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(RM) 601163169
THE INTERNATIONAL EXHIBITION: "LINNETS DEFENDING THEIR NEST AGAINST A DORMOUSE"..., 1862. CREATOR: UNKNOWN.
The International Exhibition: "Linnets Defending their Nest against a Dormouse", modelled in wax by A. Cain, 1862. 'The title of this most elaborate and delicately-executed model suggests a furious and perhaps prolonged struggle between antagonists curiously but not very unequally matched...Our linnet and common wild species of dormouse are respectively among the smallest of birds and quadrupeds...The action of the little creatures is given with immense spirit. The great loir, crouching and persistent, has broken down one side of the nest and already cracked two or three eggs; but the so-called linnets, especially the female, will not be scared away, but flutter over and cling to it, and with all the feathers of their polls on end, and screaming from their little throats, usually so melodious, and attacking with their sharp little beaks the heartless thief, defend it to the last extremity. The delicacy and minuteness of the work, and the truth of the textural imitation, are, however, still more surprising. The feathers of the little birds, the coat of the loir, every twig and filament of the nest, and every ramification of fibre in the ivy, are imitated with marvellous accuracy'. From "Illustrated London News", 1862. The International Exhibition: "Linnets Defending their Nest against a Dormouse"..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163014
THE STATUE OF SIR HUGH MYDDELTON AT ISLINGTON-GREEN, SCULPTURED BY THE LATE JOHN THOMAS, 1862. CREATOR: MASON JACKSON.
The Statue of Sir Hugh Myddelton at Islington-green [in London], sculptured by the late John Thomas, 1862. '...a fine public monument...to the memory of the great engineer, who, triumphing over the most formidable obstacles, succeeded early in the seventeenth century in diverting a river from its natural channel and conducting it many miles to the high-lying district north of London, for the purpose of supplying a large portion of the metropolis with water. It is needless to refer to the importance of adequate water supply in large towns...a most graceful recognition of this fact has been shown by...the introduction of a drinking-fountain as part of the memorial...The statue...is in Sicilian marble...Sir Hugh is dressed in the quaint and stiff but still...picturesque costume of the latter part of the sixteenth or the beginning of the seventeenth century - Flanders ruff and cuffs, doublet and jerkin, a cloak of Elizabethan amplitude, trunk hose [and] breeches...In his left hand he holds a scroll containing a plan of his great and useful work, labelled with the words "New River."...The late John Thomas was an architectural designer as well as sculptor, - hence his unique and unrivalled success in the design of this monument'. From "Illustrated London News", 1862. The Statue of Sir Hugh Myddelton at Islington-green, sculptured by the late John Thomas, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601163009
THE MONUMENT TO GEORGE STEPHENSON AT NEWCASTLE-ON-TYNE, 1862. CREATOR: MASON JACKSON.
The Monument to George Stephenson at Newcastle-on-Tyne, 1862. '...a striking work of art, by Mr. John Graham Lough...It has been erected by public subscription in Neville-street...adjoining the Central Railway Station, and overlooking the busy thoroughfares of Westgate-street and Collingwood-street, up and down the former of which hundreds of workmen employed at Mr. E. Stephenson's engine-factory pass three times a day...On the top of [the] pedestal, rising to a height of 30ft. above the ground, is placed the statue...The great engineer is represented standing in easy but dignified attitude...Grace is given to the modern costume by the Northumbrian plaid, which Stephenson was accustomed to wear, being skilfully combined by the artist with the ordinary frock-coat. The subsidiary figures...[consist of] a blacksmith...naked to the waist...[leaning] against an anvil, while the right hand grasps a hammer; a pitman, holding in his hand...Stephenson's well-known "Geordie" lamp; a platelayer, holding...a model of Stephenson's old "fish-bellied' rail; an engine-driver leaning against the model of the locomotive, the crowning effort of Stephenson's genius. The central statue and the subsidiary figures are cast from the best bronze'. From "Illustrated London News", 1862. The Monument to George Stephenson at Newcastle-on-Tyne, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162979
THE INTERNATIONAL EXHIBITION: MARBLE BUST OF HIS ROYAL HIGHNESS THE PRINCE OF WALES..., 1862. CREATOR: ROBERT PATERSON.
