The South-Eastern and South Galleries are filled with stalls for

the sale of trinkets, toys, millinery, confectionery, and knickknacks of all sorts. The Palace also possesses a gymnasium, the Würtemberg collection of stuffed animals, a camera obscura, and many other attractions of which it is needless to give an exhaustive list.

The chief cxit from the Crystal Palace into the Gardens is in the S. basement, below the Central Transept; they may also be entered from the covered arcade leading to the Palace from the Low Level Station (p. 307), or by any one of the small side-doors in different parts of the building. The Gardens, covering an area of 200 acres, and laid out in terraces in the Italian and English styles, are tastefully embellished with flower-beds, shrubberies, fountains, cascades, and statuary. The numerous seats offer grateful repose after the fatigue of a walk through the Palace. At the head of the broad walk is a monument to Sir Joseph Paxton, surmounted by a colossal bust by Woodington. The Fountains are the finest in the world. The two large fountains in the lower basin throw their jets to a height of 280 ft., and the central jet in the upper basin reaches a height of 150 ft. On the occasion of a 'grand display of the fountains', which only takes place at rare intervals, 120,000 gallons of water are thrown up per minute. A great display of fireworks (by Messrs. C. T. Brock & Co.) takes place every Thursday evening in summer, often attracting 10-20 000 visitors. The *GEOLOGICAL DEPARTMENT in the S. E. portion of the park, by the Great Pond, is extremely interesting and should not be overlooked. It contains full-size models of antediluvian animals, the Megalosaurus, Ichthyosaurus, Pterodactyl, Palæotherium, Megatherium, and the Irish Elk (found in the Isle of Man) together with the contemporaneous geological formations. The N.E. part of the park is laid out as a CRICKET GROUND, and on summer afternoons the game attracts numerous spectators. The Lawn Tennis Courts are also here. At the end of the N. terrace are a bear-pit, monkeyhouse, and aviaries; and the gardens also contain open-air gymnasia, 'roller coaster' and 'switchback' railways, an archery-ground, swings, etc. Near the Rosery is a Panorama of the Battle of Tell el-Kebîr, by Philippoteaux (adm. 6d.). The S. great fountain-basin is spanned by a facsimile, on a scale of one-fourth, of the Tower Bridge (p. 112).

The highest Terrace, the balustrade of which is embellished with 26 marble statues representing the chief countries and most important cities in the world, affords a magnificent view of the park and of the rich scenery of the county of Kent. The prospect is still more extensive from the platform of the N. ToWER, which rises to a height of 282 ft. above the level of the lowest basins, and is ascended by a winding staircase; it extends into six counties, and embraces the whole course of the Thames.

In the London Road, Forest Hill, about 11/4 M. from the Crystal Palace and the same distance from the Dulwich Gallery (see below), is the Surrey House Museum, a private collection belonging to Mr. F. J. Horniman, which is open to visitors on previous application by letter to the curator (no fees). The collections include objects of natural history, china and porcelain, ethnographical curiosities, historical relics, carved furniture, etc.; and visitors are also admitted to the pleasant grounds and to the view-tower. The Museum is about 3 min. walk from Lordship Lane, on the London, Chatham, & Dover Railway, and 5 min. walk from Forest Hill, on the London, Brighton, & South Coast Railway.

34. Dulwich.

A little to the N. of the Crystal Palace, at a distance of 5 M. from London, lies Dulwich College, in the village of the same name, a large charitable and educational institution, famous for its valuable *Picture Gallery. This collection was formed by Noël Desenfans, a picture-dealer in London, by desire of Stanislaus, King of Poland, but in consequence of the partition of Poland it remained in the possession of the collector. It was afterwards acquired by Sir P. J. Bourgeois, the painter (d. 1811), who bequeathed it to God's Gift College at Dulwich, which was founded by Alleyne, the actor, a friend of Shakspeare. Along with the pictures Bourgeois left 12,000l. for their maintenance and the erection of a suitable building to contain them. The Picture Gallery is open daily, Sundays excepted, from 10 to 5 in summer (till 7 in June, July, & Aug.), and from 10 to 4 in winter (free).

