COVE

The Flower of a Giant Water Lily (Victoria Amazonica) Coloured lithograph, c 1850, after C Rosenberg.  The grand Crystal Palace in London was not only a celebration of the latest technological and industrial advancements but also an exploration of nature's wonders, exemplified by the Victoria Amazonica, a remarkable water lily from the Amazon River. With its massive, architectural leaves that could span up to 10 feet in diameter and its strikingly beautiful flowers, the Victoria Amazonica captured the Victorian imagination, symbolizing the period's fascination with exoticism, the unknown, and the natural world's ability to inspire awe. This plant's size and intricate design mirrored the exhibition’s themes of innovation and wonder. The Victoria Amazonica was displayed as an example of nature’s architectural marvel, whose massive leaves were not only a spectacle but also a testament to nature’s complexity and elegance. Its inclusion in the exhibition underscored the Victorian era's deep interest in botanical exploration, as the public marveled at this giant lily and its extraordinary ability to support large weights on its leaves, a feature that mirrored the era's scientific curiosity. In addition, the Victoria Amazonica had a profound connection to the Crystal Palace itself. The plant’s unusual, almost engineered design was mirrored in the innovative use of glass and iron in the Crystal Palace's construction. The exhibition’s organizers were keen to draw attention to this harmonious blend of nature and technology, as it symbolized the Victorian ambition to reconcile the natural world with industrial progress. The plant’s inclusion highlighted the exhibition's larger theme: showcasing not only Britain’s advancements but also its ability to harness the marvels of nature through modern science and engineering.

Wells, Nicholas. "The Architectural Flower: Victoria Amazonica and the Great Exhibition." Nicholas Wells Antiques Ltd., 2023. 

"The Victorian Web." The Victorian Web, 2023, www.victorianweb.org.

The Great Exhibition in the Crystal Palace, Hyde Park, London: The Transept Looking North. Steel engraving by W. Lacey after J.E Mayall, 1851. The Victorian era was a time when every aspect of life was carefully curated to reflect societal values and status. Subtle messages through, sents, flowers, and ornaments were often used to convey extended feelings. This attention to detail is exemplified in the massive Elm trees that were enclosed within the Cyrstal Palace. The tree depicted in the engraving above is an example of this. The elm, long associated with regeneration, dignity, and rebirth, made its placement particularly fitting for the Great Exhibition (Brown, 2022). The Crystal Palace, built for this momentous event, epitomized architectural innovation by blending nature with cutting-edge construction. Designed to house trees within its glass walls, it challenged the traditional limits of architecture. Remarkably, the Crystal Palace was constructed around three birch trees, with the builders opting to preserve their age rather than chop them down, symbolizing a harmonious relationship between nature and technology.

Wadhurst History Society. "The Story of the Crystal Palace." Wadhurst History Society, www.wadhursthistorysociety.org/the-story-of-the-crystal-palace/.

"The Victorian Language of Trees." Tales by Trees, www.talesbytrees.com/the-victorian-language-of-trees/.

"The Elm Trees of London." The Conservation Foundation, www.conservationfoundation.co.uk/the-elm-trees-of-london/.

Plate 10 ‘Dampier’s Clianth’, Paxton’s flower garden, by John Lindley and Joseph Paxton, London, Bradbury and Evans, 1850-1853. This botanical illustration, designated as Plate 10, offers a glimpse into the Victorian era's fervent fascination with the natural world, particularly the exotic flora brought to light through global exploration. The featured plant is Clianthus formosus, commonly known as Sturt's Desert Pea, an iconic Australian species whose striking aesthetic would have undoubtedly captured the imagination of audiences attending the Great Exhibition of 1851. The careful artistry is evident in the rendering of the plant's distinct features: the elongated, vibrant red blooms, each with a deep, almost black, "eye," contrasting beautifully with the delicate, blue-green leaves that trace the stems. The illustration is further enhanced by the fine details imparted by the hand of J. Swan, the artist, and the precision of C. Hullmandel, London, the printer, underscoring the skill involved in reproducing such intricate botanical imagery for a public eager to engage with the wonders of the natural world showcased at this pivotal moment in scientific discovery and cultural exchange. The Great Exhibition served as a platform for displaying such botanical marvels, fostering a sense of global awareness and contributing to the field of natural history during the Victorian period. Sir Joseph Paxton became captivated by the creation of a series of greenhouses to house tropical plants. As a result, he developed ridge and furrow roofs that would be at right angles to the morning and evening sun to progress these specimens whose cultivation was not naturally suited to the British climate.  

Frances Willis  "Flowers Fit for a Crystal Palace." Victoria and Albert Museum, [2021], https://www.vam.ac.uk/blog/museum-life/flowers-fit-for-a-crystal-palace. 

Swan, J. Clianthus Formosus. Printed by C. Hullmandel, Plate 10