road, was built about 1840, and was so called from a large mansion which formerly stood on the site, belonging to the Dukes of Rutland. Here was the picture-gallery of Mr. John Sheepshanks, bequeathed by him to the nation, and now housed in the Sheepshanks Gallery at the South Kensington Museum. It was rich in works by Mulready, Leslie, and Landseer. Ennismore Place, close by Prince's Gate, is so called from the second title of the Earl of Listowel, to whom the ground on which it stands belongs or belonged. Brompton Road is the name given to a row of houses built about the year 1840, on what was a garden a century ago. At a house here, then numbered 45, Brompton Row, but now 168, Brompton Road, lived the celebrated philanthropist and philosopher, Count Rumford, and afterwards his daughter Sarah, Countess Rumford. The count had come to England as an exiled loyalist from America, and having risen to high employ in England, had been sent, in 1798, as Ambassador to London from Bavaria. Here he entertained Sir William Pepperell, and other American loyalists. Owing to George III.'s opposition to his appointment as a diplomatic representative of Bavaria, he lived in a private capacity. He died in France in 1814. The house is minutely described, in 1801, by M. Pictet, an intimate friend of the count, in a life of Count Rumford, published in 1876. It is still full, from top to bottom, of all sorts of cleverlycontrived cupboards, writing-desks, &c., fixed in the walls, and with fireplaces on a plan unlike those in the adjoining dwellings. It remains very much in the same state as in the count's time, though a stucco front appears to have been added. "The house had been let by Count Rumford to the Rev. William Beloe, the translator of Herodotus, who quitted possession of it in 1810. The countess, his daughter, lived in it and let it alternately, among her tenants being Sir Richard Phillips and Mr. Wilberforce. She disposed of the lease in 1837 to its present owners." On the south side of Ennismore Place is Brompton Square, which consists of houses open at the south end to the Brompton Road, and terminating at the northern end with a semi-circular sweep, with a gateway leading to Prince's Terrace and Ennismore Gardens. At No. 22 in this square died, in 1836, George Colman "the Younger," the author of John Bull. Here also lived Mr. Luttrell, the friend of Sam Rogers, and the most brilliant of conversationalists temp. George IV. In consequence of the salubrity of the air in this neighbourhood, Brompton Square has long been a Behind the favourite abode for singers and actors. The Knightsbridge, however, has in its time numbered many other distinguished residents. Among them, Lady Anne Hamilton, the faithful friend and attendant of the Princess Caroline of Brunswick; the artist Chalon; Paul Bedford, the actor; McCarthy, the sculptor; and Ozias Humfrey, the Royal Academician (the friend of Reynolds, Dr. Johnson, and Romney), who is thus celebrated by the poet Hayley, when abandoning miniatures for oil portraits: Boswell "Thy graces, Humfrey, and thy colours clear, From miniature's small circle disappear; May thy distinguished merit still prevail, And shine with lustre on a larger scale." Here died, in 1805, at the age of upwards of eighty, Arthur Murphy, the author, who was a friend of Johnson, Reynolds, Burke, and others. thus relates the manner in which an acquaintance first commenced between Dr. Johnson and Mr. Murphy :-"During the publication of the Gray's Inn Journal, a periodical paper which was successfully carried on by Mr. Murphy alone, when a very young man, he happened to be in the country with Mr. Foote; and having mentioned that he was obliged to go to London in order to get ready for the press one of the numbers of that journal, Foote said to him, 'You need not go on that account. Here is a French magazine, in which you will find a very pretty Oriental tale; translate that, and send it to your printer.' Mr. Murphy having read the tale, was highly pleased with it, Knightsbridge.] and followed Foote's advice. NEW "TATTERSALL'S." to town, this tale was pointed out to him in the Rambler, from whence it had been translated into the French magazine. Mr. Murphy then waited upon Johnson, to explain this curious incident. His talents, literature, and gentleman-like manners were soon perceived by Johnson, and a friendship was formed which was never broken." 27 When he returned was once really a village-green, and it had its village may-pole, at all events, down to the end of the last century. It was larger in its extent in former days, several encroachments having been made upon its area. At its east end there stood, till 1834, a watch-house and pound, to which Addison refers in a very amusing paper in the Spectator (No. 142). Pretending, by way of jest, to satisfy by home news the craving for foreign intelligence which the late war had created in 1712, he writes: "By my last advices from Knightsbridge, I hear that a horse was clapped into the pound there on the 3rd inst., and that he was not recovered when the letters came away." A large part of what once was the Green is now covered by some inferior cottages, styled Middle Row; on the north side was an old inn, which rejoiced in the sign of the "Marquis of Granby," with reference to which we may be pardoned for quoting Byron's lines : Here, at a farm-house which supplied the royal family with