I wish, Charley, you could go with me into a door south of the transept, over which, in oddly-shaped letters, are the words "MEDIÆVAL COURT." The very name reminds one of Popery, Puseyism, and Pugin. This mediæval court absolutely dazzles one's eyes with its splendors. Auriferous draperies line the walls; from the ceiling hang gold and silver lamps--such lamps as are to be seen in Romish chapels before the statues of the Virgin; huge candlesticks, in which are placed enormous candles; Gothic canopies and richly-carved stalls; images of he and she saints of every degree; crucifixes and crosiers; copes and mitres; embroideries, of richest character, are all here--things which the mother of harlots prizes as the chosen instruments by which she deceives the nations. And truly beautiful are many of these things as works of art; but it is only as works of art that any Christian can admire them. As I gazed on the rich tissues and golden insignia, I mourned for poor corrupt human nature, to which alone such gewgaws could be acceptable. How would Paul or Peter have stared, had they been required to don such glittering pontificals as are here to be seen! While I feel great respect for Pugin's ability as an architect and designer, I have profound pity for those who are deluded by these gorgeous symbols of a gloomy, cruel, and heartless creed.
There is a large golden cage, not altogether unlike a parrot's; and there is a press, indeed. What calls such attention from the multitude? I join the gazers, and see what at first appears to be three pieces of irregularly-shaped glass, white and glittering; one large piece, about the size of a walnut, and two others a little larger than marbles. What renders that bit of glass so attractive? Glass! no; it is "a gem of purest ray serene"--a diamond--the diamond of diamonds--the largest in the world. In short, it is the Kohinoor; or, as the Orientals poetically called it, "the mountain of light." Its estimated value is two millions sterling--enough to buy the Crystal Palace itself, nine times over. The history of this precious gem is romantically curious. It belonged to Runjeet Sindjb and is now an English trophy.
Let us enter that partially-darkened chamber, and stand before a painted glass window, the production of Bertini, of Milan. I can't describe this extraordinary production. It is illustrative of Dante, and, for brilliancy of color and harmony of combination, it is not surpassed by the much-vaunted specimens of past ages.