W.
BUCKMAN, E.
DEANE, W. W.
DODGSON, GEORGE
DU MAURIER, G.
DUNCAN, EDWARD
EDWARDS, M. E.
ELMORE, Á., R.A.
FAED, T., R.A.
FILDES, S. L.
FOSTER, BIRKET
FRITH, W. P., R.A.
may be mentioned:-
GILBERT, F.
GOODALL, WALTER
GRANT, SIR FRANCIS, P.R.A.
GREEN, C.
HAAG, CARL
HODGSON, J. E.
HOUGHTON, A. B.
HUNT, ALFRED
JEUNE, H. LE, A.R.A.
KEENE, C.
LAWSON, F. W.
LESLIE, G. D., A.R.A.
LEIGHTON, J., F.S.A.
LUXMORE, A. H.
MASON, G., A.R.A,
ORCHARDSON, W. Q., A.R.A.
PETTIE, J., A.R.A.
PINWELL, G. J.
PRINSEP, VAL.
POYNTER, E. J., A.R.A.
SKELTON, PERCIVAL
SANDYS, F.
STONE. MARCUS
STOREY, G. A.
THOMSON, J. GORDON
WATTS, G. F., R.A.
WEIR, HARRISON
WHISTLER, J.
WOODS, H.
Published at the Offices of THE GRAPHIC, 190 Strand, London,
And sold by all Booksellers, News Agents, and at the principal Railway Stations in the United Kingdom.
THE BEST FOOD FOR INFANTS Resculling Mother's Milk as closely as
possible.'-Dr. H. BARKER.
THE INFANT PRINCE THRIVES ON IT AS A PRINCE SHOULD.'-Social Science Review.
'A Real Improvement on ordinary kinds. The saving of time and trouble is of the utmost
consequence.'--The Lancet.
No Boiling or Straining. Tins, 1s., 2s., 5s., and 10s.
IMPERFECT DIGESTION AND ASSIMILATION, CONSUMPTION, AND WASTING.
Pancreatic Emulsion and Pancreatine
Are the most potent remedial agents. They are the only remedies yet known for effecting
the digestion of Cod Liver Oil, and preventing nausea when taking it, while they also effi-
ciently supply the place of the oil when the stomach cannot tolerate it. These facts are now
attested by the published records of numerous medical men, extracts from which accompany
each bottle, price from 2s. to 21s.
Note.-SAVORY & MOORE'S Names and Trade Mark on each Bottle.
DATURA TATULA,
For Asthma, Chronic Bronchitis, etc.
It is a remedy of great efficacy.'-Dublin Journal Medical Science.
I have suffered from attacks, attended with painfully suffocative sensations, which have
been immediately relieved by smoking, for a few minutes, the Datura Tatula. I consider it
a remedy of great power and usefulness.'-Dr. BARKER on Diseases of the Respiratory Organs.
Formed into Cigars and Cigarettes: Boxes, 3s., 8s., and 15s. For use by means of a Pipe:
Tins, 2s. 6d., 5s., 10s., and 18s. Pastiles for Inhalation: Boxes, 2s. 6d., 5s., and 10s.
SAVORY & MOORE, 143 New Bond Street, London.
READING'S IMPROVED INVALID CARRIAGES.
CARRIAGES FOR THE REMOVAL OF INVALIDS ON HIRE.
The greatest ease and comfort ever introduced
For REMOVING INVALIDS,

BEING FITTED WITH
PATENT NOISELESS WHEELS.
These Carriages may be engaged on moderate
terms for any journey on application to
H. & J. READING,
COACH BUILDERS,
14 Riding House St. Cavendish Sq.
Also a Good Assortment of New and Second-hand Broughams and other Carriages for Sale or Hire.
NEW AND UNADULTERATED SEEDS.
Prize Medals 1851 and 1862.
BUTLER, McCULLOCH, & CO'S complete collection of Vegetable Seeds for one year's supply suitable
for Large, Medium, or Small Gardens, and containing useful varieties.
No. 1, 63- No. 2, 42/-
OF
No. 3, 30-
CHOICE
COLLECTIONS
No. 4, 21/- No. 5, 10,6.
FLOWER
SEEDS.
Orders for Vegetable Seeds amounting to 21s. sent carriage paid. All packets of Flower Seeds sent post paid.
No charge for packages. Priced Descriptive Catalogues containing details of above, also a carefully-selected
list of Novelties in Flower and Vegetable Seeds sent post free on application,
SOUTH ROW, COVENT GARDEN MARKET, LONDON, W.C.
ESTABLISHED UPWARDS OF A CENTURY.
LECHERTIER, BARBE, & CO.'S
PATENT IMPROVED
PAPIER - MACHÉ LAY FIGURES,
Light and flexible, steady and strong, Moulded on Nature; highly recommended,
being used by many eminent artists.
Life size, Male or Female
·
£12 0 0
Girl.
Child
LECHERTIER, BARBE, & CO., 60
10 0 0
3 10 0
Regent Street.
*** Exhibited in the South Kensington Museum, Educational Department.

