COURT FOR MUSICAL INSTRUMENTS. Among the industrial courts the most interesting is one designed by Mr. John Thomas, a gentleman employed to execute a large proportion of the works of art for the decoration of the New Houses of Parliament. The visitor will find this court the last of the series upon the left hand, as he proceeds towards the south, and immediately opposite the Pompeian Court. The directors have done wisely in choosing so prominent a position for a court devoted to an art which, like music, is held in such universal estimation. The interior court is 70 feet long and 46 feet widethe same dimensions as each of the other six courts. The four sides of the court are perforated by a series of arched recesses, which are glazed inside and out, thus forming cases for the purpose of depositing those instruments that require such accommodation. The exterior decorations of the end elevation being intended to typify sacred music, scriptural subjects are introduced over the two entrances-one being David, the sweet singer of Israel,” who, with instrument in hand and face turned heavenward, is represented as giving utterance to the words which are engraved beneath "Yea, on the harp will I praise thee, O my God!" The other represents Miriam, the prophetess, sister of Aaron, with timbrel in hand, exultingly exclaiming "Sing ye to the Lord, for he hath triumphed gloriously.' وو The exterior elevation of the side, which faces the nave, while harmonizing with the other sides in its general effect and architectural character, differs in the signification of its ornamentation, which is designed to set forth pastoral and martial music. In keeping with this idea, the ornament consists of heads of Pan, Pandaan pipes, and shells, interwoven with foliage of an appropriate character. On each side of the entrance are caryatid figures in lively attitudes, playing on different instruments-the entrance itself being surmounted with a large bust of Apollo. The greatest amount of work is, however, to be found in the interior; each side being richly covered with ornament, though at the same time disposed with so much taste as not to appear in excess, but rather to present to the eye a playful and musical effect. Over each arched recess is a bust of some great musical composer, either native or foreigntwenty-four in all-which being more than life size, and carefully modelled from the best portraits by Mr. Thomas himself, will of themselves compose an interesting gallery of celebrated masters, and as the names are placed above each bust, no difficulty will. arise in distinguishing them. Between each bust are projecting decorated columns, upon which are standing in various graceful attitudes boys playing on different instruments, while over each recess are panels of musical instruments, in bas-relief, crossing one another, and entwined with myrtle and other twigs and branches. Over the side entrances, and facing one another, are two alto COURTS FOR PRINTED, WOOLLEN, AND MIXED FABRICS. 157 relievo figures of St. Cecilia and Erato, having appropriate inscriptions under each; that under St. Cecilia being from Dryden : "At last divine Cecilia came, while under that of Erato, are lines from Collins: “O Music, sphere-descended maid, Friend of pleasure-wisdom's aid." The whole is surmounted with a bold cove, enriched at intervals by the introduction of ornamental shields, bearing upon them ancient lyres. The court, covered with a canopy of bunting suspended from the roof, will prevent the bad effects which would result from the rays of the sun coming directly upon the instruments, and at the same time give a pleasing and effective finish to the whole. The busts, figures, and ornaments, have been admirably modelled by Mr. John Thomas, the architect and sculptor, at his studio, Paddington. Within this court are exhibited some beautiful wind instruments by Messrs. Distin; and some fine pianos by Messrs. Peachey, Tolkien, Mott, Brinsmead, Boosey & Sons, Moore, Jones, Marsh & Steedman, Rolfe & Sons, Ventura, Pain, Challen & Son, J. C. Jones, Kohler, Levesque, Edmeades & Co., Cooper & Son, Greaves, Hughes & Denham, Bowler, and others. COURT FOR PRINTED FABRICS. Next to the musical instruments is situated a very elegant court designed by Sir Charles Barry. The front and sides are fitted with glass, through which the articles exhibited may be inspected. In the centre of the court is a large octagonal glass case, intended for the reception of some of those articles of ever varying style and pattern and colour which are characteristic of this important branch of manufacturing industry. There was no class for the special exhibition