Class 7. Civil Engineering, Architecture, and Building

Contrivances.

8. Naval Architecture, Military Engineering, Guns, Weapons, &c.

9. Agricultural, and Horticultural Machines and Implements.

10. Philosophical, Musical, Horological, and Surgical Instruments.

Section III.-MANUFACTURES.

11. Cotton.

14. Flax and Hemp.

15. Mixed Fabrics, including Shawls.

16. Leather, Saddlery, Boots and Shoes, Skins, Fur, and Hair.

17. Paper, Printing, and Bookbinding.

18. Woven, Felted, and Laid Fabrics, Dyed and Printed.

19. Tapestry, Floor Cloths, Lace, and Embroidery. 20. Articles of Clothing, for immediate, personal, or domestic use.

21. Cutlery, Edge, and Hand Tools.

22. General Hardware, including Locks and Grates.
23. Works in Precious Metals, Jewellery, &c.
24. Glass.

25. China, Porcelain, Earthenware, &c.

26. Furniture, Upholstery, Paper Hangings, Papiermache, and Japanned Goods.

27. Manufactures in Mineral Substances for Building or Decorations.

28. Manufactures from Animal and Vegetable Substances, not being woven or felted.

29. Miscellaneous Manufactures and Small Wares.

Section IV.-FINE ARTS.

50. Sculpture, Models, and Plastic Art, Mosaics, Enamels, &c.

It is almost impossible to convey an idea of the articles

exhibited under the above thirty classes. The number might be said to be legion, while the construction and workmanship of many of the articles was most elaborate. The prizes which were offered formed a stimulant which led to the production of articles of immense value, for ornament or use. My young friends will thus perceive that it was something more than a mere show. The ornamental was combined with the useful; but the useful predominated, and might be said to be the prevailing characteristic of the Exhibition, considering that many things which at one time were regarded as luxuries, are now regarded as necessaries of life.

That my young friends may form some idea of one of these classes, they will perhaps allow me to take them into the Sculpture Court, for this was one of the great centres of attraction, and, like the Main Avenue and Transept, never wanted a crowd of admirers. It would be difficult to find anywhere, in an equal space, so many objects of interest of the same kind as are here. Blocks of stone and marble, and plaster casts, by the ingenious hand of man, have been made to appear to smile, to weep, to joy, or sorrow; in fact, to do almost all but move. What cannot man do? The Exhibition, and the Sculpture Court in particular, proves man to be possessed of wonderful powers. But let me try to give you some idea of the beautiful figures in this ever to be remembered spot. Here we have David before Saul, a statue in plaster; also a plaster figure of Eve, "The Serpent beguiled me, and I did eat; " The Wanderer, Belisarius; The Spirit of Science unveiling Ignorance and Prejudice; The Baptism of Christ; The Original Model of Dick Whittington, as he was listening to Bow Bells, when he imagined they said"Turn again Whittington,

Lord Mayor of London."

Statues or models of Prometheus; Sabrina; Childhood; Early Sorrow, sculptured in marble; Purity, or Una and the Lion; Pastoral Age, an original Group in plaster; Christ's Charge to Peter, a model in plaster; Mother and Child, by a deaf and dumb artist; Eve offering to Adam the Forbidden Fruit; the Expulsion from Paradise; the Curse; the Death of Abel; Life-sized figure of our Saviour bearing his Cross;

Original Model of the Descent from the Cross; the Prodigal's Return; a Head in marble; the Dying Saviour; John Wesley; Mother and Child; Miseries of War, bas-relief; Her Majesty, in Carrara marble; Michael Angelo; Innocence; "Spiritless, Afflicted, Fallen;" bas-relief in plaster from Milton's Paradise Lost; and a statue of Victory "to the Memory of the Officers and Men of the 50th Regiment, who fell on the banks of the Sutlej," with a vast number more of a similar character.