Dulwich is most conveniently reached from Victoria Station, in 20 min., or Ludgate Hill Station, in 25-30 min. (fares 9d., 7d., 5d.; return-tickets, 1s., 10d., 8d.). We leave the station by a flight of steps on the E., at the foot of which we turn to the right. After proceeding for about 100 paces we observe in front of us the New College, a handsome red brick building in the Renaissance style. Here we take the broad road to the left (Gallery Road), and in 5 min. more reach, on the right, the entrance to the Gallery, indicated by a notice on a lamp-post. The scenery around is very pleasing, and the excursion an interesting one.

This collection possesses a few excellent Spanish works by Velazquez (1599-1660) and (more especially) his pupil Murillo (1618-1682), and also some good examples of the French school (particularly N. Poussin, 15941665, and Watteau, 1684-1721); while, among Italian schools, later masters only (such as the Academic school of the Carracci at Bologna) are represented. The small pictures catalogued as by Raphael have been, unfortunately, freely retouched. The glory of the gallery, however, consists in its admirable collection of Dutch paintings, several masters being excellently illustrated both in number and quality. instance, no collection in the world possesses so many paintings by Albert Cuyp (1605-1672), the great Dutch landscape and animal painter, as

For

the Dulwich Gallery (seventeen, two of which, Nos. 180 and 68, are doubtful). The chief power of Cuyp, who has been named the Dutch Claude, lies in his brilliant and picturesque treatment of atmosphere and light. Similar in style are the works of the brothers Jan and Andrew Both, also well represented in this gallery, who resided in Italy and imitated Claude. Andrew supplied the figures to the landscapes of his brother Jan (Utrecht, 1610-1656). The ten examples of Philip Wouwerman (Haarlem, 1620-1668), the most eminent Dutch painter of battles and hunting scenes, include specimens of his early manner (Nos. 65 and 125), as well as others exhibiting the brilliant effects of his later period. Among the fine examples of numerous other masters, two genuine works by Rembrandt (1607-1669) are conspicuous (Nos. 189 and 206). About twenty pictures here were formerly assigned to Rubens (1577-164), but traces of an inferior hand are visible in most of them. Among the works of Flemish masters the large canvasses of Rubens' rival Van Dyck (15991641), and those of Teniers the Elder (Antwerp, 1582-1649) and Teniers the Younger (1610-1694), call for special notice. The specimens of the last-named, one of the most prominent of all genre painters, will in particular well repay examination. Catalogue, by J. P. Richter and J. Sparkes.

Room I. On the left: 334. Bolognese School, St. Cecilia; 9. Cиур, Landscape with cattle; 5. Cuyp, Cows and sheep, an early work; 8,10. W. von Romeyn (Utrecht, pupil of Berchem; d. 1662), Landscapes with figures; *30, 199, 205, 41. Jan and Andrew Both, Landscapes with figures and cattle; 16, 15. Bartolommeo Breenberg (of Utrecht, settled in Rome; d. 1660), Small landscapes; 14. Corn. Poelemburg (Utrecht; d. 1666), Dancing nymph; 112. Adrian van der Neer (Amsterdam; d. 1691), Moonlight scene; *155, #61. Teniers the Younger, Landscapes with figures; 52. Teniers the Elder, Cottage and figures; *64, 63. Wouwerman, Landscapes.

104. Corn. Dusart (Haarlem, d. 1704), Old building, with figures. 'A remarkably careful and choice picture by this scholar of Adrian van Ostade, who approaches nearest to his master in the glow of his colouring'. Waagen.

107. Adrian van Ostade (Haarlem; d. 1685), Interior of a cottage with figures; *36. Both, Landscape; 84. Teniers the Younger, Cottage with figures; 85. Brekelenkamp, Old woman eating porridge; 72. Adrian van de Velde (Amsterdam; d. 1672), Landscape with cattle; 86. Teniers the Younger, Cottage with figures; 106. Gerard Dou, Lady playing on a keyed instrument; 319. Le Brun, Horatius Cocles defending the bridge; 50. Teniers the Younger, Guard-room; 329. Spanish School, Christ bearing the cross; *114. Сиур, Interior of a riding-school. The room to the left of R. I. contains the Cartwright Collection of Portraits.