milk, the fair Quakeress, Hannah Lightfoot, is said to have resided, after she had captivated the susceptible heart of George III., in the first year of his reign; but the story is discredited. At the junction of Brompton Road with the main road through Knightsbridge, and near to Albert Gate, stands the great sporting rendezvous and auction-mart for horses, "Tattersall's." It was removed to this spot in 1865 from Grosvenor Place, where, as we have seen in the preceding chapter, it was originally established. The building occupies a site previously of comparatively little value, and has before its entrance a small The triangular space planted with evergreens. building in itself is arranged upon much the same plan as that of its predecessor, which we have already described. Immediately on the right of the entrance is the subscription-room and countinghouse, both of which are well designed to meet their requirements; whilst beyond is a spacious covered court-yard, with a small circular structure in the centre, in which is a pump, surmounted by the figure of a fox; the dome which covers it bears a bust of George IV. The fox, it is presumed, belongs to the poetry of Tattersall's, suggesting, as it does, breezy rides over hill and dale and farstretching moorlands. The royal bust above refers to more specific facts of which the establishment can boast; it is a type of the lofty patronage that has been accorded to the house from its earliest days. The bust represents the "first gentleman of Europe," as he has been, absurdly enough, called, in his eighteenth year, when the prince was a constant attendant at Tattersall's. The yard itself is surrounded by stabling for the horses, and galleries for carriages which may be there offered for sale. The great public horse auction is on Mondays throughout the year, with the addition of Thursdays in the height of the season. The subscription to the "Rooms," which is regulated by the Jockey Club, is two guineas annually; and the betting at Tattersall's, we need scarcely add, regulates the betting throughout the country. The Green, as the triangular plot of ground in front of Tattersall's, mentioned above, is called, "Vernon, the 'Butcher' Cumberland, Wolfe, Hawke, Prince Ferdinand, Granby, Burgoyne, Keppel, Howe, Evil and good, have had their tithe of talk, And filled the sign-posts then as Wellesley now." The small portion on the north side, fenced in by rails, is probably the old burial-ground belonging to the Lazar House, already mentioned. Of Knightsbridge Terrace, now a row of shops, old inhabitants tell us that, when Her Majesty came to the throne, it consisted wholly of private houses. Here was Mr. Telfair's College for the Deaf and Dumb, and here lived Maurice Morgan, one of the secretaries to Lord Shelburne when the latter was Premier, and honourably mentioned by Boswell in his "Life of Johnson." Close to the corner of Sloane Street, too, lived Rodwell, the composer. Among the oldest dwellings in this hamlet are some of the irregular houses on the south side of the road, between the Green and Rutland Gate. Mr. Davis, writing in the year 1859, in his "History of Knightsbridge," mentions Chalker House, built in 1688, now a broker's, and for many years a boarding-house. "Three doors beyond it," he continues, "is an ancient inn, now known as the Rose and Crown,' but formerly as the 'Oliver Cromwell,' but which has borne a licence for above three hundred years. It is the oldest house in Knightsbridge, and was formerly its largest inn, and not improbably was the house which sheltered Wyatt, while his unfortunate Kentish followers rested on the adjacent green. A tradition, told by all old inhabitants of the locality, that Cromwell's body-guard was once quartered here, is still very prevalent: an inscription to that effect was till lately painted on the front of the house; and on an ornamental piece of plaster-work was formerly emblazoned the great Lord Protector's coat of arms." Mr. Davis does not guarantee the literal truth of this tradition, though he holds that nothing is more certain than that Knightsbridge was the scene of frequent skirmishes during the Civil War. This was natural enough, considering that the hamlet was the first place on the great western road from London. We know for certain that the army of the Parliament was encamped about the neighbourhood in 1647, and that the head-quarters of Fairfax were at Holland House; and the same was the case just before and after the fight at Brentford. It was on the strength of this, and other traditions, that Mr. E. H. Corbould made this inn the subject of a painting, "The Old Hostelrie at Knightsbridge," exhibited in 1849. "He laid the scene as early as 1497. Opposite the inn is a well, surmounted by a figure of St. George; while beyond is the spacious green, the meandering stream, and the bridge over it, surmounted by an embattled tower; further off appear the old hospital and chapel. . . . . . The house of late," continues Mr. Davis, "has been much modernised, and in 1853 had a narrow escape from destruction by fire; but enough still remains, in its peculiar chimneys, oval-shaped windows, its low rooms, its large yard and extensive stabling, with galleries above and office-like places beneath, to testify to its antiquity and former importance." It was pulled down about the year 1865. Another hostelry in the main street was the " Rising Sun;" though