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The
Crystal Palace moves to Sydenham
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. . . the great result, the admirable and long-expected conclusion is, that in the centre of the 19th century, we suppose ourselves to have invented a new style of architecture, when we have magnified a conservatory! John Ruskin |
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The Illustrated London News, June 10, 1854, pp. 546-7. "The Crystal Palace, at Sydenham, as it will appear when completed." KSRL: G498 |
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On August 5, 1852 work had begun on re-erecting the building after it had been removed from Hyde Park to Sydenham, on the southern fringes of London. It was opened there by the Queen and Prince Albert on June 10, 1854. The "reconstruction" was in fact almost twice as long as the original, with one and a half times its cubic capacity. The building burned down in 1936, but the grounds remain as a venue for sporting events, rock concerts, and other recreational purposes. Any lingering hopes that the Exhibition would ring in a reign of international harmony had been shattered early in 1854 with the beginning of the Crimean War, involving Britain, Russia, Turkey, France, and Sardinia-Piedmont. |
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Samuel Phillips: Guide to the Crystal Palace and Park. London, Crystal Palace Library, 1854. KSRL: B4499 A volume made up of six of the "Official Handbook" series; this issue was prepared before the June 10, 1854, opening date. The Guide gives a short history of the translated building in Sydenham, with details of the ventilating and hot water heating systems, plus the need to sink a 570' Artesian well to supply the fountains and general water needs of the building. |
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John Ruskin, 1819-1900: The opening of the Crystal Palace considered in some of its relations to the prospects of art. London, Smith, Elder, 1854. KSRL: Ellis L16; Bequest of Ralph Nicholson Ellis |
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| "We suppose ourselves to have invented a new style of architecture, when we have magnified a conservatory!" After generally dismissive remarks about the architecture of the Sydenham Crystal Palace, Ruskin moves on to inveigh against irresponsible restoration (indeed, anything beyond essential repairs) of architectural and artistic patrimonies, and to appeal for the ongoing identification and protection of historic monuments. One of his major targets would have been Viollet-Le-Duc, who was working on the fortress city of Carcassonne and the cathedral of Notre Dame in Paris at about this time. | |
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