The stereoscope : its history, theory, and construction, with its application to the fine and useful arts and to education / by Sir David Brewster.

  • Brewster, David, 1781-1868.
Date:
1856
Catalogue details

Licence: Public Domain Mark

Credit: The stereoscope : its history, theory, and construction, with its application to the fine and useful arts and to education / by Sir David Brewster. Source: Wellcome Collection.

Provider: This material has been provided by King’s College London. The original may be consulted at King’s College London.

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    direction of Michael Angelo; by whom is the celebrated statue of Bacchus, seen in front of the facade. 25. English Mediaeval Court - Part of which is from Tintern Abbey, and part from Gainsborough, Yorkshire, with statues from Romsey and Wells Cathedral. 26. Entrance to the Greek Court—Presenting two columns from the Temple of Jupiter, at Nemea, and in the back ground a model, about one-fourth the size of the original, of the Parthenon, with antique statuary in the foreground. 27. Interior of Greek Court- Supported by pillars from the Temple of Jupiter, at Nemea, constructed about 400 years B.C. Here are the two famous statues, the gladiator Repellens, and the Scythian whetting his knife. 28. Mixed Fabrics Court—In the occupation of Sowerby, of Regent Street; at this angle is seen Bailey’s Graces, and the Musidora by Thomas. 29. The Roman Court — Nothing can be more chaste and simple than this court, its arches rising between Ionic pillars and separated by a pilaster of the same order, in harmony with the sculpture it con- tains. 30. The Statues of Amenoph— Restored from the original in black granite, now in the British Museum, together with a portrait of Rameses II. sitting under the Persea tree, sculptured on the walls. 31. Interior of English Mediae- val Court—Most conspicuous in the cen- tre of this court, is the tomb of Edward the Black Prince, from Canterbury Cathedral, and that of William of Wykeham, from Win- chester, beyond which is the Walsingham Font. 32. Middle Entrance to the Greek Court—Showing a Doric column, part of the facade from the Temple of Jupiter, at Nemea. 33. Entrance to the Alhambra Court—An exact fac-simile of the en- trance into the court of the Lions from the Court of the Fish-pond. The diaper pattern on the walls being from the Sala de la Barca. 34. The Nave — Osier’s well-known fountain, Una and the Lion, and the Eagle Slayer, are here seen in a line across the Nave, beyond which are the statues of Charles I. and James II. 35. Screen of the Kings and Q,ueens of England—A beautiful re- presentation of the Screen designed by M. D. Wyatt, with the sculpture by Thomas; it is taken from the angle where the Norman series commences, and comprises the statue of her present Majesty. 36. The Musical Instrument Court—A trutliful representation of the entrance of this beautiful Court, designed by Thomas, with a representation of Miriam in the space above, and a bust of Jubal to the right. 37. View in the Nave— q’his view is taken directly across the Nave, in a line with Osier’s fountain and the statues of Charles I. and James II.; and showing a line of statues, by Theed and Gibson, amongst which most conspicuous is that of Humphrey Chetham, of Manchester. 38. Group of Africans—Contrast- ing the Negro of the lower levels, with the Danakil of the high pastures and plateaus of the Desert. 39. Byzantine Court—Showing the centre arch of the fa9ade from the Church of St. Mary in Capitolo, at Cologne, the columns from which it springs being ornamented with Capitols of different designs. 40. Mixed Fabrics Court —The only statue visible from this point of view, is from the Murder of the Innocents, but it derives its interest from the tropical ever- greens, by which it is surrounded. 41. Ceremony of Inauguration —Being a correct representation taken upon the spot on the 10th of June, 1854, when Mr. Laing, the Chairman of the Crystal Palace Company, was in the act of reading the address to Her Majesty. 42. Mixed Fabrics Court—Show- ing the Tired Hunter, a statue by Bailey, and Apollo discharging his bow, by the same artist. 43. General View of the Crystal Palace—A beautiful view of the building seen from a distance. It is taken from a point above Anerley station, where it is seen to the greatest advantage. 44. Portion of tbe North Wing- In which the general character of the Italian Terraces with the vases, statues, flower-beds, fish-ponds, &c., is seen in connection with a portion of the building. 45. General View in the Grounds —As seen from the central corridor, compri- sing the broad walk down to the great foun- tain, the village and church, beyond the grounds, and the hills and variegated land- scape in the far distance. The Second Series of about 200 subjects taken from the Crystal Palace, in addition to and in- cluding many of the above, with- out description, mounted at 2s. each slide.