Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Critical Notices Of The Literature Of The Last Three Months,
probable enormous outlay upon a building of a nature so perishable as this building is : but the shares are at a discount , and it is naturally apprehended that as some of the elements in the present success fail , thoir place will not be supplied by more permanent inducements . We have put the matter very plainly , as seemed necessary , after what we had written last year ; but for our educated readers , as Ave have said , the Crystal Palace has great interest . Putting out of the question
very the charming appearance of the interior , with the perspective of the arched roof ( somewhat marred , albeit , from some points , by the horizontal line which cuts across the arch , at the transept ) , with the central walk lined with statues , and orange and pomegranate trees , intermingled with a beauty of effect perhaps never before seen ; the courts of architecture and sculpture are full of objects of extraordinary interest , which require careful examination and studto have their influence in deciding
y proper some important questions as to which , hitherto , in general , there has been , in this country , either indifference or ignorance . Moreover , there is no chance of producing good original art , without a knowledge of what has been in other ages , and other circumstances . As Reynolds says , somewhat in these very words : " The mind is but a barren stock , and is soon exhausted , if it be not continually enriched and fertilized by new matter . " Thusthere are illustrations of art in the building
, , vrhich are interesting for reasons quite apart from those connected with historical and antiquarian research ; and it is to be hoped that both architects and sculptors will derive the advantages they may , we think , find in a collection which , with all its defects or deficiencies , may certainly do a great deal of what could not otherwise be realized except by foreign travel .
The styles of art illustrated in the Courts are , the Egyptian , the Assyrian , the Greek ; the Roman , ivith the Roman domestic architecture in the Pompeian house ; the Saracenic , by means of a partial reproduction of one of the principal features of the Alhambra , and some of its other apartments ; the Byzantine and Romanesque ; the German , Erench , and English Gothic , with questionable propriety termed Mediawal ; the Renaissance , and the English Renaissance , or Elizabethan , and the Italian Cinque-Cento style . There are also objects connectedAvith these styles
many in the nave and main transepts , and in the long gallery on the main floor , next the garden side . Chronological order has , perhaps , not been observed so completely as might have been desirable : some important styles , or versions of styles , are not represented . Mr . Hewett's stand , in the north gallery of the building , is the only representative of the Chinese style of art , and the Indian styles are barely illustrated by some paintings lent by the East India Company .
The Egyptian Court has been arranged by Mr . Owen Jones , with the assistance of M . Bonomi and others , who have devoted the best part of their fives to the works of perhaps the most wonderful of the ancient nations . Egyptian sculpture , painting , and the polychromy of architecture , and hieroglyphic writing , have all been illustrated with great labour and skill . The points which interfere with a vraisemblance are , howeverimportant ones . The scale is smallboth as to extent and size of
, , parts : but that is of less importance than the absence of depth of shade , . which was the chief characteristic of the Egyptian style , and which , it may be seen , was in unison with the necessities of the climate . There is also too much uniformity in architectural details and hieroglyphics . The Greek Court fails also by the absence of the sloping roof , and its very limited illustration of the features of Greek architecture . The decoration
Note: This text has been automatically extracted via Optical Character Recognition (OCR) software.
Critical Notices Of The Literature Of The Last Three Months,
probable enormous outlay upon a building of a nature so perishable as this building is : but the shares are at a discount , and it is naturally apprehended that as some of the elements in the present success fail , thoir place will not be supplied by more permanent inducements . We have put the matter very plainly , as seemed necessary , after what we had written last year ; but for our educated readers , as Ave have said , the Crystal Palace has great interest . Putting out of the question
very the charming appearance of the interior , with the perspective of the arched roof ( somewhat marred , albeit , from some points , by the horizontal line which cuts across the arch , at the transept ) , with the central walk lined with statues , and orange and pomegranate trees , intermingled with a beauty of effect perhaps never before seen ; the courts of architecture and sculpture are full of objects of extraordinary interest , which require careful examination and studto have their influence in deciding
y proper some important questions as to which , hitherto , in general , there has been , in this country , either indifference or ignorance . Moreover , there is no chance of producing good original art , without a knowledge of what has been in other ages , and other circumstances . As Reynolds says , somewhat in these very words : " The mind is but a barren stock , and is soon exhausted , if it be not continually enriched and fertilized by new matter . " Thusthere are illustrations of art in the building
, , vrhich are interesting for reasons quite apart from those connected with historical and antiquarian research ; and it is to be hoped that both architects and sculptors will derive the advantages they may , we think , find in a collection which , with all its defects or deficiencies , may certainly do a great deal of what could not otherwise be realized except by foreign travel .
The styles of art illustrated in the Courts are , the Egyptian , the Assyrian , the Greek ; the Roman , ivith the Roman domestic architecture in the Pompeian house ; the Saracenic , by means of a partial reproduction of one of the principal features of the Alhambra , and some of its other apartments ; the Byzantine and Romanesque ; the German , Erench , and English Gothic , with questionable propriety termed Mediawal ; the Renaissance , and the English Renaissance , or Elizabethan , and the Italian Cinque-Cento style . There are also objects connectedAvith these styles
many in the nave and main transepts , and in the long gallery on the main floor , next the garden side . Chronological order has , perhaps , not been observed so completely as might have been desirable : some important styles , or versions of styles , are not represented . Mr . Hewett's stand , in the north gallery of the building , is the only representative of the Chinese style of art , and the Indian styles are barely illustrated by some paintings lent by the East India Company .
The Egyptian Court has been arranged by Mr . Owen Jones , with the assistance of M . Bonomi and others , who have devoted the best part of their fives to the works of perhaps the most wonderful of the ancient nations . Egyptian sculpture , painting , and the polychromy of architecture , and hieroglyphic writing , have all been illustrated with great labour and skill . The points which interfere with a vraisemblance are , howeverimportant ones . The scale is smallboth as to extent and size of
, , parts : but that is of less importance than the absence of depth of shade , . which was the chief characteristic of the Egyptian style , and which , it may be seen , was in unison with the necessities of the climate . There is also too much uniformity in architectural details and hieroglyphics . The Greek Court fails also by the absence of the sloping roof , and its very limited illustration of the features of Greek architecture . The decoration