54 LONDON PARKS & GARDENS 



are the work of Countess Feodore Gleichen, The grace- 

 ful figure of Artemis, with bow and arrow, and the sup- 

 porting cariatides, are of bronze, the upper basin of 

 Saravezza marble, and the lower of Tecovertino stone. 

 The whole is most light and elegant, and shows up well 

 against the dark trees. 



It has only been possible to glance at the history and 

 beauties of Hyde Park ; many more pages could be 

 written without touching on half of the incidents con- 

 nected with it, between the days when it was monastic 

 lands to the days of the modern Sunday "Church Parade." 

 It is interesting to trace the origin of the little customs 

 with which every one is now familiar, but which once 

 were new and original. For instance, the naming of 

 trees and flowers in the Parks was first done about 1 842, 

 the idea having been suggested by Loudon, and carried 

 out by Nash the architect, and George Don the botanist. 

 Then the system of paying a penny for a seat began in 

 1820, but when some of the free seats were removed in 

 1859 there was a great outcry, and they were immediately 

 put back. Then the meets of the Four-in-hand and 

 Coaching Clubs, which are quite an institution in Hyde 

 Park, only continue the tradition of the " Whip Club," 

 which first met in 1808. The history of the various 

 gates calls for notice. The Marble Arch, designed by 

 Nash, with ornaments by Flaxman, Westmacott, and 

 Rossi, in Carrara marble, was moved from Buckingham 

 Palace to its present position in 1851. Over ^^4000 was 

 expended on the removal, while the original sum spent 

 was ;^ 7 5,000. The statue of George IV. by Chantrey, 

 now in Pall Mall East, was intended for the top, and cost 

 9000 guineas, and the bronze gates are by Samuel Parker. 

 Near that corner of the Park was a stone where soldiers 



