Читать книгу Consuming Passions: Leisure and Pleasure in Victorian Britain - Judith Flanders - Страница 7

THE 1ST OF MAY 1851. Prince Albert is on the dais, welcoming the throng to the Great Exhibition of the Works of Industry of All Nations. Joseph Paxton’s extraordinary Crystal Palace, as it has swiftly been nicknamed, throws off sparks of light in the bright sunshine. The choir sings the ‘Hallelujah Chorus’ from the Messiah. It seems that all the doubt, turmoil and trouble of the previous decades has at last been overcome: machinery, technology and science are in the ascendant, and will set the world free. Britain, the world’s first industrial society, will lead the way into a glorious future, which can be seen, all mapped out, in the courts and aisles of the Crystal Palace.

The building itself is a triumph of technology: Paxton’s great innovation has been to design perhaps the world’s first—and definitely the world’s largest—prefabricated building, using in his cast-iron and glass structure principles previously applied only to engineering projects. The Crystal Palace, deep in Hyde Park, is a cathedral to the glories of industry, in which power and steam are deified: a twenty-four-ton lump of coal greets visitors at the entrance, a precursor to the steam engines, hydraulicpowered machinery, locomotives, looms, spinning machines, steam hammers and more inside.

Earlier that year The Times had reported a speech given by the Prince, in which he had held out an enticing vision of the future: ‘The distances which separated the different nations and parts of the globe are rapidly vanishing before the achievements of modern invention…The products of all quarters of the globe are placed at our disposal, and we have only to choose which is the best and the cheapest for our purposes, and the powers of production are intrusted to the stimulus of competition and capital.’¹ Others had less exalted ideas. Albert and his supporters and encouragers were concerned with the benefits, both moral and industrial, that were to be found in commercial endeavour, but, in the brave new world of free trade and capitalism, many more were content simply to enjoy, or profit from, the results of those endeavours. The Great Exhibition gave many their first taste of the mass market, a thrilling peek into a future of plenty and consumption. For the Great Exhibition brought with it more than merely machinery. It brought things—tens of thousands of things, things piled high in the aisles of the Crystal Palace; things representing the hundreds of thousands more things that were now being manufactured and could be purchased.

The organizers of the Great Exhibition had not meant it to be this way. The origins of the event could be found in many converging trends, but the one that was the most distinctive, the most British, was the club. The Goncourt brothers, those nineteenth-century Parisian novelists and diarists, mocked the national fondness for this institution: if two Englishmen were washed up on a desert island, they said, the first thing they would do would be to form a club.² Certainly, by the eighteenth century, clubs were seen as an integral part of the civilizing process in Britain. Joseph Addison, laying down the rules of urbane as well as urban living in the Spectator, wrote, ‘Man is said to be a Sociable Animal, and, as an Instance of it, we may observe, that we take all Occasions and Pretences of forming our selves into those little Nocturnal Assemblies, which are commonly known by the Name of Clubs.’*³

Initially informal, sociable outings (the noun probably developed from the verb, from the custom of clubbing together to pay for dinners

After the closure of the Tatler, Addison and Steele founded the Spectator, which has been called ‘one of the most triumphant literary projects of the age’.⁴ It was published daily for the next twenty-two months, and transformed periodical writing in England. Addison wrote the first number, introducing the ‘Spectator’ himself—a wry observer of the foibles of polite life—who together with his friends formed a club whose members included the Whig merchant Sir Andrew Freeport, the elderly ladies’ man Will Honeycomb, and, ultimately the most famous, the country squire Sir Roger de Coverley.

and drinks), clubs gradually through the eighteenth century developed into a fairly constant form: they were on the whole private groups of men (almost always men), who met on a regular if not necessarily frequent basis, mostly in public places such as coffee houses, taverns, inns or pubs, where their meetings were given point by a focus on one specific aim, whether it was recreation, sociability, education, politics, or a shared profession.*

Soon these clubs expanded further into daily life. Addison wrote approvingly once more: ‘When [men] are thus combined for their own Improvement, or for the Good of others, or at least to relax themselves from the Business of the Day…there may be something very useful in these little Institutions and Establishments.’⁶ By the mid eighteenth century there were possibly as many as 20,000 men meeting every night in London alone in some form of organized group. And it was not just London that had convivial meeting groups: by the early eighteenth century most provincial towns had a range of clubs, whether county societies, military groups, antiquarian or philosophical societies, or simple social clubs. Bristol, with a population of 50,000 in the 1750s, had bell-ringing, clergy, county, floral, political, musical, ‘Ancient Britons’, Masonic and charitable groups. Norwich, with 36,000 people, had bell-ringing, floral and clergy groups, as well as nine Masonic lodges, a natural-history society, a music society, uncounted sociable clubs, and nearly fifty benefit societies. Oxford had a ‘catch’ club—for ‘all true lovers of good fun, good humour and good music’—Irish clubs, Welsh clubs, a poetry and philosophical club, a bell-ringing club, an antiquarian society, and a number of Masonic lodges, dining clubs and social clubs—including the Eternal Club, the Jelly Bag Society, and the Town Smarts, whose members appeared in ‘white stockings, silver buckles, [with] chitterlings [shirt frills] flying, and hair in kidney’†—as well as the more common benefit, political, social, sporting, naturalhistory and college clubs. Even Northampton, with a population of only 5,000, managed a floral club, a Masonic lodge and a philosophical society.⁷ Though most of Scotland had barely any clubs, Glasgow and Aberdeen had a few, while Edinburgh had more than twenty with an occupational or other aim—religious, social, political, musical, antiquarian—and several that were purely social, like the Easy Club (founded in 1712) for ‘mutual improvement in conversation that [members] may be more adapted for fellowship with the politer part of mankind’.⁸ It was this thirst for self-improvement that motivated many club-goers.

By the end of the eighteenth century a change had taken place in some clubs. They became more tightly organized, with more rules, more organizers; they began to link themselves to other clubs with similar interests, for a less localized, more national sense of themselves; and many began to look at questions of social cohesion and discipline. Now it was not simply members whose behaviour was to be regulated by the rules of the organization: those members wanted in turn to regulate the behaviour of others. Charitable bodies, religious and civilreform societies all were set up in the coming years. A number of causes can be attributed to this shift: a series of bad harvests that led to hunger in the country, an influx of jobless immigrants into the cities, and fears of civil unrest; the beginning of the French wars after the fall of the Bastille in 1789; the continued rapid urbanization of society, which brought like-minded men into close proximity with each other, and also with those who were less blessed by worldly goods; the rise of Methodism and Dissenting faiths—all these forces joined together to produce a group of men who thought reform was desirable, and possible.

This may appear to be a long way from the Great Exhibition, but it was in Rawthmell’s Coffee House, in Covent Garden, that the first meeting of what ultimately became the Royal Society of Arts, the Exhibition’s spiritual parent, took place nearly a hundred years before, in 1754. The minutes of the ‘Society for the Encouragement of the Arts, Manufactures and Commerce’ preserve the reforming zeal of its founders.⁹ The driving force was William Shipley, a drawing master and brother of the Bishop of St Asaph, who had published his intentions in a pamphlet entitled Proposals for raising by subscription a fund to be distributed in Premiums for the promoting of improvements in the liberal arts and sciences, manufactures, &c. At the first meeting of ‘noblemen, clergy, gentlemen and merchants’, the members considered

whether a reward should not be given for the finding of Cobalt in this Kingdom…It was also proposed to consider whether a Reward should not be given for the Cultivation of Madder in this Kingdom…It is likewise proposed, to consider of giving Rewards for the Encouragement of Boys and Girls in the Art of Drawing; And it being the Opinion of all present that ye Art of Drawing is absolutely Necessary in many Employments Trades, & Manufactures, and that the Encouragemt thereof may prove of great Utility to the public…

Their brief for prizes for ‘improvement’—that is, innovation—included industrial design and technological and scientific discoveries, as well as those things we now consider to fall more naturally into the domain of ‘art’. The cash premiums suggested for early prizes were considerable: £30 for the discovery of deposits of ore that contained cobalt (which produced a blue pigment that, before the creation of synthetic dyes in the nineteenth century, was impossible to reproduce), and for the successful cultivation of the Rubia tinctorum plant for the production of madder (again for use in dyeing). There were to be two winners of the drawing prize—one for those under fourteen, one for fourteen-to-seventeen-year-olds.* Each was to receive £15. At this time journeymen workers in the arts received weekly wages ranging from 3 to 6 guineas for a drapery-painter, to £1 10s. for an engraver, down to 15s. a week for a gilder, or 10 to 12s. for a colour grinder¹⁰. By 1758 the RSA was funding further prizes, for designs for weavers, calico printers, cabinet- and coach-makers, as well as workers in iron, brass, china, earthenware or ‘any other Mechanic Trade that requires Taste’.