The International Exhibition: marble bust of His Royal Highness the Prince of Wales by J. Steell, R.S.A., 1862. 'It is stated that the late Prince Consort commended this bust highly, and said that the Queen was greatly delighted with the manner in which Mr. John Steell, the excellent Scotch sculptor, had caught the expression of the young Prince, and that for it Mr. Steell received the unsolicited appointment of "Sculptor to her Majesty for Scotland."...The bust is, indeed, not only interesting as the only one for which his Royal Highness has given sittings, and therefore the only authentic portrait in marble, but it has a great deal of intrinsic merit...the likeness is also undoubtedly faithful both to character and expression. The face of his Royal Highness in this bust is rapidly developing itself into that fixed, manly individuality that we trust long life (which he enters upon with so many happy auspices) will preserve to us many years. Notwithstanding, however, that the forms are fuller and of course more masculine in character, there is still a delicacy about much of the detailed modelling of the features which strongly recall the earlier portraits of her Majesty'. From "Illustrated London News", 1862. The International Exhibition: marble bust of His Royal Highness the Prince of Wales..., 1862. Creator: Robert Paterson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162814
THE INTERNATIONAL EXHIBITION: THORNEYCROFT'S "SKIPPING GIRL", STATUETTE...BY MINTON AND CO., 1862. CREATOR: UNKNOWN.
The International Exhibition: Thorneycroft's "Skipping Girl", statuette in Parian, by Minton and Co., 1862. 'This figure measures no less 3ft. 10in. in height. The shrinking of ceramic statuary, parian, &c., from the firing and drying, presents a great difficulty, which has been overcome with remarkable skill in this figure. The reduced copy has all the symmetry and natural grace of the original...We understand that by improvements in the process and the material this figure has shrunk only one-eighth instead of the usual one-fourth. But this amount of contraction demands great care and experience in the manufacture...Parian, of its natural and true tinge, seems the exact mean for statuary porcelain...We must not conclude these remarks without expressing our admiration for the original statue of this figure - one of the most felicitous works of the accomplished lady Sculptor, Mrs. Thorneycroft [sic]...The exact period of adolescence is described in the slender torso and limbs, but more by no untruthful diminution of the head and extremities. Momentary action - always an enormous difficulty - is perfectly caught; the drapery is disposed with the strictest regard to keeping - that is to say, lending itself both to express the form and the movement'. From "Illustrated London News", 1862. The International Exhibition: Thorneycroft's "Skipping Girl", statuette...by Minton and Co., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162804
THE INTERNATIONAL EXHIBITION: "DAPHNE", MARBLE STATUE BY MARSHALL WOOD..., 1862. CREATOR: UNKNOWN.
The International Exhibition: "Daphne", marble statue by Marshall Wood - from a photograph by the London Stereoscopic Company, 1862. '...the sculptor...has followed the well-known version given by Ovid of the fate of this beautiful maiden, who, being pursued by Apollo...prayed to her mother Ge (the Earth) for aid and was metamorphosed into a laurel-tree...She is represented...as involuntarily subsiding towards the laurel-branches, which already cling to the back part of the figure...with all its loveliness, [the sculpture] has not the slightest sensuousness, but, on the contrary, a chaste, virginal severity, which is equally appropriate to the subject. The figure throughout is full of grace and beauty...The features are chiselled with still more consummate delicacy and accuracy...The extreme beauty of the face is nevertheless unquestionable...We are made to feel that life is rapidly gliding away; consciousness is almost extinguished, the knees fail, the arm moves with vague purposelessness or falls unnerved; there is the sudden languor, and the eyes close tremulously, yet the expression has not the negative character of sleep nor the painful indications of fainting. This admirable work was executed for Countess Waldegrave'. From "Illustrated London News", 1862. The International Exhibition: "Daphne", marble statue by Marshall Wood..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162769
INAUGURATION OF THE MEMORIAL STATUE TO MR. HERBERT INGRAM, M.P.,…BOSTON, 1862. CREATOR: UNKNOWN.
