Opinions of the Press. “Society,” April 7th, 1883, says—“ It only needs to be known to be universally popular.” “ Naval and Military Gazette,” October 17 th 1883, says—“ToNaval and Military Men and ~ porUmen who knock about much, it should be invaluable.” “Land and Water,” April 12 th, 1883, says—“ It not only cures but prevents the bag¬ giness which so aftcn disturbs the masculine mind.” “Life.” — “Trousers Stretchers have become q iite the rage, and the male ‘ rem¬ nant’ still perceptible in the park is invariably distinguished by thdse front and back creases on the once ‘ inexpressible ’ garment, which gives it the appearance of having just emerged from the tailor’s hand, in virgin purity, like Venus from the sea.” “ Civilian,” Dece » ber 1st, 1883, says—“It is the most effective instrument we have ever seen for preventing bag¬ ging at the knee.” “Detroit Free Press.”— “ A word to my lady readers. If you have been wanting to give him a present, and liavn’t been able to decide what in the world would please him, try him with one of Hamilton’s Trousers Stretchers. If y u don’t know whether he has me or not, just look at his knees.” IMPORTANT! AVOID IMITATIONS, and insist upon JOHN HAMILTON and CO.’S PATENT, each of which is stamped with Name and Trade Mark. Indispensable to CRICKETERS AND LAWN TENNIS PLAYERS IN PREVENTING FLANNEL TROUSERS FROM SHRINKING AFTER BEING WASHED. •) OF TAILORS, HOSIERS, &c. Polished Walnut Clamps, Nickel Rod and Fittings- 8s. 6d. I Plain Birch Clamps, Bronze Rod and Fittings - 3s. 0d. Polished Birch Clamps, Bronze ditto ditto - 4s. Od, I Plain Birch Clamps, Rods not jointed - - - 2s. 6d. Ly difficulty in obtaining , or other Stretchers are attempted to be substituted, e ,d P.O.O. ( with 6 d. extra for carriage) to the Makers, 7, Philip Lane, Lond ' / 3 $<¥ r PRICE TWO PENCE. Entered at 1 ("All Right* Stationers Hai.l.J L Reserved. THE “DISTRICT RAILWAY” GUIDE TO THE ITALIAN EXHIBITION, CONTAINING GROUND PLAN of EXHIBITION, RAILWAY MAP OF LONDON, and MAP OF ITALY. OOHsTTEaSTTS. LARGE PLAN OF THE EXHIBITION... PAGE 2 & 3 THE WESTERN GARDENS I-AGS 46 PLAN OF THE GROUNDS, ETC. .. 4 THE WESTERN ANNEXES 4 s MAP OF ITALY. 24 & 25 THE THEATRE. 39 HOW TO REACH THE EXHIBITION ... ... 7 THE ROMAN MARKET PLACE ... 40 THE CLASSIFICATION OF EXHIBITS ... ... 9 THE PANORAMA OF ROME 39 THE ARRANGEMENT OF THE EXHIBITION ... 10 THE BLUE GROTTO OF CAPRI 46 THE EXHIBITION BUILDING. ... 10 THE DIORAMA OF NAPLES 47 VISITING THE EXHIBITION ... ... 11 THE BORGHESE GARDENS 47 THE RECEPTION HALL ... 12 THE TUSCAN FARM HOUSE ... 47 THE SCULPTURE GALLERY . ... 14 THE TEMPLE OF VESTA 44 THE NAVE . 1 ... ... 18 THE WELCOME CLUB. 48 THE PICTURE GALLERIES . .... - 34 THR SWITCHBACK RAILWAY ... ... 47 THE REFRESHMENT DEPARTMENT ... ... ... 23 THE ARENA (ROMAN GAMES)... 11 LONDON: PUBLISHED BY ALFRED BOOT AND SON, 2T-, OLD BAILEY, E.C. GROUND PLAN OF MAIN BUILDING OF ITALIAN EXHIBITION. > ♦POTTERY i -1-1- i , •VAR uOUS t MUSIC — -,3 > r~ _ O -n o z FUR N 1 T U R E. *5 73 -< ^ r FURN 1 r u r e ; ;8R0NZES s a a with te to nind, it is ently apply ss of gular ;trxct lpton ilway learly strict I Is. i most from : and of a , viz., tn 6d. II the it the Court LWAY mdon TON ige of 5 con- enny. Rail oking rs ask These sither ions. , are rs by single ets, a on on KENT town' SBURY SWISS CO rTAGli iTONEBRIDGE PARK . I .A4 DDiNCTON QUEENS PARKj- K£N$A t ijfe crvirrsy. RMWOOj DR U B S LATh GARDENS. Albert_ ji roHOmj**? iOUTH MifffiL ACTON Wtjrt* ,6sPI I5J>' 0RE6 n\ \ BAR ME filNB PARK rte SUMMON coims&w C H C ATE R ? MAP OF LONDON. HAMPSTEAD THE DISTRICT RAILWAY" M I N I AT U R E District Railway ALFRED BOOT & SON, LlTH. 24 OLD BAILEY, E.C. Other railways maa^mm District Railway,“city" & putney. Omnibus routes 9 4 2 I 1 MILE Railways in direct connection with District Railway Company’s System \—;—;—i THE “DISTRICT RAILWAY" MAP OF LONDON. Size of Map Of Rom*. Price List on application to the Depot , 5 £ 0, Great Winchester Street , London, E.O. 10 Class XI.—Manufactures not otherwise classified. Class XII.—Products of the Sea; Naval Archi¬ tecture ; Fisheries. Class XIII.—Education; Italian Institutions. Class XIV.—Music and Musical Instruments. Class XV.—Fine Arts—Sculpture, Oil Paintings, Water-colour Drawings, Etchings and Engravings, Gouaches, Works in Black and White, Archi¬ tecture, Carvings, Archaeology, Photographs, and Chromo-lithography. These classifications all more or less fully represent the various departments of Italian industry and resource ; and although some classes will naturally interest the general public more than others, all are necessary to the proper representation of the country, and those which are of the least general interest will be found to offer special attractions to some. THE ARRANGEMENT OP THE EXHIBITION is similar to that of last year, and will be clear to the reader who will care¬ fully examine the several plans given with this Guide. As will be seen, the area is divided into four main por¬ tions : — 1. The main Exhibition Building. 2. The Central Gardens. 3. The Western Gardens, and an¬ nexes. 4. The Eastern Gardens and the Arena. THE EXHIBITION BUILDING, the principal entrance of which fronts the Liliie Road, to the west of the West Brompton station, is a light spacious structure 1,140 feet in length by 120 feet in breadth. It is sub¬ stantially the same as that used for the American Exhibition, with the addition of some new annexes. In this building the bulk of the exhibits are displayed, the arrangement of the previous exhibition, which commenced with arts and manufactures, and con¬ cluded with machinery, being followed. Two large annexes have been erected in the western gardens to accommodate the overflow of the main structure, and in these will be found the agri¬ cultural and allied collections. On the right of the main entrance is the gallery of the national pictures lent by the King of Italy, on the left the cloak room and various offices, and the principal sculpture gallery. Further down, on the left hand side, are the picture galleries, and beyond these the refreshment rooms of Messrs. Bertram & Co. There are several rows of stalls which, with a few inter¬ ruptions, run the whole length of the building, the disposition of which will be seen by reference to the ground plan included in this Guide. THE CENTRAL GARDENS are approached through a large mar¬ quee at the western end of the main building. In this tent the opening ceremony was performed, and the Neapolitan Mandolinists, in their pic¬ turesque attire, play daily. Beyond this is an Italian Buffet, the Theatre, and the representations of “ The Roman Market Place/’ “ The Roman HOME FROM HOME.- J. H. FAULKNER’S LONDON HOTELS, 26 * 27, VILUERS ST,, STRAND — alongside Charing Cross Station — very convenient for West End Theatres, etc. CITY CENTRAL : 50, NEWGATE ST., & 3, 4, 5, PANVER ALLEY— opposite G.P.O.—centrally situated for business or pleasure. QUIET, CLEAN, COMFORTABLE. MODERATE CHARGES. NIGHT PORTERS. iND GARDEN HOTEL, 69 & 70, Middle St., Brighton —Close to the Sea. Large Garde n CHARGES VERY MODERATE , ACCORDING TO SEASON . X ARIFPS -A-IXTID PULL PARTICULARS ON APPLICATION. 11 Forum,” etc., while further on across the bridge on our left we find the “ Blue Grotto of Capri,” “The Diorama of Naples,” “The Temple of Vesta,” “The Borghese Gardens,” “ The Tuscan Farm House,” “The Welcome Club,” “ The Alpine Switchback Railway,” “The Italian Restaurant,” the Manufactories of Venetian Glass, and the new annexes, all to be described in detail later on. THE ARENA AND EASTERN GARDENS are approached by the broad staircase about a third of the way down the main exhibition building on the right hand, by way of the “ Margharita Bridge.” Upon the arena occupied last year by the “Wild West” has been constructed the first genuine re¬ production of the Roman Colosseum ever erected in England; and where the North-American Indians, under “ Buffalo Bill,” gave such faithful re¬ presentations of “ Life in the Far West,” will be found accurate and picturesque representations of Rome under the Emperors, the Inauguration of the Colosseum by the Emperor Titus, including Roman Sports, Gladiatorial Combats, Chariot Races, Ccesar’s Tri¬ umphal Procession, &c., &c. Such is a brief sketch of the general plan of the Exhibition through which we now purpose to conduct the visitor, arm in arm, pointing out the chief objects which demand his atten¬ tion, and taking care that he does not miss anything that he ought to see. In VISITING THE EXHIBITION it will be well, if convenient, to enter by the main entrance, or if by any other, to proceed to the front of the building before commencing a tour of inspection. Even in our pleasures, we gain by being business¬ like and systematic, and if we would see all that is to be seen with the greatest comfort and the least fatigue to ourselves, we should have a plan for our peregrinations, and quietly follow it out. Our plan for the inspec¬ tion of the treasures of the Italian Exhibition is by whichever means we reach the building to make our way to the main entrance and start at the front door, and then proceed by the rule of the road, keeping to the left hand, with occasional excursions into the centre to examine such exhibits as may be conveniently inspected en passant. The front door faces the Lillie Road, but two or three minutes walk from the Earls Court and WestBromp- ton Stations of the District Railway. If the visitor arrives at Earls Court, which is by far the most convenient way of reaching the Exhibition from all parts of London, he can enter, by merely crossing the road, at the Earls Court entrance, and pass through vine-covered corridors to the Exhibition building. If he arrives at the West Brompton Station he will find the front entrance close to the station, while those who arrive at the West Kensington Station may reverse FAULKNER’S TURKISH BATH, 50 , Newgate St„ & Panyer Alley. TERMS —8 a. to. to5 p.m., 2/-; 5 to 8.30 p.m., 1/6; Saturdays after 2 p.m., 1/6; Wednesday and Friday evenings, 8 to 10p.m., 1/- In connection with the above, and at Vjlliers Street, Strand, Tile cry Docks, and various Railway Stations, etc., ar» HAIM DRESSING ROOMS, LAVATORIES, BATHS, etc. Hosiery, Gloves, Rugs, Bags, and General Outfitting for Home and the Colonies ; Shipping Outfits for Passengers Officers, etc. CHIEF OFFICE:— 50, NEWGATE STREET, E.C. B 2 12 the ovder of their inspection. Before entering at the main entrance, a moment or two should be spared for a glance at THE PARADE. First impressions usually predispose us either to censure or applaud, and it is well that the authorities have spent so much care upon what, after all, will, perhaps, never receive due attention. Visitors are, as a rule, too anxious to get inside to take much notice of ex¬ terior adornment, hence the decorative work of Signor Casanova and Signor Focardi, the well known sculptor of “ You Dirty Boy,”,, which ornaments the front of the building, will pro¬ bably not receive the attention that it deserves. The main features of the fafade embrace a relievo bust of the King of Italy, with similar busts of the Queen of Italy, and the Prince of Naples on either side. These are set in an elegant decorative design of renaissance art, burnt into the stone. Entering the doors and passing the turnstiles, we are confronted by a handsome screen of Italian design, and find ourselves at the top of the broad flight of steps by which we are to reach the nave of the building. LOOKING DOWN THE NAVE the scene is gaiety itself. The different flags of free and united Italy wave from the roof, and combine gaiety of colour with grace of form. Clad in the picturesque garb of the Graribaldians are numerous lads busy in disposing of the official catalogue for one shilling, the art catalogue for sixpence, and the daily programme for one penny. Immediately in front of us as we stand is a handsome life-like bust of the King of Italy in bronze, by the sculptor Nelli, beyond which, in the distance, on our right and left, are huge figures of Raphael and Michael Angelo, be¬ tween which, in the centre of the nave, stands a colossal figure of “ Venice” as queen of the sea. Descending the steps to the left, we leave umbrellas, overcoats, and any other superfluous wrappers (which the treachery of our climate accustoms us to carry even when we visit Italy) in the cloak-room, and then turn to make a tour round the Exhibition. Before proceeding down the nave, or even examining the treasures of the sculpture gallery, which is on our left, it will be convenient to inspect the contents of the large square space immediately fronting us, which may be appropriately called THE RECEPTION HALL. On either side of us as we face the West are hung mysterious - looking tapestries representing classical sub¬ jects, which serve as backgrounds to the statuary pedestailed in front of them. The first bust on our left (40) is one of “ Cristofer Colombo,” the great discoverer, who made last year's exhibition in this building pos¬ sible, and out of whom the great ESTABLISHED 1S51. Sii*k%Becls: Bank SOUTHAMPTON BUILDINGS, CHANCERY LANE, LONDON. T HREE PER CENT. INTEREST alowcd on PEPOSITS, repayable on demand. * TWO PER CENT. INTEREST on CURRENT ACCOUNTS calculated on the minimum monthly balances, whe» not d rawn bel( w £ 100. The i ank undertakes for its Customers the purchase and sale of Stocks, Shares, and Annuities. Letters of Credit and Qh alar Notes issued. *TE BIKKBECK ALMANACK, with full particulars, post free on application. FRANCIS RAVENSCROFT. Manager. 