1862
LONDINI
HONORIS
CAUSA
1851.
WATSON, BONTOR, & Co.
1862.
CARPET MANUFACTURERS TO THE ROYAL FAMILY,
AND IMPORTERS OF
TURKEY, INDIAN, & PERSIAN CARPETS,
Manufactured expressly for them, under the superintendence of their own Agents,
35 & 36 OLD BOND STREET, W.
INTERNATIONAL EXHIBITION, 1862. J. TOUZEAU SAUNDERS, 143 OXFORD STREET, LONDON.

HONORABLE MENTION
'FOR GOODNESS OF QUALITY."
SAUNDERS'S FACE POWDER or BLOOM of NINON
Retains its superiority over all other cosmetic preparations for Preserving the
Beauty and Youthful Freshness of the Complexion. Its advantage in hot
countries is immense; it effectually preserves the skin from the influence of
climate. Price 6d., 18., 2s. 6d. by post for 8, 16, or 40 stamps.
SAUNDERS'S EAU BLONDE or GOLDEN HAIR WASH
Is used simply as a Hair Wash, and in a few days changes the hair to the
golden shade so much admired. Pure, simple, harmless, but perfectly effective;
no fear of failure, nor any apprehension of injury to the Hair. Price 4s. 6d.;
double size, 7s. 6d.
SAUNDERS'S GUARDS' HAIR DYE
Instantaneously changes Red or Grey Hair to a natural Brown or Black; is
perfectly harmless, and half the price of any other. Price 2s. 6d., 38. 6d., 5s., and
10s. The Whiskers and Mustachios Dyed in one minute.
J. TOUZEAU SAUNDERS'S TOILET PREPARATIONS are
sold by all respectable Perfumers and Chemists
in Town and Country.
Catalogues Gratis and Post-free.
DICK RADCLYFFE & CO., F.R.H.S.,
129 HIGH HOLBORN, W.C.
SEEDS, FERNS, BULBS, PLANTS,
AND EVERY DESCRIPTION OF
Horticultural Decorations.
WHELPTON'S
VEGETABLE PURIFYING PILLS
Have for more than 30 years proved their value in Diseases of the Head, Chest, Liver, Kidneys, and Digestive
Organs. They are a direct Purifier of the Blood, and in all Skin Complaints one of the best Medicines known.
As a protection against Spurious Imitations the public are particularly requested to bear in mind that
the genuine Whelpton's Pills ARE SOLD ONLY IN BOXES, price 7d., 18. ltd., and
2s. 9d. each, and have the Proprietor's name on the Government Stamp.
Prepared and Sold Wholesale and Retail by G. WHELPTON & SON, 3 Crane Court, Fleet Street, London,
and may be had of all Chemists and Medicine Vendors. Sent free to any part of the Kingdom on receipt of
8, 14, or 33 stamps.
May be had of all Chemists and Medicine Vendors.

PROTECTION
TRADE MARK
SECURITY
FROM
FIRE
BRYANT & MAY'S
LIGHT ONLY ON THE BOX
PATENT SAFETY MATCHES
THE PUBLIC ARE
TRADE MARK
SECURITY
CAUTIONED
AGAINST DANGEROUS IMITATIONS

GARDEN
SPECIMENS AT THE
AND
Conservatory
FOUNTAINS
IN THIS STYLE,
4 feet diameter, from £10.
F. MICHEL'S
Rustic Aquariums
From 28.
FOUNTAIN JETS,
FIGURES, DOLPHINS,
FROGS, FITTINGS, &c
For Amateurs and the Trade.
F. MICHEL'S
NEW MAGIC ROCKWORK
Which will throw up Water
from any Aquarium !!
RUSTIC BRIDGES, WATER
WHEELS, WINDMILLS, &c.
READY TO PLAY BY WATER.
MANUFACTURER'S,
F. MICHEL,
471 OXFORD STREET, near the British Museum.
CATALOGUES BY POST ON RECEIPT OF A STAMP.
Established nearly Half a Century.

