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have rewarded him with their beautiful revelations in the moral world. Her dim symbolism has become transparent to the anointed eye of the reverent bard, and initiated him into the mysteries which give a new significance to the material creation.

      It is true that the staple of his poetry is reflection, rather than passion, reminding us of the chaste severity of sculpture, and not appealing to the fancy by any sensuous or voluptuous arts of coloring. But a deep sentiment underlies the expression; and he touches the springs of emotion with a powerful hand, though he never ceases to be master of his own feelings. The apparent coldness of which some have complained, may be ascribed to the frigidity of the reader, with more truth than to the apathy of the writer. With its highly intellectual character, the poetry of Mr. Bryant is adapted to win a more profound and lasting admiration than if it were merely the creation of a productive fancy. It may gain a more limited circle of readers (although its universal popularity sets aside this supposition), but they who have once enjoyed its substantial reality will place it on the same shelf with Milton and Wordsworth, with a "sober certainty" that they will always find it instinct with a fresh and genuine vitality.

      The influence of this poetry is of a pure and ennobling character; never ministering to false or unhealthy sensibility, it refreshes the better feelings of our nature; inspiring a tranquil confidence in the on-goings of the Universe, with whose most beautiful manifestations we are brought into such intimate communion. Its most pensive tones, which murmur such sweet, sad music, never lull the soul in the repose of despair, but inspire it with a cheerful hope in the issues of the future. The "inexorable Past" shall yet yield the treasures which are hidden in its mysterious depths, and every thing good and fair be renewed in "the glory and the beauty of its prime."

      "All shall come back, each tie

      Of pure affection shall be knit again;

      Alone shall Evil die,

      And Sorrow dwell a prisoner in thy reign."

      As a prose writer, Mr. Bryant is distinguished for signal excellencies both of thought and expression, evincing a remarkable skill in various departments of composition, from the ephemeral political essay to the high-wrought fictitious tale, and graphic recollections of foreign travel. The superior brightness of his poetic fame can alone prevent him from being known to posterity as a vigorous and graceful master of prose, surpassed by few writers of the present day.

      THE CRYSTAL PALACE

      In the early months of last year the Great Exhibition had become as nearly a "fixed fact" as any thing in the future can be. The place where and the building in which it was to be held, then became matters for grave consideration. The first point, fortunately, presented little difficulty, the south side of Hyde-park, between Kensington-road and Rotten-row, having been early selected as the locality.

      The construction of the edifice, however, presented difficulties not so easily surmounted. The Building Committee, comprising some of the leading architects and engineers of the kingdom, among whom are Mr. Barry, the architect of the new Houses of Parliament, and Mr. Stephenson, the constructor of the Britannia Tubular Bridge, advertised for plans to be presented for the building. When the committee met, they found no want of designs; their table was loaded with them, to the number of 240. Their first task was to select those which were positively worthless, and throw them aside. By this process the number for consideration was reduced to about sixty; and from these the committee proceeded to concoct a design, which pleased nobody – themselves least of all. However, the plan, such as it was, was decided upon, and advertisements were issued for tenders for its construction. This was the signal for a fierce onslaught upon the proceedings of the committee. For the erection of a building which was to be used for only a few months, more materials were to be thrown into one of the main lungs of the metropolis, than were contained in the eternal pyramids of Egypt. Moreover, could the requisite number of miles of brickwork be constructed within the few weeks of time allotted? and was it not impossible that this should, in so short a time, become sufficiently consolidated to sustain the weight of the immense iron dome which, according to the design of the committee, was to rest upon it?

      The committee, fortunately, were not compelled to answer these and a multitude of similar puzzling interrogatories which were poured in upon them. Relief was coming to them from an unexpected quarter: whence, we must go back a little to explain.

      On New Year's Day, of the year 1839, Sir Robert Schomburgk, the botanist, was proceeding in a native boat up the River Berbice, in Demerara. In a sheltered reach of the stream, he discovered resting upon the still waters an aquatic plant, a species of lily, but of a gigantic size, and of a shape hitherto unknown. Seeds of this plant, to which was given the name of "Victoria Regia," were transmitted to England, and were ultimately committed to the charge of Joseph Paxton, the horticulturist at Chatsworth, the magnificent seat of the Duke of Devonshire. The plant produced from these seeds became the occasion, and in certain respects the model, for the Crystal Palace.

      Every means was adopted to place the plant in its accustomed circumstances. A tropical soil was formed for it of burned loam and peat; Newcastle coal was substituted for a meridian sun, to produce an artificial South America under an English heaven; by means of a wheel a ripple like that of its native river, was communicated to the waters of the tank upon which its broad leaves reposed. Amid such enticements the lily could not do otherwise than flourish; and in a month it had outgrown its habitation. The problem was therefore set before its foster-father to provide for it, within a few weeks, a new home. This was not altogether a new task for Mr. Paxton, who had already devoted much attention to the erection of green-houses; and within the required space of time, he had completed this house for the "Victoria Regia," and therein, in the sense in which the acorn includes the oak, that of the Crystal Palace.

      While Mr. Paxton was planning an abode for this Brobdignagian lily, the Building Committee of the Exhibition were poring wearily over the 240 plans lying upon their table. They had rejected the 180 worthless ones, and from the remainder had concocted, as we have said, with much cogitation and little satisfaction, their own design. Such as it was, however, it was determined that it should be executed – if possible.

      This brings us down to the middle, or to be precise, to the 18th of June, on which day Mr. Paxton was sitting as chairman on a railway committee. He had previously made himself acquainted with the case laid before them, and was not therefore under the necessity of now devoting his attention to it. He took advantage of this leisure moment to work out a design for the Exhibition Building, which he had conceived some days previously. In ten days thereafter elevations, sections, working plans and specifications, were completed from this draft, and the whole was submitted to the inspection of competent and influential persons, by whom it was unanimously announced to be practicable, and the only practicable scheme presented.

      This design was then laid before the contractors, Messrs. Fox and Henderson, who at once determined to submit a tender for the construction of a building in accordance with it. In a single week, they had calculated the amount and cost of every pound of iron, every pane of glass, every foot of wood, and every hour of labor which would be required, and were prepared with a tender and specifications for the construction of the edifice. But here arose a difficulty. The committee had advertised only for proposals for carrying out their own design; but, fortunately, they had invited the suggestion on the part of contractors, of any improvements upon it; and so Mr. Paxton's plan was presented simply as an "improvement" upon that of the committee, with which it had not a single feature in common. This, with certain modifications, was adopted, and the result is the Crystal Palace – itself the greatest wonder which the Exhibition will present – the exterior of which is represented in our accompanying Illustration.

      The building consists of three series of elevations of the respective heights of 64, 44, and 24 feet, intersected at the centre by a transept of 72 feet in width, having a semicircular roof rising to the height of 108 feet in the centre. It extends in length 1851 feet from north to south, more than one-third of a mile, with a breadth of 456 feet upon the ground; covering 18 superficial acres, nearly double the extent of our own Washington-square; and exceeding by more than one half the dimensions of the Park or the Battery. The whole rests upon cast-iron pillars, united by bolts and nuts, fixed to flanges turned perfectly true, so that if the socket be placed level, the columns and connecting-pieces must stand upright;

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