Inauguration of the memorial statue to Mr. Herbert Ingram, M.P., in the Market-Place, Boston, [in Lincolnshire], 1862. View of the '...ceremony of uncovering the Ingram Memorial Statue, from photographs by Mr. E. Hackford...The statue stands...within the shadow of the fine old church...Boston kept high holiday...most of the shops were closed, whilst the windows of the houses were thronged by eager spectators. The...committee and invited guests met the local authorities at the Assembly Rooms, and walked thence, in procession to the site of the statue. In the Marketplace had been erected a platform, on which the Mayor and Corporation and the principal members of the procession were accommodated, the ground in front being kept by the volunteers. The Market-place and every window commanding a view of the ceremony were crowded with spectators. Mr. Parry, of Sleaford, on behalf of the committee, handed over the statue to the town authorities, and at the close of his eloquent address the Mayor replied in a few well-chosen words...The ligature confining the covering of the statue was then loosened; and at the signal given (the discharge of a gun), the veil fell, disclosing Mr Munro's noble work of art, amid the cheers of the vast assemblage'. From "Illustrated London News", 1862. Inauguration of the memorial statue to Mr. Herbert Ingram, M.P.,…Boston, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162524
SOIRÉE GIVEN...BY THE BURGOMASTER AND COMMON COUNCIL OF BRUSSELS, AT THE HOTEL DE VILLE..., 1862. CREATOR: UNKNOWN.
Soirée given...by the Burgomaster and Common Council of Brussels, at the Hotel de Ville, to the members of the Social Science Congress - from a sketch by Mr. Hendrikx, 1862. 'The scene...[in] the Salle Gothique at the moment of the entrance of the Duke and Duchess of Brabant and the Count of Flanders, and their reception by the Burgomaster. The Duke is the most prominent figure in the picture; her Royal and Imperial Highness is leaning upon his arm; the Count of Flandres is following, conducting one of the Court ladies. The two Princes were dressed in the uniform of a General. The Duchess of Brabant wore a rich ruby-coloured silk robe, surmounted by a mantle of Brussels lace; and upon her brow a wreath of roses sparkling with diamonds and pearls...The Gothic hall and the other saloons of the building were beautifully and tastefully ornamented on the occasion with flags, flowers, pictures, and rich candelabra...In the centre...was erected a fountain of rare beauty and artistic form. It was encircled at its base by a girdle of gaslight, and supported a bronze triton, from which flowed into a huge shell a stream of water. The reflection of the light upon the water, mirroring the various trees and flowers arranged around, was most enchanting'. From "Illustrated London News", 1862. Soirée given...by the Burgomaster and Common Council of Brussels, at the Hotel de Ville..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162419
THE INTERNATIONAL EXHIBITION: "THE SLEEP OF SORROW AND THE DREAM OF JOY"..., 1862. CREATOR: E. SKILL.
The International Exhibition: "The Sleep of Sorrow and the Dream of Joy", sculpted by R. Monti, 1862. 'Nothing can be embodied more abstract and insubstantial than a dream; and nothing can be...more conventional than the representation of two figures as one and the same person...The success of the sculptor is due to the force of the sorrowful expression in the sleeper, and the felicity with which the elated buoyancy of the spirit is rendered - disembodied as it seems to be in sleep, though still wearing a thin veil of earth - floating away to dreamland, that home and resting-place, those Elysian fields...As we look at this poor sleeping maiden, at the contorted, uneasy position of her limbs, the still painfully-contracted brow, we see that sleep has come from exhaustion as a respite...The roses are still within her grasp, but they are unplucked, and she seems to have found only their thorns in her path. Is the overturned empty cup at her side an emblem of her life?...The execution of this upper figure is extremely refined; the action is very graceful and expressive, the buoyancy...admirably expressed, and the technical difficulty of representing "flying drapery" (in marble even more than in painting) perfectly mastered'. From "Illustrated London News", 1862. The International Exhibition: "The Sleep of Sorrow and the Dream of Joy"..., 1862. Creator: E. Skill. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162109
THE INTERNATIONAL EXHIBITION: PORTIONS OF THE AUSTRIAN AND BELGIAN COURTS..., 1862. CREATOR: MASON JACKSON.
