that may be formed of its results, that the private nature of its origin has thrown peculiar difficulties in the way of its progress, has not always attracted to it the confidence which any work undertaken by the government is apt to receive, and has excited local and personal jealousies which a State enterprise never awakens. By these considerations, therefore, the discredit of a failure is lessened, while the merit of a clear success is enhanced.

It was on the 11th of March, 1852, that the State of New-York granted a charter to the company of gentlemen who had taken this matter in hand. They were empowered to purchase and occupy their real estate, to erect their building, to invite the competition of nations, to award prizes, and to do whatever else was essential to the execution of their main design. Some little opposition had to be encountered in the outset, but on the 17th of the same month, the body was organized by the appointment of THEODORE SEDGWICK as President, and WILLIAM WHETTEN AS Secretary. A circular of the objects of the company was immediately issued, accompanied by a call for subscriptions to the stock, and, though the investments of capital were gradual, the shares rose very soon to nearly double their original value. The Federal Government was induced to lend its co-operation and support, so far as it could consistently with the limits of its functions; the municipal authorities expressed a warm interest in the scheme, and the agents of the foreign powers were liberal in their exertions to procure the favorable reception of the cabinets and people of Europe. But that power, which, in the United States, is perhaps more influential than any other, the public Press, lent its instant and earnest aid to the work, and thus all the auspices were rendered unusually propitious.

The city government having granted the site of Reservoir Square, to the uses of the Association, steps were immediately taken to procure an adequate plan for the building. But here the most serious dif ficulties were met. It was desirable, indeed peremptory, that the structure should be one of combined glass and iron: but iron construction on a large scale, had never yet been attempted in the United States. The problem for the architects, therefore, was, considering the nature of the ground, the material to be used, and the purpose sought, to contrive an edifice which should answer every condition. Sir JOSEPH PAXTON, the pioneer of the modern art, furnished a design of singular beauty, but it was unsuited to the locality; the late and much lamented DOWNING offered another of remarkable ingenuity,

but the materials to be employed on it had been precluded by the grant from the city; MR. EIDLITZ, MR. BOGARDus, Mr. ADAMS, all skilful and competent men, presented others; yet the choice of the Board, after mature consideration, fell upon a sketch submitted by Messrs. CARSTENSEN and GILDERMEISTER, and we think no one, after looking at the finished structure, will regret the selection of the committee. It seems to possess every requisite, is strong, spacious, and graceful, and does an infinite credit both to the original designers and to the workmen by whom it has been executed.

In its general appearance, as well as the materials employed, the building resembles the Crystal Palace of Hyde Park, but in the details of its construction it departs sufficiently from its prototype to make it quite a new and interesting object. Its motiv, as the Germans would say, is that of a Greek cross, surmounted by a dome at the intersection. The length of each diameter of the cross, according to the official description, is 365 feet 5 inches, and the width of its arms is 149 feet 5 inches. In length, therefore, it corresponds, undesignedly we presume, with the number of days in the year, just as the English palace corresponded in length with the number of years of the Christian era. But, although the form is that of the cross, the outline of the ground plan is more nearly a regular octagon. By ingeniously filling up the triangular intervals between the arms of the cross, with a lean-to of one story, 24 feet in height, the space of the floors has been greatly enlarged, and the most available use made of almost every inch of the site. The slight architectural defect, which this arrangement occasions, in diminishing the perspective of the interior, is amply compensated by the substantial advantage of

more room.

The slender but graceful columns of the interior divide it into two principal naves, each 41 feet and 5 inches wide, leaving at the centre, just under the magnificent dome, a noble octagonal space, 100 feet in diameter, which is appropriately occupied by the colossal equestrian statue of Washington, by the Baron Marochetti, while the sides of the octagon are devoted to the Amazon of Professor Kiss, and other grand pieces of statuary. But the columns still further divide the aisles and the triangular intervals into squares and half-square compartments, of 27 feet each on the side, whilst the aisles themselves are covered with galleries of their own width, to which a multitude of broad stairs conduct the visitor. The naves are carried above the roofs of the galleries to

admit light, and are spanned by 16 semicircular arches of cast iron, 40 feet 9 inches in diameter, and placed at a distance of 27 feet from each other. Our practical readers will take an interest in these additional statistics of the structure:

