of being almost the only London venue able to exhibit really large works. Usually admission was one shilling. In 1820, The Raft of the Medusa by Théodore Géricault was exhibited from 10 June until the end of the year, rather overshadowing Benjamin Robert Haydon's painting, Christ's Entry into Jerusalem, on show in an adjacent room; Haydon rented rooms to show his work on several occasions. In 1821, exhibitions included Giovanni Battista Belzoni's show of the tomb of Seti I in 1821, and James Ward's gigantic Allegory of Waterloo. In 1822, a family of Laplanders with their reindeer were imported to be displayed in front of a painted backdrop, and give short sleigh-rides to visitors. The bookseller George Lackington became owner of the Hall in 1825 and went on to use the facilities to show panoramas, art exhibits, and entertainment productions. The Hall became especially associated with watercolours. The old Water-Colour Society exhibited there in 1821–22, and it was hired by Charles Heath to display the watercolours commissioned by from Joseph Mallord William Turner forming Picturesque Views in England and Wales. Turner exhibited at the Hall for a number of years and it was also used as a venue for exhibitions by the Society of Painters in Water Colours. In the "Dudley Gallery" at the Egyptian Hall, the valuable collection of pictures belonging to the Earl of Dudley was deposited during the erection of his own gallery at Dudley House in Park Lane. The room gave its name to the Dudley Gallery Art Society (also known as The Old Dudley Art Society) when they were founded in 1861 and used it for their exhibitions. It was the venue chosen for their first exhibitions by the influential New English Art Club. The hall was used principally for popular entertainments and lectures. Here Albert Smith related his ascent of Mont Blanc, illustrated by some cleverly dioramic views of the Alpine peaks. By the end of the nineteenth century, the Hall was also associated with magic and spiritualism, as a number of performers and lecturers had hired it for shows. In 1873 William Morton took on the management of the Hall and modified it for his protegees, Maskelyne and Cooke, whose run there lasted a remarkable 31 years. The Hall became known as England's Home of Mystery. Many illusions were staged including the exposition of fraudulent spiritualistic manifestations then being practised by charlatans. The