13 American humorist, Mark Twain, made so much fun at the expense of a Roman guide in his “ Innocents Abroad/’ Next to this is (39) entitled “ A Prisoner,” a figure of a child play¬ ing with a butterfly,and then comes(37) a girl and dog, the work of Giovanni Fontana, more of whose sculpture we shall be called upon to admire before we have proceeded far. At the corner of screen is (36) a b st of a lady, and the full length figure of a girl who is admiring the rosettes on her shoes. Proceeding round the reception hall, and leaving the sculpture gallery on our left for later inspection, we come next to a group of busts arranged round three sides of a pillar, on the fourth side of which is a statuette of “ A Matchseller,” who is plying his trade regardless of the ladies who are placed so near him, but who are, we are bound to say, quite as indifferent to his appeal. Round the next pillar there is another group, the front one of which is a “A Newspaper Boy,” vociferously calling to the passers-by, but obtaining no patronage. His news must be getting just a little stale by this time, for to our certain knowledge he has had the same paper in his hands since the opening day. This statuette is backed by a bust of “ Galileo,” and flanked by two fair heads, which give us but a stony stare as we pass them by. Crossing the entrance of the sculpture gallery, and proceeding round the reception hall, we note at the corner of the screen a fine statue of “ A Gleaner,” and a beautiful bust, bearing the in¬ scription “Seducta Seduxit ” (27), next to which is a statue of Diana, crescent- crowned and beautiful. A group, com¬ prising “ A Mother and Child,” a subject everlastingly repeating itself, both in nature and in art (25) (of both of which there are numerous examples in the Exhibition) comes next, beyond which, in the corner, towers the giant figure of Raphael, noticed in our first look down the nave. Below this, on either side, is a pretty draped figure, entitled “ A Pompeian Woman” (24), a clever bust of a veiled lady (23), and a pretty group of “ Child Feeding Pigeons ” (22), which marks the corner of the screen. We now cross the nave, between the colossal statue of “Venice” and a fine bust of “ Garibaldi,” to the corner of the corresponding screen on the other side, where we face a pretty group (4) “Child and Begging Dog.” A fine female bust (5) is the next to attract our notice, and then we look up at the great figure of “ Galileo,” which does complimentary duty to that of “ Raphael ” on the other side. As we pass round we notice (6) a statuette of a lady with mask, (7) a fine bust of “Verdi,” the famous composer of “ II Trovatore ” and other great Italian operas, and a group of “ Chil¬ dren playiug with a Swing” (8), which little visitors are sure to admire. A THE BIRKBECK BUILDING SOCIETY’S ANNUAL RECEIPTS EXCEED FIVE MILLIONS. HOW TO PURCHASE A HOUSE For TWO GUINEAS PER MONTH, with immediate possession and no rent to pay.—Apply at the Office of the Birkbeck Building Society, 29, Southampton Buildings, Chancery Lane. HOW TO PURCHASED PLOT OF X.AXO'B * For FIVE SHILLINGS PER MONTH, with immediate possession, either for Building or Gardening purposes.—Apply at he Office cf the Bikkbeck Freehold Lind Society, as above. The Bibkbeck Almanack, with full particulars, on application. FRANCIS RAVENSCRQFT, Manager* 14 colossal group, representing the triumph of the Romans over the Teutons, next attracts our attention. It is a fine work, comprising three figures in various attitudes; next to which, at the corner of the screen, there is (60) a pretty bust, “ Yelo d’Amor,” and (38) a bust of “ An Odalisque,” a lady of the Sultan's Harem, which is very fine indeed. We have now on our left, as we face the main entrance, the gallery of national paintings, lent by the King of Italy, but we propose to leave the pictures until later on, and so proceed in our circuit of the reception hall, and, in doing so, note a fine bust of Garibaldi, at the corner of the screen; next to which is a very pretty “ Tinted Cupid ” (30) which must not be passed over. Beyond this is the remains of a very fine colossal figure, representing in its entirety “ Venice” subject to the Austrian yoke. This fine statue was broken in transit, and only a portion of it is shown. A statue of “The Little Captive Maid,” (16) kneeling on one knee and saying: “ Would God my Lord was with the a prophet which is in Israel ” comes next, and then a very beauti¬ ful group of “ Jephtha and his daughter,” from the chisel of Giovanni Fontana. A powerful bust entitled “War” (17) concludes the row, and warns us to proceed no further. We have now completed the circuit of the reception hall, and need only pause to look at the statues sta¬ tioned in the centre before passing on to the principal art gallery. Immediately behind the fine bronze bust of King Humbert, by Nelli, is a very natural statue of “ Michael Angelo ” seated at work, mallet and chisel in hand, on the right of which is a beautiful statue of “ Berenice (19), the sister-wife of Ptolemy,” vowing to sacrifice her hair to the gods if her husband should return home the van¬ quisher of Asia. Tradition tells us that she kept her vow, and suspended her hair in the Temple of the God of War, from whence it was stolen on the first night, and that Conon of Samoss told the King that the winds had wafted it to heaven, where it formed the seven stars near the tail of Leo. On the left of the “ Michael Angelo ” statue is (41) a fine female figure, partially draped, entitled “ Erin,” by Signor Faldi; and behind the three statues just described are two larger statues, one of which represents the Homan poet, Ovid, and the other the discovery of a murdered Spartan, by his daughter and faithful dog. These are from the studio of Ettore Ferrari, and are among the best sculptures in the Exhibition; they must have our careful attention ere we pass on to THE SCULPTURE GALLERY on our left. This gallery consists of a large central chamber, with roomy recesses on either side. Following 11 NEWGATE STREET, E.C. LISTS TREE. TRADE FIRE! BURGLARS!! JOHN TANN’S IV ARK. 15 our uniform practice, we keep to the left, and turn into the first recess, where, side by side with “ Goody Two Shoes ” at the corner of the screen, is the bronze figure of a “Peri/’ bearing the well-known inscription from “ Lalla Rookh.” “ One morn a peri at the gate Of Eden stood disconsolate,” &c., &c. Two singing boys (49 & 50) of different ages, and reproduced in different styles came next, and then a* pair of terra cotta busts (51 and 53), representing two dusky maidens keeping guard over a bronze Neapolitan Fisherman (54), who advertises his wares from his stall between them. A bronze lady on a bronze balcony prettily en¬ titled “Sunset” (51) comes next, and then (55), a marble “ Margarete ” plucking the petals from a flower to the quaint monotone of “ Loves me, loves me not,” and one or two more bronzes, bring us to the largest and most im¬ portant exhibit, in this recess “ The Poor Man's Carnival,” an enormous canvas from the studio of Signor Carlo Stratta, which occupies nearly the whole of one side of the room. It is full of figures and fine in colour, and depicts an Italian harle¬ quinade, whose only English relative is the May-day festival of our native sweep. On the other side of this picture is a bronze boy with a thorn in his finger (59) which is excellent in expression, and on our left as we turn our backs upon the big picture, a terra cotta figure of a boy with rabbits (63), which young people will be sure to admire, and a (bronze) lady who has been bathing or fishing, and who has allowed a fish to catch her by the toe. At the corner of this screen is a very unhappy-looking gentleman (68) bear¬ ing the inscription “ Ad Vestras,” upon whom we bestow a glance of pity and then pass into the second recess. There are some capital exhibits in this room, and the following should be specially noticed;' ( 74) “Little Scamp;” (92) “ Mother's Joy,” (a very pretty group indeed); (76) “A Boy Smoking;” (77) “A Laughing Girl;” (189) a full length figure in bronze of “The Crucifixion;” (86) “At the Marionettes,” a group, man and boy laughing, a capital production. There is a bust of the Prince of Wales, in Aberdeen granite (97) in this room which should be noted, and several other interesting works. “ A Break for Liberty (98) is very pretty, as also is (90) a girl carrying a child. In the centre of this room there is a case of medals and a marble table with sculptured flowers lying on it in apparent neglect. At the corner of the screen, as we pass into the next recess, we notice a beautiful statue of Proserpina, by Warrington Wood, several of whose works we have already noticed; (99), the fair lady whom Pluto snatched from the meadows of Sicily, and made his bride in the infernal regions. HOSSPELD’S New Method for Learning By Self-Tuition. 384= pp. Cloth. 3/- There is no better system than this for learning French. The work contains a Complete Grammar, Explanatory Exercises and Vocabulary, Questions on Grammar, a French Reader, with foot¬ notes, and about ioo pages of Dialogues, Conversations, and Commercial Correspondence. It is divided into 64 Lessons of 4 pages each, and is arranged for Schools, Classes, and Private Lessons. HIRSGHFELD BROS., Bream’s Buildings, Fetter Lane, E.C. 16 The tradition runs that the lilies she let fall from the chariot of her grim lover, as she was carried off, became Daffodils, and thus a new variety was added to the world’s floriculture. No. 100 is a statue of “ A Mother and Child” on our left; beside which (101) is a group comprising “A Girl and Dog; ” these with 107, “ A Child and Cat; ” and 109, a quaint group of children will be sure to amuse the youngvisitor. There are also some very good bronzes in this room, of which 104, “Ahaiii!!!” “A Head in pain” is very clever, but the chief object of interest here is a marvellous mantel-piece (116) representing a female figure in the toils of a sea-mcnster. This is an extra¬ ordinary piece of composition, and wants well looking at before we pass on. In the inner room, which we enter by still keeping to our left, the following should be noted: 272, “ A Chioggia” (bronze) ; 271, a pretty figure of “A Child asleep in a Chair; ” 269, a fine bronze bust; 285, a life-size recumbent figure of “ Eve 275 a marble bust of Napoleon as First Consul; 261, a statue group of “ The Sisters of Bethany,” bearing the in¬ scription “ The Master is come and calleth for thee ; ” 72, “ A Laugh¬ ing Head ” very cleverly wrought in bronze; and ^ 287, two boys with a flag inscribed “Festa Nation- ale.” Returning to the main gallery, we note on our left (125) “ A Sure Shot(125) a pretty group repre¬ senting a “ Girl tickling a Child/* which will be sure to excite a smile; next to this is (126) a full length statue “Ophelia;” and (127) one in bronze and marble, of a dusky beauty who has either been stung by some creature of the earth or air, or vac¬ cinated, and who is examining the results. In the crescent which forms the end of the gallery there are numerous beautiful and interesting compositions. ' No. 131, a figure of “ A Spinner ” is a very successful and beautiful treatment of repose. 132 is a very pretty group representing two children—one pouting and the other laughing; 134 is entitled “The Pro¬ hibited Book,” and represents Mamma in the act of confiscating the work which she has forbidden. In the centre of the crescent is the original point-cast of Monte Verde’s well known group “ Jenner inoculating his son,” a very good illustration of compulsory vaccination. 136 is a very clever figure, entitled “ Cicea Cicea;” 138, a representation of “ Bathsheba;” 141 is a pretty group of “ Bather and Child;” and 142 bears the inscription “ Amore Acceca ” (Love Makes Blind.) 143 bears title “ Ruth and 144, “ Love’s Bondage,” a cupid covering the eyes of a female figure, bring us to the end of the crescent and to the entrance of an inner room, in which there is a very fine mosaic in the corner repre¬ senting the Saviour, beneath which THE “DISTRICT RAILWAY” GUIDE TO LONDON. Morning Post says—“ It contains excellent maps, plans of the great railway station , lists of cab fares, &c., and letterpress, containing exc llent accounts of most of the points of special interest alike to the stranger and the Londoner.” Liverpool Courier says—“ One of the handiest of handy books for visitors to the metropolis is The “ District Railway” Guide to London, which has a capital large coloured map of London, conveniently cut int > pages, with a key plan to show how the sections join. A useful feature is an alphabetical refer¬ ence list of railway stations, buildings, &c., indicating their position on the map and in the descUptive matter.” r Paper cover , M.; clo'h, is.,- of District Railway Booking Offices and Railway Bookstalls. Published by ALFRED BOOT & 60H, M, Old Bailey, E.C. 17 is 217, a statuette of “ Rachael and 219, a bronze ‘‘Boy on Horse,” (very good) ; 239 a terra cotta “ Mother and Child,” on a platter fastened to the wall deserves atten¬ tion ; in front of which is 224, a basket of cherubs undergoing com¬ petitive examination ; and 225, a terra cotta bust ; both of which must be examined and admired. Returning to the main gallery, and still keeping to the left, we come to a fine display of sculptures, by Caroni, all of which, from 147 to 153, deserve careful attention. 