Room II. On the left: 93. Wouwerman, View near Scheveningen, early work; 113. Willem van de Velde the Younger (Amsterdam; d. 1707), Calm; 156. Cuyp, Two horses; *125, 173, 126. Wouwerman, Landscapes with figures; 124. Van Dyck, Charity; 229. Karel du Jardin (Amsterdam, pupil of Berchem, painted at Rome; d. 1678), Smith shoeing an ox; *131. Meindert Hobbema (Amsterdam; d. 1709), Landscape with a water-mill; 130. Adam Pynacker (of Pynacker, near Delft, settled in Italy; d. 1673), Landscape with sportsmen; 135. Van Dyck, Virgin and Infant Saviour (repetitions at Dresden and elsewhere); 137. Wouwerman, Farrier and an old convent (engraved under the title 'Le Colombier du Maréchal'); 139. Teniers the Younger, A château with the family of the proprietor; 141. Cuyp, Landscape with figures; *144. Wouwerman, Halt of travellers. astonishing depth, clearness, and warmth of colour'; 12, 11. Jan Wynants (Haarlem, d. 1677), Landscapes; 140. Jan van Huysum (Amsterdam, d. 1749), Flowers; 160. Nic. Berchem (Haarlem, d. 1683), Wood scene; 168. School of Rubens, Samson and Delilah; *163, **169. Cuyp, Landscapes with cattle and figures; 182. Rubens, Portrait; 176. Unknown Master, Landscape with cattle; 159. Salvator Rosa (Naples and Rome; d. 1673), Landscape; 178. Unknown Master of Haarlem, Landscape with figures; 358. Gainsborough, Portrait of Thomas Linley; 116. Teniers the Younger,

Winter-scene.

ROOM III. On the left: *60. Teniers the Younger, Sow and pigs; 191. Adrian van der Werf (court painter to the Elector Palatine; d. 1722), Judgment of Paris; 241. Ruysdael, Landscape with mills.

194. Velazquez, Portrait of the Prince of Asturias, son of Philip IV., a copy of the original at Madrid.

Antoine Watteau (Paris, d. 1721), *210. Le bal champêtre; *197. La fête champêtre. 277. German School, Salvator Mundi; 200, 209. Berchem, Landscapes; 206. Rembrandt, A girl at a window; *196. Jan van der Heyde (Amsterdam, d. 1712), Landscape, figures by A. van de Velde; 213. After Van Dyck, Portrait; 145. Cuyp, Winter scene; 228. Wouwerman, Landscape.

359. Sir Thos. Lawrence (d. 1830), Portrait of Wm. Linley, the author; 183. Northcote, Sir P. J. Bourgeois (p. 312); 150. Pynacker, Landscape with figures; 238. G. Schalcken, Ceres at the old woman's cottage, from Ovid; 239, 243. Cuyp, Landscapes near Dort, with cattle; 242. Van Dyck, Lady Venetia Digby, taken after death; 226. Italian Master, Venus gathering apples in the garden of the Hesperides; *189. Rembrandt, Portrait, early work, painted in 1632; 186. W. van de Velde, Calm.

ROOM IV. On the left: 248. Murillo, Spanish flower-girl; 252. Charles le Brun (pupil of N. Poussin; d. 1690), Massacre of the Innocents; *244. Claude, Landscape, with Jacob and Laban ('one of the most genuine Claudes I know', writes Mr. Ruskin); *278. Wynants (ascribed to Ruysdael), Landscape, with figures by A. van de Velde; 269. Gaspar Poussin (pupil of N. Poussin; d. 1675), Destruction of Niobe and her children; *275. Claude Lorrain (d. 1682), Italian seaport; 271. Salvator Rosa, Soldiers gaming ('very spirited, and in a deep glowing tone'); 270. Claude, Embarkation of St. Paula at Ostia.

*283. Murillo, Two Spanish peasant boys and a negro boy. 'Very natural and animated, defined in the forms, and painted in a

golden warm tone'. w.

*286. Murillo, Two Spanish peasant boys. N. Poussin, 291. Adoration of the Magi; 295. Inspiration of a poet. 335. Annibale Carracci (Bologna; d. 1609), Virgin, Infant Christ, and St. John. N. Poussin, 300. Education of Jupiter; 305. Triumph of David; 315. Rinaldo and Armida, from Tasso; 310. Flight into Egypt. *306, 307. Raphael, SS. Antony of Padua and Francis of Assisi (retouched); 337. Carlo Dolci (Bologna; d. 1686), Mater Dolorosa; *83. Cuyp, Landscape with figures (bright and calm sunlight); 365. Antonio Belucci (d. 1726), St. Sebastian with Faith and Charity; 309. Velazquez, Portrait of Philip IV. of Spain.