PATTERNS
VERA
Post-free.
PRICE
LISTS
Post-free.
FIRST-CLASS CARPETS-LOWEST
FIRST-CLASS SILKS LOWEST
PRICES.
PRICES.
FIRST-CLASS DRAPERY-LOWEST PRICES.
Carriage Free to any part of the Kingdom.
FIRST-CLASS FURNITURE LOWEST PRICES.
T. VENABLES & SONS, 103, 104, and 105 WHITECHAPEL,
and 2, 4, 6, and 8 COMMERCIAL STREET, LONDON, E.
V
E
A
310.
S
巨
​E
S
1
HOW TO PURCHASE A HOUSE
For Two Guineas per Month, with immediate Posses-
sion, and no Rent to pay. Apply at the Office of the
BIRKBECK BUILDING SOCIETY,
London Mechanics' Institution, 29 Southampton
Buildings, Chancery Lane.

HOW to PURCHASE a PLOT of LAND
For Five Shillings per Month, with immediate
Possession, either for Building or Gardening Purposes.
Apply at the Office of the
BIRKBECK FREEHOLD LAND SOCIETY,
London Mechanics' Institution, 29 Southampton
Buildings, Chancery Lane,
HOW to INVEST YOUR MONEY
With Safety at £1 per Cent. Interest. Apply at the
Office of the
BIRKBECK DEPOSIT BANK.
All sums under £50 repayable on demand.
Current Accounts opened similar to ordinary Bankers.
Cheque Books supplied.
Office Hours: from 11 to 5 daily; on Saturdays from
11 to 2, and on Monday Evenings from 7 to 9.
A Pamphlet, containing full particulars, may be ob-
tained gratis, or sent post-free on application to
FRANCIS RAVENSCROFT, Manager.
MEDIEVAL
BOTH
PURE
WRITING, BOOK-KEEPING, &c.
Persons of any age, however bad their
writing, may, in Eight Lessons, acquire per-
manently an elegant and flowing style of
PENMANSHIP, adapted either to professional
pursuits or private correspondence. Arith-
metic on a method requiring only one-third
the time usually requisite. Book-keeping by
Double Entry, as practised in the Govern-
ment, Banking, and Merchants' Offices; Short-
hand, &c. For terms, &c. apply to
Mr. SMART, 97B Quadrant, Regent Street
(REMOVED FROM 5 PICCADILLY).
Agent to the West of England Fire and
Life Insurance Company.
FURNITURE.
STYLE.
SIMPLE AND RICH IN
DESIGN.
Furniture also of a simple kind in RUSTIC GOTHIC, suitable for Small Houses, Shooting
and Fishing Boxes, combining good taste and sound workmanship with economy.
COLLINSON
& LOCK,
Successors to HERRING, SON, & CLARKE,
Cabinet Makers, Upholsterers, Designers, Decorators, and
Funeral Furnishers,
109
FLEET STREET.
WALTER THORNHILL,
CUTLER AND DRESSING-CASE MAKER
To the Queen, the late Prince Consort, and the Royal Family,
144 NEW BOND STREET and 42 CORNHILL, LONDON.
Manufacturer of FINE CUTLERY, RAZORS, NEEDLES, &c. and every variety of
Sporting, Shooting, and Fishing Knives.
THORNHILL'S NORWEGIAN BELTS FOR LADIES AND GENTLEMEN, WITH AND WITHOUT FITTINGS.
THORNHILL'S REGISTERED TELESCOPE PENCIL.
THORNHILL'S CELEBRATED LUNCHEON BASKETS.
Also a variety of useful Elegancies suitable for presents.
J. J. THOMAS'S SUPERIOR MACHINE-MADE WIRE NETTING.