149, “ Boy Playing Flute,” is one of the best things in the Exhibition, and 150, “ The Passage of the Ford,” is a charming figure; but all of this group are first-rate; a “ Leda and Swan ” among these is very pretty. In 157 we have “ Tabrette and Romeo.” 156 is the figure of a boy dressing after a bath ; and 159 “ Our Little Jack ” as he may be seen any time this summer at the sea side. 161, “Vanity,” (of course a female figure—manly vanity is not picturesque) brings us to the corner of a screen which forms one side to the first picture gallery. In the centre of this gallery is 167, a very pretty group, entitled “ First Love; ” behind which is 163 a capital bronze group entitled “ Caresses; ” and 164, another in terra cotta of the young princes who suffered in the Tower. We have now nearly completed an examination of the statuary in this gallery, and have only to notice those examples which adorn the centre, or are dotted here and there on the out¬ skirts. Many of these are very beau¬ tiful but do not call for special descrip¬ tion. One or two humorous groups must be noticed before we pass on, notably 176 “ You Raggamuffins ” by Focadi, the famous sculptor of “ You Dirty Boy,” “ Here you are Sir,” &c. This group represents an irate farmer who has caught two boys by the ear, and who does not seem to be inclined to let them go, at any rate before the close of the Exhibition. This is on the left of the main gallery looking towards the centre. 178 A “Laughing Child,” and 174 “ Happy Age,” in the same group are worthy of attention, and “Daddy’s Clothes” in the centre opposite to this group is sure to cause amusement, as will also “ I’m first, Sir,” and “ Hush-a-bye, baby,” while 179 “ Sweet Rest,” which is in the same group, will as surely excite sympathy. These are all from the hand of Signor Focadi. Having completed the examina¬ tion of the main art gallery, the visitor may now, as he pleases, adopt either of two alternatives, namely, that of examining the score of rooms devoted to the painter’s art, or that of proceeding through the avenues of manufactures and applied arts as dis¬ played in the nave of the building. If he chooses the former we must refer A NDERTON’S HOTEL, J~\. FLEET STREET, LONDON, Most conveniently situated for the Theatres, City, and principal Railway Stations, JrK* CLEMOW, Proprietor. In connection with “Rcjal Clarence HotelUfreeawha and “Peacock and Royal Hotel,’’ Poston, 18 him to p. 34 of this Guide, but if he follows our advice, he will remember that variety is the charm of exhibitions as well as life, and having bestowed some time upon art, leave the pictures for subsequent inspection, and turn his attention to the splendid stalls in THE NAVE OF THE MAIN BUILDING. As people always take our advice, we shall assume that the visitor follows our recommendation, and simply reminding him that a lawyer usually charges a much larger sum for advica which is often much less disinterested, we again link arms, and cry “ Westward, Ho ! ” As we look west the first stall that attracts our notice is that which bears the high-sounding title of THE PAVILION OP THE ROMAN JEWELLERS. It occupies the centre space, and stretches from the main left to the main right aisles of the Exhibition. In glass cases and otherwise on this stall are displayed the gold and silver and the precious stones, the mosaics, cameos, and bronzes of the principal Homan jewellers. “ Stefano Beretta ” jewellery, “Agostino Boni” jewellery, “Luigi Pierret” jewellery, “Enrico Rinaldini” jewellery,&c., &c., &c. Here there are a number of mosaics by Gallandt of Rome framed like ordinary pictures, representing the Colosseum, the Forum and other Roman scenes. These are very remarkable, being made of thousands upon thousands of small pieces fitted into each other with extraordinary nicety. It is a dis¬ play of very fine and beautiful work, and should be carefully examined be¬ fore proceeding further; there are also other objects of beauty and interest on the stall which should not be over¬ looked. Turning now, with a view to pro¬ ceeding down the left hand avenue of the main building, we notice first, on our left, bright in gold and colour against a dark background, the MURAL DECORATIONS of Professor C. L. Romoli of Florence. These paintings are executed on gilt wood, the panel being formed of a number of tablets mosaically fitted, to prevent the possibility of crack¬ ing. The largest and most important of these exhibits is the altar-piece after Fra Angelico, which occupies the centre, and represents “ The Coronation of the Virgin;” it depicts Christ in the act of putting the last jewel in the crown of his mother. On the right of this are five pictures after Giulio Romano, the centre one of which represents Appollo dancing with the nine muses. On the left of the central picture and elsewhere on the screen are a number of ecclesiastical adornments, and the whole is sur¬ mounted by a row of oil paintings by the same hand. The beautiful “finish” of these works of art will reward as n, NEWGATE STREET, E.C. LISTS FREE, TRADE JOHN TANN’S FIRS dc. BURGLAR PROOF 19 well as attract attention. On the stall at right angles with this display, is the highly interesting exhibition of BRONZED AND PAINTED TERRA COTTA figures of Signorini Chiloni and Gabbanini of Pisa. These are sure to excite interest and admiration. In the centre of the stall is a large bronzed terra cotta bust of King Humbert, which is surrounded by a group of “subjects” as quaint and pic¬ turesque as any to be found in his Majesty’s dominions. “ The Snow,” and “ The Second Honeymoon,” are titles of a pair, the former of which com¬ prises a group consisting of an old man and woman making themselves as happy as possible under a snow-covered umbrella, and the latter of a pair of old lovers respectively smoking and knitting, equally quaint and charac¬ teristic. Summer and Winter would have been, perhaps, a better title for this pair. “ In the Cellar,” and “After Dinner,” are the titles of companion groups, on wooden plates for wall adornment. In both there are three figures ; in the first, two “ trouba¬ dours ” are evidently coaxing “ the landlord’s daughter ” to broach a keg on their behalf, and in the latter they have evidently succeeded. All the figures on this stall are worth exami¬ nation. “ Winter,” an old man, in terra cotta bronze, and “ The House¬ wife,” which forms a pair with it, an “Old Woman Knitting,” “The Drinker,” and a group of musicians of the Mozart period, in a frame, and entitled “ The Concert,” will certainly be popular. The next stall on our left is devoted to the INLAID CABINETS AND FURNITURE of Signor A. Bauer, of Florence. The Exhibition is peculiarly rich in displays of this class, and before we have com¬ pleted our circuit of the building we shall have seen some of the most beau¬ tiful specimens of such work that we have ever looked upon. Signor Bauer exhibits many, which occupy us for as much time as we can spare. In front of this stall, and having the appearance of being part of it, is one devoted to the specimens of ART CHINA, ETC. exhibited by Antonibon Pasquale, of Venice, whose art ceramics, mosaics, and enamels present a charming show. Signor Pasquale’s establishment was commenced as long ago as 1613, and has been superintended by successive generations of father and son ever since. The exhibition contains many splendid examples of the various forms of chinaware, and this stall may be taken as a foretaste to whet the appetite for the feast that yet remains. On the right, facing this stall, is one upon which Nicolo Parodi (951) of Genoa, displays some beauti¬ ful specimens of GOLD AND SILVER F1LLAGREE work (951). In the glass case at the PURE ITALIAN WINES Italian Preserved Fruits and Vegetables. F. CIRIO & CO, 25, Regent Street. Cellars— 13, SOUTHWARK STREET, BOROUGH, S.E. 20 corner of the stall are many objects of beauty and interest. A model of a ship in silver and under a glass shade, and a number of silver fillagree baskets and dishes, which are so finely wrought as to present all the appearance of glass ware. The brooches, bracelets, aud other dress ornaments will be full of attraction for the ladies, while the terra cotta ornaments at the back of the stall will amuse the youthful visi¬ tor. At the other end of the stall is the show of CORALS, CAMEOS, AND BEADS _ of Guiseppe Errico, of which class of goods there are several other good displays in the Exhibition. Moving west, we pass the glove stall of E. Gargiulo & Co., and the boot display of Luigi Ferro, among which latter we notice some boots which would excite much more attention in “ Society ” than they do in glass cases. We pause a moment to examine the cases of corals, shells, and other relics of the sea which stand on our left, and then pass behind the cases that contain them, to examine the fine exhibition of carved furniture and inlaid cabinets of Guiseppe Rossi of Venice (793), opposite to which, on our right, are some curious relics of the past (863) namely, a number of bronze articles, such as bracelets, brooches, necklaces, “ Fibulse,” &c., which were discovered in two pre¬ historic tombs. There are a number of coins and other small objects here, which belong to the Etruscan, Greek, “ Picsene ” and Roman periods. These will have special interest to the antiquarian visitor, who will probably deem them worthy of a more promi¬ nent position. Further along on our right we come to the Silver Fillagree stall of E. Sivelli of Genoa, next to which are the majolica exhibits of Signor D’Amato of Naples, which include vases, jardinieres, plates, “ Alruzzi and Urbino imitations, &c., &c., opposite to which are the SCULPTURES, WOOD STATUETTES, ETC., (966) of Gerolamo Raddi of Venice. Some of these are very choice speci¬ mens of Signor Raddi’s art. There is one of a “ Village Priest” in the act of taking a pinch of snuff, which is very capitally executed. There are also good figure subjects, entitled The Beggar,” and “ The Minstrel.” The central piece of this stall is, however, the finest specimen of carv¬ ing upon it. Wood carving is one of the features of the exhibition, and the visitor will find some fine examples as he proceeds. A small display of high-class bronzes by Romani of Milan comes next (973), and then (898) a particularly fine exhibition of cabinets, chairs, screens, &c., &c., from the works of Signor Guggenheim of Venice. Opposite to this stall is a show of Mosaic and Venetian glass, with some inlaid marble HOME FROM HOME.-J. H. FAULKNER’S LONDON HOTELS, 26 4 27, VILLIERS ST., STRAND — alongside Charing Cross Station—very convenient for West End Theatres, etc. CITY CENTRAL: 50, NEWGATE ST., & 3, 4,5, PANYER ALLEY— opposite G.P.O.—centrally situated for business or pleasure QUIET, CLEAN, COMFORTABLE. MODERATE CHARGES. NIGHT PORTERS. AND GARDEN HOTEL, C9 & 70, Middle St., Brighton —Close to the Sea. Large Garden. CHARGES VERY MODERATE, ACCORDING TO SEASON. TARIFFS .A. 1ST ID FULL PARTICULARS OIST APPLICATION. 