of this description of goods in the Great Exhibition, and it is to be regretted that a more extensive display has not been made in the present instance. COURT FOR WOOLLEN AND MIXED FABRICS. The adjoining court is one designed and constructed by Professor Semper, an artist of great ability, and who was employed to design the famous funeral car for the late Duke of Wellington. The court is entered through a dwarf semicircular projection into the nave, against which are placed low counters. On the pedestals at the entrance are two ornamental figures. The front division of the court is 24 feet wide, and is fitted with glass cases on each side 10 feet high, 4 feet deep, and 6 feet wide. The two side entrances, in imitation of oak, are richly ornamented with representations of the "golden fleece," supported by genii, and fruit. The larger entrance is a lofty triumphal arch, of a clear width of 12 feet, and about 40 feet in height; and upon each side glass cases are fitted, as well as round the sides of the principal court into which the arch leads. Around the compartments of the court are twenty-four small panels, representing in grisaille all the varied processes connected with the production and manufacture of the fabrics which may be shown in this court. The ceiling is divided into a centre and two end compartments. The centre ceiling is ornamented with sculptured decorations, and the sunk panels have representations of the plants used in the process of manufacturing mixed fabrics, such as flax, hemp, the mulberry, and thistles. The central panel is ornamented with four golden fleeces, tied together with festoons, and it is surrounded by small panels, bearing the names of the towns most celebrated for the arts of spinning and weaving. In the recesses under the arch are rich arabesque and other ornaments of the cinque-cento style, escutcheons, medallions, and numerous small symbolic figures. Among the exhibitors in this court, to whom we cannot at present do more than refer by name, are Messrs. Dick & Sons; Messrs. Leach, Broadbent & Co.; Messrs. Bull & Wilson; Messrs. Lucas & Wells; Messrs. Groucock & Co.; Messrs. McCrea & Co.; Messrs. Lewis & Allenby; Messrs. Farmer & Rogers; Messrs. Stratton & Co.; Messrs. Cherronet, Mr. Jay, and others. THE STATIONERY COURT. On the opposite side of the nave is the stationery court, designed by Mr. Crace. Among the most interesting of the articles exhibited in this court, are some pictures painted in oil colours by Mr. G. Baxter. Nothing can be more beautiful and more perfect in execution than these charming plates. The smaller plates, called "Gems of the Great Exhibition," represent some of the most beautiful and interesting of the specimens shown at the last Great Exhibition. These objects here represented have now passed away, and live but in the memory of those who had the pleasure of examining them; but in these exquisite little gems they are rescued from oblivion, and are presented in a form accessible to thousands who may desire to preserve some tokens of that great event of 1851. Nothing can be better adapted to generate a love for the fine arts than these copies of some of the choicest works of the artists of the present day. They are beautiful in form and expression, correct in colour, and what is of not less equal importance, they are reasonable in price. By an arrangement made with the directors, some beautiful views of portions of the present Crystal Palace, and of the more interesting of the courts, have been taken by Mr. Baxter, coloured by Messrs. Charles Buckley, Hind, and other distinguished artists, and they form part of the highly interesting collection of plates which the patentee exhibits. In other portions of the building, the directors have made arrangements with Mr. P. Delamotte for the sale of photographic illustrations of different portions of the building, and various objects of interest; and this collection already includes upwards of one hundred copies of the most famous of antique and modern busts, many beautiful groups of statuary, and views of the building and grounds. These may be obtained at prices within the reach of all classes of visitors, and if our advice be followed, the visitor will take with him, as mementoes of his visit to the Crystal Palace, one or more of these charming little oil colour pictures of Mr. Baxter, or a copy of some daguerrotype picture by Mr. Delamotte. The exhibitors in this court include, among others, Messrs. Leighton & Sons, Messrs. Hyde & Co., Messrs. Letts & Son, Messrs. Jones & Causton, Messrs. Wright & Foster, Messrs. Bradbury & Evans, Messrs. Barret & Co., Messrs. Boatwright & Co., Messrs. G. Routledge & Co., Messrs. Taylor & Francis, Messrs. C. Robeson & Co., Messrs. Haddan & Son, Messrs. Marion & Co., Messrs. Layton & Co., Messrs. H. G. Bohn, F. W. Ralph, H. Pope, J. A. Novello, J. Abbot, J. H. Saunders, R. Pemberton, J. R. King, J. Williams, C. Dolman, H. G. Collins, G. Jarrett, Thomas Shepherd, and others. THE BIRMINGHAM COURT. This fine and characteristic court was designed by Mr. Tite, the architect from whose designs the Royal Exchange of London was built. The front of the court is formed by a richly ornamented iron screen, with a centre and two side entrances. The tops of the columns are decorated with sword-blades, guns, and other articles emblematic of the products of Birmingham. Within the court, on the smaller sides, are allegorical figures of the four quarters of the world. The centre panel on the one side represents "mining industry." The miner is seen toiling in the depths of the mine, and on the opposite side the smith wields his massive hammer, others are engaged in the construction of a steam-engine, while a huge boiler is represented in the background. On the principal side of the court are two panels, representing by allegorical figures, "utility" and "art," and between these two panels are placed roses and fruit, surmounted by richly-painted arabesques, and a bronze cornice. The decorations of this court were coinpleted by Mr. C. Smith. Among the manufactures carried on in Birmingham, not the least important is that of steel pens: one manufactory alone, that of Messrs. Gillott and Co., turned out last year not less than 180,000,000 of them, and there was required for their production not less than 268,000 lbs. or 120 tons of steel. 66 66 'An attempt," says a lively writer in the Leisure Hour, at the mere enumeration of the articles fashioned in this central workshop would transform our pages into a dry catalogue of goods along which the reader might wander till he was weary. Presuming, therefore, that such enumeration may be spared us, we would desire the reader to divest himself and all that belongs to him, if be can only do it in imagination, of the products of Birmingham; he may by this means derive something like an adequate notion of what they are. Only suppose the thing done in an instant-presto! and every button has vanished from your attire, you have to hold your outer man together by force of arms; your hat-band is streaming in the wind for lack of a buckle, and flies off altogether as the hat sinks over your eyes; you feel especially loose and rickety about the heels, and in a moment are nearer the ground by half an inch, the heels of your boots having taken their farewell of the soles. The cold air blows into your breast for lack of the vanished shirt-buttons which kept it out. These sudden changes set you wondering what o'clock it is now, and you have recourse to your watch, but your watch is gone, or else it won't go, as the result of some hiatus in its machinery. Or, supposing you to be sitting in your easy chair by your own fireside when the talismanic word is uttered-suddenly said easy chair lets you comfortably down on your back, from the absence of the long screws which kept it together, the stove walks off with your fire and leaves your hearth cold; if you attempt to follow it you find yourself stumbling over loose boards, the flooring having started from the cross timbers, for want of the nails which kept it down; you cannot open the door of your room, for the handle is gone, but on making the attempt it tumbles down upon you for want of the hinges. One after another, every article of furniture in your dwelling is crumbling to pieces; the window-curtains lie on the floor for lack of rods, and half the house is flying out at windows. There are no means left of kindling a fire or boiling the tea-kettle, and no tea-kettle to boil if there were. In short, you find that you must bring back Birmingham again to help you out of your difficulties, and that there is no living without her. This is a plain fact, and one upon which the whole world are unanimously agreed; hence, it is impossible, in one sense, to get out of Birmingham, go where we will. She meets us in the form of her multiplied manufactures in every corner of the globe; with her we ride the rail on the wings of steam, and sail the ocean to the far antipodes. She is present at our bed and board, be it in Old England or New Zea; land, in the palace of the prince or the cabin of the emigrant; she surrounds us with the elements of comfort and convenience, and provides the materials of out-of-door labour and in-door enjoyments for unnumbered millions; she is in the truest sense the |