GREAT
IMPROVEMENT.
JANUARY 1869.
REDUCED PRICES,
This Netting is galvanised after being made, and is thus very much stronger, and more durable, and being
machine-made, the mesh is more regular and has an improved appearance.
PRICES-per Lineal Yard, 24 Inches Wide.
LIGHT
Galvanised
EXTRA STRONG
Galvanised
Size of
Mesh
Mostly used for
24 inch
2 inch
Dogs or Poultry
Poultry
1 inch
11 inch
1 inch
inch
inch
Small Rabbits, Hares, &c.
Smallest Rabbits
Pheasantries, Small Birds, &c.
Aviaries, Window Guards, &c.
Aviaries, Window Guards, &c.
MEDIUM
Galvanised
STRONG
Galvanised
8.
d.
8. d.
8. d.
8. d.
0 31
0 44
0 54
0 64
0
31
0
44
0
53
0 7
0
42
0
0
6
0 8
0
54
0
0
0 10
0 10
1
1
1 10
1
11
1
7
1 10
2
2
3
2 6
The Netting is kept in rolls of 50 yards, but can be sent out in any required lengths. Quantities of 100 yards
or upwards delivered at nearly all the principal Railway Stations and Shipping Ports in England; and 200 yards
or upwards delivered free to most parts of Scotland and Ireland. The necessary quantity of staples or tying
wire, to fix the Netting, sent if required.
J. J. THOMAS, Paddington Wire Works, 285 and 362 Edgware Road, London, W.
Illustrated and Priced Catalogues on application.
PAYNE & SON,
(LATE MILLER)
32 LOWNDES STREET, BELGRAVE
By
Special
SQUARE.

To
Her Majesty
Appointment
the Queen.
A CONTINUAL SUCCESSION OF ENGLISH & FOREIGN TOYS,
DOLLS
(SPEAKING AND WALKING, DRESSED AND UNDRESSED), IN GREAT VARIETY.
MAGIC LANTERNS WITH DISSOLVING VIEWS.
MECHANICAL TOYS, &c.
THE NEW CAMELEON TOP.
By a simple but ingenious arrangement the most wonderful effects are produced. This
Top is spun in the ordinary way; by a slight touch it changes colour, forming in its rotation
cups and saucers, decanters, wine glasses, goblets, and the most laughable comic figures. It
is a source of great amusement.
EVENING PARTIES attended by an experienced Conjuror and Ventriloquist.
13
२६
THE WENHAM LAKE ICE COMPANY,
140 STRAND, LONDON, W.C. (Established 1845)
MANUFACTURERS OF THE CELEBRATED
Prize Medal Refrigerator, and of the New Duplex Refrigerator,
WHICH IS ARRANGED TO COMBINE THE PRINCIPLE
OF THE ORDINARY BOX REFRIGERATOR WITH THAT OF THE CABINET, SO THAT EITHER
WENHAM
REGISTERED MARCH 17, 1869.
This Refrigerator has three distinct compart-
ments, so that Fish, Game, Fruit, &c.
may be preserved for a long time,
and can be kept separate.
Suitable for Champagne, Claret, Cyder,
LAKE
OR ROUGH
ICE
TOL
WASTE
THE NEW AMERICAN
DOUBLE WALL ICE-WATER PITCHER,
and all kinds of Cups. Electroplated,
£3
10s.
each.
ICE
MAY
ICED WATER
BE
USED
IN
IT.
performs a second duty by assisting to cool them.
but is stored in a Well in the lower compartments, and thus
running from the Ice, icy cold, is not allowed to escape,
That none of the refrigerating power may be lost, the Water

THE
NEW AMERICAN BUTTER DISH,
With Revolving Lid, for use with Ice.
Electroplated, from £1 10s. each.


An Illustrated Price List sent free by post
on application at the
SOLE OFFICE:-140 STRAND, LONDON, W.C.
J. D. SALMON, Manager.
nce the Fire in Leicester Square, the business carried on as usual at No. 12 Leicester Place, until the new premises are built.
BY HER MAJESTY'S ROYAL LETTERS PATENT
AND BY SPECIAL APPOINTMENT TO HER MAJESTY
AND THE
ROYAL FAMILY
JOHN WARD
THE EMPRESSES
RUSSIA & FRANCE
&c. &c.
5 & 6 LEICESTER SQUARE, LONDON.
24
19
14
**
17
10
No. 19. A Victoria Three-wheel Bath Chair, with leather head, folding German shutter,
and patent spring front iron, to which shafts for a pony may be attached.
No.10 is Earl's general Invalid Couch, made with or without a convenience; it adjusts
the back seat and legs to any given position, by means of machinery; and is recommended
by the Faculty as being the most complete bed ever made for confirmed invalids or for
fractured limbs.
Nos. 3 and 4 are self-propelling Chairs, one mounted upon engine-cut cogwheels, the
other with 24-inch rim wheels outside; either may be used by a child eight years of age
with the greatest ease.
21
No. 17 is a four-wheel Victoria Pleasure Ground Chair, mounted in a very light iron framed carriage, upon c and patent India-rubber springs, is either drawn by hand or animal, and is the
No. 21. A very light and easy three-wheel Bath Chair, to be drawn by hand. Price from 12 Guineas.
[most elegant and easiest chair made.
No. 14 is the simplest an best constructed Chair for carrying invalids up or down stairs, the lower handles for level ground, the upper ones for ascending or descending a staircase. The sketch
conveys the exact idea: it is also made portable for travelling. Several other kinds are always in stock upon various principles.
N.B. The largest assortment in the world of Invalids Chairs, Carriagos, and Beds, always on hand for sale or hire. Established more this








