Sedgwick, Rajah Brooke, Professor Maurice, and the Poet Laureate. In the model for the statue of Lord Bacon, erected in the new Museum at Oxford, we see Mr. Woolner to better advantage than in the busts. The only fear seems to be that the very excellence for which he is now praised may cause him so to repeat himself as to fall into the fatal gulf of mannerism, where so many young and promising artists have found a grave for their reputations.

Foley, Watson, and Woolner have been selected by a critic, who claims to understand and appreciate sculpture, as artists who have boldly renewed and consistently followed the severe style of the sculptors of classic times. Their works are truthful, dignified, and conscientious; earnest in expression, inventive in arrangement, and, withal, exhibiting that simple tenderness and finish in execution, without which marble hardly approaches the semblance of reality, be it elaborated never so carefully. Much of what we admire in sculpture we admire because we have been taught to reverence the antique. A figure which, therefore, is built up from recollections of the masterpieces of Greece and Rome-a posé borrowed from this great work, and a thought from that, an expression from some famous group in the Vatican or the Louvre, and a method of imitating, rather than initiating, natural style and original manner-such a figure passes muster, and is at once taken to be a great work. Such was the judgment passed on Powers' " Greek Slave;" and such is the tone of approval with which the "Cleopatra" of another American artist, Mr. Storey, is everywhere greeted. Not, however, that this work is destitute of merit; on the contrary, it is very fine. But it is not original. It, with many other statues shown in the Roman Court, is but a reflection of the antique. The genius that wakes up an answering fire in the breast of the gazer is not apparent in the sculptured marble. In order to attract attention, some sculptors, again, have recourse to means hardly admissible within the region of high art. But for the exquisite method of manipulation-the real, indisputable genius in the works of Gibson-it is at least doubtful whether his tinted statues

would have been so warmly appreciated. But when a sculptor descends to certain tricks of art-such, for instance, as covering the face of a statue with a thin marble veil, through which all the features are distinctly visible; or throwing an artificial light upon it: both of which artifices have been resorted to by Mr. Raphael Monti-then, we think, we may fairly regret the necessity for such modes of appealing to public sympathy.

Nevertheless, thousands will admire the "Veiled Nun," and the "Lady in the Turkish Harem.” But that proves only that thousands are not educated up to the mark when appreciation of the beautiful and the true in art calls for no such adventitious aids to popularity.

Of an altogether different style of art-truer and more natural, and appealing more directly to every man's and every woman's natureis "The Grapplers," exhibited in the Foreign Nave, just opposite the Swedish Court, and represented on page 108. This spirited group is a representation of two men strapped together after the old Runic fashion of duelling, and fighting to the death with knives. The story of the fatal encounter, from its first outbreak to the widow weeping before the uncouth Runic stone, which marks the grave of husband and lover, is simply but forcibly told in bas-relief, beneath the groups, some of which are literally copied from the old Runic originals. These fine statues are cast in zinc, bronzed over, and, even allowing for some slight faults, which are probably due to the metal itself, the whole group is beyond a doubt the most spirited and life-like in the building. The practice of thus coupling antagonists has long been known to the modern nations; and the tradition of the muscular duel, here pictured in bronze, is almost as familiar to the Danes, Swedes, and Norwegians as our story of "St. George and the Dragon" is to our own British youth. The men engaged in this mortal struggle are first seen, in the sculptured narrative around the base, drinking together. The next stage is a quarrel, caused by some familiarity on the part of one of them with the betrothed wife of his companion. She is then seen endeavouring to prevent their encounter; and lastly,* we find her plunged in grief, and prostrate before a Runic stone, on

which is sculptured a rude representation of the youths struggling together. This is, indeed, a fine group, natural, vivid, and lifelike.