The Society’s committee used the burgeoning daily press to promote its premiums, placing an advertisement in the Daily Advertiser. The prizes were eagerly competed for, and by 1785 nearly twenty entries had been received for premiums for improving the madder dyeing procedure. There had been a number of attempts to shorten and simplify this complex process. Madder produced a turkey-red colour, but only after the fabric to be coloured had been soaked in successive baths of lye, olive oil, alum and dung, then steeped in a solution of the madder dye, then taken through a final ‘brightening’ process. It took weeks to turn out a single batch of dyed fabric. John Wilson, a dyer in Manchester, won a premium in 1761 for producing the best red; then he gained another prize in 1763 for making it even brighter. Others entered with methods to lessen the time the process took, or to lower the cost, or to reduce the number of soakings needed.¹¹

The level of interest in ‘improvement’ throughout society was reflected in the RSA’s membership. Within a few years the numbers belonging to this once clubby club had spiralled up to 2,500, mainly composed of the upper reaches of society, as evinced by a minimum subscription of 2 guineas (with a request for 3 if possible, while peers were expected to live up to their station by paying 5 guineas. Life membership was 20 guineas). The club was for the benefit of the lower orders, but they were not expected to be members. Less than a decade after William Shipley’s crusading pamphet the club’s annual income had risen to more than £4,500, and in that first decade total receipts came to more than £22,000, of which £8,496 had been spent on prizes, £3,507 on special grants, and £291 on art exhibitions. Subcommittees had been set up for agriculture, chemistry and the ‘polite arts’ (that is, drawing, modelling, etching, medallion- and cameo-making), as well as for manufacturing, technology and for matters relating to the colonies and to trade, and were distributing prizes in their own fields.

But the first run of popularity could not be sustained, and by the 1840s the Society was losing members. It was re-formed first as the Society of Arts, and then, in 1847, as the Royal Society of Arts. It began once more to mount exhibitions, this time as a money-making exercise. In 1844 Prince Albert became the club’s president, but when the secretary, Francis Whishaw, attempted to interest him in an annual exhibition, of which he would be patron, he responded in a very non-committal fashion. Whishaw ploughed ahead nonetheless, and put together a committee that included Francis Fuller, Charles W. Dilke and Robert Stephenson. Except for Henry Cole, who was yet to appear on the scene, the men who were to become the prime movers of the Great Exhibition were now all in place.

It was generally agreed by successful middle-class men of taste that the main problem for industry and manufacture in general was the lack of an equivalent level of taste in the consumer to whom the resulting goods were being sold. Rather than producing goods to suit low tastes, they saw it as their job to improve the taste of the common man. The 1847 catalogue for an exhibition held by the Society spelled out their views:

It is a universal complaint among manufacturers that the taste for good art does not exist in sufficient extent to reward them for the cost of producing superior works; that the public prefers the vulgar, the gaudy, the ugly even, to the beautiful and perfect.

We are persuaded that, if artistic manufactures are not appreciated, it is because they are not widely enough known. We believe that when works of high merit, of British origin, are brought forward they will be thoroughly appreciated and thoroughly enjoyed. We believe that this exhibition, when thrown open gratuitously to all, will tend to improve the public taste.¹²

Even before this catalogue appeared, Henry Cole was on board and was already a prime mover in these improving exhibitions. He had joined the society only two years before, after designing a tea service as a prize submission under the pseudonym Felix Summerly. His submission had received the ultimate accolade: a prize, the commercial manufacture of his design, and, further, the purchase of the original service by Prince Albert. Cole was one of those Victorian powerhouses who produced so much, in so many fields, that it is hard to know when he slept. After a humble beginning as one of several clerks in the Record Commission, a junior civil-service post, he fell out with his superior over his pay. Instead of resigning, he promptly exposed his department as a haven for corruption and sinecures. After a lengthy investigation, Parliament found that he was in the right and in 1838 he was reinstated in the department at a more senior level. That same year he was seconded to help Rowland Hill with the creation of what shortly would become the new penny postage system. In the 1840s Cole became even busier: he designed what was probably the first Christmas card (see pp. 483—7); he wrote guidebooks to various tourist sights, including the National Gallery, Westminster Abbey and Hampton Court; as Felix Summerly he began to design domestic wares for manufacture; he wrote children’s books which from 1841 were published as the Home Treasury and were illustrated by the leading illustrators of the day; he designed for manufacture children’s toys that included building blocks, ‘geometrically made, one-eighth of the size of real bricks; with Plans and Elevations’, a ‘Tesselated Pastime’ that was ‘formed out of Minton’s Mosaics with Book of Patterns’, and, what may have been the first paintbox for children, a ‘Colour Box for Little Painters’, which, it boasted, held ‘the ten best colours; Slabs and Brushes; Hints and Directions and Specimens of Mixed Tints’.¹³ In his spare moments he contributed regularly to several periodicals, carrying on his various reforming campaigns in the press and by pamphlets.

One of his campaigns was for railway reform, and it was this that moved him into the next great phase of his life. John Scott Russell, his fellow campaigner, a railway engineer and the editor of the Railway Chronicle, introduced him to the Society of Arts in 1845. By 1846 he was on the committee, and he and Russell had been asked to mount the next exhibition. Russell had earlier put up £50 ‘for a series of models and designs for useful objects calculated to improve general taste’, but not enough people had entered to permit the entries to be exhibited. Cole’s and Russell’s 1847 exhibition faced the same problem: manufacturers, fearing piracy of technique and style, did not want to have their products displayed. But Russell and Cole were determined to draw in enough entries for a good exhibition, and when they managed to attract over 20,000 visitors many manufacturers realized that the enormous potential for sales and promotion far outweighed the slight risk that industrial secrets might be stolen. The following year, instead of scratching around for entries, the Society was forced to devise rules that would limit the number of entries flooding in; this time, 70,000 people flocked to see what was new, what was different, what was interesting.

With that success under his belt, Cole moved on to his next campaign: the staging of another improving exhibition, but this time on a national scale. Albert was even less enthusiastic than he had been with Whishaw three years earlier, refusing either to become involved himself or to approach the government for any formal involvement. Cole was not daunted—Cole was never daunted. The RSA had highlighted the lack of good industrial and domestic design in the country in general, and from commercial manufacturers in particular. Now Cole became involved with a buoyant and popular campaign to promote new schools of design, to be run under government aegis, founding the Journal of Design to promote his cause. A parliamentary commission was set up, loaded with Cole-ites. By the kind of coincidence that Cole was pre-eminent in engineering, its plan—the reform of design and manufacture, and the role of the state in fostering that reform—was exactly what Cole intended his next, national, exhibition should deal with. In the meantime his 1849 RSA exhibition was even more successful than the previous two: Prince Albert agreed to present the prizes, and Queen Victoria gave sovereign approval by loaning an item for display.

For Cole’s grander plan, however, the government, in the way of governments in all places and at all times, offered merely lukewarm enthusiasm—and even that only if private sponsors could be found to guarantee that the costs would be covered. But Albert, sensing the momentum, was now ready to come on board. A Royal Commission was established, with Albert as honorary president, and Cole—never one for half measures—widened the Exhibition’s scope to include the entire world. Thomas Cubitt, the greatest speculative builder of his age, had given a rough estimate for the cost of realizing Cole’s dream: £50,000 for the building costs and £5,000 for administrative costs, with another £20,000 needed for prize money.* A Mr Fuller put up £10,000 for prizes, and the Messrs Munday committed to underwriting the project in return for a percentage of the gate money.

While many discussed the elevating aspects of art, science and education, Cole was promising the businessmen of the City that ‘some hundred thousand people [would] come flowing into London from all parts of the world by railways and steamboats to see the great exhibition’, and that businesses would feel ‘a direct and obvious benefit’ from it. The secretary to the executive committee produced a list of those who could expect to profit: the arts, agriculture, manufacture and trade, ‘whether as producers, distributors or consumers’. To win over popular opinion, advertising was actively used. The Royal Commission sent out placards reproducing a speech that the Conservative leader Lord Stanley—soon to be prime minister as the Earl of Derby—made in favour of the Exhibition, for public display. Posters were printed to put on railwaystation platforms and in trains, and the commissioners arranged for favourable pieces to appear in the papers.¹⁴ The kind of arguments that are now used routinely for the promotion of tourism as an economybooster were developed for the first time: that visitors would arrive, benefiting everyone from hotelkeepers to omnibus operators to food suppliers; that trade would be advertised both to home consumers and to audiences abroad; that, in effect, Britain would be displayed to the world as ‘the emporium of the commercial, and mistress of the entire world’, as the under-sheriff for London put it, rather more poetically than one might expect.¹⁵

Cole’s plans for the Exhibition were growing ever larger, and enthusiasm from the public bodies to whom he spoke was increasing too. He soon realized that hundreds of small investors might fund the Exhibition more lavishly, while demanding far less—or no—overall control. He bought Munday’s out for just over £5,000, and began to solicit the support of local communities across the nation. Thousands of donations began to flood in, with more than 400 groups of merchants, businessmen and industrialists gathering funds and organizing the exhibits to be sent from their own regions. Before 1849 was over, 3,000 subscribers had been signed up; another 3,000 followed less than two months later. Altogether, £522,179 was raised in this way.¹⁶

From the first, however, there was a tension over the aims of the Exhibition. There was no question that Albert saw the Exhibition as ‘a great collection of works of industry and art’, a place to demonstrate how technology had harnessed the natural world to create the Age of the Machine. With this in view, to show how man had become the master of nature, the committee elaborated an initial three-part outline of the subjects to be comprehended by the Exhibition—the raw materials of industry; the products manufactured from them; and the art used to beautify them—into a more formal thirty-section outline:

Sect. I:—Raw Materials and Produce, illustrative of the natural productions on which human industry is employed:—Classes 1 to 4

1. Mining and Quarrying, Metallurgy, and Mineral Products

2. Chemical and Pharmaceutical processes and products generally

3. Substances used as food

4. Vegetable and Animal Substances used in manufactures, implements, or for ornament

Sect. II:—Machinery for Agricultural, Manufacturing, Engineering, and other purposes and Mechanical Inventions,—illustrative of the agents which human ingenuity brings to bear upon the products of nature:—Classes 5 to 10

5. Machines for direct use, including Carriages, Railway and Naval Mechanisms

6. Manufacturing Machines and Tools

7. Mechanical, Civil Engineering, Architectural, and Building Contrivances

8. Naval Architecture, Military Engineering and Structures, Ordnance, Armour and Accoutrements

9. Agricultural and Horticultural Machines and Implements (exceptional)

10. Philosophical Instruments and Miscellaneous Contrivances, including processes depending on their use, Musical, Horological, Acoustical and Surgical Instruments.