ROOM V. On the left: 327. Andrea del Sarto (d. 1530), Holy Family (repetition of a picture in the Pitti Palace at Florence, and ascribed by Mr. Crowe to Salviati); 287. Umbrian School, Virgin and Child; 331. Guido Reni (d. 1642), St. John in the wilderness; 336. N. Poussin, Assumption of the Virgin; 240. Van Dyck (ascribed to Rubens), The Graces; 343. After Cristofano Allori (d. 1621), Judith with the head of Holofernes; 339. G. Reni, St. Sebastian; 333. Paolo Veronese (d. 1583), Cardinal blessing a donor; 347. Murillo, La Madonna del Rosario; 349. Domenichino, Adoration of the Shepherds; 351. Rubens, Venus, Mars, and Cupid, a late work; 355. School of Rubens, Rubens's mother.

ROOM VI. On the left: 110, 111. Vernet, Landscapes; 361. Gainsborough, Samuel Linley; 46. Teniers the Elder, Landscape with shepherd and sheep; 53, 89. Loutherbourg, Landscapes; 366. Gainsborough, Mrs. Moodey and her two children; 340. Sir Joshua Reynolds (d. 1792), Mrs. Siddons as the Tragic Muse, painted in 1789. *1. Gainsborough, Portraits of Mrs. Sheridan and Mrs. Tickell, the daughters of Thomas Linley.

Mrs. Tickell sits on a bank, while Mrs. Sheridan stands half behind her. Waagen characterises this work as one of the best specimens of the master, and Mrs. Jameson says: 'The head of Mrs. Sheridan is exquisite, and, without having all the beauty which Sir Joshua gave her in the famous St. Cecilia, there is even more mind'.

215. Wilson, Tivoli; 143. Reynolds, Mother and sick child; 34. Teniers the Elder, Landscape, with the Magdalene.

*102. Daniel Seghers (Antwerp; d. 1661), Flowers encircling a bas-relief. 'A very admirable picture of this master, so justly celebrated in his own times, and whose red roses still flourish in their original beauty, while those of the later painters, De Heem, Huysum, and Rachel Ruysch, have more or less changed. The vase is probably by Erasmus Quellinus'. Waagen.

355. Teniers the Elder, Landscape, with the repentant Peter; 362. Gainsborough, Son of Thomas Linley.

Dulwich College, a separate building, contains other old portraits. In the chapel is the tomb of Alleyne, the founder. About 3 min. walk beyond the Picture Gallery is the *Greyhound Inn.

35. Hampton Court. Richmond. Kew.

These places are frequently visited on a Sunday, as the Palace of Hampton Court, with its fine picture-gallery, is almost the only resort of the kind in or about London which is not closed on that day.

One of the best ways to make this excursion is to go to Hampton Court by railway; to walk through Hampton Court Gardens and Bushy Park to the Teddington station; to take the train thence to Richmond, and to return to London, viâ Kew, on the top of an omnibus; or, if time permit, we may return by steamboat from Kew (11/2-2 hrs.; fare to Chelsea 1s., thence to London Bridge 3d.). Some of the coaches mentioned at p. 32 pass through Hampton Court. Omnibuses, chars-a-bancs, and brakes ply frequently on Sun. afternoon from Charing Cross, Piccadilly, etc., to Kew (1s.), Richmond (1s. 6d), and Hampton Court (2s. 6d.).

Another pleasant round, involving more walking, is as follows: by train to Richmond; drive viâ Strawberry Hill to Teddington; walk through Bushy Park to Hampton Court and through Richmond Park to Richmond; then back to London by train.

RAILWAY. We may travel by the South Western Railway from Waterloo Station to Hampton Court; or by the North London Railway from Broad Street, City (comp. p. 34) to Kew, Richmond, and Teddington (p. 321); or by the Metropolitan District Railway from the Mansion House, Charing Cross, Victoria, Westminster, or Kensington to Richmond, and thence to Teddington.

The SOUTH WESTERN RAILWAY (from Waterloo Station to Hampton Court 3/4 hr.; fares 2s., 1s. 6d., 1s. 3d.) runs for a considerable distance on a viaduct above the streets of London. Vauxhall, the first station, is still within the town; but we emerge from its precincts near Clapham Junction, the second station. The first glimpse of the pretty scenery traversed by the line is obtained after passing through the long cutting beyond Clapham. The landscape, bordered on the N. by gently sloping hills, and dotted with groups