!851 The Crystal Palace

The Exhibition was a great triumph, both socially and financially. Aided by the expansion of the railways, six million people (a third of the country’s population then) descended on London to view the spectacular show. And, as if the exhibits were not stunning enough (and Great Britain was determined to prove its superiority with trophy displays from its colonies as well as the home-grown industrial fields of iron and steel, machinery and textiles), the vast glass structure which housed them reached an iconic status and was nicknamed The Crystal Palace.

That Palace of glass was designed by Joseph Paxton, with help from the engineers Charles Fox and Isambard Kingdom Brunel, and the time from conception to completion and the opening of the show was only nine months; a remarkable achievement when considering the enormity of the structure, with the ironwork frame and glass made almost exclusively in Birmingham and Smethwick. And although Paxton had gained great expertise in the design and building of ‘greenhouses’ for other wealthy patrons, nothing before had been so large, measuring 1848 feet long and 454 feet wide, and able to house fully grown trees that were already growing in the park.

This account was given by Charlotte Bronte.

A visit to the Crystal Palace, 1851


Yesterday I went for the second time to the Crystal Palace. We remained in it about three hours, and I must say I was more struck with it on this occasion than at my first visit. It is a wonderful place – vast, strange, new and impossible to describe. Its grandeur does not consist in one thing, but in the unique assemblage of all things. Whatever human industry has created you find there, from the great compartments filled with railway engines and boilers, with mill machinery in full work, with splendid carriages of all kinds, with harness of every description, to the glass-covered and velvet-spread stands loaded with the most gorgeous work of the goldsmith and silversmith, and the carefully guarded caskets full of real diamonds and pearls worth hundreds of thousands of pounds. It may be called a bazaar or a fair, but it is such a bazaar or fair as Eastern genii might have created. It seems as if only magic could have gathered this mass of wealth from all the ends of the earth – as if none but supernatural hands could have arranged it this, with such a blaze and contrast of colours and marvellous power of effect. The multitude filling the great aisles seems ruled and subdued by some invisible influence. Amongst the thirty thousand souls that peopled it the day I was there not one loud noise was to be heard, not one irregular movement seen; the living tide rolls on quietly, with a deep hum like the sea heard from the distance.

Source: The Brontes' Life and Letters, by Clement Shorter (1907)

Nowadays the catalogue, with its steel engraved illustrations is a symbol of High Victorian Design. When the exhibition was done a surplus of £186,000 was made which today would translate as something in the region of £16,000,000. That profit went on to fund an education trust with grants given out for industrial research and, more visibly, the Victoria and Albert Museum, the Science Museum and the Natural History Museum – all built on ground to the south of Hyde Park and known fondly as Albertopolis. And, over all this presides the Albert Memorial, erected by Victoria to recall her husband’s legacy after his sad and premature death at the age of only 42. And what a legacy it was! The VV thinks even King Ernest would find it hard to disagree.

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