Sect. III:—Classes 11—29.—illustrative of the result produced by the operation of human industry upon natural produce

11. Cotton

12 & 15 [sic]. Woollen and Worsted

13. Silk and Velvet

14. Flax and Hemp

16. Leather, Saddlery and Harness, Boots and Shoes, Skins, Fur and Hair

17. Paper, Printing and Bookbinding

18. Woven, Felted, and Laid Fabrics, Dyed and Printed (including Designs)

19. Tapestry, Carpets, Floor-cloths, Lace, and Embroidery

20. Articles of Clothing for immediate, personal or domestic use

21. Cutlery, Edge and Hand Tools

22. General Hardware, including Locks and Grates

23. Works in Precious Metals, Jewellery, &c.

24. Glass

25. China, Porcelain, Earthenware, &c.

26. Furniture, Upholstery, Paper Hangings, Decorative Ceilings, Papier Maché, and Japanned Goods

27. Manufactures in Mineral Substances, for Building or Decoration

28. Manufactures from Animal and Vegetable Substances, not being Woven or Felted

29. Miscellaneous Manufactures and Small Wares.

Sect. IV: Fine Arts:—Class 30

30. Sculpture, Models, and Plastic Art, Mosaics, Enamels, &c. Miscellaneous objects of interest placed in the Main Avenue of the Building, not classified.¹⁷

Others, however, saw that there was a danger in this kind of display of pure commodity—a danger that the Prince and many organizers had apparently missed. William Felkin, a hosiery and lace manufacturer, and exactly the kind of man who might have been expected to welcome commercial possibilities, was vehement. In his book The Exhibition in 1851, of the Products and Industry of All Nations. Its Probable Influence upon Labour and Commerce he said, ‘This collection of objects from all countries, is not intended to be an Emporium for masses of raw and manufactured goods. These fill the granaries and factories, the warehouses and shops of the world…This is not intended to be a place where goods are to be sold, or orders given; not a bazaar, fair, or mart of business; if so, it would be a perfect Babel. No one could possibly thread his way with comfort, through such a mazy labyrinth.’¹⁸

This was the crux: was the Great Exhibition to be a museum, an exploration of the technology that had created, and been created by, the Industrial Revolution? Or was it to be a supermarket, a display of all the goods, all the commodities, of the age? During the organizational stages the non-commercial, educational aspect seemed to be winning out.

The opening-day ceremonies were not promising to those in the audience who were interested in mercantilism rather than the social whirl. As Horace Greeley, founder and editor of the New York Tribune, and a staunch republican, noted:

To have rendered the pageant expressive, congruous, and really a tribute to Industry, the posts of honor next the Queen’s person should have been confided on this occasion to the children of Watt, of Arkwright and their compeers (Napoleon’s real conquerors;) while instead of Grandees and Foreign Embassadors [sic], the heirs of Fitch, of Fulton, of Jacquard, of Whitney, of Daguerre, &c., with the discoverers, inventors, architects and engineers to whom the world is primarily indebted for Canals, Railroads, Steamships, Electric Telegraphs, &c., &c., should have been specially invited to swell the Royal cortege. To pass over all these, and summon instead the descendants of some dozen lucky Norman robbers…any of whom would feel insulted by a report that his father or grandfather invented the Steam Engine or Spinning Jenny, is not the fittest way to honor Industry.¹⁹

Lyon Playfair, one of the commissioners, and a confidant of Prince Albert, agreed with Greeley’s views on the virtue of trade, if not with his republican interpretation: he warned that ‘Industry, to which this country owes her success among nations, has never been raised to the rank of a profession. For her sons there are no honours, no recognized social position.’²⁰ He was determined that the Exhibition would alter that.*

This was all part of the series of underlying arguments about the aims of the Exhibition which was still grumbling on. With the arrival of factory production and mass markets, it was no longer clear that labour in itself retained the intrinsic moral value that had previously been attributed to it. Instead, the cheerleaders for the new age saw moral worth as now residing in the creation of goods for the masses. Industriousness and thrift had long been moral values. Now value for money and goods well manufactured joined them. To provide such items for the masses was in itself virtuous, thought Cole and his friends. They were providing the requisites for living a ‘decent’, a ‘respectable’ life—a life that, as closely as possible, both in commodities and in ideals, resembled the norms of the middle-class world. Not everyone agreed in the short term. The older view, that imbued labour itself with value, continued to hold sway for many. Hard work itself could still be considered to be worth more than the products that that work created. For example, a cabinet-maker, Charles McLean, had produced a mirror and console table for the Exhibition, but his local committee had rejected them as being of insufficient quality. He appealed, and Matthew Digby Wyatt, secretary to the executive committee, overruled the original decision, because, he thought, the ‘getting up…was most spirited’—that is, the mirror and table had taken a lot of time and effort to create, and this outweighed the fact that the design and craftsmanship were of indifferent quality.²¹ But the new philosophy, with new values—that of supply and demand, and what the market would bear—was in the ascendant. In the eighteenth century the political economist Adam Smith had seen production as the ‘Wealth of Nations’; now the Great Exhibition saw the wealth of nations in ‘the produce of all nations’. Product was taking over from process.

The Exhibition revolved entirely around the new industrial world, the possibilities that mass production had created. But the interpretation of that new world was still open. Was the Exhibition, therefore, about the value of work, or about the end result of that work—about how something was made, or about what could be purchased? Was it an ideal version of a museum, or was it a proto-supermarket? Was it education, or was it entertainment? What was it for? And for whom?

That the Great Exhibition was, in the widest possible sense, ‘for everybody’ could not be in doubt by the spring of 1851. There were souvenirs for sale across London: an endless stream of items reproducing images of the wildly popular Crystal Palace—items such as papier-mâché blotters, letter-openers and ‘segar’ (cigar) boxes. There were mementoes of specific moments, such as ‘Lane’s Telescopic View of the Opening of the Great Exhibition’, a paper cut-out with a perspective view of the main avenue of the Crystal Palace, complete with interior fountain and one of the trees that had been preserved inside the structure (to much admiration from the public for the engineering feat involved). There were handkerchiefs printed with caricatures of the main participants, including ‘Prince Allbut’. There were even gloves with maps of London printed on the palms, so that non-English-speaking visitors could have their route to the Crystal Palace traced out for them.²² But it was far more than the souvenir market that latched on to the commercial possibilities of the Great Exhibition. There were just as many straightforwardly marketdriven tie-ins as well, such as that promoted by Mr Folkard, ‘Grocer, Tea Dealer and Italian Warehouseman’, who advertised his new ‘Celebrated Exhibition Coffee’, blended from the beans of ‘all nations’, with labels covered with images of foreigners in national dress visiting the Exhibition.²³ Examples of extreme self-reflexivity included exhibitions inside the Crystal Palace which displayed images of nothing less than the Crystal Palace itself. The ‘Cotton’ section had a tablecloth ‘in the centre [of which] is a view of the “Exhibition Building”…from the official design by Paxton, with emblematic borders representing Peace and Commerce with the nations; and a procession displaying the costumes of Europe, Asia, Africa, and America, en route to the Exhibition’.²⁴

But most exhibits were more concerned to display their manufacturers’ technical ingenuity. These were not the type of industrial processes that Albert had put so much faith in. They were not about ‘Raw Materials and Produce, illustrative of the natural productions on which human industry is employed’. They were instead ‘illustrative of the agents which human ingenuity brings to bear upon the products of nature’. Even here, Albert’s interpretation of the word ‘ingenuity’ and that of the manufacturers were worlds apart. Albert’s faith in the benefits conferred by the material world was interwoven with his belief in providence, social welfare and the moral value of labour. The manufacturers were more overtly concerned to show, through their command of technological innovation, how a new ideal domesticity might be formed, what goods were available that might be acquired, or at least aspired to. A ‘sportsman’s knife’ produced by Joseph Rodgers and Sons of Sheffield had a mother-of-pearl handle and eighty blades, on which were etched views of the Crystal Palace, Osborne House, Windsor Castle, a railway bridge designed by George Stephenson, a boar hunt, a stag hunt and more. The same manufacturer also produced a 56-blade knife that was less than 2 centimetres long, a razor with a view of Arundel Castle on the blade, and cutlery with 150 blades and a clock. A vase by Waterston & Brogden showed Britannia flanked by ‘Scotia’ and ‘Hibernia’, who were in turn surrounded by four heads representing the four quarters of the globe, while under them diamonds in the shape of a rose, a thistle and a shamrock surrounded images of Britons, Romans, Saxons, Normans and

a picture of the Battle of Hastings; under these were a range of national heroes—Nelson, Wellington, Milton, Shakespeare, Newton, Watt—all crowned with laurel wreaths, while at the very bottom lurked Truth,

Prudence, Industry and Fortitude.²⁵ Such items were not goods that anyone needed—or would even think of buying. They were advertisements for the manufacturers, which was not at all what Albert had intended.

