Nature and Art, November 1, 18G6.] 
THE PARIS EXHIBITION OF 1867. 
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while sculpture, carving, church plate, and other 
objects of art and decoration, will complete the 
exhibition. The idea of thus showing the works 
of the ecclesiastical architect, decorator, goldsmith, 
and artificer in a suitable shrine, is an admirable 
one, and there is no doubt that the collection will 
be one of the most beaxxtiful and curious of the kind 
that was ever brought together. Our neighbours 
have stolen a march on their visitors and allies, for 
neither the Belgian nor any other nation will have 
such suitable means of showing its ecclesiastical 
productions. 
Close to the main entrance, and between it and 
the railway station, just without the limits of the 
pare, a large building is growing up, which will 
supply another novelty : this is for the Exhibition 
Club, which will comprise a large hall or exchange, 
news-rooms, writing-rooms, billiard-rooms, dining- 
rooms, kitchens ; in short, all the features of an 
ordinary club, and furnish its subscribers with all 
kinds of facilities for business — to say nothing of 
amusement. To the club will be attached a post- 
office and telegraph-office. The Emperor, the 
Sultan, and his powerful vassal the Viceroy, will 
have each his pavilion in the pare, and a very 
elegant structure, nearly finished as regards the 
framing, stands on one side of the avenue which 
leads to the chief entrance of the building. It is a 
kiosk, consisting of a central portion, over which is 
a dome, and of four wings of elegant leaf-like form. 
The style of the building caused it to be christened 
at once by the loungers beyond the park railings, 
“ the Sultan’s Pavilion but those who have the 
privilege of the entree know that it is for the host 
himself, the Emperor of the French, and not for 
his distinguished guest, the lord of the crescent and 
star. The Sultan’s pavilion is not yet visible ; but 
the Viceroy of Egypt is erecting a temple which 
promises to be one of the glories of the Exhibition. 
It is a large rectangular building, surrounded by an 
open colonnade, and measuring outside the latter 
about 84 feet by 60 feet. It is to be a complete re- 
production of the famous temple of the sacred cow, 
Hothor, in its minutest details, and its execution 
has been entrusted to Mariette Bey, whose name is 
intimately connected with Egyptian research and 
illustration. The colonnade will consist of twenty- 
two columns and four large antes at the corners, 
and the various parts of these, as well as the archi- 
trave, frieze, and intercolumniations, will be from j 
the Ptolemaic structures of Pliilas, Esneh, and 
Denderah. The decorations of the colonnade will 
represent, with all the variety of which the subject 
is susceptible, one of the Ptolemies making offerings 
to the divinity of the temple. In the fagade will be 
introduced a bas-relief discovered last winter in the 
caves of Denderah, which is confidently declared 
to be an authentic contemporary portrait of the 
famous Cleopatra. The ceiling of the colonnade is 
to be painted blue, with golden stars, and decorated 
with figures of the great vulture of Medinet-Abou, 
with white bodies and particoloured, red and black, 
wings. On the outside of the walls of the temple 
itself will be a series of bas-reliefs, illustrative of 
the various arts of Ancient Egypt in chronological 
order. Those representing the first epoch will be 
derived from the Pyramids, Saqquarah, Aboukyr, 
Zawyel-el-Mai'tin, and other contemporary sources. 
In the curious bas-reliefs from the tomb of Phtah 
Hosep (Saqquarah), the deceased is shown sur- 
rounded by the members of his household. There 
ai’e fishing and hunting scenes in the marshes ; 
chasing the gazelle in the plains with greyhounds ; 
hunting the lion ; a combat between a lion and a 
buffalo ; slaves carrying a cage containing two 
lions ; fetes and dances. The bas-reliefs from the 
tomb of Ti include agricultural scenes, cattle, 
troops defiling before the defunct, a farmyard, a 
hunchback leading a greyhound, swans, geese, 
ducks, all represented with an amount of art which 
Egypt no longer possesses. Another compartment 
represents the construction of boats, cabinet-making, 
tanning, sculptors producing a statue, jewellers 
and others at work. Next come scenes of the 
navigation of the Nile, with craft of all kinds ; a 
fight in the water between a crocodile and a hippo- 
potamus ; and the embarkation and transport of 
sculpture. In another great panel will be seen a 
reproduction of the bas-reliefs of the twelfth 
dynasty, with the famous scene of a visit paid to a 
moudyr by a Semitic family asking permission to 
reside in his province ; industrial scenes, dances, 
music, and curious gymnastic feats and exercises. 
The bas-reliefs of the eighteenth dynasty, from 
Thebes and Abydos, include historic episodes, cam- 
paigns in Arabia and India, soldiers marching to 
the sound of trumpet and drum, the navigation 
of the Red Sea, disembarkations, conquests, cap- 
tives led in chains, return to Thebes and triumph 
of the King ; the fanatic Amenophis the Fourth 
on his war chariot, followed by his seven daughters, 
also in chariots ; domestic scenes, house-building, 
and manufactures. Those from the tombs of the 
twenty-sixth dynasty at Thebes will occupy the 
last division. The outer surface of the walls of 
this temple will thus exhibit an abridgment of 
the history of Egyptian art during the whole four 
thousand years of its existence. 
Within the temple itself will be represented the 
famous bas-reliefs of the great temple of Abydos, 
and, on the walls, two ranges of pictures, princi- 
pally of the epoch of Seti. Among other objects 
of interest will figure a remarkable collection of 
ancient jewellery and objects of ornament and 
luxury ; the statue of Chephren, in diorite or 
greenstone, believed to be the oldest statue in the 
• 7 
world ; a statue of the priest Ra-nefer, and another^ 
in wood, of the Sheikh el Belled, considered as the 
finest specimen extant of Egyptian art ; and a 
statue of the great Hothor herself in basalt, re- 
cently discovered ; and a selection of the sculpture, 
coffers, and other objects, the gems of the Viceroy’s 
museum of Boulaq. 
In addition to this magnificent temple of art, 
which is to be surrounded, as far as practicable, 
with the vegetable productions of the country, the 
Viceroy has ordered two other buildings to be 
constructed, one representing the habitation of a 