The International Exhibition: portions of the Austrian and Belgian Courts as seen from the Western Dome, 1862. '...the Austrian Court...is very advantageously situated for catching the eye of the visitor who comes down the nave from the eastern entrance. At the point where the north-western transept springs from the dome the Austrian Court extends a considerable way to the left of the transept, as the Belgian Court extends in the same direction to the right. On ascending the steps leading to the western dome an excellent view is obtained both of the galleries and the lower floor of the court, which come out with much brilliancy and effect. The view which we give...is taken from beneath the western dome looking down the north transept, and in the distance is the fine painted window which terminates the transept. In the foreground to the left is to be seen Leopold Kissling's group of statuary, Mars, Venus, and Cupid. In the centre is Lobmeyer [sic] of Vienna's crimson velvet screen, which forms a background to his grand display of chandeliers; and a little to the left is to be observed Neffen's stand of Bohemian glass. The picture includes also a considerable portion of the Belgian Court'. From "Illustrated London News", 1861. The International Exhibition: portions of the Austrian and Belgian Courts..., 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601162064
THE INTERNATIONAL EXHIBITION: "REALITY AND APPEARANCES", MARBLE STATUE, BY...LEHARIVEL-DUROCHER,1862 CREATOR: UNKNOWN.
The International Exhibition: "Reality and Appearances", marble statue, by Victor Leharivel-duRocher, 1862. 'The contrasted expression of the mask and its wearer is in the highest degree significant and suggestive. The cold marble tells the sad story of many lives - the tale of many a broken heart. Few young girls, we should imagine, escape the necessity of wearing a mask, at least temporarily, either from their own inexperience or indiscretion, from bashfulness and its frequently involuntary disingenuousness, or from the heartless conventional restrictions of society...This is not a very young, love-sick maiden, but a ripe woman: she has plucked the innocent bud and the full-blown flower of pleasure and dropped them heedlessly at her feet...She has now retired behind the scenes; she has left the great stage of the world, and there is for a while no further need for any assumption of false character; she takes off the mask and loosens the constraining drapery. Then the strength of nature asserts itself; then comes the self-questioning, the painful retrospection...She sinks into a seat exhausted with her unnatural effort...with shame, regret, and ennui'. From "Illustrated London News", 1862. The International Exhibition: "Reality and Appearances", marble statue, by...Leharivel-duRocher,1862 Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161868
THE INTERNATIONAL EXHIBITION: "THE PERI", A MARBLE STATUE, BY J. S. WESTMACOTT, 1862. CREATOR: UNKNOWN.
The International Exhibition: "The Peri", a marble statue, by J. S. Westmacott, 1862. 'The most beautiful and deservedly-popular tale in Moore's "Lalla Rookh" is, without doubt, that of "Paradise and the Peri." The charming creation of Eastern romance and mythology, the aerial Peri...has often been represented by artists, but never, we think, so successfully...The face and figure are of an unearthly type and character of loveliness, but the idealisation is not of that meaningless kind to remove it from our sympathy. On the contrary, the expression of the bowed head and wringing hands is very touching; and we can almost fancy we hear the sigh escaping from the exquisitely-chiselled "disparted" lips. The figure is the exact mean; it is neither, on the one hand, too grandiose, nor, on the other, too attenuated for the conception; and it is equally far removed from mere sensuous redundancy. The execution is as delicate as the feeling is refined. The features - the mouth especially - are admirably modelled, and the wings are skilfully cut and treated. The only objection we should make is that the drapery of the raised leg advances too much, by which the markings or the kneejoint and patella are lost, and the leg made apparently too short'. From "Illustrated London News", 1862. The International Exhibition: "The Peri", a marble statue, by J. S. Westmacott, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601161704
THE INTERNATIONAL EXHIBITION: "INO AND BACCHUS", MARBLE GROUP BY J. H. FOLEY, R.A., 1862. CREATOR: E. SKILL.