Other exhibits concentrated on innovations (many involving clothing) that offered relief from almost unimaginable situations: a safety hat for the prevention of concussion in case of a train crash; yachting outfits that had inbuilt flotation devices; corsets that ‘opened instantaneously in case of emergency’; a ‘Patent Ventilating Hat…the principle of ventilating being to admit air through a series of channels cut in thin cork, which is fastened to the leather lining, and a valve fixed to the top of the crown, which may be opened and shut at pleasure to allow perspiration to escape’.* Some promised speed—a doctor’s suit had a coat, waistcoat and trousers made in one piece, so in a night-time emergency the doctor might leap into them without any waste of time—while others went for economy—a ‘duplexa’ jacket reversed so that it could be worn as both a morning and an evening coat.²⁷ Yet even the most implausible-seeming gimmickry may have had some practical results. Henry Mayhew, the journalist and social reformer, dated the cage crinoline (the metal frame that supported what today are referred to as ‘hoop’ skirts) to 1851, rather than the more usual 1854—6, and at least one historian of fashion has suggested that it may have developed from a display model at the Great Exhibition.²⁸

Further items on display that seemed primarily designed to display the manufacturers’ originality included ‘harlequin’ furniture—furniture that served more than one purpose. One of the exhibits was a couch for a steamship which could be turned into a bed at night, while the base, made of cork, acted as a life raft should the worst came to the worst. Should the worst remain only imaginary, the couch had at one end ‘a self-acting washing-stand…containing requisites for the dressing room and toilette’, while the other end enclosed ‘a patent portable watercloset’. Also on show were church pews connected to a pulpit by guttapercha (rubber) pipes, to allow the hard of hearing to listen to the sermon; an ‘expanding hearse’; a silver nose, for those missing a nose of their own; a vase made of mutton fat and lard; an oyster-shucking machine; and a bed which in the morning tilted its occupant straight into a waiting bath.²⁹

Even items with more long-standing recognized functions were not necessarily prized primarily for those functions. Of the thirty-eight pianos in the Official Descriptive and Illustrated Catalogue to the Exhibition, most were put, logically enough, in the section ‘Philosophical, Musical, Horological and Surgical Instruments’, but two were listed under ‘Furniture, upholstery’, because their papier-mâché cases were considered more important than their sound. Even many of the pianos listed under musical instruments had gimmicks, often to do with the problem of finding space for a grand piano in an average-sized house. Some instruments were simply designated ‘semi-grand’, an acknowledgement that getting a ‘real’ grand piano into a terraced house was like squeezing a quart into a pint pot. Broadwood’s, the most prestigious manufacturer (see pp. 355, 362—3), didn’t worry about such matters—the company knew its customers, and it showed four pianos, all grand. But others, with less exalted clients, who therefore had less grand houses which did not permit equivalently grand pianos, could not be so cavalier. Pierre Erard, who listed himself as ‘Inventor, Designer and Manufacturer’, had a range of sizes to show: ‘ornamented extra-grand; extra-grand with pedal keys; small grand…grand oblique [which from the picture looks like a decorated upright piano], ornamented in the Elizabethan style…grand cottage; reduced cottage…’

Others had more elaborate objects to show. George Frederick Greiner had a semi-grand ‘constructed on the principle of the speaking-trumpet’; while Smyth and Roberts’s piano was ‘on the principle of the violincello’. John Brinsmead was far more worried about appearance than sound, and showed a piano whose ‘case permits the instrument to be placed in any part of the room. Embroidered device in the central panel.’ Another manufacturer enclosed his piano’s workings in plate glass instead of wood; yet another highlighted the case’s ‘paintings of mother-of-pearl on glass’. Richard Hunt meanwhile joined in the general enthusiasm for harlequin furniture. His piano was ‘a dining or drawing room table, [which] stands upon a centre block, or pedestal, and contains a pianoforte (opening with spring-bolts) on the grand principle, with a closet containing music composed by the inventor’. William Jenkins and Son had a ‘registered expanding and collapsing pianoforte for gentlemen’s yachts, the saloons of steam vessels’ ladies cabins, &c.; only 13¹/₂ inches from front to back when collapsed’.³⁰ Other manufacturers concentrated on the music student: Robert Allison’s piano had keys that ‘alternated in colour, to show all the scales, major and minor, according to a single rule for each mood, founded on the place of the semi-tonic interval, which renders the seven notes to be touched for an octave of each of the other eleven scales, as evident as the scale of C’; while Robert Addison showed ‘a transposing pianoforte. This piano will transpose music five semitones higher or lower than the written key.’³¹

Even at the time, there was a recognition that gadgetry had got out of hand: the Illustrated London News lamented the displays of ‘a tissue [fabric] which nobody could wear; a carriage in which nobody could ride; a fireplace which no servant could clean if it were ever guilty of a fire; a musical instrument not fit for one in fifty thousand to play; endless inventions incapable of the duties imputed to them’.³² This brought to the fore the question: were the exhibits designed to show the inevitable march forward to prosperity for all, or would it be more true to say that many exhibitors—and even more of the public—were seeing the Great Exhibition as an enormous advertising site?

The Official Descriptive and Illustrated Catalogue, reading which was as close as many visitors would get to thinking about the purpose of the fair, claimed in its introduction to be ‘a book of reference to the philosopher, merchant and manufacturer’. Thus, in its own view, it was an educational tool—one that would give instruction to those exhibiting, and also to those many manufacturers in the same field who were not providing exhibits. The catalogue would show these people examples of the best work of their competitors, for them to strive towards. Then, for the many visitors, the catalogue would also explain the new world of technology and design, in layman’s language, to improve their taste. By this means, the customers would be led to demand more of the manufacturers, and this heightened demand for quality would in turn improve the supply.

That was the idea. Carrying it out was another matter. The planning of the exhibits, both in the catalogue and in the actual display halls, had been a mixture of overlapping responsibilities shared between the centralized and local organizations. The local committees had selected the goods to be displayed from their regions or cities, with the barest guidance, in the form of a preliminary outline, from the commission. Once the items were chosen, how they were laid out, and the organizational structure of the hall, were entirely the province of the central body. The planners had originally wanted the Exhibition to represent a schematic re-creation of their thirty-section outline, laying out the state of industrial knowledge before the visitors in map-like form, walking them through the processes by which goods were transformed from raw material, via labour, to finished products. But both because it was not the commission which was making the initial selections and because of the technical requirements of the building, nothing but lip service could ultimately be paid to this didactic aim. The local committees had not necessarily chosen exhibitions that showed each of the processes, and, even when they had, there were power sources in only one part of the north-west axis of the halls, so all the industrial machinery had to be set up there. Then it was realized that the floor of the upper galleries could not bear the weight of heavy machinery, so they became the logical place for lightweight manufactured goods. The central axis or nave, as the main walkway of the Crystal Palace became known, ended up displaying most of the consumer commodities.

The crowds were required to follow specific routes and not able to wander at will. Rather in the way that out-of-town superstores such as Ikea process their customers past high-priced goods or seasonal overstocks, the route down the nave of the Crystal Palace ensured that all visitors passed by the highly finished consumer goods—the goods that were the most superficially attractive, the most entertaining, and the least educational. While the Exhibition stressed abundance and choice—in Prince Albert’s words, ‘The products of all quarters of the globe are placed at our disposal, and we have only to choose’—in fact, the choice had been made already, by the selection committee, by the display committee, and by those guardians of public order who decreed which route the consumers were to take. The visitor had only limited choice about where to go, or what to see.

Henry Mayhew’s comic novel of the Great Exhibition, 1851: or, The Adventures of Mr and Mrs Sandboys and Family, Who Came Up to London to ‘Enjoy Themselves’, and to See the Great Exhibition, opened with a paragraph describing the foreigners going round the Crystal Palace. It began, ‘The Esquimaux had just purchased his new “registered paletot” [a loose, coat-like cape] of seal-skin…The Hottentot Venus had already added to the graceful ebullitions of nature, the charms of a Parisian crinoline.’³³ The humour here is of the simple ‘look-at-the-funny-natives-encountering-civilization-for-the-first-time’ type, but reading this passage today what is noticeable is Mayhew’s unconscious acceptance of the purpose of the Exhibition: the display of fashionable commodities and their subsequent acquisition by the visitors. For it was acquisition that was beginning to hold sway at the Great Exhibition. Horace Greeley had already linked acquisition specifically to an increase in moral good: ‘Not until every family shall be provided with a commodious and comfortable habitation, and that habitation amply supplied with Food and Fuel not only, but with Clothing, Furniture, Books, Maps, Charts, Globes, Musical Instruments and every other auxiliary to Moral and Intellectual growth as well as to physical comfort, can we rationally talk of excessive Production’ (my italics).³⁴ Now it was not merely food and shelter that were considered necessities, but also education, the arts, and physical comfort more generally. Greeley saw clothes, furniture, books, maps and musical instruments all as necessities, all as ‘auxiliaries’ to ‘Moral and Intellectual growth’.

This was a culmination of a gradual process. Over the previous century and a half there had been an enormous change in the way people lived. The architect John Wood, as early as 1749, had listed a number of improvements that had taken place in domestic interiors over the previous quarter-century—improvements that were taken for granted in homes of moderate prosperity by the time he wrote. Cheap floorboards and doors had been replaced by deal and hardwoods and the bare floors covered with rugs, while mahogany and walnut furniture had replaced the previously more customary oak;* rough plasterwork was now hidden behind elegant wood panelling; stone chimney-pieces were replaced by marble, and iron fixtures by brass; while cane and rush chairs were rejected in favour of upholstered leather and embroidered ones.³⁶ Yet even the low base of the 1720s that Wood was looking back to had already seen a big step forward to modern notions of comfort. Indeed, the word ‘comfort’ in the sense of physical and material well-being came into use only in the last third of the eighteenth century. Previously ‘comfort’ had a spiritual and emotional meaning—succour, relief or emotional support. It was in the early nineteenth century that ‘comfort’ in the modern sense became commonplace, and yet only a few decades later Horace Greeley thought it natural to list it as a necessary component of a happy life.

