DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.1213#0399
CHAPTER XXIV.
,. THE GREAT EXHIBITION OF THE WORKS OF INDUSTRY-OF
ALL NATIONS.
The,. Crystal Palace still stands in Rotten-row, that
glittering fabric which, arose with almost the rapidity of
Aladdin's magic mansion, and which certainly rivalled in its
wondrous contents those which are described as having ad-
ded' splendour to the edifice of enchantment. Though no
genii of the lamp or the ring contributed to its varied stores,
the genius of Industry, and the genius of Art, sent from all
quarters of the earth their rarest productions to be hived
in this National Exchange of the World. But Time, who
is no less unceremonious in his dealings with things than
with persons, who destroys alike the worthless and the
valuable, the beautiful and the unsightly, has scattered
that rare collection, unequalled for extent and character,
which so lately found a fitting shrine in the Crystal Palace,
and which enthralled the attention and gratified the taste
of millions of visitants of every clime, of every class, of
every creed. The treasures of the Exhibition are dis-
persed—some gone to enrich the galleries and the man-
Bions of the noble and the affluent—others reclaimed by
their ingenious fabricators. But though the gems be
gone, the casket remains, a brilliant memorial of the year
1851; and the question of its future destiny,—whether
appropriated to purposes of general utility, this chronicle
of British enterprise and liberality is to be preserved; or
whether, regardless of the bright memories identified with
it, it is " like the baseless fabric of a vision," to fade into
nothingness,—is one left to the arbitration of the public,
and which they will be called upon to resolve by their re-
presentatives in parliament.
There are connected with the Exhibition some recol-
lection, of a more common-place nature, recollections
which the lovers of pelf regret they cannot coin into reali-
,. THE GREAT EXHIBITION OF THE WORKS OF INDUSTRY-OF
ALL NATIONS.
The,. Crystal Palace still stands in Rotten-row, that
glittering fabric which, arose with almost the rapidity of
Aladdin's magic mansion, and which certainly rivalled in its
wondrous contents those which are described as having ad-
ded' splendour to the edifice of enchantment. Though no
genii of the lamp or the ring contributed to its varied stores,
the genius of Industry, and the genius of Art, sent from all
quarters of the earth their rarest productions to be hived
in this National Exchange of the World. But Time, who
is no less unceremonious in his dealings with things than
with persons, who destroys alike the worthless and the
valuable, the beautiful and the unsightly, has scattered
that rare collection, unequalled for extent and character,
which so lately found a fitting shrine in the Crystal Palace,
and which enthralled the attention and gratified the taste
of millions of visitants of every clime, of every class, of
every creed. The treasures of the Exhibition are dis-
persed—some gone to enrich the galleries and the man-
Bions of the noble and the affluent—others reclaimed by
their ingenious fabricators. But though the gems be
gone, the casket remains, a brilliant memorial of the year
1851; and the question of its future destiny,—whether
appropriated to purposes of general utility, this chronicle
of British enterprise and liberality is to be preserved; or
whether, regardless of the bright memories identified with
it, it is " like the baseless fabric of a vision," to fade into
nothingness,—is one left to the arbitration of the public,
and which they will be called upon to resolve by their re-
presentatives in parliament.
There are connected with the Exhibition some recol-
lection, of a more common-place nature, recollections
which the lovers of pelf regret they cannot coin into reali-