But the Sculpture Court only forms one part of the Fine Arts Department—a department rich with objects of the most elaborate workmanship, as well as of the most costly price. We have in this department an illustration of the length to which paper can be manufactured. In fact it can be made almost any length. Here is one sheet 2,500 yards long, and three feet ten inches broad; and another of brown paper 420 yards long, and seven feet nine inches broad. A Painting on Ivory of the Marriage of her Majesty; a Scene at the Coronation, and the Baptism of the Prince of Wales, are exhibited in this compartment; and here also we have the Box-wood Cradle belonging to Her Majesty, which is a beautiful example of the art of wood carving. Here is a Frame of three-feet square, composed of 2,300 pieces of Tortoise-shell, and Mother of Pearl. We have Carvings in Ivory, representing Celebrated Characters; Medallions; Studies from the Antique; Carvings in Wood of the Lacoon, the Tiger Hunt, and sundry other pieces of similar work, some in Walnut, others in Box, and some in Cork. We have a Frame for a Looking-glass in the style of Gibbons the celebrated carver, and a Trophy, about six feet long, carved by hand in Walnut. The greatly admired Oak Buffet, from the Warwick Oak, with the story of Kenilworth carved on it, forms a prominent object in this department. The Oak, which a short time ago was growing near Kenilworth Castle, measuring ten feet in diameter, or thirty feet in circumference, and containing about six hundred feet of wood, was levelled, manufactured, and carved for the Great Exhibition, and now forms one of the most splendid specimens of decorative art of which England can boast.

The design of the centre panel, carved out of one solid block of oak, represents Queen Elizabeth entering Kenilworth Castle, in all the pomp usually displayed on these occasions. A long train of attendants follow the queen, composed of ladies, statesmen, knights, and warriors, some on foot, others on prancing steeds. In the distance, soldiers and a mixed multitude are making the welkin ring with their clamorous joy. This is all in one panel. We have no space to describe the rest. Models of many celebrated Architectural structures are placed here, and also designs for new erections. Amongst these may be mentioned the Martyr's Monument at Oxford; the Portico of the Pantheon at Rome; the Temple Church; Preston Hall; the Royal Arch at Dundee; of Tynemouth Castle, and many others. Here is a model of St. Paul's Cathedral, made from card-board by a penknife, and another of York Minster, executed also with a penknife. There are models in Ivory of Roman and other temples; a bust of Her Majesty, cut, by a lathe, out of the solid Ivory. Here too is "The Crucifixion," carved in wood, life size, also a Model of a Cottage, composed of 2000 pieces of Willow Wood. Here, too, is an Italian Illuminated Painting of the sixteenth century, Holbein's Dance of Death. There is also a Machine for Folding Envelopes; numerous Ornamental Papers and Bindings; also examples of Printing in Oil Colours and Lithographic Printing. There are examples of Engraving by Electricity, and of Engraving Seals by Machinery; and specimens of Enameling, and of Mosaic work. We have the Trophies of the Wars of all Nations; a Model of the Fountain of Commerce; and the Four Seasons in Gum Paste.

There are in this Department alone from four to five hundred different objects, or groups of objects, under the designation of Fine Arts, all of which have beauty, skill, or utility to recommend them. The first sketch of the Exhibition Building by Mr. Paxton is placed here. It is on blotting-paper. But we have lingered almost too long in this department, and Old Winsford's space in the Juvenile Companion will be now filled up. If he can spare time, he will not fail to give his young friends a little more informa

tion about the Great Exhibition. He would, for the present bid them good-bye, fondly hoping, that while they seek and intermeddle with all wisdom, they will not neglect to cultivate a deep acquaintance with the Word of God, which is able to make them wise unto salvation, through faith which is in Christ Jesus. "The fear of the Lord that is wisdom; and to depart from evil is understanding."

66

WHO IS THE WISE MAN?

PRAY," said a little boy to a friend with whom he was walking out, "which was the wisest man, David or Solomon ?"

Friend. You know Solomon was famous for his wisdom, It is said, "all the kings of the earth sought the presence of Solomon, to hear his wisdom that God had put in his heart."

Boy. But, do you think he was wiser than David ?

Friend. David was a good man and loved God; he is spoken of for his piety, and Solomon for his wisdom.

Boy. Do you know it strikes me that David was the wiser man of the two-I like David best-I would rather have been David than Solomon.

Friend. Perhaps I may agree with you there; but what is your reason for choosing rather to be David than Solomon ?

Boy. Because I think God loved David, and you know how many Psalms David wrote. I love the Psalms.

Friend. God put great honour upon David in teaching and helping him to write so many beautiful Psalms for the use of his church in all ages. We use his Psalms even to the present day; and all God's people love them, and delight to read them. But God put honour upon Solomon too in this way; he also wrote part of the Bible, and it remains to this day. We have the Proverbs, as well as the Psalms, and they are Solomon's writing.

Boy. But I like the Psalms best.