EXHIBITION, CENTENNIAL. 



273 



feet wide and 18 inches deep, and, when 

 opened, taking up un horizontal space, by 7 

 tVrt, and :iU<irding accommodations for half a 

 dii/rii persons. Mrs. Mountain's life preserv- 

 ing niattiv-s lias been adopted for general use 

 as a supplementary life-saving appliance by the 

 1 niird States Supervising Inspectors of Steam- 

 boats. Mrs. ('(-ion's telegraphic night-signals, 

 an invention which originated with that lady's 

 husband, but which was practically perfected 

 by her after the death of Mr. Coston, have 

 been introduced into the United States Navy, 

 and have found great popular approval. The 

 Women's Pavilion was enlivened by the spec- 

 tacle of ladies engaged in weaving, candy- 

 nmking, and other manufacturing processes. 

 The power was supplied by an engine managed 

 by a lady engineer, Miss Allison. 



The Art Building, which was called Memorial 

 Hall, was intended as a permanent monument 

 and gallery of art. It occupies a commanding 





MEMORIAL IIAI.I.. 



site on the Lansdowne Plateau, 116 feet above 

 the river. It was built after a noble design in 

 the modern Renaissance style, with a central 

 tower rising 150 feet above the ground, sur- 

 mounted bv a great bell, on which stands a 

 colossal statue of America, and at the four cor- 

 ners of whose base are four colossal figures of 

 smaller proportions representing the four quar- 

 ters of the globe. The building is 365 feet in 

 length by 210 in width, and 59 in height. Its 

 floor is 12 feet above the ground, with broad 

 atone stairways leading to it. The material is 

 granite, with gbss and iron. Connected with 

 the central portion by arcades at each end are 

 two pavilions parallel with it, with abutting, 

 tower-like extremities. 



The art exhibition consisted for the greater 

 part of works of inferior merit. This was 

 notably the case with the French, German, 

 and Belgian exhibits. The English section, on 

 the contrary, was a carefully-selected and ex- 

 VOL. xvi. 18 A 



cellent representation of modern English art. 

 The American exhibition bore an equally his- 

 torical character, containing good example* 

 of all of our early painters. 



There were in the American section portraits 

 and historical paintings by Gilbert Stuart, Cop- 

 ley, Washington Allston, Rembrandt Peale, 

 Waldo, Thomas Hicks, Wilson Peale the elder, 

 Colonel John Trumbull, Prof. Morse, Smibert, 

 and Stewart Newton ; and, in the modern por- 

 tion, paintings by Boughton, Colman, Gray, 

 Suydam, Irving, Hubbard, Wood, Loop, La 

 Farge, Hamilton, Edward and Thomas Moran, 

 Eastman Johnson, De Haas, Cropsey, Whitt- 

 redge, Gifford, Kensett, Charles N. Miller, 

 Healey, Huntingdon, Rosenthal, Thomas Hill, 

 Prof. Weir, Smilie, Bierstadt, Sonntag, Bridge- 

 man, Charles Elliot, Harry Fenn, Winslow Ho- 

 mer, Inman, Kendrick, Page, T. B. Thorpe, Tif- 

 fany, Jerome Thompson, and others of the best- 

 known artists. A large and striking painting 

 by Rothermel was only 

 introduced after some 

 opposition, on account 

 of the subject, which 

 was the battle of Get- 

 tysburg. Among the 

 American statuary were 

 pieces by Story, Mar- 

 garet Foley, P. F. Con- 

 elly, Preston Powers, 

 Palmer, Rogers, and 

 Haseltine. 



In the English collec- 

 tions the most note- 

 worthy works were 

 Gainsborough's portrait 

 of the Duchess of Rich- 

 mond, a small scene of 

 country - life by Con- 

 stable, Sir Joshua Rey- 

 nolds's portrait by him- 

 self, two Wilkies, exam- 

 ples of Turner, Calde- 

 ron, Maclise, C. R. Les- 

 lie, Mulready, Stanfield, Calcott, Creswick, Ben- 

 jamin West, a painting by Fuseli, Sir James 

 Harry's "Temptation in Paradise," portraits 

 by Sir Thomas Lawrence and Opie, five small 

 Landseers, and Frith's two most famous pro- 

 ductions; and among the more recent artists 

 were represented Leighton, AlmaTadema, Mil- 

 Inis, Prinsep, Faed, Orchardson, George Leslie, 

 Holmnn Hunt, Saut, Fildes, Cope, John Gilbert, 

 Louis Haghe, Knowles, Armitage, Crott, North- 

 cote, and Arthur Hughes. The only statues of 

 note in the English department were Gib- 

 son's " Venus " and Chantrey's portrait of Ben- 

 jamin West. 



The French department contained hardly 

 a single painting of value, and not a name 

 of the first eminence. " Rizpah protecting 

 her Sons from the Vultures," by George Beck- 

 er, was the most striking picture; other paint- 

 ings which showed some imagination and 

 technical handling were Prion's u School for 