21 table tops which are very handsome. Passing west, we have on our right a fine display of statuary, which we shall, however, have a better opportunity of examining from the next aisle shortly. Next, on our left, is the stall of Italian carvings in alabaster and marble of flowers, animals, and small figures of F. GK Cattelli (873), and one more stall (903) the exhibition of the “ Industria Cerimica Napolitana,” brings us to what may be called the central transept of the Exhibition, and at this point it will be convenient to make AN EXCURSION to the centre avenue to examine some tine stalls closely contiguous. At the corner on our right is one of “ Bead’s,” from the manufactory of Bonlini and Arbib, passing round which we pro¬ ceed to inspect the fine collection of statuary which we have already glanced askance at from the side aisle (985). These comprise— STATUES, COLUMNS, VASES, etc., from the studios of Signeurs Oesare Sglieggi and Fili, of Florence. This is a very fine collection, and will occupy the appreciative visitor a long time. Some of the smaller subjects are very pretty, while the larger ones are handsome indeed. In the centre of the stall are two magnificent vases, some eight feet in height, of Florence serpentine marble, to which a mag¬ nificent urn of the same material serves as a central ornament, and completes the triad. Round the stall are numerous busts, statuette groups and figures which will well re¬ pay attention, notably one very pretty bust of a child with a dead bird. Next to this stall is a fine exhibition of bronzes, by Fonderea Nelli, of Rome, on which the visitor should notice a fine wreath, cast in one piece from wax refuse. The adjoining stall shows some more specimens of wood¬ carving (931), by M. Poli, of Venice, some good figures and some charming mirror frames. Next to this is a dis¬ play of BRONZE AND IRON WROUGHT WORK of Antonio Pandiani, of Milan (950) This stall is a fine sight, whether we spell the word with a g or a te. There are some beautiful examples of silver bronze ornaments and small work, in which the work is very fine; also some magnificent specimens' of larger work in iron and bronze, includ¬ ing lamps, chandeliers, etc., after the best models of the 13th, 14fch, and 15th centui’ies, as well as numerous original designs of great merit. There is a capital bronze representation of “ P'ggeletto,” on a pedestal, which the visitor should note as well as many others, for the stall is full of splendid work. We are not sur¬ prised to learn that Signor Pandiani has taken medals at many previous exhibitions. We have now on our left, as we face the west, an entrance FAULKNER'S TURKISH BATH, 50, Newgate St., 4 Panyer Alley. TERMS —8 a.m. to 5 p.m., 2/-; 5 to 8.30 p.m., 1/6; Saturdays after 2 p. to., 1/6; Wednesday dt Friday evenings, 8 to 10 p.m , 1 /- In connection with the above, and at Villiers Street, Strand, Tilbury Docks and various Railway Stations, etc., aie HAIR DRESSING ROOMS, LAVATORIES, BATHS, etc. Hosiery, Gloves, Rugs, Bags, and General Outfitting for Home and the Colonies; Shipping Outfits for Passengers, Officers, CHIEF OFFICE:—50, NEWGATE STREET, E.C. 22 to the picture galleries, and on our right the broad staircase which leads to the Eastern Gardens, where the Roman games are to be celebrated, and the chariot races run; beyond which is the Earls Court station entrance and exit. Before deviating for the inspection of these attractions, we propose to com¬ plete the circuit of the main building, and, therefore, immediately cross the open space that intervenes, and upon which the band plays at intervals, to see the splendid display of VENICE AND MURANO GLASS AND MOSAICS exhibited at stall 862, which is cer¬ tainly one of the features of the Ex¬ hibition. The catalogue describes the contents of this stall as “lamps, chandeliers, looking glasses, mirrors, dinner services, and enamelled and en¬ graved glass ware, decorative mosaic —sacred and profane,” and certainly the catalogue does not half tell the tale. The exhibition is made by the Venice and Murano Glass Company, Lim., of St. James’ Street, London; and Campo San Vio, Grand Canal, Venice, who claim to have given a practical and artistic direction to the revival of the art of blowing glass, for which Murano, in the palmy days of the Venetian Re¬ public, enjoyed a world-wide celebrity. At the back of the stall is a splendid mosaic of “ The Last Supper,” after Leonadi, which the visitor must not miss. There is also a splendid electric lier, which did duty at the Liverpool exhibition; also other chandeliers of exceptional beauty and excellence, one of which is similar to one which adorns the house of Mr. Alma Tadema, R.A. Some of these are executed in the new (brown) colour, “ pagliesco,” as it is called. This company has executed mosaics and other mural decorations for various ecclesiastical buildings, notably one which is said to be the most important work of the kind executed in modern times, namely, a reproduction of the cartoons of Mr. Burne-Jones, for the roof of the apex of the American Church, in the Via Nazionale, Rome, a mosaic of 800 square feet. Opposite this stall is an exhibition of bronzes (952), by Guiseppe Pellas, of Florence, of which a large group, “The Greek Wrestlers,” is perhaps the best example. Return¬ ing to the left avenue once more, we devote some time to the TERRA COTTA ORNAMENTS, ENAMELS, ETC. of E. and G. Cacciapuoti of Naples, 844. There are some very fine specimens on this stall, notably a magnificent vase, some six feet high, with pedestal at the left hand corner of the stall, the companion vase of which, at the right hand corner, came to grief, and brought grief with ib, on its way to England. Other vases, with humorous and other designs in relief — clowns, negroes, children, angels, &c., &c.—abound on the stall; THE VENICE & MURANO GLASS & MOSAIC COMPANY Established 1866. LIMITED. LONDON: 3 0, St. James’s Street, S.W. VENICE : 731, Campo San Vio Canal Grande, & 78, St. Mark’s Square. Show Rooms in both Cities daily open for Sale. Free entrance. Customers are allowed to visit the Works at Murano and Venice. 23 and there is one very handsome pair, with crouching negroes as pedestals, which should not be passed by. On one vase is a charming group, con¬ sisting of two nude babies resting in a crescent moon, and clinging to a female figure in a charmingly natural manner. There are many ex¬ cellent exhibits by this firm, some of which are shown on the corner stall on our right. Moving west we pass (834) the artistic Italian jewellery stall of Signor Bertolotti, and are next attracted by a GIGANTIC CERAMIC PICTURE at the stall of Signor Achille Mollica, of Naples. This picture is an extra¬ ordinary production, formed of eighty- eight separate pieces of majolica ware, making a picture in which the figures are “ full size,” 4 by yards. The difficulties in the manufacture of such a work are very great, and have been overcome by Signor Mollica in a marvellous manner. There are numer¬ ous other objects of interest on the stall, but they are dwarfed by the central attraction. Opposite us, on our right (829), is a stall of Florentine mosaic, next to which is the stall of Signor Fabio Bianchi, with its display of gold and silver fillagree. On our right also, suspended above stall 1080, is 846, a wrought iron lamp, in the style of Louis XI., which should be noted, after looking at which the eyes naturally descend upon the STRAW GOODS of Signor Marchini, of Fiesole (1080). There are several fine collections of straw goods in the Exhibition, though this is the first we have come across. In the glass case the visitor will note many beautiful examples of straw manufacture—baskets, shields, guitars, mandolins, and other fancy designs, besides many useful, as well as beauti¬ ful, articles. We now come to THE REFRESHMENT DEPARTMENT, which is under the direction of Messrs. Bertram & Co., whose name has been so long associated with the same office in connection with the Crystal Palace. Messrs. Bertram have a number of stalls in different parts of the exhibi¬ tion, inside and out. These, at which we have now arrived, include a large roomy apartment, devoted to light refreshments, and inner apartment equally roomy, which is called “ The Grill Room.” Further down the nave is the “ Hot Saloon,” in which dinners and luncheons of a more sumptuous character are provided. Opposite to the entrance to Messrs. Bertram’s important department are some cases of splendid cameos (892) and some large terra cotta figures (874), and the first stall on our left, after passing Messrs. Bertram’s door, is devoted to ARTISTIC MAJOLICAS. It will be exceedingly difficult for the visitor to determine which to admire “THE IMPERIAL RESTAURANT,” Nearly opposite the 33, NeWgate Street, General Post Office. FIRST-GLASS ENGLISH & CONTINENTAL COOKING-. Table d’Hote, 1/3 —Soup, Entree or Joint, Sweets and Cheese. _ Rooms for Private Dinner Parties. Best Lager Beer in London. C. LQBENSTEIN, Proprietor. of 'f a, r a tv t o u $ C~ S a th Li’ura Sardinia. Islaz Lumbarc^ "Venetia. Emilia. Tuscany Mardbaa 6 Umbria, 9 Laiium. 1Q Ahru 2 zo & 11 Campania. 12 Apulia. 13 Baailicata; 14 Calabria. 16 Island. of 26 most here—the splendid works of art by which the stall is adorned, or the beauty of the arrangement by which they are displayed. It is a pattern stall, both as to the exhibits and to the way in which they are dis¬ posed. There are two superb vases on pedestals in the front of the stall, which should be specially noticed. This display is from the manufactory of Signor Grinori of Florence. The next stall (914) is devoted to the iron work of Antonio Lora, and includes examples of conservatory work, flower stands, chandeliers, lamps, &c. ; next to which Signor Sommariva exhibits some fine engravings on ivory. Antonio Flaibani’s exhibits of carved wood come next (887), and include a carved wood fountain basin and a mirror frame, both embellished with carved cupids capitally executed. The figures on the mirror frame invite the use of the glass by pointing naively at it from different parts of the frame. There is a fine display of iron work opposite to this stall from the works of Signor Olivotti of Venice (944). We admire some fine iron stands with copper basins, some Byzantine lanterns and other models of lamps which bear a truly Venetian style; it is surprising how these articles, which show so much artistic taste in their conception, can be sold at such low prices as Signor Olivotti asks for them. On our left is an exhibition of corals and cameos by Pietro Assisi of Naples (825). TAPESTRIES, FANS, CUSHIONS, ETC., occupy a very large stall, which extends from the corner of this block, on the right, three-quarters of the way across the nave. The show is made on behalf of “ The Neapolitan Society of Painters on Silk Stuffs,” by Count Taeggi Piscicelli of Naples, and is under the direction of Mr. Aug. Walter. The exhibits comprise very beautiful paintings on silk and satin, for cushions, fans, &c., &c., of which some very handsome designs are shown. Quilts, chair covers, wall medallions, glove boxes, note books, bouquet holders, and a host of other articles are adorned by this beautiful work, which is said to be the product of artistic leisure, and hence less costly than otherwise. This is pre-eminently a stall for female critics, and male admirers, and will well hold its own among the many great attrac¬ tion of the Exhibition. Having ex¬ amined this beautiful display, to view which we have had to make an excur¬ sion into the centre, we pass between the stalls in an easterly direction to look at the DECORATIVE MARBLES AND ALABASTER of Antonio Frilli of Florence (889). These include a large number of very popular subjects. There is one of an “ Old Man with a wine flask,” which is very realistic, and one of “A Boy, with a Mouse escaping from a basket,” which is capitally done; “ Curiosity,” VISITORS ARE INVITED TO INSPECT W. A A. E. JOHNSTON’S ATLASES, MAPS & 6LQ6ES At their LONDON OFFICE: 5 WHITE HART ST., WARWICK LANE, E.C.; Or in EDINBURGH: 16 SOUTH ST. ANDREW STREET, and EDINA WORKS, EASTER RD Catalogue Mailed Free to any Address on application. 27 a child peeping into a letter which she has been intrusted to deliver; “ Michael Angelo when a boy at work/’ valued at £250 ; “ Hamlet ” ; “ Tears of Love/’ a pretty female head; and “ Spring, ” a female figure standing among flowers, are among the most striking of these exhibits, of which, however, there are many others worthy of note. ENGRAVED AND PAINTED GLASS occupies a stall immediately opposite Signor Frilli’s marbles on our right as we once more face the west. These form rich and fashionable looking glasses and lustres, and are exhibited by Tenca and Co. of Milan. Many of these are very beautiful and altogether they make a very brilliant show (1088). Proceeding west along the central avenue, before returning to the left aisle we pause to look at the splendid mirror frames of carved wood by Luigi Mastrodonato (761),which are arranged back to back and form a square. They are specially fine, and will take us a minute or two to do them justice, after which we return to the left aisle which we have left so long, to do equal justice to the fine FURNITURE EXHIBITS of Fratelli Mora, of Milan (767). These we find on the right and left of us as we re-enter the left aisle, and are at once struck by the distinctive features they display. Signor Mora has made a speciality of stamped leather gilt for tapestry, and he has on show a number of chairs and cushions which display it. These will immediately attract the eyes and delight the hearts of the aesthetic. This stall contains a very handsome crimson screen, many specimens of carved wood and inlaid cabinet work. Next, on our left is (850) a stall of mosaics for decorating churches, private aud public buildings, &c. Venetian pearls, enamels, &c., &c.; and next to this (977) some Neapolitan mosaics, op¬ posite to which (995) is another dis¬ play of majolica, exhibited by C. Gai, including some plates, vases, ewers, &c., which are copies of the best models. Another large stall now compels us to divert our course, as it extends a long way across the nave. This is (788) the exhibition of* G. Quartara of Turin. The stall is divided into four rooms, furnished respec¬ tively as (1) a drawing room, (2) a dining room, (3) a dining room, and (4) a bed room. The drawing room and bed room are furnished in the style of Louis XVI., and the dining rooms respectively