It is hard, in our age of material possessions, and given the stereotypical ‘overstuffed’ image of the late Victorian period, to appreciate from what a bare minimum the acquisition of possessions began. As late as the 1690s, something as basic to us as a utensil to hold a hot drink—that is, a cup—was ‘extremely rare’ even in prosperous households. A mere thirty years later, by 1725, ‘virtually all’ of these households had some.³⁷ We don’t really have any idea of what the poorest in the seventeenth century owned—they died leaving no records. But of those who had enough goods that it was considered worth drawing up an inventory on their deaths, it is illuminating to compare one James Cushman, who died in 1648, with the poorest man listed in the inventories of Sedgley, Staffordshire, ninety years later. Cushman left, in his kitchen, ‘one small iron pott’, ‘a small scillite [skillet]’ and ‘one small brass scimer [skimmer]’. The deceased in Sedgley in 1739 owned, by contrast, a fire shovel, a coal hammer, a toasting iron, a bellows, a copper can, wooden furniture, a ‘tun dish’ or funnel, scissors, a warming pan, a brass kettle, bottles, earthenware, two iron pots, a pail, a ‘search’ or sieve, two old candlesticks, a kneading tub, two barrels, two coffers, a box, some trenchers, pewter, a brass skimmer, a brass basting spoon, an iron meat fork, a tin ‘calender’ or colander, and more.³⁸ A similar increase in the quantity of goods can be found among those with more disposable income: in a survey of 3,000 inventories taken on the death of the head of the household in more prosperous homes, in 1675 half owned a clock; by 1715, 90 per cent of households did.³⁹ This continuous growth in the number of possessions, this concern with the acquisition of goods for the home, was marked enough to be gently satirized in George Colman and David Garrick’s 1784 play The Clandestine Marriage, in which one character announces, ‘The chief pleasure of a country-house is to make improvements.’⁴⁰

These are a few small examples of the marked increase in the number of possessions among all classes, from Garrick and Colman’s countryhouse owners down to those who, in previous ages, would have inherited a few goods, possibly acquired a few more after much struggle, or simply done without. From 1785 to 1800—a mere fifteen years—the rate of consumption of what had previously been considered luxuries and were now regarded as part of the ordinary necessities of life increased at more than twice the rate of population growth. In those fifteen years the population of England and Wales rose by 14 per cent, while over the same period the demand for candles grew by 33.8 per cent, for tobacco by 58.9 per cent and for spirits by a staggering (literally, perhaps) 79.9 per cent, while demand for tea soared by 97.7 per cent and for printed fabrics by an astonishing 141.9 per cent.⁴¹ (For more on tea, see pp. 56—61.)

By the time of the Great Exhibition it was expected that one’s quality of life—one’s standard of living—could be judged by the number of possessions one owned, the number of things one consumed. This was an entirely new way of looking at things. The Oxford English Dictionary’s first citation for the phrase ‘standard of living’ dates from 1879. Punch, as always quick to spot a novelty, was already making fun of the idea by 1880. In a George du Maurier cartoon, an ‘Æsthetic Bridegroom’ looks at an oriental teapot, saying to his ‘Intense Bride’, ‘It is quite consummate, is it not?’ She responds rapturously, ‘It is, indeed! Oh, Algernon, let us live up to it!’⁴² Buying goods, owning goods—even living up to goods—were now virtues. Comfort was a moral good. A hundred years after Colman and Garrick wrote of the prosperous and their country houses, the Illustrated London News carried an advertisement for a piano, the purchase of which would make the ‘home more attractive and save [the family from] more expensive and dangerous amusements’.⁴³ The advertisement could not be more explicit: buying commercially produced goods, in this case a piano, would make one’s family life more entertaining, safer and, somehow, better. This was not simply an advertising conceit. Ford Madox Brown, a founder of the Pre-Raphaelite movement, told one of his patrons that, to be happy, ‘much depends upon getting a house and adorning of a beautiful house’.⁴⁴ In 1876 the Revd William Loftie, in A Plea for Art in the House, expanded on this idea: there ‘seems to be something almost paradoxical in talking about the cultivation of taste as a moral duty…[but] if we look on the home here as the prototype for the home hereafter, we may see reasons for making it a sacred thing, beautiful and pleasant, as, indeed, we have no hesitation about making our churches’.⁴⁵ The cultivation of taste had become a ‘moral duty’, with the ‘sacred’ space, the shrine, epitomized by Paxton’s Crystal Palace, which looked like a great shining box built to hold all the commodities that could ever be produced. All the manufactured items in the world seemed to be collected under its transparent lid. It resembled nothing so much as one of those glass domes that Victorians put on their mantelpieces to protect their most precious objects from dirt and dust.

Looking back, it is possible to see, from the beginning, that the tendency to understand the Great Exhibition as a collection of so many items for sale was constantly being repressed. In 1850 the Westminster Review, in one of many press reports about the forthcoming event, warned, ‘The object of the Exhibition is the display of articles intended to be exhibited, and not the transaction of commercial business; and the Commissioners can therefore give no facilities for the sale of articles, or for the transaction of business connected therewith.’ Yet even the author of this stark caution found it hard to remember, immediately adding approvingly that the Exhibition was a ‘gathering together of the commercial travellers [salesmen] of the universal world, side by side with their employers and customers, and with a showroom for their goods that ought to be such as the world has never before beheld’.⁴⁶ To attempt to block such commercial thoughts and concentrate visitors’ minds on the displays’ educational qualities, the organizers forbade the listing of prices, direct advertisements of goods, or any other form of overt selling.*

But, in a way no one could have foreseen, the lack of prices made everything appear much more available. No one looked at a display and thought, ‘That is out of my reach.’ Instead, everything became acquirable in the imagination, because nothing was for sale in reality. Everything could be dreamed of. At the same time, exhibitors, who had their own agendas, became ingenious in finding ways around the price ban as the fair continued. ‘Explanatory’ notes were handed out and, just coincidentally, were printed on the back of price lists; trade cards and advertising cards were distributed widely. Others outside the commissioners’ control abetted this urge to price the price-less: many press articles speculated on the value of goods when describing them—it seemed to be a reflex response to the display. As Walter Benjamin later commented, ‘The world exhibitions erected the universe of commodities.’⁴⁷

For the first few weeks of the Great Exhibition, these price-less goods were examined by the prosperous alone. Albert had been insistent that the working class should be able to attend, that it was this group who would benefit in particular. The prices of admission, however, were set at exorbitant levels. Season tickets were £3 3s. for men, £2 2s. for women, and only season-ticket holders could go on the first day; second- and third-day tickets cost £1 each, while day tickets for the rest of the first month were 5s. each. It was not until 26 May, nearly a full month after the opening, that for the first time ‘shilling days’ came into force, with the following Friday reduced even further, to 6d. But on Saturdays—most workers’ half-day off—the price was pushed back up, to 2s. 6d. Many exhibitors wanted this exclusivity extended even further, with shilling days postponed until July—or never. They feared that the middle and upper classes who had thronged the aisles in the first weeks would disappear, not to be seen again, if they were forced to share their viewing space with the lower orders. But Prince Albert and Cole prevailed, and shilling days from the end of May remained.

As the end of the month approached, the big question of the day became, what would happen when the admission charge was lowered to let the working classes in? The gulf between the comfortable middle classes and even the respectable working classes was enormous. In the previous three-quarters of a century the middle class had become increasingly fearful of their social and economic inferiors, a situation brought about by the great political upheavals of the time. The Gordon Riots of 1780, the fall of the Bastille in 1789, the Peterloo Massacre of 1819, the agitations that surrounded the Reform Act of 1832, and the Chartist riots; the failed harvests of the ‘hungry forties’; and, only three years in the past, the Europe-wide revolutions of 1848: all had merged to form a nebulous image of the great mass of workers biding their time, waiting to turn into ‘King Mob’. This was how The Times referred to the working class on 2 May, the day after the opening of the Great Exhibition—the day referred to by Queen Victoria as ‘the greatest day in our history, the most beautiful and imposing and touching spectacle ever seen, and the triumph of my beloved Albert’.⁴⁸ The Times was not so confident. Surely these bogeymen would overrun the grounds, given half a chance? Mayhew despaired of those like The Times who were stoking fear: ‘For many days before the “shilling people” were admitted to the building, the great topic of conversation was the probable behaviour of the people. Would they come sober? will they destroy things? will they want to cut their initials, or scratch their names on the panes of the glass lighthouses?’⁴⁹ Punch, in ‘Open House at the Crystal Palace’, also (unusually) championed the workers at the expense of the middle classes, setting up ‘Young Mob’ as ‘the better-behaved son of a wild and ignorant father’: ‘Am I not seen with my wife and children wondering at MR. LAYARD’s Nineveh Marbles [in the British Museum]*- wondering quietly, and I will add, if you please, reverently? Have I, in fact, chipped the nose of any statue? Have I wrenched the little finger from any mummy? Have I pocketed a single medal?’⁵⁰ Even those who did not fear that riot and mayhem would arrive with the workers thought that financial ruin certainly would. The Illustrated London News warned that ‘the gay, glancing, fluttering tide of bonnets and ribbons, and silks, and satins, and velvets’, would vanish, with ‘the blank…filled up by no adequate substitute of meaner, or coarser, or more commonplace material’.⁵¹ These publications were more interested in their thesis than in giving the shilling days a chance: this particular piece was published after only the third shilling day.

