Читать книгу The Palace and Park - Edward Winslow Forbes - Страница 51

Descending the steps we reach the first terrace, on the parapet of which are placed twenty-six allegorical statues of the most important commercial and manufacturing countries in the world, and of the chief industrial cities of England and France. The length of the upper terrace is 1576 feet, and its width 48 feet; the terrace wall is of Bath-stone. The granite pedestals on each side of the steps, leading from the Great Transept, are 16 feet by 24 feet. The width of the central flight of steps is 96 feet; and this is also the width of the grand central walk. The lower terrace, along which are ranged the first six fountains of the upper series, is 1664 feet long between the wings of the building, or nearly one-third of a mile, and 512 feet wide, the basins for the fountains on this terrace being, in their measurements, as before stated, all multiples of eight. The total length of the garden front of the wall of this terrace, which is formed into alcoves, is 1896 feet. The length of the broad central gravel walk from the building to the end of the garden in a direct line is 2660 feet. Such are a few of the principal measurements connected with the Palace Gardens, as these are seen on the surface. But although the work that is above ground may be recognised and calculated with little trouble by the visitor, there is beneath the surface an amount of labour and capital expended, of which he can with difficulty form an accurate idea. Drain pipes spread under his feet like a net-work, and amount in length to several miles; he treads on thousands of bundles of faggots which have formed his path; he walks over ten miles of iron piping which supply the fountains for his amusement.

On each side of the great central staircase are statues representing Mulhouse, Glasgow, and Liverpool (to the right as we face the gardens), the two first by Calder Marshall, the third by Spence. On the left side are personifications of Paris, Lyons, and an allegorical statue of French art, the first by Etex.

The next bastion, on the Sydenham side, is surmounted by statues of Spain and Italy, admirably executed by Monti; the succeeding bastion forms a pedestal for the very characteristic figures of California and Australia, by Bell. The staircase at this end of the terrace is ornamented at the first angle with representations of South America, by Monti, and of Turkey and Greece by Baron Marochetti; the second group consists of India and Egypt, also by Marochetti, and of China, by Monti.

The first bastion, on the Norwood side of the central staircase, supports allegorical statues of Manchester, by Theed, and Belfast, by Legrew. On the succeeding one are placed those of Sheffield and Birmingham, by Bell.

On each side of the staircase, at this point, are very excellent representations of the Zollverein and Holland, by Monti, and of Belgium, by Geefs.

The last group consists of a fine allegorical statue of the United States, by Powers, and of Canada and Russia, by Launitz.

All these figurative subjects are more or less composed in the style of the modern Romantic school of sculpture, and afford excellent illustrations of the character, nature, and chief occupations of the countries and cities they represent.

The Arcade and Rosary.

Proceeding in a northerly direction, we pass on until we reach a flight of steps, by which we gain the lower terrace, or Italian flower-garden. At the bottom of these steps are stone recesses, built under the terrace above, in which streams of water fall from dolphins’ mouths into bronze basins. Crossing the terrace by the path facing the steps, the visitor turns to the right, examining the flowers and the fountains, until he arrives at the central steps leading to the circular basin, from which point a most admirable view of the whole crystal structure is obtained. The deep recesses in the transepts, the open galleries, the circular roof to the nave, the height of the Central Transept, the great length of the building, and the general aërial appearance of the whole crystal fabric, produce an effect which, for novelty and lightness, surpasses every other architectural elevation in the world. Turning his back upon the building, the visitor beholds on either side of him green undulating lawns, beds planted with rhododendrons and other flowers, and winding gravel walks. He now surveys the mixed garden, before mentioned, which extends throughout the south side. To the right is a mound, surrounded by an arcade of arabesque iron-work, around which innumerable roses are twined; and, to the left, two spreading cedar trees—of a kind familiar to this neighbourhood—attract attention by their thick, spreading, sombre foliage. Descending the steps, and walking down the broad gravel path, the visitor reaches the large Circular Fountain. Round the basin of the fountain are white marble statues, copies from the antique, and of works by Thorwaldsen and Canova. Amongst them will be found the celebrated Farnese Hercules, the free and graceful Mercury by Thorwaldsen, the Venus of Milo, and the Paris by Canova. On either hand, and a little below the Central Fountain, will be remarked two temples of beautiful iron-work, called the Temples of the Cascades, which, with the fountains, will be more fully described hereafter. Having made one half of the circle, the visitor, instead of proceeding down the central avenue, turns to the left, round the other side of the Central Fountain, and passing the first outlet, finds his way through the second, and descends the steps into a gently rising walk, which leads him to a smaller fountain.

The Cedar Trees.

Keeping to the left-hand side, we make half the circle of this smaller fountain, and then enter upon a pleasant path, on the right side of which stands one of the noble cedar-trees before mentioned. We are now quitting the mixed Italian and English gardens for the pure English landscape. Trees wave their long branches over our heads, the paths wind, and art recedes before nature. Travelling for a short distance, we come to a junction of two roads. Selecting the left, we journey on through a path, still gently rising, bordered on one side by trees, and on the other by a lawn, until we approach a valley at the bottom of which is a small piece of water, lying close to a thicket forming a pleasant summer shade. Leading out of this small piece of water is seen a large lake, which forms the second or intermediate reservoir for the supply of the fountains. Under the hand of Sir Joseph Paxton the lake is made to serve for ornament as well as use.

View in Grounds.