in that of Henry II. and Louis XIII. There is some splendid furniture in these rooms, and there are a number of albums containing photographs of enough furniture to furnish a small town. There is a magnificent cabinet in the first of these rooms which is special among the cabinets of even such an exhibi- n, NEWGATE STREET, E.C. LISTS FREE. 28 tion as this ; it is a marvellous speci¬ men of wood carving. Returning to the left aisle once more, we find more wonderful exhi¬ bitions of wood carving, on our right; (735) those of Signor Dal, of Venice, consisting of magnificent sideboards, tables, chairs, &c., and a splendid solid ebony sideboard, valued at £350. At stall 722, on our left, Signor Campi shows some fine Italian walnut dining room furniture, in imitation of the English style, and some beautiful cabinets ; while Signor Minchetti, on stall 764, and Antonio Zanetti, on stall 813 opposite, display other examples of different styles; on this latter stall is a large piece of carved walnut, of an allegorical sub¬ ject, % mounted on a crimson frame, which should be noted. Moving west, we pass (726) a stall of small wood ware on our left, unless, indeed, we stop to purchase a souvenir of the Exhibition, and proceed through more furniture stalls on right and left, making a stop at (759) the art furniture stall of Luigi Martinotti, of Turin. There is a beautiful inlaid cabinet here which we may purchase for £120; and an ingenious folding table for use for cards or chess. There are also some very beautiful hangings, which give the stall a graceful appearance beyond that displayed in those which have only furniture. At stall 790 Andrea Ramelli shows some marvellous specimens of inlaid work, and then we find ourselves at the door of Messrs. Bertram’s “ Hot Saloon/’ where we have a capital op¬ portunity to “ inlay ” ourselves. It will be convenient now to make a third excursion into the centre, or rather A DETOUR round the stalls that form the centre group at this part of the Exhibition. To do this we turn our backs upon the good things of Messrs. Bertram’s larder, and, turning sharp round by pillar No. 46, examine first the fine collection of bronzes (794) and other articles of Pietro Rosso of Turin. Also (807) a very fine display by Eratelli Tradico. Further along, on. the right, as we cross the nave, is (733) a representation of the front of the Olympic Theatre, by Palladio, in carved wood. This is an excellent piece of work, and one which will have many admirers. What a magni- ficient doll’s house it would make, to be sure. 933 is the number of a stall which displays the handi¬ work of Professor Gajani in carved wood furniture, exhibited by Fratelli Morozzi of Florence, and (781) one of ebony cabinets inlaid with marble. Turning to the left, on reaching pillar 47 we note the various exhibits left and right, but mainly in the left centre. 967 is an exhi¬ bition of Carraro marble, flowers and ornaments, beyond which we find one of the finest displays of L. OLIYOTTI, WEOUGHT IEOH WOEI, ABTISTIC BB02$fZES CARVED CHAIBS, &a_, VENICE, NEAR THE GRAND HOTEL, OPPOSITE BAUER & GRU 1ST WALD’S RESTAURANT, VENICE) Stand at Italian Exhibition—opposite Buffba 29 carved furniture in the Exhibition (706). It is the work of Vittorio Aimone of Paris, and comprises a magnificent chimney-piece with wains¬ coting in Italian walnut, and some splendid cabinets and other library furniture. Next to this is another splendid exhibition of furniture of a more varied character (732). There is a very fine bedstead in this collection with bronze figures at the foot, and some very rich articles of bedroom and other furniture. These are exhibited by Carlo Corbetta of Milan, and are among the best things of the Exhibition. On our right are shown some specimens of engraved glass and marble carved by machinery, exhibited by Signor Macario of Rome. Having reached pillar 54 we turn once more to the left and pass down the avenue, which forms the third side of the square we are en¬ deavouring to circle. At stall 1156, on our right, is displayed a scheme for a Metropolitan Railway in Naples, exhibited by Lamont Young of Naples, which will have special interest for some. Entering the fourth side of the square we note the ARTIFICIAL FLOWERS, exhibited in such variety by Nardi&Co. of Florence. These will have special attraction for the ladies, but cannot fail to interest all, so excellent are the imi¬ tations of nature which are here dis¬ played. These flowers are intended either for millinery or decoration, and are admirably adapted for either pur¬ pose. Next to this stall is some very fine furniture, notably an inlaid bed¬ stead, cabinet and table, by Duise and Campiglio. The educational works of Luigi Roux & Co. of Turin (1184) are here exhibited, among which are maps in relief, and books—historical, political, and literary; at the back of which there is yet another fine carved bedstead in Italian walnut. Return¬ ing once more to the left aisle, note on the corner stall to our right (633) the coloured coverlids made of waste silk, exhibited by Antonio Beretta, and the almost countless variety of designs in chair frames opposite; next to which is (747) the exhibition of Domenico Givanni, art and commercial furniture maker, among whose exhibits we may name a fine cabinet c with carved dragon ornaments, valued at £250. Next to this aresome fine bronze figures and ornaments which we note in passing, also (785) the furniture display of Napoleone Poletto. More stalls of straw work and majolica ware now attract attention on our right, and then (917) a case of satin fans, cornices, screens, delicately painted, &c., from the house of Roberto Majuri of Naples. Moving west we pass between more stalls of terra cotta, and more displays of furniture, noting some fine specimens of wood flooring on the wall on our left (816) by Fratelli Zari, the central piece of which, DOM PATENT CHAIRS AND COUCHES FOR OBVIATING SEA-SICBNESS. STAND No. 808, ITALIAN EXHIBITION. (Opposite the Electric Light Machinery.) 30 placed against the wall to our left, must contain some millions of sepa¬ rate pieces of wood. In front of these are some very fine iron bed¬ steads, which are worthy of notice. Opposite, on our right, is a very novel exhibit (808)—a couple of “ Sea- Sickness Chairs/’ designed for sus¬ pension from the roof of the ship’s saloon, and warranted to preserve their gravity in spite of the oscil¬ lation of the vessel, or the nervous¬ ness of their occupants. This will be a boon to some people if it is really practical in its use. “ Mai de mer ” is not a pleasant exercise even to the robust, while to the invalid it is often an aggravation of ailment. Some cases of musical in¬ struments next appear on our right, some old and curious instruments, as well as some of well-known design and use, are exhibited in these, close to which we notice Messrs. Ducci and Co.’s musical bureau. From this point to the end, the Exhibition may be taken en masse . THE CENTRE PAVILION is one of the handsomest stalls in the Exhibition; it is tenanted by Messrs. Debenham and Freebody, who repre¬ sent a number of Italian houses, and display a splendid show of silk and other goods. These include the Zoagli velvets, brocaded and tinsel silks of Messrs. Bersanino, of Turin; the coloured, plain, and striped silks of Musa Carcano, of Como; the collec¬ tion of “ Velours de Venise,” “ Velours de Geneva,” lampas, and tapestry silk of F. Vernazzo, of Milan, and the portieres, coverlets, scarves, curtains, table-covers, etc., of Fratelli Schiavio, of Como. This is really a splendid stall, and one in which the ladies will take especial delight. Opposite the east side of this pavilion is a truly mag¬ nificent display of UPHOLSTERING SILK GOODS, exhibited by Bernardo Solei, of Turin (672). The damasks, brocatelles, stamped velvets, laces, and fringes in this case are simply splendid, some of them reaching the commercial value of from £5 to £6 per yard. Ladies who can take their eyes off the stall of Messrs. Debenham and Freebody will find much to feast them on in this case, which is far too rich for so ob¬ scure a position. Opposite the west side of the central stall is the “ optical instrument stall ” of Comitti and Son, and the Florentine straw display of C. Marchini, at the back of which is a display of the natural products of Italy, in the centre of which THE ITALIAN GOVERNMENT have an exhibtion of marbles, ores, and other products of the earth, which are supplemented by the hemp, silk, cotton, leather, glass, straw, &c., &c., of private exhibitors. No. 1082 is a display by Rinaldo Martini, of Milan, 11 , NEWGATE STREET, E.C. LISTS FREE MARK. FOR JEWELLERY. PLATE, DEEDS, BOOKS &c. 31 of gold and silver lace work, whicli is very brilliant and attractive. On the left of the building, as we look west, is the machinery used in the electric lighting of the Exhibi¬ tion, which doubtless many will like to inspect. In the extreme left-hand corner of the Exhibition is a stall (1108) of very fine lace, silk embroidery, and crewel work, the ex¬ hibits of Giulio Kivolto, of Milan, which should not be overlooked. The most important show at this end of the Exhibition is THE NAVAL DISPLAY of the Italian Government. This is exhibited on either side of the large screen which closes up the vista of the main building, and includes models of all the kinds of war-ships used from the time of the “ Galley ” to that of the ironclad. The galleys which represent the warfare of the XVth century, with their crews of little wooden oarsmen, one, two or three hundred strong, will be sure to attract the notice of the young, and the fine models of the big ships, which wait the warfare of the future, have a grim interest for all. There are models of about thirty ships of different sorts and sizes, illustrating the progress made in the Italian navy since the proclamation of Italian Unity in 1861, up to the present time. The “Duilio" and the “ Italia/' which are among the largest ships in the world, naturally THE “DISTBICT BAIL WAY” CrUIDE TO LONDON. attract the most attention for their models here. The “ Duilio ” displaces 11,600 tons, and boasts 7,500 horse power, and the “ Italia " has a dis¬ placement of 14,000 tons. The models are on a large scale (AJ and are in longitudinal section form, showing the arrangement of all the internal mec¬ hanism. The “Italia" is about 400 feet in length, 74 feet in breadth, and is protected by armour plates 22 ^ inches thick. She carries four 100- ton guns, each capable of throwing a projectile of about 2,200 lbs, with a charge of about 400 lbs. The “ Italia ” has six engines and twenty-six boilers, giving a force of propulsion equal to 18,000 horse power, with a speed of eighteen knots an hour. Let us hope the day is far distant when such mighty engines of destruction will need to be used for the defence of Italy. At the back of this screen is exhibited a Venetian Gondola which will interest many notwithstanding its somewhat funereal appearance. At this stage the visitor may prefer to pay a visit to the Central and Western Gardens, for the purpose of enjoying the open air for a little while; if he does, we refer him to page 39 of this guide, where he will find the necessary information for his guidance, and then proceed with those who are of a like mind with ourselves to traverse what has been hitherto the right-hand aisle of the Exhibition, but which, as we turn round and face the east, is on our left. Daily News says—“Amply supplied with maps in useful sections, well indexed, definite in its indications as to railway routes and stations, and otherwise serviceable alike to resident and stranger.” Punch says—“An excellent Guide, so chokefull of useful and in¬ teresting information that the intending visitor who purchases it may consider the most economical way of spending a happy day to be remaining indoors perusing this valuable Guide. The maps, as works of art, might be taken as models by some of our most eminent colourists in the Academy." Paper covers, 6 d.; doth, Is.; of District Railway Booking Offices and Railway Bookstall*. Published by ALFRED BOOT & SON, 24, Old Bailei, E.C. 82 MOVING EAST, we pass on our left the corals, shells, &c., exhibited by Vincengo Avenia; the Olive wood turnery display of A polio Garganico; the glass ware stall of E. Cetti, Jun., and the straw work display at stall 1,074. Attracted by the sound of music on the right, we inspect A NEW MUSICAL INSTRUMENT, entitled the “ Calderharp,” or Italian harp. It is really a harp with a pianoforte key-board attached. The strings are not struck by a hammer as in the case of the pianoforte, but are pulled by mechanical fingers, whereby the harp effect is produced. Be¬ yond this, on the left, is (707) a fine show of iron bedsteads ; (810) one of art furniture, tapestry, &c., by Antonio Vergani of Turin; and (769) a hand¬ some display of artistic lamps, bronzes, &c., of Latino Movio of Milan. On our right are some bronzes, notably one of a group of musicians round a lamp-post; and some very beautiful specimens of ebony furniture, inlaid with ivory, by E. Maraini of Milan. Looking again to our left we see (787) a display of basket work; (782) the fine carved wood-work of Guiseppe Pizzatti. On our left (719) we have a very curious exhibition of QUAINT AND ORIGINAL FURNITURE from the works of Carlo Bugloti of Milan. > Some of the most extraor¬ dinary chairs we have ever seen are here, and the novelty hunter will find much besides to delight him. Arte Araba is the name given to some beautiful furniture of Arabic design (716), which is said to be designed and shaped in Arabia and finished in Italy. Stall 724 further on on our right is sure to attract the eyes by the gaiety of the colours of its gilt and polished carved statues, looking glasses lamps, vases, &c., &c., exhibited by Napoleone Candiani of Venice. Next to this stall is (784) that of Ferdinando Pogliani, displaying some remarkable specimens of ebony furniture inlaid with ivory. There is an inlaid table here, which represents a battle of Alexander the Great, copied from a tapestry in the Vatican. Opposite to this on our left is a magnificent exhi¬ bition of furniture by Giovanni Gatti of Milan (745), having glanced at which we pr< ceed to inspect the exhibition of sculpture by Lappini Bros, of Florence. Opposite to these is the stall of 0. Moreno of Genoa (732), which contains numerous humorous subjects in terra cotta figures, and some beautiful majolica vases, and next to this (926) a stall of ceramics exhibited by A. Minghetti of Bologna, with a half-figure, colossal size, of Immanuelle Filiberto. Passing east we note several other stalls containing objects of interest and beauty—a fine ceramic display on our right, one of corals and cameos on our left, and then the offices of the Italian Chamber of pAFE RESTAURANT— MANZONI, i , 12, HIGH HOLBCRN, E.C., OPPOSITE THE LONDON AND COUNTY BANK. DINNERS A LA CARTE. - ITALIAN WINES OF THE FINEST QUALITY. E. PERONI, Manager. 