SCULPTURE.

The Numbers commence from the General Entrance, No. 1 being on the left hand side of Central Aisle.

12

13

24

(L. MACDONALD.)
CDONALD

The Sculptor.

H. N. Sandbach, Esq. The Sculptor. Henry Bury, Esq. Thomas Critchley, Esq.

EVE STARTLED AT THE SIGHT OF DEATH (J. HOGAN.)

EROS
EURYDICE

A WATER NYMPH

.

W. CALDER MARSHALL, R.A.

(SCHULER.)

(CANOVA)

(HIRAM POWERS.)

(CANOVA.)

(B. J. WYATT.)

Lord Ward. Lord de Tabley.

The Sculptor. G. Moore, Esq.

J. Tennant, Esq. Samuel Mendel, Esq.

Robert Stephenson, Esq.

.

(This is a replica of Statue No. 79.)

(J. GIBSON, R.A.)

(L. MACDONALD.)

(B. J. WYATT.)

Lord Ward.

G. Cornwall Legh, Esq.

25 PAUL AND VIRGINIA (W. CALDER MARSHALL, R.A.)

26

29 FATE

Alderman Salomons.

The Sculptor.

(J. SHERWOOD WESTMACOTT.)

KITTENS AT PLAY (THE HON. MRS. DAMER.) Col. the Rt. Hon. Dawson

84

THE DYING MAGDALEN

.85

SUNSHINE

87

88

"SEE SAW"

96 VENUS, WITH THE BOW OF CUPID (R. DAVIS.)

97 THE WOUNDED AMAZON

(HIRAM POWERS.)

(J. GIBSON, R.A.) .

BRONZE.

Damer. The Sculptor. The Sculptor.

Sir H. K. Bruce, Bart.

G. Rigby, Esq.

G. Rigby, Esq. Stitt Wilson, Esq. Lord Ward.

The Sculptor.

R. B. Preston, Esq.

104 THE DEATH OF TEUDRIC (ELKINGTON & Co.,

105 LA GENIE DE LA CHASSE

106

THE HUNTSMAN AND STAG 107 SATAN (J. A. HATFIELD, After H. H. ARMSTEAD.)

(EDWARD PIERCE.) Rt. Hon. H. Labouchere.

This is the Bust which Walpole mentions as "sold at an auction in 1714."

(NOLLEKENS.)

Ditto.

HEAD OF A YOUNG GIRL (THORWALDSEN-ascribed to.)

These four busts were presented to the poet Pope by Frederick Prince of Wales, and bequeathed by Pope to the first Lord Lyttelton.

(J. HEFFERNAN, After CHANTREY.) The Royal Society.

(SIR F. CHANTREY.).

(E. W. WYON.)

MUSEUM OF ORNAMENTAL ART.

As labels giving a brief description of the several works of Art contained in the Museum are affixed to most of the articles, the following short notices of the nature and history of the particular branches of Art exhibited in the glass cases, are intended to point out the more salient features of each class of work, so that some slight aid may be given to the visitor's appreciation of individual specimens, in studying which, admiration for the genius, patience, varied ability and fine workmanship shown in many of these reliques of past ages, can hardly fail to be excited amongst those who are at the present day engaged in similar pursuits, and who may here find endless suggestions for fresh ideas and important adaptations fitted to the requirements and usages of the time in which we live. A laborious and spiritless reproduction of any such works could have little value now, however excellent in mechanical execution; it is not as models to be copied, but as a store from which to study, that these works of Art are placed before the public, that the artist, seeing what has been done of old, may with the aid of such helps strike out a new path leading to a point, it is to be hoped, beyond anything that has yet been accomplished; and achieve a success which will give to the second half of the 19th century a renown for that knowledge and good taste in Art, which can lend to the commonest material a charm and value only to be derived from the artistic treatment bestowed on it by the human mind and hand.

J. B. WARING.

20th MAY, 1857.

CENTRAL HALL.

CASE A SOUTH SIDE.

GLASS.

It is desirable to avoid any detailed retrospective view of the history of the various Arts represented in the Museum; and however tempting the subject may be, little more can be done than to make a few notes on glass-making during the 15th, 16th, and 17th centuries, explanatory of its most remarkable features.

Foremost in this manufacture stands Venice, which at the beginning of the 13th century obtained workmen from Constantinople, and founded workshops that were in full activity till the year 1291, when they were all transferred to the neighbouring island of Murano. During the 14th century the principal manufacture consisted of beads, imitation jewels, &c., which found a ready market in Asia and Africa. In the 15th century a new direction was given to the manufacture, arising from the capture of Constantinople by the Turks, and the revival of ancient Art in Italy; the former throwing the glass trade almost entirely into the hands of the Venetians, whilst the latter furnished the artist with fresh and valuable sources of design. It was not, however, until early in the 16th century, that the very beautiful process of which so many and such exquisite varieties are to be seen in the present Collection was discovered; a discovery which at first was religiously kept secret by the manufacturers themselves, and against the divulgence of which the Venetian government passed most stringent orders and threatened the severest penalties, whilst on the other hand the glass-makers who remained faithful