a wooden inn, it was an ancient house, and its staircase and the panelling of its walls were handsomely carved. On the spot now occupied by the Duke of Wellington's stables, there was also, in former times, an inn known as the “Life Guardsman," and previously as the "Nag's Head." We may mention that a market for cattle was held at Knightsbridge every Thursday till an early year in the present century, and that the last pen posts were not removed till 1850. The air of this neighbourhood has always been regarded as pure and healthy. Swift brought his friend Harrison to it for the benefit of pure air; and half a century later it maintained the same character, for we read that Lady Hester Stanhope sent a faithful servant thither, with the same object in view. In sooth, "Constitution" Hill at one end, and "Montpelier" Square at the other, both derive their names from this peculiarity. The fact is that the main street of Knightsbridge stands on a welldefined terrace of the London clay, between the gravel of Hyde Park and that of Pimlico, resting on thick layers of sand, which cause the soil to be porous, and rapidly to absorb the surfacewater. The water-supply of Knightsbridge has always been remarkably good, being drawn from several conduits in and about Park-side and to the south of Rotten Row. One of these, known as St. James's, or the Receiving Conduit, supplied the royal palaces and the Abbey with water. CHAPTER III. THE GREAT EXHIBITION OF 1851. "" Anon, out of the earth a fabric huge Rose like an exhalation."-Milton. Previous Exhibitions of a somewhat similar Character-The Marquis d'Aveze's projected Exhibition-Various French Expositions-Competitive Exhibitions in England-Prince Albert's Proposal for holding an Industrial Exhibition of All Natious-His Royal Highness becomes Chairman of the Royal Commission-Banquet at the Mansion House-Lecturers and Agents sent all over the Country, to Explain the Objects of the Exhibition-Reception of Plans and Designs-Mr. Paxton's Design accepted-Realisation of one of the Earliest Poetical Dreams in the English Language-General Description of the Building-Opening of the Exhibition by Her Majesty-Number of Visitors-Removal of the Building-The National Albert Memorial. THAT portion of Hyde Park, between Prince's Gate and the Serpentine, running parallel with the main road through Knightsbridge and Kensington, is memorable as having been the site of the great Industrial Exhibition of 1851, wherein were brought together, for the first time, under one spacious roof, for the purposes of competition, the various productions of the inventive genius and industry of nearly all the nations of the earth. Before proceeding with a description of the building and an epitome of its principal contents, it may not be out of place to take a brief glance at some previous exhibitions of a similar character, which had been held in France, at various times, within the preceding hundred years. As far back as the year 1756-about the same time that our Royal Academy opened to the public its galleries of painting, engraving, and sculpture-the productions of art and skill were collected and displayed in London, for the purpose of stimulating public industry and inventiveness; and although these exhibitions were, to a certain extent, nothing more than would now be termed "bazaars," they were found to answer so successfully the ends for which they were instituted, that the plan was adopted in France, and there continued, with the happiest results, even long after it had been abandoned in England. When the first French Revolution was at its height, the Marquis d'Aveze projected an exhibition of tapestry and porcelain, as a means of raising funds for relieving the distress then existing among the workers in those trades. Before, however, he could complete his arrangements, he was denounced, and on the very day on which his exhibition was to have been opened, he was compelled to fly from the vengeance of the Directory. So firm a hold, however, had the idea taken on the public mind, that it was not allowed to die out. A few years afterwards, on his return to Paris, the marquis resumed his labours, and in 1798 actually succeeded in opening a National Exposition in the house and gardens of the Maison d'Orsay. The people flocked in great numbers to view the show, which altogether proved a complete success. In that same year, too, the French Government organised its first official Exposition of national manufacture and the works of industry. It was held on the Champ de Mars, in a building constructed for the purpose, called the Temple of Industry. Three years later a second Exposition took place, and more than two hundred exhibitors competed for the prizes offered for excellence. In the following year a third Exposition was held on the same spot, the number of exhibitors increasing to upwards of four hundred. So great was the success of these several shows, that out of them arose an institution similar to our Society of Arts, called the Société d'Encouragement, a society to which the working classes of France are largely indebted for the taste which they have acquired for the beautiful in art, and for the cultivation of science as a handmaid to industry. In 1806 the fourth French Exposition was held in a building erected in front of the Hôpital des Invalides; this was even more successful than its predecessors; for while the