The International Exhibition: "Ino and Bacchus", marble group by J. H. Foley, R.A., 1862. Engraving of a sculpture in the Earl of Ellesmere's Bridgewater Collection. 'No classical subject of sculpture has commanded more universal interest and admiration, for its charming naturalness [and]...for its surpassing loveliness, than the "Ino and Bacchus." The boldness and originality are as remarkable as the beauty of the composition. The greater advantages afforded by the recumbent positions (artistically managed) for the display of ease and grace are conspicuously shown...The noble serpentine sweep and tender undulating flow and freedom of the hues throughout are in the highest degree masterly. The overreaching arm of Ino temptingly holding above, yet (womanlike) teasingly withholding, the grapes from the outstretched arms of the little incipient wine-god is not only very exquisitely modelled and wonderful for lightness and grace, but it forms the most elegant apex imaginable to the composition, and the action at the same time very felicitously suggests the early taste implanted in the infant god by his nurse weaning him upon the juice of the grape - a taste soon after developed, if we are to believe the old poets, in a great deal of bad company'. From "Illustrated London News", 1862. The International Exhibition: "Ino and Bacchus", marble group by J. H. Foley, R.A., 1862. Creator: E. Skill. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160814
THE INTERNATIONAL EXHIBITION - "GO TO SLEEP!", A MARBLE GROUP BY J. DURHAM, 1862. CREATOR: UNKNOWN.
The International Exhibition - "Go to Sleep!", a marble group by J. Durham, 1862. '...a child making a doll of a pet Skye terrier...the execution of this little group is as fresh, pleasing, and natural as the subject is quaint and original. The child is evidently delighted with his little rough pet, and...places the dog in his arms with the idea of rocking it to sleep...It is ingeniously and humorously expressed, however, that the dog's views and feelings do not at all coincide with those of his little master, especially on finding himself in such an awkward, unnatural, and entirely unaccustomed position for sleeping. You see that to the repeated and urgent injunction to "Go to sleep!" he is beginning to snarl a refusal; the eyes look fiercely and rebelliously though timidly askant; the upper lip begins to rise and show the canine teeth. The force of good education is still evident in the docile "begging" position of the fore paws, but the hind legs are scratching away vigorously at the restraining and admonitory arm. The dog is altogether a capital study, as carefully executed as the boy himself, and the shaggy coat forms an excellent contrast to the smooth texture of the flesh'. From "Illustrated London News", 1862. The International Exhibition - "Go to Sleep!", a marble group by J. Durham, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160483
THE INTERNATIONAL EXHIBITION: MARBLE STATUE - "SARDANAPALUS" (FROM BYRON'S TRAGEDY)..., 1862. CREATOR: UNKNOWN.
The International Exhibition: marble statue - "Sardanapalus" (from Byron's Tragedy), by H. Weekes, A.R.A., 1862. '...one of the single-figure statues commissioned for the Egyptian Hall of the Mansion House...Mr. Weekes has wrought out the poet's conception very admirably in the animated, defiant attitude and the mixture of scornful and almost hilarious expression in the face...The technical merits of this statue are of a very high order, and place it among the best modern sculptures. The action of the upraised arm is given with great anatomical truth. When the arm is raised in this position the serrati muscles and the ridge of the false ribs with their cartilaginous attachments would be brought into unpleasant relief if not, as here, treated very judiciously. The difficult anatomy of the olecranion or elbow and the joint of the ulna and humerus in this position of the arm is also perfectly mastered. Throughout the figure there is that due discrimination between the hard, knobby markings of the osseous structures, the flatnesses of the tendinous portions, and the double curves of the muscles which Haydon so justly admired in the Elgin marbles. The drapery is also very skilfully "cast".' From "Illustrated London News", 1862. The International Exhibition: marble statue - "Sardanapalus" (from Byron's Tragedy)..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160369
CHASED SILVER SHIELD, BY LAMBERT, IN THE INTERNATIONAL EXHIBITION, 1862. CREATOR: UNKNOWN.