descending a staironne
GROVER AND BAKER'S
SEWING MACHINES,
MAKING THE
CELEBRATED ELASTIC OR DOUBLE-LOCK STITCH,
ARE WARRANTED TO DO BETTER, STRONGER, AND HANDSOMER
WORK, WITH LESS TROUBLE, THAN ANY OTHER.
&BAKER'S
GROVER &

SEWING MACHINES
BORD
D
IN ADDITION TO
Stitching, Hemming, Felling,
Tucking, Gathering, Quilting,
Cording, Binding, and Braid-
ing,
They Embroider Beautifully.
Instruction Gratis. Prospectus Free.
N.B.-Machines for Export packed in Tin-lined
Cases when required, without charge.
150 Regent Street, London, W., and 59 Bold Street, Liverpool.
WM. CHURTON & SON,

OXFORD STREET,
The Golden Fleece,
91 & 92
THE GOLDEN FLEECE
LONDON, W.
SUPERIOR FAMILY HOSIERS,
Professed Shirt-Makers,

GLOVERS,
ETC.
917
HOSIERS &
CHURTON CHURTON92 91 W CHURTON SON 91
OUT
INDIA OUTFITS,
Marriage Trousseaux,
ETC.
ESTABLISHED NEARLY A CENTURY.
LADIES' OUTFITTING.
GEORGE ROBERTS
Respectfully invites the attention of Ladies to his large and varied
stock of every article requisite for
WEDDING AND INDIA OUTFITS.
The STAY Department contains the largest stock of French and
English Stays in the Kingdom, and has been celebrated for upwards of
thirty years. Lowest Cash Prices, and every article marked in plain figures.
183
COMPLETE OUTFITS from £15.
OXFORD STREET, LONDON,
(BETWEEN DUKE STREET AND ORCHARD STREET.)
C. NOSOTTI,
INTERIOR DECORATOR.
UPHOLSTERER AND CABINET MAKER,
AND
LOOKING GLASS MANUFACTURER.
ESTABLISHED 1812.
THIRTEEN SHOW ROOMS,
CONTAINING THE CHOICEST SELECTION IN THE KINGDOM OF
GILT DECORATIVE ARTICLES, CABINET AND
UPHOLSTERY, FURNITURE, &c.
AT MODERATE PRICES.
397, 398-OXFORD STREET-399, 399.
POWNCEBY'S
LIGHT
OLD PORT,
FOR
INVALIDS OR GENERAL PURPOSES.
36s. per dozen, bottles included; or 16s. per gallon, imperial measure.
CASES FOR THE COUNTRY, is. 6d. PER DOZEN EXTRA. WICKER BOTTLES, 15. 3d.
PER GALLON EXTRA.
This Wine has been analysed by Dr. Hassall, and pronounced a thoroughly good wine,
rich in extractive matter, of excellent flavour, generous and restorative, and
beneficial after illness.'
TOWN ORDERS CASH ON DELIVERY.
Post Office Orders payable to S. POWNCEBY,
356 OXFORD STREET, W.
KEATING'S
THE VAST INCREASE in
LOZENGES, and the numerous
justify the Proprietor in asserting
to the Public for the Cure of the
WINTER COUGH, HOARSENESS,
PULMONARY MALADIES.
COUGH
TREATING
79
PAULA
HO
CHUR
TRADE MARK
LOZENGES.