It is worth pausing for a moment at the admission charge of 1s. At this price, and with the less expensive catalogue, the Popular Guide, priced at 2d., only the upper levels of the working class—the artisans, the master craftsmen, the clerks (who for the most part would have identified themselves with the lower middle classes)—could possibly have afforded to visit the grounds without financial assistance. For most of the rest of the working classes, having 1s. to spend on a day’s leisure was unimaginable—and even that price was only for those who lived in walking distance: for the others, transport, accommodation and food would push the day’s expenditure to one or two weeks’ entire earnings. But the mass of workers was so mysterious to their economic superiors that it was as though the 1s. charge would unleash not just factory operatives and manual labourers, but also the feared ‘navvies’† who were building the railroads and, even worse, the masses of the unemployed and the unemployable, wild hordes of them sweeping across the plains of Hyde Park. The Times warned that ‘Summer excursion trains will bring the artisans and mechanics of the north in upon London like an inundation.’⁵² The Duke of Wellington thought that at least 15,000 men—he meant soldiers—would be needed to keep order. Members of the Exhibition commission met with the directors of the railway companies to arrange that reduced excursion fares would be restricted to benefit-club subscribers and those belonging to working-class self-improvement clubs such as the Mechanics’ Institutes (see below). (However, the agreement did not hold: by February the London and North-Western Railway and the Midland Railway companies had both agreed to supply excursion fares to non-club members, but they took care not to publicize this change—at least at first.)⁵³ This arrangement, while it stood, had the effect of pushing those who had not previously belonged to such a group into one, in order to be able to have access to railway tickets at affordable prices.

In fact the numbers already belonging to some form of club, whether it was a social group, a benefit club, a sick club or an educational or self-improvement group, were enormously high. Friendly societies or benefit clubs were among the most common clubs for workers. Matthew Boulton, a manufacturer, factory-owner and partner with James Watt in the improvement and manufacturing of the early steam engine, was one of the first to see the value to an employer in setting up an insurance club. From the early 1770s his employees received benefits on illness, accident or death, having made contributions as a percentage of their earnings—from ¹/₂d. a week for those earning 2s. 6d. to 4d. for those earning £1. When they were ill they received payments in inverse proportion to their contributions, so that those earning the least received the most financial assistance—about four-fifths of their weekly wage for those employees with the lowest incomes. But if the illness or incapacity stemmed from ‘drunkenness, debauchery, quarrelling or fighting’, part of the first ten days’ payment was withheld. Boulton as well as his workers benefited from this scheme: by having some financial support in hard times, fewer ill or injured workers ended up being supported ‘on the parish’, which kept the poor rate down, and Boulton’s workers were more likely to stay with him, because if they moved on they would lose the benefit of the contributions they had already paid in.⁵⁴

Even without the participation of enlightened employers, mutualsupport clubs were becoming common. The 1793 Friendly Societies Act enabled clubs to raise ‘separate funds for the mutual relief and maintenance of the…members in sickness, old age and infirmity’.⁵⁵ One estimate suggests that in 1801 there were at the very least 7,200 friendly societies in England and Wales, which together numbered about 648,000 members. In London at least 40 per cent of the working population belonged to a friendly society, while in some new industrial regions the figure was even higher: in Oldham, Lancashire, 50 per cent of all adult males belonged to one of the fifteen societies flourishing there. In Scotland there were nearly 400 friendly societies by 1800. Ireland took longer to develop the concept: in 1800 there were only 7 societies that we know about today, but by 1831 the number had shot up to 281, with half centred in Dublin.⁵⁶

Clubs that were not mainly about financial aid were also popular: working men’s libraries, groups to discuss politics or literature, or to buy books. A club in Sunderland met regularly to discuss old English ballads; the members were saving jointly towards the collected volumes of reprints of Early and Middle English texts published by the Early English Text Society. The members consisted of a cork-cutter, two woodcarvers from the docks, a watchmaker, an engine-fitter and ‘a painter of photographs’.*⁵⁷

The largest, and most widespread, self-improvement groups were the Mechanics’ Institutes. The first one was set up in 1824 in London, with 1,500 members paying 1 guinea each—clearly, a group of high-earning skilled workers and artisans. By 1850 there were 702 Institutes across the country, but by now they had mostly been taken over by the middle classes: the upper middle classes at the administrative end, and the lower middle classes—clerks and shopworkers—as members. The original expectation had been that these institutes would increase the skills and scientific and technical knowledge of manual labourers by offering access to books and pamphlets in reading rooms, and to continuing education via evening lectures. This would produce a more highly skilled and useful workforce, which would be a great benefit to employers. But fairly swiftly it was discovered that the lectures were too theoretical, and the workers found little practical incentive to attend after a long day’s work. Instead, lectures that gave some form of recreation were preferred, and were much better attended. In its initial period of worker education, from 1835 to 1842, the Manchester Athenaeum held 352 lectures, of which 173 were on the ‘physical and mental sciences’; in 1842—9, out of 394 lectures, science featured in only 81. Nationally, of 1,000 lectures held at 42 institutions in 1851, only 340 were on science, while 572 were classed as literature—although literature here had a fairly broad definition, essentially meaning anything that was not science or music. Included in the list of literature lectures were topics such as ‘the funeral rites of various nations, the habits and customs of the Eskimos, the life, death and burial of Mary, Queen of Scots, the games of Greece, the theosophy of India, the sons of Noah, and…“Are the Inhabitants of Persia, India, and China of Japhetic or Shemitic [sic] Origin?”’ There were also twenty-three lectures on Shakespeare, and over the next years many lectures gradually turned into readings from favourite authors, and sometimes simply readings of plays, which was a way of getting around the general disapproval of the theatre by many Dissenters and some Anglicans (see pp. 274—5).⁵⁸

The Institutes began to hold exhibitions and social events more generally. The earliest exhibitions, held by the Manchester Mechanics’ Institute from 1837, were in the mould of the lectures on science and technical innovation—exhibitions of ‘machinery, industrial products, scientific apparatus and works of art’.⁵⁹ Over the next five years, Manchester held four exhibitions, and drew over 200,000 visitors in total.⁶⁰ From 1838 to 1840 the various Institutes held at least fifty exhibitions across the country. But almost immediately the emphasis altered, exactly as it had with the lectures. By 1846 the Manchester Institute was showing more than machinery, with exhibitions of paintings by Turner, Benjamin West, Landseer and Charles Eastlake. The urge for entertainment rather than education was nationwide: in 1842 the Institute in York saw working-class membership increase as excursions and social events were added to the calendar; by 1844 the Huddersfield members expected a gala, excursions, exhibitions and tea parties. Most of the other groups had moved in a similar direction, with a general leaning towards culture and recreation. And recreation included travel.

By the time of the Great Exhibition, excursion travel was already a regular feature of the landscape, even if it was the still-exciting exception rather than the run-of-the-mill norm. In 1830 the first passenger railway, the Liverpool and Manchester Railway, had carried sightseers out to the Sankey Viaduct for 5s. (instead of the standard fare of 8s.) only two weeks after the line was opened. A few days later it took Manchester passengers to the Liverpool Charity Festival, and within a year it had made an arrangement with an entrepreneur to carry 150 members of a Sunday-school group from Manchester to Liverpool and back for 40 per cent of the regular fare. The various Mechanics’ Institutes quickly saw the benefits of organized cut-rate travel: the Manchester Institute arranged a trip to Liverpool for its members in 1833; in 1840 a group went from Leeds to York; by 1845 the Leeds-to-Hull excursion group was so large that a train with forty carriages was needed, possibly the first of the ‘monster’ trains that so captured the imagination of the Victorian public.⁶¹ (‘Monster’ was a favourite Victorian adjective, with monster trains, monster shops and monster exhibitions.) Very swiftly holiday travel took a great share of the excursion market. In 1846 Blackpool got its own railway line; four years later, up to 10,000 visitors a week were pouring into the town. Numbers continued to increase, while fares continued to tumble: in 1844 the London and South Western Railway began to run Easter excursions from Southampton to London at 7s. return; by 1850 the same trip cost 5s.⁶²

When it came to the Great Exhibition itself, the railways initially had not been much interested in excursion business—there was a general underestimating of the numbers of the working classes who would wish to attend. As late as January 1851, less than four months before the opening, the trade magazine Herapath’s Railway and Commercial Journal was warning railway companies against recklessly increasing their rolling stock against a demand it thought could not possibly materialize.⁶³

Thomas Cook, whose excursions to the Crystal Palace were later inextricably interwoven into his myth, actually became involved in bringing visitors to London in 1851 by accident. Though subsequently to personify the whole range of possibility that was excursion travel, Cook arrived, surprisingly, rather late in the day. He had entered the field only in 1841, when he arranged with the Midland Counties Railway to have an excursion train put at the disposal of his temperance group. By 1846 he had extended his tours beyond their initial Leicestershire borders, and was organizing excursions to Scotland. So successful were his tours that in 1850 he was thinking of expanding even further, by taking groups to the Holy Land. However, a temperance friend in London advised him against this, warning that there were ‘no railways, coaches, or even public roads’ there.⁶⁴ He suggested that the USA might be better: steamers had been making regular crossings of the Atlantic from 1838, and the east coast of America was now just 12¹/₂ days away from Liverpool. So Cook set off for Liverpool to see if he could interest the steamship companies in the same type of arrangement he had been negotiating with the railways, giving him discounted fares in exchange for guaranteed numbers. But he managed to get only as far as Derby. There he met Joseph Paxton, the architect of the Crystal Palace, and his friend John Ellis, who was attempting to stabilize the Midland Railway Company after the crooked dealings of George Hudson, ‘the Railway King’, had threatened to destroy it and several other companies. Ellis had a vested interest in increased traffic on his railway—especially since he was one of the businessmen about whom Herapath’s would shortly warn: the Midland had ordered a hundred new third-class carriages to bring working-class passengers to the Exhibition. Paxton also had financial links to the railways. From the other side, Cook approved of the educational aspects of the Great Exhibition, the idea of ‘rational recreation’ it promoted, and he was further taken by the fact that the Crystal Palace was to be ‘dry’.* (There were other aspects that pleased him equally: it was closed on Sundays, religious tracts were distributed throughout the fair, there was a Bible depot, and, at the request of Lord Shaftesbury, all the nude statues were to be respectably covered.)⁶⁵