The number of cast-iron columns upon the ground floor is 190; they are 21 feet high above the floor, octagonal, and 8 inches in diameter; the thickness of the sides varies from half an inch to one inch. The cast-iron girders, 3 feet wide, of which the longest are 26 feet and 4 inches, and those of wrought-iron, 40 feet and 9 inches long, are indicated by the dotted lines. The first tier of girders sustain the floors of the galleries, and brace the structure in all directions. They are united to the columns by connecting pieces 3 feet 4 inches high, which have the same octagonal shape as the columns, and flanges and lugs to be bolted together. The number of girders in the first tier is 252. The second story contains 148 columns, 17 feet and 7 inches high, which rest on those below them, and have the same shape. They receive a second series of girders numbering 160, which support the roofs of the aisles. They also receive the semicircular arches of the naves. All the roofs are supported upon arches or upon girders, by means of wrought-iron inverted trusses which receive the angleiron purlins of the rafters: the latter are made of strips of wood inclosed between iron sides. The roofs are uniformly constructed of boards matched together, and covered with tin.

The dome, noble and beautiful in its proportions, is the chief architectural feature of the building. Its diameter is 100 feet, and its height to the springing line is nearly 70 feet, and to the crown of the arch 123 feet. It is the largest, as well as almost the only dome hitherto erected in the United States. To our untravelled countrymen it may be an instructive example of the beauty and fine architectural effect of which this structure is capable, although its dimensions are trivial when compared with the majestic domes of the Pantheon or St. Peter's, or those other wonderfnl erections of classic and mediaval times when architecture was a passion, and united with religious enthusiasm to produce the triumphs of the art. The dome is supported by 24 columns, which rise beyond the second story, and to a height of 62 feet above the principal floor. The system of wroughtiron trusses which connects them together at the top, and is supported by them, forms two concentric polygons, each of 16 sides. They receive a cast-iron bed-plate

to which the cast-iron shoes for the ribs of the dome are bolted. The latter are 32 in number. They are constructed of two curves of double angle-iron, securely connected together by trellis-work. The requisite steadiness is secured by tie-rods, which brace them both vertically and horizontally. At the top, the ribs are bolted to a horizontal ring of wrought and cast iron, which has a diameter of 20 feet in the clear, and is surmounted by the lantern. As in the other roofs of the building, the dome is cased with matched deal and tin sheathing. Light is communicated to the interior through the lantern, and also in part from the sides, which are pierced for 32 ornamental windows. These should have been glazed with stained glass, representing the arms of the Union and its several States; they would have formed no inconsiderable part of the interior decoration.

The external walls of the building are constructed of cast-iron framing and panel work, into which are inserted the sashes of the windows and the louvers for ventilation. The glass is one-eighth of an inch thick, and was manufactured at the Jackson Glass Works, N. Y., and afterwards enamelled by Cooper & Belcher, of Camptown, N. J. The enamel, with which the whole of it is covered, is laid upon the glass with a brush, and after drying, is subjected to the intense heat of a kiln, by which the coating is vitrified, and rendered as durable as the glass itself. It produces an effect similar to that of ground glass, being translucent, but not transparent. The sun's rays, diffused by passing through it, yield an agreeable light, and are deprived of that intensity of heat and glare which belong to them in this climate. In the absence of a similar precaution in the Crystal Palace of Hyde Park, whose roofs as well as walls were inclosed with transparent glass, it was found necessary to cover the interior of the building with canvas.

At each angle of the building there is an octagonal tower, 8 feet in diameter and 76 feet in height. They contain winding stairways, which lead to the galleries and roofs, and are intended for the use of the officers and employees of the Association. The flooring of the galleries is made of closely matched planks, while those forming the floor of the first story are separated by narrow intervals, in the same manner and for the same purpose as in the London building. Over each of the principal entrance halls, the galleries, open upon balconies, which afford ample space for placing flowers, vases, and statues for decoration. Above the balconies, the ends of the naves are adorn

ed with large fan-lights, corresponding to the semicircular arches within. On each side of the entrances there are ticket offices, and, adjacent to them, rooms are provided for the officers of the Association, telegraph, &c.