We may just glance at a few of the works which visitors cannot fail to notice with approbation. The "Giotto as seen by Cimabue" is a good and conscientious work, by Mr. Ambuchi. Every one recollects the "Eagle Slayer" of John Bell, which in 1851 stood in bronze, under the Coalbrook Dale dome, in the middle of the wonderful glass nave. Well, there is the original statue in marble; together with the "Dorothea heads," so familiar to the public by means of Copeland's statuette. Then we have the "Sabrina" of Cardwell, in marble, pure and lovely; the "Cupid caught Flying," of Davis; the "Titania Asleep, watched by a Fairy," by Earle; the "Lions and Lionesses" of Gatley, whose fine bas-relief of " Pharaoh and his Army in the Red Sea" will be found in the Central Avenue; the "Venus," "Pandora," and "Cupid," of Gibson, in the new style of tinted statuary. The busts of Brougham, Palmerston, Clarendon, and Carlisle, by Jones; the "Clio" of Lawler; the "Comus" of Lough; the "Day Dream," exquisite in thought and amazing in execution, of Macdowell; the "Paolo and Francesca," from the entrancing "Story of Rimini," by Munro; the "Purity" of Noble; the "Young Emigrant" of Papworth; the "First Mirror" of Sharp; the "Bard" and the "Prodigal's Return" of Theed; the "Skipping Girl" of Mrs. Thornycroft; the "Boys struggling for Grapes," by Thrupp; the "Peri" of Westmacott, and the "Britomart," from Spenser's "Faerie Queene" of Wyon-a'l works that will carry the fame of our British sculptors farther and farther, and sustain their reputation for originality of design and integrity of treatment, even when compared with the best works of foreign artists. France may well be proud of her sculptors: for who can gaze on her "Napoleon" of Louis Rochet, the "Cornelia" of Cavelier, the "Theseus" of Barye, or the "Meditation” of Bonnasscieux, without acknowledging the great merit of these designers?

The Italian and Roman Courts are places of delight for all who take interest in works of sculpture. But for these, and the German and other foreign schools, we must delay our examination. The beautiful groups, busts, single figures, and basso-relievos, shown in the foreign courts, cannot be dismissed in a paragraph. We would, however, just draw attention to a pair of bronzes, by Hebert, one representing "Faust and Margaret," and the other "Romeo and Juliet." The figures are well treated, especially those of Margaret and Romeo, and the costume is managed without stiffness. A pair of figures, representing "Paul and Virginia," are also very gracefully modelled, especially the heads, which, by the way, are repeated in a pair of busts, and show thus the grace and purity of their design, to much better advantage. A figure of "Columbus," seated and surrounded with nautical accessories, is remarkable for its vigour and simplicity, the attitude and the expression of the countenance both admirably expressive of calm and dignified confidence. A companion figure of "Galileo" poring over a globe is nearly as good. A very fine group, life-size, of “Boys with a Swan," in the French Court, is scarcely to be distinguished from bronze. Two figures of the same metal, silvered, with gilt ornaments, and representing two "Varlets" in the costume of the pages in the Maximilian procession, are remarkable for the swaggering boldness of their attitudes, and the care and finish of every detail in the costume. They are designed by Salmsen, who has a special celebrity for these moyen âge varlets. By far the finest, as it is the most expensive, display of cast bronzes in the French Court is that of Barbédienne, who stands pre-eminent in his profession. His platform is laden with copies of all sizes of many of the finest works of sculpture, ancient and modern, remarkable equally for their fidelity to the originals in form and proportion, and in every minute detail of expression. The small copies are produced by a mechanical process of reduction. Of a very high quality in art, though different in treatment from any we have already noticed, are the animal designs of Julius Haehnel, of Schmiederg, in Prussia. Distinct, says a critic, as are these works in subject, there is a greatness and a grace about them, which raises his work to an excellence, within its sphere, not

being admitted within the doors of ordinary people, are exhibited. But there are a few shown in the British side of the building, which are at once excellent and economical in cost, and of first-rate descriptionadmirable in design, perfect in workmanship, and entirely adapted to their several uses.