Cook came to an agreement with the Midland to bring them his excursionists for a fee that he referred to delicately as ‘several shillings’ per head, instead of his usual percentage of the fare paid. In return for this, the excursionists would get a return ticket, with accommodation in London (including ‘a substantial meat breakfast’) for another 2s. (plus an extra 1d. if they wanted their boots cleaned); if that was too expensive, accommodation at 1s. could be found in dormitories set up on ships moored at Vauxhall Bridge.⁶⁶ Accommodation had been a major preoccupation for the planners. They were uncertain how many workingclass visitors would travel to the capital, but, with the fear of the mob that was pervasive, any number seemed to be a threat and was regarded as a public-order concern. A Home Office official had been asked by the Royal Commission to look into how best ‘respectable and reasonable’ lodgings in London could be provided. The Home Office was pleased to comply, because it was anxious that ‘arrangements should in themselves conduce to the maintenance of good order and regularity without the appearance of any ostensible precautions, and that they should offer such facilities as will induce the working classes to follow, for their own advantage, the course pointed out’.⁶⁷

Because the success of the Exhibition was still uncertain, not much more than worrying was done by the commission. Others, however, stepped in to the breach, just as Cook and assorted excursion agents were doing despite the unenthusiastic railway companies. The main accommodation organizer became John Cassell, a temperance lecturer and the proprietor of a coffee house in Fenchurch Street. (The provision of tea and coffee was common among those involved in the temperance movement.) Cassell had been the publisher of the Teetotal Times from 1846, as well as printing other journals and pamphlets relating to radical politics, Free Trade and universal suffrage, and in 1850 his new periodical the Working Man’s Friend had been launched. With the coming of the Great Exhibition, Cassell saw a gap in the market that he could fill both to the benefit of the working man and also for the promotion of his journal: the creation of an artisan lodging-house register. He distributed (he claimed) 100,000 forms to lodging houses, had each one that responded inspected, and then charged their owners 2s. 6d. to register with him (of which 1s. 6d. was paid as the tax on advertisements). All lodging houses that wanted to be included in the register were required to conform to strict rules: lodging was 2s. for a double bed, with bootcleaning thrown in; a breakfast of tea or coffee and bread and butter had to be available, and could cost no more than 9d.; if bacon or ham or a kipper were added, then 1s. could be charged. Cassell published a general register that listed the establishments that met his requirements, and a classified register that had the lodging houses listed by religious affiliation. Either could be obtained by sending six penny stamps by post, and both advertised the Working Man’s Friend.⁶⁸*

It was commercial activities of this nature that made the railways feel that perhaps there was money to be made in transporting the working classes to London for the fair. Very swiftly, they went from almost complete apathy to ruthless competition. A price war broke out between the Midland Railway and the Great Northern—at one point the battle became so overheated that a steam engine was hijacked by the opposition. In order to give its new Bradford-and-Leeds-to-London line a boost, the GNR promoted 5s. return fares. The Midland could not match that and still give Cook his ‘several shillings’. He agreed to tear up the agreement, which in the long term was very good business on his part, as long afterwards the Midland continued to give him preferential rates when other excursion agents began to set up in his territory.

Cook’s son John, aged seventeen, acted as his advance agent. He and others travelled to towns across Yorkshire and the Midlands to publicize the possibilities of travel to London and the Great Exhibition for working people. They distributed handbills, held meetings—often with a band playing outside a mill or factory on pay day, to attract a crowd—and helped to set up savings clubs for the fares and accommodation. These subscription clubs were crucial to the success of the Exhibition. Mayhew’s novel 1851 has the villagers of Buttermere paying into the ‘Travelling Association for the Great Exhibition of 1851…for months past, subscribing their pennies with the intention of having their share in that general holiday’, with the local squire acting as club treasurer.⁶⁹ Other groups that came, supported by various savings methods, included parishes led by their clergymen, soldiers brought by their commanding officers, schools and Sunday schools by their teachers, and factory and mill workers by their employers. In Maldon and Braintree, the shops in both towns closed for a day to allow the entire towns’ populations to travel en masse to London. And all of them seemed to go by rail. The Great Western increased its passenger numbers by 38.3 per cent over the period; the London and South Western by 29.9 per cent; the London and Blackwall by 28.5 per cent; the South Eastern by 23.8 per cent; and the London and North-Western by 22.6 per cent. The last of these claimed that, for the duration of the fair, it had carried over three-quarters of a million passengers, and that 90,000 of these were excursionists, in 145 special excursion trains, travelling from the north for 5s. return.⁷⁰

While these excursionists were evidently not rich, they brought home to the manufacturers, the industrialists, a new economic truth. It had become increasingly apparent over the previous half-century that there was as much money—if not more—to be made from large numbers of relatively low-income consumers as there was from the tiny numbers of high-earners. The concept of the mass market was taking shape, personified by the Great Exhibition. This was in some ways an oddity, since the fair itself was not a particularly good example of mass production. The 300,000 panes of glass used in the Crystal Palace were not machine made, but instead were each individually hand-blown,⁷¹ although it is true that the very nature of the building, with its innovative prefabricated sections that could be made off-site and then assembled, looked towards the future of mass production. For the moment the mass market centred around the many linked products that were appearing without the formal imprimatur of the Great Exhibition. Cassell produced The Illustrated Exhibitor, published at 2d. per part, issued weekly, which when completed made up a four-volume illustrated survey of the Exhibition, either as a souvenir of a visit or for those who had not managed to get to London.* Within a month of the first part appearing, Cassell was selling 100,000 copies, giving him a monthly turnover of nearly £3,500.⁷² This was only one of many works published to catch on to—and cash in on—the excitement of the fair. There were numerous guides published to coincide with the opening of the Exhibition, by anyone who chose to enter the field. Cassell himself published The London Conductor, whose subtitle made it pretty clear at whom it was aimed: Being a Guide for Visitors to the Great Industrial Exhibition, through the principal portions of the metropolis; including a brief history and description of the palaces, parks, churches; government, legal, and commercial buildings; bridges, statues, museums, hospitals, club-houses, theatres, and streets of London; and the remarkable places in its vicinity—basically, anyone arriving in London for the first time.† It cost 9d., and went through two editions almost immediately, despite not being particularly accurate. A third edition, without illustrations, came out with corrections and a reduced cover price; a fourth edition, with the pictures reinstated, was needed by September.⁷³ (Cassell, who rarely missed a trick when it came to marketing, advertised in the first edition the forthcoming ‘Le Conducteur de Londres, prix 1¹/₂ schelling’.)

Far more than just guidebooks found a useful commercial link to the Exhibition. There were comic stories of rustics up from the country, like the, to modern eyes, gloomily unfunny Jimmy Trebilcock; or, the Humorous Adventures of a Cornish Miner, at the Great Exhibition, What he Saw and What he didn’t See. There were political satires, using the Exhibition for parody purposes, such as Mr Goggleye’s Visit to the Exhibition of National Industry to be Held in London on the 1st of April [sic] 1851. There were dozens—if not dozens of dozens—of children’s books describing the fair, such as The Crystal Palace: A Little Book for Little Boys, and Little Henry’s Holiday at the Great Exhibition (which devoted a remarkable amount of space to the Exhibition’s finances, taking an entire page to list ticket prices, and even calculating how much money had been made by the time the book went to press in early June—£137,697 13s., the author estimated), and Fireside Facts from the Great Exhibition (which appears to have lifted material wholesale from Little Henry’s Holiday). These were followed by books of educational intent, or instant reminiscence, appearing within months: Lectures on the Results of the Great Exhibition of 1851; What I Saw in London, or, Men and Things in the Great Metropolis; Frolick & Fun, or What Was Seen and Done in London in 1851; Glimpses and Gatherings during a voyage and visit to London and the Great Exhibition in the summer of 1851; and many many more.

