the wooden poles into iron ones, and put them across, like his own crooked legs, so that you always fall over them if you don’t look where you are going; and he turned all the canvas into panes of glass, and put it up on his iron cross-poles; and made all the little booths into one great booth;—­and people said it was very fine, and a new style of architecture; and Mr. Dickens said nothing was ever like it in Fairy-land, which was very true.  And then the little Pthah set to work to put fine fairings in it; and he painted the Nineveh bulls afresh, with the blackest eyes he could paint (because he had none himself), and he got the angels down from Lincoln choir, and gilded their wings like his gingerbread of old times; and he sent for everything else he could think of, and put it in his booth.  There are the casts of Niobe and her children; and the Chimpanzee; and the wooden Caffres and New-Zealanders; and the Shakespeare House; and Le Grand Blondin, and Le Petit Blondin; and Handel; and Mozart; and no end of shops, and buns, and beer; and all the little-Pthah-worshippers say, never was anything so sublime!

Sibyl.  Now, do you mean to say you never go to these Crystal Palace concerts? they’re as good as good can be.

L. I don’t go to the thundering things with a million of bad voices in them.  When I want a song, I get Julia Mannering and Lucy Bertram and Counselor Pleydell to sing “We be three poor Mariners” to me; then I’ve no headache next morning.  But I do go to the smaller concerts, when I can; for they are very good, as you say, Sibyl:  and I always get a reserved seat somewhere near the orchestra, where I am sure I can see the kettle-drummer drum.

Sibyl.  Now do be serious, for one minute.

L. I am serious—­never was more so.  You know one can’t see the modulation of violinists’ fingers, but one can see the vibration of the drummer’s hand; and it’s lovely.

Sibyl.  But fancy going to a concert, not to hear, but to see!

L. Yes, it is very absurd.  The quite right thing, I believe, is to go there to talk.  I confess, however, that in most music, when very well done, the doing of it is to me the chiefly interesting part of the business.  I’m always thinking how good it would be for the fat, supercilious people, who care so little for their half-crown’s worth, to be set to try and do a half-crown’s worth of anything like it.

Mary.  But surely that Crystal Palace is a great good and help to the people of London?

L. The fresh air of the Norwood hills is, or was, my dear; but they are spoiling that with smoke as fast as they can.  And the palace (as they call it) is a better place for them, by much, than the old fair; and it is always there, instead of for three days only; and it shuts up at proper hours of night.  And good use may be made of the things in it, if you know how:  but as for its teaching the people, it will teach them nothing but the lowest of the lower Pthah’s work—­nothing but hammer and tongs.  I saw a wonderful piece, of his doing, in the place, only the other day.  Some unhappy metal-worker—­I am not sure if it was not a metal-working firm—­had taken three years to make a Golden eagle.