the demand for these COUGH
Testimonials constantly received, fully
they are the best and safest yet offered
following Complaints: ASTHMA,
SHORTNESS OF BREATH, and other
They have deservedly obtained the high patronage of their Majesties the King of Prussia and the
King of Hanover; very many also of the Nobility and Clergy, and of the Public generally, use them,
under the recommendation of some of the most eminent of the Faculty.
OLD BANK, STRATFORD-UPON-AVON, STRATFORD:
TESTIMONIAL.
May 7, 1868.
DEAR SIR,-Having had a severe Cough this winter I was advised to try your Lozenges, which are invalu-
able; having purchased one box costing only 18. 14d., completely set me up, and must, therefore, strongly
recommend them as a certain cure.
I remain, your most obedient servant,
W. HOBBINS, Manager.
To Mr. Keating, 79 St. Paul's Churchyard, London.
Prepared and sold in Boxes, 18. 14d., and Tins, 23. 9d., 4s. 6d., and 10s. 6d. each, by
THOMAS KEATING, Chemist, 79 St Paul's Churchyard, London, E.C.
Sold Retail by all Druggists.
KEATING'S INSECT-DESTROYING POWDER.
This Powder is quite Harmless to Animal Life, but is unrivalled in destroying Fleas, Bugs, Emmets,
Flies, Cockroaches, Beetles, Gnats, Mosquitoes, Moths in Furs, and every other species of insects in all
stages of metamorphosis.
Sold in Packets, 18., Tins 28. 6d. and 48. 6d. each. Also in Bottles, 1s. 2d., and with Bellows, 1s. 6d. and 38. each, by
THOMAS KEATING, Chemist, 79 St. Paul's Churchyard, London, E.C.

MAKER TO THE QUEEN.
BENNETT'S
HOUSE, OFFICE, & SHOP
DIALS,
EIGHT DAY PIECES,
n Malingany, Oal, or Rosewood
Taw, warranted for perfect uma
CAFI FRICES.
12 in... 23 3 0
34
10
18
20
26
7100
10 100
15 16
BENNETTS KEYLESS WATCHES
NO KEY REQUIRED.
AIR-TIGHT, DAMP-TIGHT, DUST-TIGHT.
G4.
Ox
Ga.
10
10
12
Gold
Persons who forward thetr Money may
rely on the ld possible Watch by return.
CHURCH, TURBET, RAILWAY,
HOUSE, AND DRAWING-ROOM CLOCKS.
GOLD FROM 10.10.0
BENNETT'S
MODEL WATCH
Is a combination of all the
toos Improvements for performa
suce, taste, and sonomy, securing
to the wearer the India-
pazialile comfort of
paricet iims
SILVER FROM 4.4.0
Bennett's
WATCHES
SAFE&FREE BY POSTY S
Cheapside
GENTLEMEN'S
Gains.
05 to 10
32 8 to 5
TIMED & GUARANTEED
EVERY WATCH IN THE LATEST STYLE,
AND MOST CAREFULLY FINISHED.
LADIEN
BILVER,
Experior London made Lever Watches, Jewelled Girs,
in 4, 6, 8, or 10 holen..
Horizontal Escapement, Jewelled In 4, 4, or
GOLD,
res
5 to 10
10 to 20
3 to
6 to 12
Half-Chronometers, Compensated for Variations of Temperature, adjusted
Hoeltions, Winding and Setting Hands without a Key, for Gentlemen,
In Gold, 30 to 40 Gej ditto in Silver, 16 to 35 Ga
SOCCANT MOORTMENT
OF
DRAWING-ROOM CLOCKS
IF 2014
NEWEST DESIGNS
ASTRONOMICAL TURRET
OTHER CLOCKS..
MADE TO ORDER
Ditto for Ladies,
with richly Engraved Gold Cassa and Dials,
From 20 to 30 Ga.
CHEAPSIDE
LONDON
TO THE ADE RALTY
EVERY WATCH
BRILFULLY CONSTRUCTED,
CAREFULLY EXAMINED
PROVED, TIMED
AND ITS PERFORMANCE
GUARANTEED

THE UNIVERSITY OF MICHIGAN
DATE DUE
JAN 3 1 1983
AUG 2 4 1984
APR 2
NOV-83-1997
1997 9 1 نانانا

BOUND N LISSARY.
SEP 15 1904
UNIVERSITY OF MICHIGAN
3 9015 00051 7972
DO NOT REMOVE
OR
N
RD