New forms of advertising also appeared. W. H. Smith, a newspaper distributor, had rented a bookstall at the London and North-Western Railway’s Euston station in 1848. In the year of the Great Exhibition he obtained a monopoly of all the London and North-Western’s station bookstalls and he also began to rent out space for advertisements on the platforms, which, with the hordes of visitors pouring through the stations heading for Hyde Park, began to seem like a paying proposition.* Soon everyone was advertising individual products through references to the Exhibition. Samuel Brothers’ flyer was headed ‘The Great Exhibition in London, High Art! High Success!! and High Principle!!!’, with, underneath, a list of items of ready-made clothing and their prices, together with an image of the brothers’ shopfront, cropped in tightly to make it look like a display case at the fair.⁷⁴

The visitors to London were presented with the obvious commercial link between the goods on display at the Great Exhibition and those on display in shop windows. But they were also presented with another link—between the Great Exhibition as a fair, a source of entertainment, and the shows of London. It was not as though there was no other form of entertainment in London, for both rich and poor, for those looking for education and for those out only for amusement. London always had entertainment (see Chapter 7), but in the summer of 1851 it particularly revolved around the Great Exhibition. The Zoological Gardens in Regent’s Park made sure that its new buildings would be ready in time for the influx of visitors, and highlighted the just finished outdoor tank for its hippopotamus, and two new aviaries. (Attendance soared to a record 677,000 that year.) James Wyld, an MP and map-seller, bought a ten-year lease on the plot of land in the centre of Leicester Square, where he built a rotunda, eighty-five feet in diameter, with a sixty-foot globe on top. A series of staircases led the visitor up to platforms from which illustrations of various geographic phenomena could be viewed—volcanoes, ice floes and so on. The Polytechnic Institute advertised a series of lectures on ‘all the MOST INTERESTING DEPOSITS at the GREAT EXHIBITION’.⁷⁵

Theatre did not lag behind in shows that were linked to the Great Exhibition. James Robinson Planché, playwright and creator of theatrical extravaganzas (see pp. 308—9), merged the two most popular shows of the summer, the Exhibition itself and Wyld’s Great Globe, to produce Mr Buckstone’s Voyage Round the Globe (in Leicester Square). A Cosmographical, Visionary Extravaganza, and Dramatic Review, in One Act and Four Quarters. Mr Buckstone was in fact the real-life manager of the Haymarket Theatre, where Mr Buckstone’s Voyage was being produced; to add further layers of interleaved fantasy and reality, the opening scenes were set, according to the published script, ‘[In] FRONT OF THE THEATRE ROYAL, HAYMARKET’. The audience then watched as ‘Mr Buckstone determines to Circumnavigate the Globe, and gives his reasons for so doing’, as the scene shifted to the ‘Foot of the Staircase in Wyld’s Model of the Earth, Leicester Square. Mr Buckstone, as a preparatory step to a Voyage round the Globe, visits the Model to obtain an insight into the subject and—sleeps upon it.’ The viewers then followed the dreaming Mr Buckstone around the world, where he saw many marvellous sights, including ‘The “Ripon” steamer, with the Grenadiers on board, on her passage to Malta,

saluted by a French brig’, various battles, ‘A GRAND ORIENTAL SPECTACLE’, which introduced a ballet, a ‘WISE ELEPHANT OF THE EAST’, ‘Chinese Magicians’, and an ‘Interview with the Esquimaux from Cumberland Straits and the Adelaide Gallery’, ending with a cheery scene of a ‘violent “Struggle for Gold” by the Theatres in general. Awful Catastrophe. End of Mr Buckstone’s Golden Dream’.⁷⁶

With this kind of competition, it was not hard to imagine that the shilling visitors might find better things to spend their money on than a teetotal, didactic piece of rational recreation. But, instead of the Illustrated London News’s picture of desolation, to the fair there came hundreds of thousands of the ‘respectable’ working classes—members of Sundayschool groups, of orderly church and chapel groups, of self-improvement clubs, of Mechanics’ Institutes; master craftsmen and artisans and their families—endless streams of all those who could afford to pay the 10s. or so that a ‘shilling day’ visit entailed (1s. admission, a travel bill of 5s. or more, accommodation at 2s., plus the cost of food for the duration of the trip). Attendance on shilling days averaged between 45,000 and 60,000 people; by the end of the summer, 100,000 were passing through the gates daily. In total, 6 million visitors came to the Crystal Palace; as many as 5 million may have come by train, with 1 million of them on excursion fares. Thomas Cook arranged for the transport of 165,000 excursionists, or nearly 3 per cent of the total, including one single excursion train carrying 3,000 children.⁷⁷

And the fears of the upper classes remained only that—fears. The crowds were in fact orderly, respectful, well-behaved—all that could have been hoped for, but was not remotely expected. The Times was forced to eat its words, and after three days acknowledged that, instead of being ‘King Mob’, the shilling admissions were well dressed and orderly members of society, and a credit to the burgeoning nation of commerce.⁷⁸ The volatile mob had become the sedate consumer. The age of the machine had brought with it the triumph of the masses—and the mass market.

*Richard Steele had started the Tatler in 1709, and it came out three times a week until the beginning of 1711. A single sheet, at first it contained news items, but gradually each number comprised a single long essay, which might be a gentle satire of the social world, or a reflection on the values of the day, mildly attacking the venery and hypocrisy of politics and society. Addison contributed his first essay on 20 May 1709, and in all wrote almost fifty papers, plus another twenty together with Steele.

*A very partial round-up of coffee houses that served as meeting points for clubs in London would include Jonathan’s Coffee House, Exchange Alley, which formed the basis of the stock market, and Lloyd’s Coffee House, Lombard Street, where shipping and insurance brokers met, produced news sheets, then a shipping list (the first in 1734), then a register (in 1760), and finally turned into the insurer Lloyd’s. Politics was discussed by Tories at the Cocoa Tree, by Whigs at Arthur’s. Booksellers met at the Chapter Coffee House, Paternoster Row; actors at Will’s, Wright’s or the Bedford, all in Covent Garden, while the Orange, in the Haymarket, was more specialized, and for dancing masters and opera singers. Old Slaughter’s, in St Martin’s Lane, was the haunt of painters, while the Rainbow, in the same street, and Garraway’s in Exchange Alley, not only had artists’ clubs, but also mounted exhibitions of prints.⁵

†An eighteenth-century idiom for ‘in order’.

*And the members soon struck lucky: among their earliest prizewinners was the adolescent Richard Cosway, who later became one of London’s most fashionable miniaturists.

*Thomas Cubitt (1788—1855) was the son of a carpenter. From small projects, his work expanded to encompass building housing on the Duke of Bedford’s land in Bloomsbury, moving on to develop over 8 hectares for Earl Grosvenor in what ultimately became Belgravia, the most fashionable district of London; he also developed much of Pimlico, and more than 100 hectares south of the river, in Clapham. He came to the attention of Prince Albert when Osborne House, the royal family’s home on the Isle of Wight, was to be rebuilt, although neither man can have imagined the family connection being sustained nearly two centuries later, when Albert’s great-great-great-great-grandson, Prince Charles, the Prince of Wales, married Cubitt’s descendant Camilla Parker Bowles.

*Lyon Playfair is almost as exhausting to contemplate as Cole: a chemist—the discoverer of nitro-prussides, a new class of salts—he was later Professor of Chemistry at Edinburgh University, Postmaster General, an MP, and Deputy Speaker of the House of Commons, interspersed with membership of the Royal Commission on Sanitation, advising on the ventilation of Buckingham Palace (his report was thought too alarming to be shown to Parliament), investigating the Famine in Ireland, producing research for the Geological Survey, advising on the promotion of technical education, sitting on the Royal Commission on cattle plague, and heading the commission inquiring into the civil service that finally replaced patronage with competitive examinations.

*Hats throughout the century attracted a range of gimmicks, mostly attempts to keep the head cool while still wearing the de-rigueur heavy felt-fur or silk and plush hats. Among many ideas patented were the ‘Bonafide Ventilating Hat’ (1849), a hat with an air-flow ventilator, or one with movable shutters (1880s), and the ‘Neoteric Ventilating Hat’ (1851), which had a woven frame of manila grass or willow. Another group of patents involved pads to keep the hat away from the head, improving ventilation while also preventing the fabric from becoming soiled by contact with the wearer’s hair oil: the ‘Gutta Percha Hat’ (1848) with rubber lining, which protected against both rain and perspiration; the ‘Aeolian Hat’ (1853), with an air pocket (‘In this way a completely encircling air chamber is formed to embrace the head, and making an easy pleasant fit and also preventing the natural grease from the hair penetrating to the exterior of the hat’); and the ‘Corrugated Ventilating Hat Antimacassar Pad’ (1863).²⁶

*Mahogany had first been imported from Central America in the 1720s, and Sir Robert Walpole immediately had seats for his commodes made from this new luxury material.³⁵

*It has been suggested that this lack of pricing was one of the reasons so many exhibits focused on technical ingenuity. If the main selling point of an object was that it was half the price that was usually charged, there was no point in showing it, without a price, at the Crystal Palace.

*For more on Layard, see p. 199.

†Navvies (from ‘navigators’) were originally the labourers who built the canals. By the 1850s, ‘navvy’ was shorthand for a labourer on the railways in particular. Navvies had a well-earned reputation for ferocious violence and drunkenness.

*The Early English Text Society’s founder, Frederick Furnivall (1825—1910), would have been thrilled. He was closely involved with adult education, teaching evening classes at the Working Men’s College when it opened in London in 1854.

*During the twenty-four weeks of the Exhibition, 1,092,337 bottles of soda water, lemonade and ginger beer were sold.

*Cassell went on to become the publisher of Cassell’s Magazine and Cassell’s Illustrated Family Paper, plus many other journals (see p. 157), as well as the first British edition of Uncle Tom’s Cabin. However he lacked business instincts, and his company was soon taken over by others, although his skills as a publishing entrepreneur were highly regarded, and the house of Cassell’s in various guises has survived into the twenty-first century.

*It was clear from the price that he was aiming at a working-class mass market: the Illustrated London News, which featured the Exhibition heavily in its pictures all summer long, sold for 6d. an issue.

†Only 200 words were given to the Exhibition itself, and it suggested that four hours would be plenty for the visitor to ‘do’ the fair.

*For more on advertising, see pp. 130—37; for W. H. Smith and newspaper distribution, pp. 145—6; for W. H. Smith and railway bookstalls, pp. 191—2.