Chased silver shield, by Messrs. Lambert, the silversmiths, of Coventry-street, in the International Exhibition, 1862. 'Perhaps to show that this shield is thoroughly English the exhibitors wisely reject the French word repoussé, which would, however, accurately describe the work, and adhere to the older English and less-used participle, embossed. The shield has been designed and executed by Mr. Thomas Pairpoint...and illustrates the defeat of the Iceni by Suetonius, and the death of their Queen, Boadicea...the work is ambitious of great promise; but its execution, often careless and somewhat clumsy, does not by any means equal its promise. The conception of the struggling crowd of figures, Briton in deadly struggle with Roman, the intense hatred in the faces, the tension of the muscles, and the evident feeling of the artist in his work, are deserving of all praise; but Mr. Pairpoint...is wrong in foreshortening, and exhibits grave faults in drawing. But, notwithstanding these drawbacks, the young artist is one of great promise...Mr. Pairpoint has, besides, the merit of being thoroughly English, without affectation of style, and perfectly pure and chaste in treatment, which is more than can be said of the foreign artists'. From "Illustrated London News", 1862. Chased silver shield, by Lambert, in the International Exhibition, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160184
THE INTERNATIONAL EXHIBITION: MONUMENT OF CHARLES ALBERT, THE LATE KING OF PIEDMONT..., 1862. CREATOR: UNKNOWN.
The International Exhibition: monument of Charles Albert, the late King of Piedmont, in the Horticultural Society's Gardens, 1862. Marochetti's memorial. 'At the base of this monument stand on guard at each angle a grenadier, a bersagliere, a dragoon, and an infantry soldier...On the west side the Piedmontese force marches forth against the Austrian hordes, whilst the country people wave their hats or kneel in prayer...On the east side is represented the disastrous battle of Novara...The artillery horses...are very spiritedly designed and executed. In the north panel the discouraged and unhappy King hands over his crown and sword to his son Victor Emmanuel; and in the south panel...poor Carlo Alberto, brokenhearted, dies far away in a foreign land, self-exiled from those whose evil fortune he could not bear to be a witness of, and in whose sorrows he so deeply sympathised. On another plinth above this stands the equestrian statue of the Monarch, and at his feet are ranged sitting allegorical figures of Italy, holding in her outstretched hand the thorny crown of martyrdom; Justice, with the sword and scales; Law, with a scroll on which is engraved "Statute, 1848;" and, finally, Victory, with unsheathed brand and fetters snapped in twain...'. From "Illustrated London News", 1862. The International Exhibition: monument of Charles Albert, the late King of Piedmont..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160114
THE INTERNATIONAL EXHIBITION: WHITE MARBLE MANTELPIECE AND BAS-RELIEF EXECUTED..., 1862. CREATOR: UNKNOWN.
The International Exhibition: white marble mantelpiece and bas-relief executed by the late J. Thomas, 1862. 'This chaste and elegant mantelpiece was executed in pure white marble by the late Mr. John Thomas...The figures on the spandrils and centre represent Oberon and Titania, from "A Midsummer Night's Dream", attended by Puck and one of the little elfs bearing a bullrush, Puck with the ass's head. The figures are tastefully drawn and executed. Above the jambs are two small heads, one on each side, exquisitely moulded, almost emblematical of Peace and War, for one holds a bunch of wheat, whilst the other is apparently in a great passion. The latter was modelled from the artist's own son, who died in infancy. The stove, which was also designed by Mr. Thomas, is a lovely piece of work in bright steel and encaustic tiles. This portion is from the works of Messrs. Stewart and Smith of Sheffield...The bas-relief hanging above the centre of the mantelpiece does not belong to the work, but is a pleasing idea, nicely carried out, of Little Red Riding Hood, accompanied by the wolf. The stove and mantelpiece were executed for Mr. Charles Lucas, one of the contractors for the Great Exhibition building'. From "Illustrated London News", 1862. The International Exhibition: white marble mantelpiece and bas-relief executed..., 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601160009
THE INTERNATIONAL EXHIBITION: MARBLE STATUE - "PURITY" BY MATTHEW NOBLE, 1862. CREATOR: MASON JACKSON.
