"Cosmos Institute" which would add further buildings alongside the Globe to create a national geographic and ethnological museum on the site. Wyld offered to sell the building and land (figures of £20,000–£25,000 were reported as the asking price in The Observer), and to raise the capital for the purchase and the proposed additional building work the Institute issued 50,000 shares of £1. Plans were drawn up by the architect Stephen Geary for the new additions and for the enhancements to the Globe itself; the Institute calculated that the attraction would turn a profit of £4,000 per annum. The issue of the ownership of the land and Wyld's right to sell was a stumbling block though, and the scheme eventually came to nothing despite a bill proposed in Parliament to establish the institute's title to the land, and the support of "a number of noble, learned, and reverend names" among them several bishops, the naturalist and explorer Alexander von Humboldt, the archaeologist Sir Austen Henry Layard, and the hydrographer Sir Francis Beaufort. In 1853, Wyld arranged with the prospector John Calvert to exhibit a collection of gold nuggets and precious stones discovered in Australia. The "gold" was later discovered to be gilded lead casts. Wyld started a court case against Calvert claiming that he had been deceived, but Calvert told the jury that Wyld had always known that the genuine nuggets would not be displayed, had overseen the preparation of the casts and had even planned to drum up ticket sales with an elaborate publicity campaign based around a faked robbery, a charge that Wyld vehemently denied, stating that "no one but one who had been the associate of convicts for fifteen years would have ventured to suggest such a question" (a none-too-subtle reference to Calvert's time spent in Australia). The jury in the case was unable to reach a verdict, and while opinions differed on whether Wyld had been duped, it was clear that with topical exhibitions he had found a way to reinvigorate the attraction. Wyld put on exhibitions on any subject that was in the public eye; among the most successful were an "Oriental Museum" which recreated scenes from life in Turkey, Armenia and Albania with dressed rooms and life-size models (and curiously also featured a model of Stonehenge), and a room dedicated to the Crimean War which featured dioramas by the theatrical scene painter Charles Marshall, and