Our first illustration shows us a LIBRARY TABLE, exhibited by Mr. Thomas Knight, of George Street, Bath. This table is of oak and ebony, surmounted by a cabinet occupying its whole length, containing drawers on either side, and a desk in the centre, which, when shut, forms an ornamental panel, with malachite, lapis lazuli, cornelian, and serpentine; and when open, discloses an arrangement of the materials necessary for correspondence; just such a table, in fact, as a diplomatist might sit in front of, and take a pride in, but for the possession of which an ordinary author might sigh in vain. The same gentleman has also a chair, in ebony, covered with silk, in the style of Louis XV., a most desirable and elegant piece of furniture.

Mr. James Lamb, of Manchester, shows a fine sideboard, in pollard

arranged to form one connected relievo of game, fish, &c. Groups of fruit and vegetables fill the curved end panels. Designed by W. J. Estall; modelled by Hugues Protat.

Mr. Lamb also exhibits dining-room chairs, in embossed and gilt morocco leather; and a marqueterie cabinet, of Thurgau and other woods, in the style of Louis XVI.

We have incidentally alluded to the show of excellent furniture from the well-known establishment of Messrs. Heal and Son, of Tottenham Court Road. We have now an opportunity of presenting to our readers pictures of the objects themselves. They consist of a BEDSTEAD, WARDROBE, and TOILET TABLE, with GLASS, designed especially for the firm by an eminent draughtsman, in the style of the period of Louis XVI. The whole of the articles are made of mahogany, enamelled in pure pearl white; the ornaments are principally foliage and tracery, in carved wood, and gilded. The furniture for the bedstead, and the eider down quilt that covers it, are made of rich silk damask, of cerise colour, lined with white silk; and

well to have shown some of the cheaper descriptions of furniture, for which their house is so justly celebrated. We understand that it was their original intention to have done so, but that they found the space awarded them quite insufficient for their purpose. It is not, therefore, surprising that they exhibit the more expensive, if not the more useful and available, of the articles they manufacture.

The specimens of ORMOLU, shown on page 112, are from the case of Mr. S. Wertheimer, of New Bond Street. This gentleman makes a fine show; the cabinet, étagères, and council table being really handsome evidences of what is daily accomplished by our great manu

In all parts of the Exhibition is seen this desire to be first in each particular branch of trade or manufacture; and it speaks well for Great Britain, that the jurors, though composed partly of foreigners, have awarded so many prizes among her exhibitors. In the furniture and decorative classes, this is especially observable.

The last engraving we have in this section of the EXHIBITOR represents a library table, in the Pompeian style, by Messrs. Howard and Co., of Berners Street, who also show a book-case, and various other articles similarly decorated. The ornamental work introduced into the decoration of these pieces of furniture is all carved below the

facturers. The articles in ormolu, grouped together in the engraving -candlesticks, inkstands, and work-box-are elaborately decorated with figures in parian, coloured and otherwise ornamented. The amount of ingenuity, contrivance, and arrangement expended upon furniture is scarcely conceivable. The most common objects of domestic utility have, of late years, been made ornamental. Tables, couches, chairs, &c., have received a degree of attention hitherto unthought of. Mechanical difficulties in the production of elegance have been successfully overcome, as we see in the instance of Mr. Wertheimer's ormolu articles; and the introduction of woods, marbles, metals, &c., of various colours into domestic appliances, is evidence sufficient of the determination of our manufacturers not to be outrun in the race of excellence.

general surface of the object, so as to preserve the delicate work from the effect of friction. The more prominent ornaments are gilt bronzes, of English manufacture. The workmanship is of the highest class. This fact may be tested "by the drawers within the pedestals of the table being turned in any way, when they will be found to fit with the nicest accuracy." We quote the latter sentence from the exhibitors' own description; and we understand that the jurors did actually so test the assertion. But it would, perhaps, be dangerous for ordinary visitors to accept the invitation. Drawers might fall and be broken, and then a conscientious public would doubtless blame itself.

A suit of bedroom furniture, in polished deal, with imitation marqueterie and inlaid work, by Messrs. Dyer and Walls, of Islington,