The rapid and unexpected increase of the applications of exhibitors induced the Association to erect a large addition to the building already described. It consists of two parts, of one and two stories respectively, and occupies the entire space between the main building and the Reservoir. Its length is 451 feet and 5 inches, and its extreme width is 75 feet. It is designed for the reception of machinery in motion, the cabinets of mining and mineralogy, and the refreshment rooms with their necessary offices. The second story, which is 21 feet wide, and extends the whole length, is entirely devoted to the exhibition of pictures and statuary. It is lighted from a sky-light, 419 feet long, and 8 feet and 6 inches wide.

THE DECORATIONS of the building were intrusted to HENRY GREENOUGH, Esq., of Cambridge, brother of the lamented sculptor of the same name. Mr. Green

ough has made Art his study, and, in its pursuit, has resided long in Italy. As he has promised to unfold the general principles and details of his present work in an essay to be published in an early number of the Illustrated RECORD, we will state at present only a few facts.

The leading idea in the plan of decoration has been to bring out the beautiful construction of the building-to decorate construction rather than to construct decoration. To do this, and at the same time to preserve a general harmony of effect, gave Mr. Greenough ample opportunity to display his knowledge of the resources of his art. The result is surprisingly beautiful. The decoration was commenced only on the 27th of April, as soon as the progress of the construction would permit. The colors employed on the exterior and interior are mixed in oil, the base being the white lead manufactured by the Belleville Co. The exterior presents the appearance of a building constructed of a brilliant bronze, of which, all the purely ornamental parts are of gold.

The interior has a prevailing tone of buff or rich cream-color, which is given to all the cast-iron constructive work. This color is relieved by a moderate and judicious use of the three positive colors, red, blue, and yellow, in their several tints of vermilion, garnet, sky-blue and orange, (certain parts of the ornamental work being gilt), to accord with this arrangement of colors employed in the decora

tion of the ceilings. The only exceptions to the use of oil colors are the ceiling of the American lean-to and the dome; these decorations are executed on canvas, and attached to the roof covering these parts. The effect of the interior of the dome is superb. The rays from a golden sun, at the centre, descend between the latticed ribs into a soft heaven of azure.

The building is supplied with gas and water in every part. The gas is designed for the use of the police in protecting the property by night, but is so arranged, that, should it be deemed expedient to open the building in the evenings, there will be ample light. The water is accessible at numerous points, which are provided with conveniences for drinking, and also for the attachment of hose in case of fire.

The whole quantity of iron employed in the construction amounts to 1,800 tons; of which 300 tons are wrought, and 1,500 tons cast-iron. The quantity of glass is 15,000 panes, or 55,000 square feet. The quantity of wood used amounts to 750,000 feet, board measure.

Such is the building-inferior to the original Crystal Palace in size and imposing effect, but superior to it, all confess, in light and graceful proportions. A capital mistake was made by the Directors in accepting Reservoir Square as the locality, because its nearness to the massive granite walls of the Reservoir dwarf and crush its fine dimensions, and because the unappropriated neighborhood has allowed of the erection, in the immediate vicinity, of a multitude of mammoth shanties,-but in spite of these drawbacks, no one can approach the edifice, and, especially can no one enter it, without a feeling of strong and grateful pride in the skill and enterprise by which it has been built. We confess that, in the outset, our own sentiment in regard to the plan was one, not entirely of incredulity, but yet of doubt and semi-distrust. We knew the energy of our men of capital; we were aware, too, of the skill of our mechanics; but we were not ignorant, at the same time, of the thoughtless and characteristic haste with which we are apt to run into new schemes, and to undertake what it is beyond our capacity to accomplish. When it became certain, therefore, that the time for the exhibition must be postponed. we almost regretted that another year had not been set apart for the laborious duties of preparation. But when, at last, the proper hour came, when we saw the stately columns planted, and the crystal walls made fast, and the mighty dome suspended, our hearts broke forth in spontaneous gushes of gratulation and delight. Our expectations had been more

than surpassed, and we experienced a pang of shame that we had ever indulged even a temporary doubt of the energies and talent of our countrymen.