60 Commerce, and the post office, which are at least useful if not ornamental. Our progress is now barred by the broad staircase which leads to the Eastern Gardens, the arena, and the Earls Court Station, to avoid which, we turn our faces to the centre, and are confronted with a splendid display (1010) of bronzes, old and modern models, shown on the stall of Pietro Tis of Venice. This is a very fine stall and should have care¬ ful inspection. Facing this stall are some beautiful exhibits in the form of mounted Florentine mosaics (1014) shown by Giovanni Ugilini. Behind Signor Tis's stall is the Italian hospital stall, open to all nations, the profits on the sales of which are handed over to the authorities of the Italian Hospital, London. In the rear of this, again, is one of the handsomest stalls in the Exhibition, which we must ex¬ amine before we proceed. It is the display of Signor Besarel of Venice, and includes a number of exceptionally fine carvings. n Two carved figures in the “ yellow ” wood, made familiar to us by our examination of other stalls, will first attract attention. The one on our right as we face the west is a charming figure in a very graceful attitude. Two huge vases on our right and left, which stand like sentinels at either entrance to the stall, represent¬ ing Neptune and Triton, are extra¬ ordinary examples of wood carving, though they have all the appearance of bronze, having been bronzed over with that view. Two mirror frames one with fourteen baby figures climbing round it, must be noted also, and a fine cabinet of ebony and sandal wood with ivory inlaid, also a pair of carved gates from originals in Venice surmounted by representations of St. Marks and the Doge's palace. Turning our faces east we pass round to the other side of the broad staircase to examine the LACE EXHIBITION of M. Jesurum and Co. of Venice. This is a truly magnificent show, and will be sure to attract the lady visitors. Some lacemakers at work add to the interest of the exhibition, and will doubtless lead many to linger over the inspection of the stall. Old and new lace in rare variety and rich design may be seen here. Eugenio Gomez of Venice (748) exhibits some furniture inlaid with marble, wood “ parterres ” for ladies’ boudoirs, marble and oriental Porphyry vases, etc., etc., opposite to Messrs. Jesurum's lace stall, and, on the same side with the latter, is one of the finest show s of WOOD-CARVING AND ART FURNITURE in the Exhibition (1012). It is from the works of Francesco Toso of Venice, and includes many very fine figures. One double figure is sure to attract notice; it represents Marguerite on her way to church, but the back of the figure is so carved as to represent Am. interested in EFFECTIVE MECHANICAL VENTILATION Should see the Show ltooms of the BKcACHI^IAN VENTILATING COMPANY, Limited, 63, EORE STREET (facing end of Coleman street). The Blackman Air Propel’er is most extensively u^ed for VENTILATING Public Buildings. Theatres, Schools, &c., removing Heated or Foul Air, Steam or Moisture, Fumes or Moating Du9t from Factories and Workshops in all Trades.—Also for DKYING everything—Malt, Hops, Grain, Wool, Timber, &c.,—with unprecedented economy. 34 Mephistopheles. From either point of view the figure has the appearance of being single, but a looking-glass has been so arranged that, as the visitor looks at the form of Marguerite he sees that of Mephistopheles re¬ flected in the mirror. There is a magnificent pair of vases, held up by carved dragons, which are marvellously fine. On the right of this is a display of statuary (831), many examples of which are very charming. There is a fine specimen of glass engraving on our left (963), representing a part of the fa 9 ade of the ducal palace at Venice. At the back of this is (1005) the painted terra cotta and majolica stall of D. Tadolini, of Florence, opposite to which is that of Vincenzo Molaroni (927), who claims to imitate the ancient style in majolica ware exactly. Between pillars 13 and 14, further on, on our left, is a very large and very fine display of artistic majolica ware, from the works of Signor Cantagalli of Florence. Be¬ tween pillars 11 and 12 is an equally fine display of wrought iron work, exhibited by Signor Michieli of Venice (924). These two stalls, which bring to a conclusion our journey round the nave, are well worthy of the best we have seen by the way. The visitor may now proceed to the examination of the picture galleries, of which there are a number. A reference to the plan given with this Guide will show the order in which they should be inspected. THE PICTURE GALLERIES may be said to commence with the one on the right ©f the main entrance, looking west and on the left of the visitor who comes to it after making “ the grand tour " of the nave. The pictures in this room are the property either of the King or the Government of Italy, and are lent by them to do honour to their National Exhibition. Facing the visitor as he enters is No. 1, and a mar¬ vellously good beginning it is. It is called “ Vittoria Colonna and Michael Angelo," and represents the great artist paying his respects at the bier of the dead lady. Vittoria Colonna, Marchio¬ ness of Pescara, was a celebrated Italian poetess. Her poems “Rime Spirituale” are tender and elegant expressions of sorrow and religious consolation, and have been frequently reprinted. The painting of this picture is very fine— the satin robe, the gold ornaments, the pose of the figures, and the general arrangement of colour. It is painted by Francesco Jacovacci. No. 2 occupies the wall on our left at the end of the gallery, and represents the famous Charge of Bersaglieri. No. 3, “ The Piazza of St. Mark's, V enice "; 4, “ The Forest of Fontainebleau " ; and 5, “ Refugium Peccatorum " (the sinner's refuge), are very fine pictures on the wall facing the entrance; while on the left screen as we enter are 10, “ The Railway Whistle," a capital figure subject; 11, “Alpine Scenery," Ji PORT JBS^CTJ 1=3, THE CITY HATTER, HAT MAHMJHACTTTI^ER, The Perfection of SILK HATS in shape, gloss and durability, at 10/6, 12/6, 16/6. The very best hat made , 21/-. HARD and SOFT FELTS for Tourists, Sportsmen and others, of the finest qualities, from 2/6 to 10/6 each. 129, FLEET STREET. CITY: 6, EXMOUTH STREET, CLERKENWELL; AND 345. SEVEN SISTERS ROAD, 1ST. 35 a grand picture; and 8, “ Winter,” a beautiful painting, albeit sad and grey. A large canvas (12) on the end wall to our right as we enter represents the “ Flight of Pope Eugenio IV.,” whose pontifical career was one of continual strife, and who is here depicted as fleeing from his enemies. There are some capital bronzes in this room, notably two, which are among the best in the Exhibition, “ Rustic Music ” and “ The Acrobat; ” they stand side by side the picture of “ The Charge of the Bersaglieri.” We now cross the reception hall to examine the pictures in what we shall call room number one (see plan). Immediately facing us is a large companion canvas to the “ Poor Man’s Carnival ” (14) which is hung in the Sculpture Gallery opposite. This is 52, “ Boys playing Truant.” It is by Carlo Stratta. The visitor should notice in this room 20, a group of old pensioners, entitled “ A Good Joke; ” we do not see the joke but we see the picture and it is a good one. 33, “ Hailing a Conveyance in the Streets of Venice;” 40, “Grief and Consolation ” ; 39, “ Christmas in the Cloister ” ; and 41, “ Val di Susa ” a bright green landscape, and then crossing the room to the opposite side 60, “ In the Park,” an autumn scene ; 69, “Solitude,” a quiet study; 76, “A Spring Song”; 78, “From the Chemists,” and 80, “A Venetian Fishing Boat,” also demand attention. Passing round the screen into the next room we note, 82 “Forbidden Fruit ” 83 bis, “ A Good Pinch;” and 84, “The Grand Canal, Venice”; No. 91 is a view of Genoa, which makes one feel hot, almost, to look at it and No. 96 the “ Interior of the Cappella Reale della S.S. Sidonia at Turin,” a fine picture. The large picture on the end wall (101) represents “ Giordano Bruno ” sometime Pro¬ fessor at Oxford, during imprisonment prior to his being burnt at the stake at Rome, on February 17th, 1600, for Heresy. “The End of the Ball” (110) is an attractive picture. To enter the third room, we pass through the door at the right hand corner of the room, and to follow the numbers keep to the right hand wall, 92,. “Megnon,” a tambourine player; 126, “ Arab Fantasia ”; 127, above it, “ A Girl with a Donkey and Dog ” ; 133, twelve small studies in one frame; 144, “ The Interior of the Church of Marcheta ”; 147, “ The Horse Fair”; 149, “The Morning,”' an encaustic painting for ceiling decoration; 169, “To the God Pan;” 150, an “Eighteenth Century In¬ terior,” and 197, “ Golgotha ” are all pictures that must be noted in this room. To reach the fourth gallery, we cross the room diagonally and take the first turning to the right. This is a large apartment, and there are numerous pictures which we must particularise; 227, “ A Musketeer,” THE BLUSH OF THE HAREM, BEAUTY’S ^gg| ECRET l Prepared from recipe imparted by distinguished concession from the Orient by Hubenhulel. It renders bright the skin, and restores youth’s glow to any complexion. Sent free by post, with full instructions, on receipt of 3/6, by the Sole Agent, F. JAEGER, 11, NEWGATE STREET, E.C. 36 a fine head; 202, “ Catching Wild Horses in the Maremma ” ; 203, “The Visit to the Nurse/’ a picture which would be better understood abroad than here; 205, “ Fishing boats about to start; ” 207, “ A tender Adieu ; ” 204, “ Return from the Fields,” a popular subject; 211, “ The Cavalier,” a fine Italian head ; 218, a large canvas representing gleaners or field-workers, a very good ^work ; 222, “ The Unruly Models;” 226, “Gleaners;” 229, “ Repose ; ” 235, Italian Piffarari on “ The Appian Way; ” 236, “ A Cosy Couple ; ” 241, “ Wild Boar and Deer,” a very fine group of game for dining room or hall adornment; 240, “ The Return of the Mothers,” a very pretty picture of sheep and lambs; 245, “Youth and Age;” 247, “ The Letter,” a classical picture ; 252, “ The Gallery of the Palatine ; ” 253, “ Jealousy;” 255, “ Big Thieves and Little Thieves,” a fine large canvas. To follow the numbers we now face the door by which we entered, and pass diagonally between the door of the room we previously examined and the door of the centre one we have yet to traverse ;t into room 5, which stands corner to corner with the one we have just completed. The numbers follow on the right hand wall as we enter. This is a smaller room, but there are several pictures in it which deserve attention: 262, “ In the Garden,” and 263, “Flowers,” are seasonable pictures; 265, “Philemon and Baucis,” the hero and heroine of Ovid’s famous story treated in a modern fashion, is a very finely-painted picture; 270, “A Game of Chess,” represents the historical match between Leonarda da Cutro, the champion of Italy, and Ruy Gomez, the champion of Spain, in the presence of Philip II.; 273 is a very fine ecclesiastical interior; 274, a group of boys bathing “ On the Lagoon.” 