On May 1, 1851, Queen Victoria, accompanied by the Prince Consort, to whom must be given credit for the undertaking, with the royal family, the ministers of state, ambassadors, and a great throng of all who were famous in the United Kingdom, opened the Great Exhibition housed in the Crystal Palace, “that blazing arch of lucid glass.” A massed choir of a thousand voices—the Victorians loved massed choirs and massed orchestras—sang an ode composed by Tennyson, the Poet Laureate, in which they praised “the invisible, universal Lord,”
Who lets once more in peace the nations meet,
Where Science, Art and Labour have outpour'd
Their myriad horns of plenty at our feet.
The exhibition was off to a good start, and its success was phenomenal. Fourteen thousand exhibitors from all the leading nations of the world had brought the best they had of their wares. Six million visitors, brought to England by the new steamships and to London by the new railways, came to see the marvels displayed, and thought it all very wonderful. And it was wonderful; nothing like it had ever been seen before. It was the apotheosis of the Industrial Revolution. The Victorians believed in Progress; they had every reason to believe in it and the Crystal Palace was its outward and visible sign. The entrepreneurs, the manufacturers were entirely satisfied with things. Everything was for the best in the best of all possible worlds. God was in his heaven and all was right everywhere; or at least it was all right in Manchester where they made fortunes from cottons; and in the Black Country where, under the shadow of those “dark satanic mills” which had vexed the gentle soul of William Blake, they were making even greater fortunes.