At the time we are compelled to write, the contributions to the Fair have not been finally arranged, so that we must postpone to a future occasion, any criticisms or comparisons that the display may suggest. But we have seen enough of it to warrant us in expressing our high admiration of its variety and excellence. All the leading nations of the world are munificently represented. The mothercountry, for such we are ever proud to call England,-animated by the example of her illustrious Queen and Prince, has been generous in her offerings of the solid wares of Manchester, Birmingham and Leeds, which have long given her the first position in the industrial world; France, who surpasses her in elaborate design and exquisite finish, parades her Gobelin tapestries, her beautiful porcelain of Sèvres, her exquisite jewelry and her unequalled silks; Belgium and Germany are scarcely behind in the display of elegant fabrics; Turkey still maintains her supremacy in those peculiarly rich and delicate textures which have made the works of the oriental looms and hands a proverb throughout the earth; while Italy, retaining her ancient devotion to the fine arts, has almost filled the building with the splendors of sculpture and painting. Of these things, however, we intend to speak hereafter in detail.

Yet we cannot dismiss the topic without signifying our astonishment at the extent, diversity, and general merit of the Fine Arts department, in which we think the present almost equals the great model exhibition of London. Besides the gigantic statue of Washington, by Marochetti, and the famous Amazon of Kiss, and the Webster of Carew, every niche and corner of the edifice have their appropriate marble complement. Venuses, Dianas, Joves, Cupids, Psyches and Apollos are strewn every where with true Italian profusion, and lend a graceful aid to the more practical contributions. Nor are the paintings of both ancient and modern schools scattered with a more sparing hand. From the "Head of an Angel," by Raphael to the full-length portrait of "His Majesty Victor Emanuel II." there are many admirable specimens of the genius of Italy-only rivalled in number, if not in worth, by the contributions of the Dusseldorf school, where sixty-two eminent examples of their style constitute a leading attraction.

Our own country makes no pretensions in the higher departments of the Fine

Arts, and willingly allows the foreigner to carry off the honors of the exhibition in this kind; but in the different spheres of the practical and useful, she may hold up her head among the worthiest, proud of the attainments she has made during the brief period of her existence. Deficient in some respects in originality of design, as well as completeness of finish, there is yet, in others, a degree of perfection that strikes us with surprise. In agricultural implements, in many kinds of machinery, and in cabinet and other wood-work, our working-men manifest an ingenuity and skill that will amaze those who have not before observed their products.

But, without dwelling upon any comparisons now, let us remark that whatever may be the ultimate judgment as to our achievements in ornamental art, it is obvious that in all shows of this kind we appear at a disadvantage. We do so, for the reason, that the industry which best illustrates our national life, which is best fitted to declare what we have done, and what we are, is on a too gigantic scale to appear even in a crystal palace. It cannot be crowded into a glass case, nor put up in a bandbox. Yachts like the North Star, steamboats like the Francis Skiddy, clipper ships like the Flying Cloud, hotels like the St. Nicholas, canals like the Erie, the thirteen thousand miles of railroad, the endless reaches of the electric telegraph, these are the objects to which our practical talent has been heretofore mainly directed, and cannot be shown in Expositions, and will not, of course, be appreciated in models. No; the stranger who would learn the nature and value of our industry, must count the number of acres that have been redeemed from the wilderness in sixty years, the bushels of grain that are reaped from them, the cities and towns that have been built upon them, the vast highways that connect them, the steam marine that furrows the rivers, the lakes, and the oceans, the children that have been educated, and the hosts of starving emigrants that have been fed and clothed and made rich! Let him take his position on a spur of the Alleghanies, and sweep with the telescope of his fancy the populous plains that stretch from the Atlantic to the Mississippi; let him mark how towns are rising every where, as if they rose by thought and not by careful human hands; let him see every stream crowded with vessels, and every distant shore bearing the footmarks of our commerce; let him behold the measureless fields rich with harvests, and the cattle on a thousand hills, and the smoke of engines curling above every hamlet; and then as he reflects

that it is almost within the memory of man when a trackless forest covered the continent, and only savage men and savage beasts enjoyed the prodigal bounties of nature, he will get some adequate idea of what American industry and American energy have achieved.