previous Expositions had each remained open only about a week, this one was kept open for twentyfour days, and was visited by many thousands of people. The number of exhibitors rose from about five hundred to nearly fifteen hundred, and nearly every department of French industry was represented. At different periods between the years 1819 and 1849, seven other Expositions were 29 held in France, the last of which was restricted to national products. The Industrial Show of 1855, however, was, like our own Great Exhibition of 1851, international. During all this time there had grown up in England exhibitions, consisting chiefly of agricultural implements and cattle, together with local exhibitions of arts and manufactures. In Birmingham, Leeds, Manchester, Dublin, and other great centres of industry, bazaars after the French pattern had been successfully held from time to time. The one which most nearly approached the idea of the French Exposition, in the variety and extent of the national productions displayed, was the Free Trade Bazaar, held for twelve days, in 1845, in Covent Garden Theatre-an exhibition which excited considerable public interest, and doubtless did much to make the London public acquainted with many arts and manufactures of which they had hitherto had but a very confused and imperfect knowledge. Roused from their remissness by the success that had attended the various French Expositions, the English people, during the years 1847 and 1848, re-opened their exhibitions, chiefly at the instigation and by the aid of the Society of Arts, by whom the plan had been revived. So great was now the importance of these industrial displays, that they became a subject of national consideration; but it was felt that something more was necessary than France or England had as yet attempted to give them their proper development and effect. At this point, an idea was entertained by the late Prince Consort of gathering together into one place the best specimens of contemporary art and skill, and the natural productions of every soil and climate, instead of the mere local or national productions of France and England. "It was to be a whole world of nature and art collected at the call of the queen of cities-a competition in which every country might have a place, and every variety of intellect its claim and chance of distinction. Nothing great, or beautiful, or useful, be its native home where it might; not a discovery or invention, however humble or obscure; not a candidate, however lowly his rank, but would obtain admission, and be estimated to the full amount of genuine worth. It was to be to the nineteenth what the tournament had been to the fourteenth and fifteenth centuries-a challenge at once and welcome to all comers, and to which every land could send, not its brightest dame and bravest lance, as of yore, but its best produce and happiest device for the promotion of universal happiness and brotherhood."* * "Comprehensive History of England," vol. iv., p. 793. The undertaking received Her Majesty's royal At first, many manufacturers and merchants in sanction on the 3rd of January, 1850; on the 11th foreign countries were exceedingly averse to the of the same month the Royal Commissioners held proposed Exhibition; but, as was the case with their first meeting; and on the 14th of February those at home, discussion and better information Prince Albert sat as Chairman of the Commission. led to more enlightened views. Prince Albert, in On the 21st of March the Lord Mayor of London his speech at a banquet held at York, said, in the invited the mayors of nearly all the cities, boroughs, name of the Royal Commission :-" Although we and towns of the United Kingdom to a banquet at perceive in some countries an apprehension that the Mansion House to meet the Prince, and upon the advantages to be derived from the Exhibition that occasion his Royal Highness lucidly explained | will be mainly reaped by England, and a conthe object of the proposed undertaking. The Exhibition, it was announced, was to belong exclusively to the people themselves of every nation, instead of being supported and controlled by their respective governments; and in order that nothing might be wanting in its character as a great competitive trial, the sum of £20,000 was set apart for the expense of prizes, which were to be awarded to the successful competitors. At first, the real magnitude and the great difficulties of the project were not fully perceived; but the proposal was scarcely made public by the Society of Arts, of which Prince Albert was at the head, before impediments began to rise up in their way, and for more than a year they were beset with difficulties. sequent distrust in the effects of our scheme upon their own interests, we must, at the same time, freely and gratefully acknowledge, that our invitation has been received by all nations, with whom communication was possible, in that spirit of liberality and friendship in which it was tendered, and that they are making great exertions, and incurring great expenses, in order to meet our plans." Upon the same occasion, Lord Carlisle, one of the most enlightened men of the age, expressed a hope that "the promoters of this Exhibition were giving a new impulse to civilisation, and bestowing an additional reward upon industry, and supplying a fresh guarantee to the amity of nations. Yes, the nations were stirring |