307, “Before the Altar,” should be noted here. Having com¬ pleted the circle of this room we turn to the left and pass into a further room, No. 6, leaving the centre room until the last. 314 and 315, “In time ol Peace ” and “ Maternal Complacency ” are by the same artist, and make a pretty pair ; 322, “ Grief; ” 325, “ On the Grand Canal, Venice,” dis¬ plays good “ water-colour;” 333 is a wonderful picture of “ Grapes;” 335, “Solitude;” 340, “Sea and Rocks;” and 348, “ Rest on the Lake,” demand attention. We now pass into room 7 by entering the door which faces us as we look west, and then turn to the left. This room introduces us to the Grubicy collection from Milan : 366 to 373 are a number of landscapes by Tominetti—a charming group ; 374 is a striking picture by Morbelli, repre¬ senting a number of old men kneeling, and entitled “Viaticum;” 376 to 380 are from the brush of Cremona, who seems in some of them to have used the “ spotted paint ” they paint rock- SAN6STER & CO.’S PARASOLS, EN-TOUS-CAS, AND WALSmG STICKS. V ISITORS to London during the Italian Exhibition will find a large assortment of the above- mentioned articles always on hand, con prising the latest Novelties and Designs, at SANQ8TEKS’ Eslabllshments— 140 REGENT ST. 10 ROYAL EXCHANGE. 94 FLEET ST. 75 CHEAPSIDE. M,B.—MAKERS TO THE QUEEN AND ROYAL FAMILY. 37 ing horses with; 383 is a large canvas entitled “ The Soup Kitchen,” and represents the wholesale feeding of the hungry. The opposite wall contains a number of paintings by Segantini. Facing west we pass into room 8, once more turning to the left. 411 is yet another view, “The Grand Canal;" 414, a capital representation of “ A Country Fete ;" 425 is a view of “ The Roman Forum " facing the capitol, which will enable the visitor to some extent to understand the panorama of Rome in the Central Gardens; 429 is a pathetic study, and 415, “ Old Nurse's Tales," a capital piece of work. In 435 the traveller will recognise the “ Milan Railway Station," which, with 438 “ A Wood," 137 “ A Game at Bowls” (Sunday morning in Lombardy), and 439 a picture of the inmates of the Trivulzio Charitable Institute, Milan, are from the studio of Morbelli. We now turn round the corner of the screen into room 9, on our left, as we face the east, and, keeping to the left wall, note 448, a beautiful figure in “ A Brown Study;” 451, “Undine and the Knight; ’’ 458, the “ Piazza of St. Mark's under Water,” a very fine picture ; 462 is a large painting of “ Samson and Delila ;" 468, Port¬ rait group of the King and Queen of Italy and the Prince of Naples; 481, “Becchante," and 483, “Sappho,” must be noted, and then we pass on into room 10, keeping to the left- hand wall. There are several fine pictures to be seen here, notably a fine painting, “Innocence," over the exit door, and some very good cattle pictures by Pittara; 532, “ Cattle Watering ; " 516, “ On the Alps," and 505, “ In Villegiatura.” v We now pass into the centre room, No. 11, in which there are two large canvases which we must specially examine. (585 bis.) a fine equestrian painting of “ The Prince of Naples," and 592, “ The Charge of Villafranca," a huge canvas on the side wall. In this room there are a number of screens, upon which pictures are hung, among which are numerous water-colour paintings of merit and interest. These are the exhibits of the “ Societa in Arte Libertas." To view the remainder of the rooms we must pass back into the room we left last, through the exit door, under the fair figure of “ Innocence," cross the passage and enter room ^12 opposite. Having done this we must cross the room diagonally, and we shall find the numbering run on from the left-hand corner of the room. In this room we must note 632, “ Chris¬ tian Martyrs," a record of past Rome ; 658, a scene from “ The Merchant of Venice;" 662, “The Canticle of Love; ” and 666, a beautiful autumn evening scene. We now take the first turning to the right, and pass into room 13, keeping to Ask at all leading Hotels, Restaurants, Taverns and Tobacconists for FRANDJELAIDIS FAVORITE CIGARETTES “THE CREAM OF EGYPTIAN MANUFACTURE.” , 9 Once smoke them and you will discard all other's. Choice Eastern Cigarette Tobacco only and pure rice paper. Imported solely from Cairo by EDWARDS & 00., 45, THREADNEEDLE ST., E.O. 38 the left-hand wall. 669, “ Emmanuel Filibert presenting his infant son to his people in his Castle of Bivoli ” is the first to attract our attention, and then 672, “ Pergolesi at the Funeral of Princess Spinelli;” 673, BaccanPs portrait of Miss Eva Mendelssohn ; and 675, a portrait by the same artist of his own daughter; 676, “ Julius II. after the Battle of Mirandola ; ” 686, “ Beading ; ” 689, “ Coast between Spezzia and Genoa,” by Petiti ; and 697, a “ Landscape,” by the same artist, are the most noticeable in this room. Turning our faces west we pass into room 14 at the further end of the one we have been examining. In this gallery there are a number of attrac¬ tive pictures. 704 represents the last “ Horse Pace in Borne ; ” 705 “ Lacrime Berum; 710 a fine pic¬ ture of “ A Begatta at Venice 729 a beautiful study of “Ophelia;” and 733 “A Chorus,” must be specially mentioned. The room No. 15 at the end is devoted to the paintings of Guiseppe Sciuti, and will demand, and receive, long and careful atten¬ tion. 743 is entitled “Genius and Ill-luck ; ” 744 “ An Allegory ; ” 745 “The Foot Bace; ” 746 “Post Prandium.” The chief interest will, however, attach to the large canvases that cover three sides of the room. These are 747 “ The Battle of Imera, in Sicily,” in which is depicted an interrupted sacrifice, the “ pyre ” being ready and the victims at hand ; 748 “ The Second Foundation of Borne;” and 750 “The Triumph of the Catanians over the Libyans;” 749 “I am the Light of the World,” and 751 “ A Pompeian Girl ” are by the same artist. This room is arranged with raised seats, so that the visitor may comfortably examine the pictures which cannot be appreciated in a hasty glance. The long room (16) that we enter on our return journey displays a number of water colours and paintings on silk. No. 803, how¬ ever, must be noted. It is Tedesco’s “ Invasion of a Pythagorian School,” by Sybarites, designed to show what philosophy and temperance had to endure from the pleasure-loving crowd; 873, Pergolese conducting the Stabat Mater in the choir of the Franciscans, of Pozzuoli, is an interesting compo¬ sition ; and 878, “ Temptation,” is a fine piece of imagination. There are a large number of etchings and water colours both in this and the next room, which are well worthy of attention. The chief object of interest in the room No. 17is the three ecclesiastical pictures arranged to show the interior of a dome from three different points of view—up, down, and on the level. We have now completed the circuit of the picture galleries, and with it the main building of the Exhibition, and now, emerging once more into the nave, we make our way west to the Central Gardens. CARLO Gr AT T I , VILLIERS STREET, STRAND. (Under Charing Cross Railway Terminus and close to the Metropolitan Railway Station). GRAND CAFE RESTAURANT, BILLT-ATR/D SALOON'S (30 TABLES), HUNGERPORD MTJSIC HALE. 39 THE CENTRAL GARDENS. THE PANORAMA OF ANCIENT ROME. T HE Central Gardens are reached through the huge marquee at the western end of the main Exhi¬ bition building. Passing through this tent the visitor has the oppor¬ tunity of turning to the left when half way, and crossing a bridge, thus making a short cut to the Western Annexes, but if he follows our advice he will keep straight on and pass out of the tent at the extreme west end, where he will find a long low red- roofed building which represents an Italian cafe; beyond which is THE THEATRE, an imposing building, 150 feet long by 60 feet broad, and capable of accommodating 1,000 people. It is formed of corrugated iron, which has been so adorned by wood, canvas, dis¬ temper, and the other etceteras of the stage-carpenters’ and scene painters’ art as to resemble a massive stone edifice in the classic style of archi¬ tecture. In this building perform¬ ances, concerts, &c., will take place at intervals, for the ever-varying par¬ ticulars of which a reference to the daily programme is necessary. THE ROMAN MARKET PLACE faces us as we approach the theatre, and brings old Rome with all its interesting historical associations vividly before our eyes. The market square is an admirably built scene of three sides, adorned on the principal side by a handsome representation of a stately church. Here the fruits and flowers of Italy may be purchased at the stalls provided for the purpose, from young 214, WEST MINSTER BRIDG E ROAD. ICK 3ES S®. <3 H3C A. 3ST , NEW WHARF ROAD, KING’S CROSS. REFRESHMENT ROOMS AT BATTERSEA AND FINSBURY PARKS. 40 ladies whose accent is not particularly Italian. Immediately adjoining this is the wonderful PANORAMA OP ROME, painted by Liverani, which will well repay study. To see it well the visitor should bear round to the left and ascend to the rising ground, where he will find the necessary stand-point for a good view. The distance indicated, and the way in which the manufac¬ tured mountains mingle with the real sky, is a triumph of panoramic art. In order to understand the situation wo must remember that we are now standing ON THE CAPITOL, the smallest, but, from an historical and antiquarian point of view, the most important of the hills of Rome. The Capital consists of three parts, the north summit crowned by the church and monastery of Aracoeli, the south-west point cap¬ ped by the Pal. Caffarelli, and the depression in the middle, bearing the piazza of the Capitol, upon which the visitor may suppose himself to be standing as he faces the panorama of Rome. This is the most ancient part of the city, and around it clus¬ ter the associations of Rome’s re¬ markable history. Of old time one of the peaks of the hill was occupied by the arx, or citadel, with the Temple of Juno Moneta, while the other was the site of the great Temple of Jupiter, built by Tarquinius Superbus, the last of the kings, and consecrated in the first year of the republic, b.c. 509. On the revival of Rome, in the 11th century, the Capitol once more became the centre of municipal administration. It was here that the prefect of the citj resided, here that the nobles and the citizens held their public assemblies, and here, in 1341, that Petrarch was crowned as a poet in the senate hall. The Capitol to-day marks the divi¬ sion of modern and ancient Rome. As we stand facing the panorama we have modern Rome at our back, and before us the shattered monuments of the proud but humbled past. THE ROMAN FORUM lies at our feet, beyond which the Via Sacra, or sacred street, stretches away to the Arch of Titus and the Colosseum in the distance. The Arch in the fore¬ ground on our left is that of Septimus Severus, and the pillar in the centre of the scene She column of Phocas. The three fluted columns, of which models stand in the near foreground, formed part of the Temple of Ves¬ pasian, and the eight Ionic Pillars belonged to the Temple of Saturn. All of these have stories of their own which will claim our attention as we proceed. As the visitor looks down upon the area before him he will notice to the right of the Column of Phocas a row of eight square pedestals, arranged in regular order, and stretch- THE VENICE & MURANO GLASS & MOSAIC COMPANY Established 1866. LIMITED. LONDON: 30, St. James’s Street, S.W. VENICE: 731, Campo San Vio Canal Grande, & 78, St. Mark’s Square. Show Rooms in both Cities daily open for Sale. Free entrance. Customers art allowed to visit the Works at Murano and Venice, 41 ing from the base of the Column in the direction of the Arch of Titus. These pedestals marked the limit of the forum on the right hand, and were doubtless adorned with columns or monuments in the palmy days of Borne. On the right of the Forum, between the pedestals and the flight of steps shown still further to the right, ran one branch of the sacred way, the other branch passing through the Arch of Severus, on the left hand of the forum, and joining with the right hand branch beyond its further limit. The steps on the right of the sacred way led to the Basilica Julia, of which we will treat later on. It will thus be seen that the Forum occupied the space between the two branches of the “ via sacra 33 marked by the eight pedestals on the right and the Arch of Severus on the left. On a line with the Arch of Severus, and in the fore¬ ground of the panorama, are repre¬ sented the ruins of the ancient rostra or orator’s tribune, erected by Julius Cmsar. This was a platform of 65 feet in length and 16 feet in breadth, raised above the level of the forum, and adorned with statues and other orna¬ ments. The rostra faced the forum, and from it the Boman orators ad¬ dressed the assembled citizens. In the olden time the capitol could only be approached from the forum, and it was through the Arch of Titus, along the sacred street, and through the forum that victorious generals passed from the southern gate of Borne to pay their vows or sacrifices in the Temple of Jupiter on the Capitol. The ancient pavement of this famous road, which is formed