Created by Caroline Brown on Thu, 02/13/2025 - 12:04
Description:
The Great Exhibition of 1851, held in London’s Crystal Palace, was a dazzling spectacle of human achievement, but nature, too, played a grand role in this display of innovation and empire. Within the cast iron and glass structure, designed by Joseph Paxton—himself a renowned horticulturist—an extraordinary array of flora and fauna from across the British Empire and beyond was assembled, showcasing both botanical beauty and scientific curiosity. From the moment visitors stepped inside, they were greeted by a breathtaking sight—towering trees, vibrant blossoms, and exotic ferns that seemed to defy the very structure of the exhibition. The centerpiece was a series of giant Victoria amazonica water lilies, a recent botanical marvel from the South American tropics. Their enormous floating leaves, broad enough to support a child’s weight, symbolized the expansion of British botanical exploration. Palm trees from the West Indies, fanning their fronds toward the glass ceiling, stood alongside the sculpted trunks of Indian banyan trees. Orchid displays from Ceylon (modern-day Sri Lanka) and Java infused the air with a delicate, almost intoxicating fragrance, while tea plants from China and coffee shrubs from Arabia reminded visitors of the Empire’s global reach. Paxton, who had previously nurtured the world’s first Victoria amazonica in England, ensured that the exhibition space itself functioned like an immense greenhouse. Ferns from New Zealand draped over ornamental rockeries, and exotic fruiting plants, such as pineapples and mangoes. stood in vibrant contrast to the more familiar English roses and foxgloves.
Booth Creation: Vegetation at The Great Exhibition Canva Creation, c. 2025, Caroline Brown. During the Victorian period (roughly 1837-1901), flowers were not merely decorative elements but were imbued with symbolic meaning that permeated various aspects of life from art and literature to social interactions. The rising middle class sought ways to express themselves within the rigid social constraints of the time, and floriography, the language of flowers, became a sophisticated means of communication. Botanical illustration flourished during this era, driven by scientific interest and aesthetic appreciation. Detailed and accurate depictions of plants were valued for both their educational and artistic merit. Flowers were exchanged as gifts, used in courtship rituals, and played a role in mourning practices. They served as silent communicators in a society that often prized restraint and decorum. Through this interactive case, we can better appreciate the intricate role of flowers and plant life in Victorian society, moving beyond simple aesthetics to uncover the rich layers of meanings they conveyed.
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 ten 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 marvels 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 cast 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 scents, 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, the building 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, 1850-53. 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, a testimony to 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 nurture 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