he believed.

In precisely the same position with respect to the nave of the
building, but of larger size, as proportioned to the three or four times
greater scale of the whole, a colossal piece of sculpture was placed by
English designers, at the extremity of the Crystal Palace, in
preparation for their solemnities in honor of the birthday of Christ, in
December 1867 or 1868.

That piece of sculpture was the face of the clown in a pantomime, some
twelve feet high from brow to chin, which face, being moved by the
mechanism which is our pride, every half-minute opened its mouth from
ear to ear, showed its teeth, and revolved its eyes, the force of these
periodical seasons of expression being increased and explained by the
illuminated inscription underneath, "Here we are again."

56. When it is assumed, and with too good reason, that the mind of the
English populace is to be addressed, in the principal Sacred Festival of
its year, by sculpture such as this, I need scarcely point out to you
that the hope is absolutely futile of advancing their intelligence by
collecting within this building (itself devoid absolutely of every kind
of art, and so vilely constructed that those who traverse it are
continually in danger of falling over the cross-bars that bind it
together,) examples of sculpture filched indiscriminately from the past
work, bad and good, of Turks, Greeks, Romans, Moors, and Christians,
miscolored, misplaced, and misinterpreted;[15] here thrust into unseemly
corners, and there mortised together into mere confusion of
heterogeneous obstacle; pronouncing itself hourly more intolerable in
weariness, until any kind of relief is sought from it in steam
wheelbarrows or cheap toyshops; and most of all in beer and meat, the
corks and the bones being dropped through the chinks in the damp deal
flooring of the English Fairy Palace.

57. But you will probably think me unjust in assuming that a building
prepared only for the amusement of the people can typically represent
the architecture or sculpture of modern England. You may urge that I
ought rather to describe the qualities of the refined sculpture which is
executed in large quantities for private persons belonging to the upper
classes, and for sepulchral and memorial purposes. But I could not now
criticise that sculpture with any power of conviction to you, because I
have not yet stated to you the principles of good sculpture in general.
I will, however, in some poi