of huge polygonal blocks of lava, still remains between the Arch of Titus and the Colosseum, and the debris has been so largely removed from the forum and the sacred way that the modern visitor to this ancient spot may feel sure that in some parts he is treading the same stones that bore the tramp of the captive Jews, and echoed to the feet of Cicero. The Via Sacra and the forum were originally lined with shops occupied by butchers and other tradesmen, and later by gold¬ smiths and money-changers. Ovid makes frequent reference to purchases which, in his time, might be made there; and Seneca, who lived in this neighbourhood, in one of his epistles complains of the noise made by a showman who used a trumpet to ad¬ vertise his exhibitions. It was from a flesher’s stall here that Virginius snatched the knife which saved Vir¬ ginia from the fate of shame; and in the open forum that the people rose against Appius Claudius, when, to quote Macaulay, Those old men say, who saw that day of sorrow and of sin, That in the Roman Forum was never such a din ; The wailing, hooting, cursing, the howls of grief and hate, Were heard beyond the Pincian hill, beyond the Latin gate. KEATING’S Sold everywhere in Tins 1/1 \ each. BEST COUGH CURE LOZENGE KEATING’S POWDER DESTROYS BUGS FLEAS MOTHS BEETLES Sold in tins, 6d., Is. and 2s. Qd 42 One stone hit Claudius on the mouth and one beneath the ear; And ere he reached Mount Palatine he screamed ■with pain and fear. His cursed head, that he was wont to hold so high with pride, Now, like a drunken man’s, hung down, and swayed from side to side ; And when his stout retainers hud brought him to his door, His face and neck were all one cake of filth and clotted gore. As Appius Claudius was that day, so may his grandson he; God send Pome one such other sight, and send me there to see. Rome has suffered so much from the hands of those who should have striven to preserve her wonderful old ruins that it is very difficult now to deter¬ mine sites and distinguish edifices. Amidst much doubt, however, there are some ruins which have been iden¬ tified beyond dispute, and to the description of these we shall now address ourselves. To begin with that which is nearest to us, and nearest to the capitol, we must first deal with THE TEMPLE OF VESPASIAN, of which only three columns remain. This Temple was erected under Domitian, and restored by Septimus Severus. Its remains display excel¬ lent workmanship. Originally it had six columns in front, which were forty-nine feet high and four-and- a-half feet thick at the base. It stood between the Forum and the Tabularium, with the “ Schola Zantha,” a meeting place for scribes and nota¬ TWO SILVER MEDALS, HEALTH EXHIBITION. 1884, NO MORE BAD SALAD ries, on the right, and the Temple of Concordia, founded b.c, 366, and dedicated to Concord to commemorate the conclusion of the struggle between the Patricians and the Plebeians, on the left. On the right of the Temple of Vespasian, and in front of it stood THE TEMPLE OF SATURN, which is represented by eight granite pillars standing on a basement sixteen feet in height. This temple dates from b.c. 491, when it was constructed by Sempronius and Minucius, consuls of Rome, and restored by Munatius Plaucus, about b.c. 44. This edifice was the seat of the JErarinm Publicum , or public treasury. It was originally reached by lofty flights of steps, of which there are now but few traces left. THE ARCH OF SEPTIMUS SEVERUS, in the foreground, to our left, was erected in honour of the Emperor Severus and his sons, Caracalla and Geta, a.d. 203, to commemorate his triumphs over the Parthians, Arabians and Adiabeni, and was surmounted by a brazen chariot and six horses, on which a figure of Severus stood, crowned by Victory. Caracalla, who murdered his brother Geta, caused his name to be removed from the arch, and filled up the space by amplifying the titles of his father and himself. The sides of this arch were decorated with crowded scenes from the battles of the emperor; that on the side next the forum repre- PRIZE MEDAL, INVENTIONS EXHIBITION, 1885. or MAYONNAISE, by using igg* 43 senting the raising of the siege of Nisibis in the Parthian war, and that on the side next the capitol, the siege and capture of Babylon. The height of the arch is seventy-five feet and the breadth eighty-two feet. It spans the north branch of the “ Sacra Via.” THE COLUMN OF PHOCAS, which forms a central object as we look down upon the forum, is the latest monument of antiquity here. It is fifty-four feet high, and was erected in the year 608, in honour of the tyrant Phocas, of the Eastern Empire, by Smaragdus, he having taken it from some older building. A gilded statue of Phocas at one time surmounted the column, but has long since dis¬ appeared. This column, which for a long time did duty as a sign-post for the forum, is alluded to by Byron as the “ nameless column with a buried base,” and was disinterred by the removal of the debris, and the accumulated rubbish which had enveloped it, at the cost of the Duchess of Devonshire, in theyearl813 THE BASILICA JULIA occupied the site on the right of the sacred street facing the eight pedestals of the forum. It was reached by a flight of steps from the “ Via Sacra,” as shown in the panorama. It was inaugurated by Caesar b.c. 46, though at that time unfinished. It was further extended by Augustus, but fell a victim to the flames which have made havoc of so many of Rome’s ancient palaces. Rebuilt, it was twice invaded by its old enemy towards the end of the third century, and was as many times restored, the last time be¬ ing in a.d. 377. After the 7th century there is no further record of it in history. The panorama gives a very fine representation of its ground plan. The building was about 111 yards long by 53 yards wide, and was sur¬ rounded by a double aisle, formed by columns, of which the pedestals are represented on the screen ; these en¬ closed a central space about 90 yards long by 17 yards broad, which was paved with variegated marbles, and separated from the aisles by iron rail¬ ings. The object of the building was to relieve the forum, which had become overcrowded. The Tribunal of the Centumviri held its sittings here in four different sections. The pavement of the aisles was of white marble, and the columns which formed them con¬ sisted of three rows of sixteen traversing the length on both sides and three of ten traversing the ends. Across the sacred street, between this building and the forum, the arch of Tiberius once stood. Opposite the further end of the Basilica Julia stands THE TEMPLE OP CASTOR AND POLLUX. This temple was erected to the honour of the twin gods, after the battle of Lake Regillus, so splendidly sung by Lord Macaulay in his “Lays of Ancient CARLO GBASSX’S “EXTRA CREAM BRILLIANT SALAD OLIVE OIL.” UNEXCELLED FOR PURITY AND FLAVOUR. The only Silver Medal awarded at Health Exhibition, 1884. Used by the Grand Hotel, Bristol Hotel, First Avenue Hotel, the Midland Station Hotels, and other first-class Hotels and Restaurants in the United Kingdom. Sold in Bottles, Gallon Jars, and Casks 44 Rome.” This was b.c. 496, and the inauguration took place in 484. It was afterwards rebuilt by Tiberius, and reconstructed A.d. 6. Of this building, which was one of the most famous temples of the Republic, and which often afforded accommodation for the meetings of the senate, the principal remains are three splendid columns, shown in the panorama, of Parian marble, which are some of the finest existing; they are 46 feet in height and 5 feet in diameter. There is also the flight of steps shown in the picture, though that on the other side exists no more. Beyond the Temple of Castor, or 4 4ie same side, stood THE TEMPLE OP VESTA, some iV>a of which may be gained from the kiosk, which does duty in the grounds for a band-stand, and which is designed to represent it. Beyond this was the Palace of the Vestal Virgins, who kept the fire always burning in the temple. This building was a large and beautiful one, with a central area laid out with gardens and fountains, but “ Ichabod ” is written an all its re¬ mains—“ The glory has departed.” The Palace of the Caesars stood on the Palatine Hill, at the back of the Palace of the Vestal Virgins. Facing the capitol, and almost opposite to the Temple of Castor, stood THE TEMPLE OP C.3ESAR, the foundation of the substructures of which were discovered in 1872. In front of this temple, and facing the east side of the forum, stands the “Rostra Julia,” from which Mark Antony “ raised the very stones of Rome to mutiny ” by his oration over the dead body of Caesar. The results of this speech were extraordinary. The excited populace improvised a funeral pyre, and the body of Caesar was accorded the honour of being burned in the midst of the most sacred shrines of the city. The building on the left of the panorama, just beyond this part, with ten columns still remain¬ ing, six of which form the fa 9 ade, is THE TEMPLE OP FAUSTINA, which was dedicated by Antonius to his wife, the elder Faustina, in the year 141. The portico of this temple was excavated in the earlier part of this century, 1807-10. The columns are of marble, and are 46 feet in height. The church of S. Lorenzo, in Miranda, has found a home inside this temple. THE ARCH OF TITUS is probably the most beautiful monu¬ ment of the kind in Rome. It was erected by the Senate to commemorate the conquest of Jerusalem, a.d. 70. It bears the mutilated remains of bas- reliefs representing the Golden Candle¬ sticks and the table of Shewbread, taken from the Temple of Jerusalem, and in medimval times was known as the Arch of the Seven Candlesticks. The circumstances of its erection were re¬ corded on the side next to the Colos- EXTRAORDINARY OPPORTUNITY! LADIES VISITIUQ LOTT ZD OAT CALL AND EXAMINE THE FINEST STOCK OF Sealskin Garments, Fine Furs, Boas, Trimmings, Capes, and 45 seum, and on the inside was a relief representing Titus crowned by Victory, in a quadriga, drawn by Roma, and opposite, the procession of captive Jews who must have passed near this very spot. The arch was largely repaired by Pope Pius VII. in the earlier part of this century. It was through this arch that the Roman soldiers marched out to conquer the world, and through it that the survivors returned laden with the spoils of victory. THE COLOSSEUM is the most wonderful of all Rome’s mighty ruins. It was formerly called the “ Amphitheatrum Flavium,” and has ever been the largest theatre and one of the most imposing structures in the world. The work was commenced by Vespasian, the founder of the Flavian dynasty, on the site of an artificial lake, constructed by Nero, con¬ tiguous to his Golden House. Agus- tus had intended to erect an amphi¬ theatre in the centre of Rome, but it was left to Vespasian to commence and Titus to finish, probably a much larger construction than Agustus would have attempted. The work was completed a.d. 80, and covers nearly six acres of ground, The external circumference is said to measure 576 yards—nearly one-third of a mile,—is 205 yards broad in its “ long diameter ” and 170 in its shorter. The arena measures 93 by 58 yards, around which the structure rises to the height of 156 feet. The opening of this stupendous build¬ ing was celebrated on a scale worthy at least of its size and wonder by a fete which lasted for one hundred days. Contests of all kinds took place within its gigantic arena. A battle of cranes was among the novelties, and contests of gladiators varied the programme at frequent intervals. It is esti¬ mated that 5,000 animals of different kinds were killed during these open¬ ing celebrations, the climax of which was the flooding of the arena from sluices prepared for the pur¬ pose, and the strife of naval engage¬ ments. In its original state it afforded sitting accommodation for no less than 87,000 people. About one-third of tli9 original structure still remains, the north-east portion being the best pre¬ served. This part, which may be taken as an example of what the whole was, consists of four storys, the three first of which are formed by arcades, in which the Doric, Ionic and Corinthian columns figure respectively. A wall, with windows between Corinthian pilasters, forms the fourth story. Parts of the tiers of seats are still dis¬ tinguishable. The foremost, called the podium, was occupied by the emperor the senators, and the vestal virgins. The seats above the podium were allotted to the knights and other notables, the humblest spectators being relegated to the remotest seats, the sailors of the Imperial fleet being stationed in the colonnade at the top GENTLEMEN’S FUR-LINED COATS. We guarantee Half West-End Prices. CAUTION. —Our Only Address is PHILLIPS’S 53 am, (iDttsenm <& tlxt (Bailer?, *7 ' C f t. V* fc!r-< ^2, t l, ^ -^T* V_3^ ££«»-«. i > <€V„ •V3* -.—S C >^I. <5* C^C<. < "' ^—t-- ^T^u-' <4 tf' JJ? •Ok —-j * ^ - E^-5> .i# 5 ^ _ d- f 2 P —-Cr— C-Xl.-t- 1„ «* s SS-—'5 ~Z> <--«._ V>" "X.-~cs ip, p?~ C- *~. «... C ct.-^> .< .-c—-c -^ ' s-r--'^ •&c*’&~9+~£ —-2^X. 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