A few articles have drawn my mind back to The Second London Exhibition of 1862. The International Exhibition of 1862 was cited by The Victorianist and Alexandra Palace London. And my post references Robert Wilson as my guide for the 1862 London Exhibition.
Although the English had already put on an extravaganza performance in 1851, within a decade they already felt it was their turn again. And because of the first success, support was immediate; the original 1851 commissioners granted land in South Kensington. Henry Cole again led the drive to appoint an architect and engineer.
The design of the building echoed the interior decoration of the building – intricate and Renaissance in taste. Gone were the gaudiness and over-decoration of 1851. In its place was the restrained style that Wilson called High Victorian.
There was only one problem. As everyone noted at the time, and since, it was a terrible shame that Prince Albert died just six months before the grand opening. Queen Victoria and all her court went into full blown mourning.
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Illustrated London News, 1862
Otherwise the timing of the 1862 exhibition was perfect, given that the pavilions displayed big changes in style and technology. Steam power in agriculture, the electric telegraph and developments in photography mingled with Japanese inspired furniture and pre-Raphaelite paintings. Ernst Leuteritz first created his designs for Meissen vases in 1856, and in 1862 they were selected as some of the key pieces in London. Minton and Josiah Wedgwood Companies were delighted to use Christopher Dresser’s designs, and both companies exhibited his porcelain at the 1862 exhibition. Bohemian glass was very popular and Lobmeyr of Vienna sent engraved work that was highly praised. The greatest glory went to a Minton majolica fountain, designed by John Thomas. St George slaying the dragon was on the top of this mammoth 11 ms structure.
The Queen's representative made a speech. "We heartily join in the prayer that the International Exhibition of 1862, beyond largely conducing to present enjoyment and instruction, will be hereafter recorded as an important link in the chain of International Exhibitions, by which the nations of the world may be drawn together in the noblest rivalry, and from which they may derive the greatest advantages."
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Although the English had already put on an extravaganza performance in 1851, within a decade they already felt it was their turn again. And because of the first success, support was immediate; the original 1851 commissioners granted land in South Kensington. Henry Cole again led the drive to appoint an architect and engineer.
The design of the building echoed the interior decoration of the building – intricate and Renaissance in taste. Gone were the gaudiness and over-decoration of 1851. In its place was the restrained style that Wilson called High Victorian.
There was only one problem. As everyone noted at the time, and since, it was a terrible shame that Prince Albert died just six months before the grand opening. Queen Victoria and all her court went into full blown mourning.
Otherwise the timing of the 1862 exhibition was perfect, given that the pavilions displayed big changes in style and technology. Steam power in agriculture, the electric telegraph and developments in photography mingled with Japanese inspired furniture and pre-Raphaelite paintings. Ernst Leuteritz first created his designs for Meissen vases in 1856, and in 1862 they were selected as some of the key pieces in London. Minton and Josiah Wedgwood Companies were delighted to use Christopher Dresser’s designs, and both companies exhibited his porcelain at the 1862 exhibition. Bohemian glass was very popular and Lobmeyr of Vienna sent engraved work that was highly praised. The greatest glory went to a Minton majolica fountain, designed by John Thomas. St George slaying the dragon was on the top of this mammoth 11 ms structure.
The Queen's representative made a speech. "We heartily join in the prayer that the International Exhibition of 1862, beyond largely conducing to present enjoyment and instruction, will be hereafter recorded as an important link in the chain of International Exhibitions, by which the nations of the world may be drawn together in the noblest rivalry, and from which they may derive the greatest advantages."
Minton fountain with St George
The procession then passed along the north side of the nave to the eastern dome, where the special and truly memorable musical performances took place. The music, specially composed for this occasion, consisted of a grand overture by Meyerbeer ; a chorale by Dr. Sterndale Bennett; and a grand march by Auber. The orchestra, consisting of 2,000 voices and 400 instrumentalists, was presided over by Mr. Costa, except during the performance of Dr. Sterndale Bennett's music, which was conducted by M. Sainton.
By the close of the exhibition, attendances exceeded 6 million and the small deficit was met by the building contractor for the royal commissioners. So successful was the 1862 effort that the Irish were not to be outdone. They held the International Exhibition of Arts and Industry in Dublin in 1865, building an enormous complex called The Winter Palace that contained restaurants, an art gallery and everything that opened and shut.
By the close of the exhibition, attendances exceeded 6 million and the small deficit was met by the building contractor for the royal commissioners. So successful was the 1862 effort that the Irish were not to be outdone. They held the International Exhibition of Arts and Industry in Dublin in 1865, building an enormous complex called The Winter Palace that contained restaurants, an art gallery and everything that opened and shut.