At the same time let us add, that we have no thought of depreciating, by this strain of remark, our successes in the more elėgant and decorative departments of Art; much less have we any desire to question the utility of such exhibitions as those of the Crystal Palace. On the contrary, we have a confidence that all Americans will look with grateful pride to the evidences of progress which this display furnishes, while we anticipate other lasting and extensive benefits from the event. Could our men of enterprise travel abroad for years, or be sent to the workshops of the old world for instruction, as the scions of our richer families are sent to its universities; could the ingenious working man pass at his leisure from London to Paris, from Paris to Brussels, from Brussels to Vienna, from Vienna to Berlin, studying the processes and improvements of industry, as the young artist studies the pictures of the world-renowned masters, there might not, perhaps, be any need of these international unions; but as he has neither the time nor the means for such an investigation, he must supply its place by the opportunities of a World's Fair. As Mahomet cannot go to the mountain, the mountain must come to Mahomet, the Exposition will serve instead of travel, and bring the wonders of human labor to his door.

Indeed, Professor Whewell, in his Lecture on the results of the Exhibition, elaborating this thought, contends that it would be quite impossible by any activity of travel, to reap such rich harvests of instruction as are to be gained from a diligent survey of a universal exposition. He says, that a traveller, passing from land to land, might see a wonderful collection of the works of man in many different countries, and combining all these in his thoughts, have in his mind a representation of the whole progress of human art and industry up to the last moment, and a picture of the place which each nation at that moment occupied in the line of progress. "But what time, what labor, what perseverance," he asks, "what access to great and powerful men in every land, what happiness of opportunity, would be implied in the completion of such a survey! A life would scarcely suffice for it; a man could scarcely be found who would achieve it, with all appliances and means which wealth and

power could give. He must, like the philosophers of ancient days, spend all his years of vigor in travelling; must roam in the varied regions of India; watch the artisan in the streets of the towns of China; dive into the mines of Norway and Mexico; live a life in the workshops of England, France, and Germany; and trace the western tide of industry and art as it spreads over the valley of the Mississippi. And when he had done all this, and however carefully he had done it, yet how defective must it be at least in one point! How far must it be from a simultaneous view of the condition of the whole globe as to material arts! During the time that he has been moving from place to place, the face of the world has been rapidly changing. When he saw Tunis it was a barbarous state; now that he has to make up his account, it is the first which asks for a leading place among the civilized communities of the industrial world. When he visited the plains of Iowa and Wisconsin, they were wild prairies; they are now the fields from which the cereal harvest is swept by the latest improved reaping machine. When he was at the antipodes, the naked savage offered the only specimen of art in his rude club and frail canoe; now there is there a port whose lofty ships carry regularly to European markets multiplied forms of native produce and manufactures. Even if his picture be complete as to surface, what anachronisms must there be in it! How much that expresses not the general view of the earth, but the accidental peculiarities of the traveller's personal narrative! And then, how dim must be the images of the thing seen many years ago compared with that which is present to the eye! How impossible to compare the one with the other-the object now seen in age with a similar object remembered in youth! And after all, when we have assumed such a traveller -such a one as never has been-the Ulysses of modern times-seeing the cities of many men, and knowing their minds-seeing the workshops of all nations, and knowing their arts-we have but one such. His knowledge is only his. He cannot, in any clear or effective manner, communicate any large portion of it to others. It exists only for him-it perishes with him. And now let us, in the license of epical imagination, suppose such a Ulysses-much-seeing, much-wandering, muchenduring-to come to some island of Calypso, some well-inhabited city, under the rule of powerful and benignant, but plainly, he must believe, superhuman influences, and there to find that image of the world and its arts, which he had vainly tried to