The International Exhibition: marble statue - "Purity" by Matthew Noble, 1862. '...we may say that there is a sort of double conventionalism in the abstract representations of the virtues and vices. They are the result of an advanced stage of civilisation in a nation...In the whole range of these abstractions there is not one perhaps so peculiarly eligible for sculpturesque treatment as the subject of the statue we have engraved. The spotless colour of marble and the delicacy of its crystalline texture are directly suggestive of purity, and a favourite figure with the poets, as Shakspeare has it, "pure as monumental alabaster." The age and sex our artist has chosen is the sweetest embodiment of his theme. The purity of infancy is mere vacuity, that of maidenhood is a vestal garb worn "unspotted from the world." Mr. Noble has dealt with his subject very artistically. The attitude is graceful without affectation. The expression is as simple and chaste as it is beautiful. Though very appropriate, it hardly needed for its explanatory value the action of placing the symbolical lily on the equally spotless virginal bosom. There is nothing in the treatment of the hair and drapery which does not harmonise with the conception'. From "Illustrated London News", 1862. The International Exhibition: marble statue - "Purity" by Matthew Noble, 1862. Creator: Mason Jackson. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159534
BUST OF HER ROYAL HIGHNESS THE PRINCESS ALICE, BY MRS. THORNYCROFT, 1862. CREATOR: UNKNOWN.
Bust of Her Royal Highness the Princess Alice, by Mrs. Thornycroft, 1862. Engraving of a sculpture. '...this accomplished lady...shares equally with her husband the honour of ranking among our most distinguished sculptors...[She] has attained eminence in an art which, if not more difficult than painting, is certainly one in which her sex has hitherto much more rarely excelled...the Princess Alice displayed so much filial constancy and affectionate attention to her Royal mother on her recent bitter bereavement that she must have endeared herself to all, and her portrait will therefore be especially welcome in every English home. Her face is...a faithful index to her character. It at once guarantees a gentle, unassuming, amiable nature, almost nervously sensitive in its refinement, and with a shade of pensiveness which, when found in so young a face, seems always to convey the assurance of a sincerity and truthfulness not always the characteristics of extreme youth...The hair does not, properly speaking, "ripple," but has an easy, playful wave; and it is in the bust looped up and knotted behind, leaving one or two pendent curls, very much after the simple, graceful fashion of Greek busts. A wreath of roses appropriately crowns the head'. From "Illustrated London News", 1862. Bust of Her Royal Highness the Princess Alice, by Mrs. Thornycroft, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
(RM) 601159494
THE SOUTH FOUNTAIN AT WITLEY COURT, WORCESTERSHIRE, THE SEAT OF THE EARL OF DUDLEY, 1862. CREATOR: UNKNOWN.
The South Fountain at Witley Court, Worcestershire, the seat of the Earl of Dudley, 1862. Fountain with Perseus and Andromeda in the gardens at Witley Court. 'According to Ovid, as Perseus was passing the territories of Libya he descried on the coast of Ethiopia the naked Andromeda chained to a rock and exposed to the furies of a sea monster. Struck at the sight, he raised himself in the air, flew to the monster, and slew it. For this he obtained the lady in marriage. He is here represented in the act of his chivalrous rescue, mounted on the winged steed Pegasus...The entire group is probably the largest piece of sculpture in Europe...its weight alone exceeds twenty tons...The design is by Mr. Nesfield, and the execution was intrusted to Mr. James Forsyth. The material is Portland stone...The water is brought from a reservoir nearly a mile distant, to which it is forced up by a steam-engine of 40-horse power, yielding an average supply of five thousand gallons a minute, the maximum being ten thousand, capable of being kept up eight hours a day. With all the jets in full play (the centre one can be raised to a height of 120 ft.) the coup d'oeil is magnificent. The entire cost of the waterworks and sculpture has, we believe, exceeded £20,000'. From "Illustrated London News", 1862. The South Fountain at Witley Court, Worcestershire, the seat of the Earl of Dudley, 1862. Creator: Unknown. (KEYSTONE/HERITAGE IMAGES/THE PRINT COLLECTOR)
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