INSERT INTO `wp_posts` VALUES (3456,58,'2013-10-14 12:01:18','2013-10-14 18:01:18','<p style=\"text-align: center\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/mary.jpg\"><img class=\"aligncenter size-medium wp-image-3438\" alt=\"mary\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/mary-189x300.jpg\" height=\"300\" /></a>\r\nmaryhttp://31.media.tumblr.com/tumblr_lhrvtvmdAg1qzdwano1_400.jpg</p>\r\nThe Vindication of the rights of woman by Mary Wollstonecraft was published in 1790.\r\nMary Wollstonecraft’s book was the first of its kind. Mary was also somewhat of an English radical. She was a woman trapped in a controlled man’s world, and denied her potential in society. During this time it was much unheard of a professional woman writer. According to Virgina Woolf, “The professional woman writer, the independent intellectual woman, was in fact an emerging species and Wollstonecraft played an important role in defining it.”(Woolf, p.102) Also, Kristen Osborn\'s views that, “The introduction sets out her view that neglect of girls’ education is largely to blame for the condition of adult women. They are treated as subordinate beings who care only about being attractive, elegant, and meek, they buy into this oppression, and they do not have the tools to vindicate their fundamental rights or the awareness that they are in such a condition.”(Osborne) Wollstonecraft’s over all influence on feminist scholarship is why this book should be saved for preservation.<!--more-->\r\n\r\nThis book was not typical of its era. It was considered to be very distasteful. “In the first chapter Wollstonecraft promotes reason and rationality and discusses the deleterious effects of absolute, arbitrary political power and the vices associated with riches and hereditary honors.” (Osborne) This work was not received well at all during its time. This was a book against all that woman had been taught and how they were raised, it was strongly against their trained morals of the time. “Women\'s confinement in the home and inability to participate in the public sphere results in their insipidness and pettiness. Wollstonecraft wants to inspire a \"revolution in female manners.\"”(Osborne) “They tend to cultivate weakness and artificiality to appear pleasing to others. They are seldom independent and tend not to exercise reason.” (Osborne)\r\n\r\nAnother book that Mary Wollstonecraft wrote had to do with attack on the French Revolution Convention. “In 1789 the Bastille had fallen; in 1790 Edmund Burke published his notorious attack on the French revolutionary Convention which outraged all the English radicals, including Mary Wollstonecraft” (Wollstonecraft, sec. xi) “This is what causes Mary to write a refutation. To which she wrote her “Vindication of the Rights of Men. Which became an immediate success; its author a new literary lioness.”(Wollstonecraft, xi) This book is what put Mary in the top elite writers.\r\n\r\nPeople today except and cherish Mary Wollstonecraft books. Today it is an exceptional piece of literature. The book is widely accepted by a wide array of people. Women have a whole lot more rights today than they did back then. Women are allowed to be free from the ways of the past. Also, woman can work and do as they please and be accepted in today\'s society.\r\n\r\nMy personal reaction to this book is I strongly agree. It is a new day from the past. Woman have fought and died for the freedoms that all woman have today. Women have the right to vote, to have their voices heard. Women are proving that any job a man can do they can do too. Women have come a long way from the 1790’s.\r\n\r\nThere were several different types of work during this time. Here are a few of the books that were published at the same time to give you an idea of what people were reading: “The Monk (Paperback) by Matthew Gregory Lewis is about “Dreams, magic terrors, spells of mighty power,Witches, and ghosts who rove at midnight hour.”(Gutenberg). Another book was Lady Susan (Paperback) by Jane Austen is about “a stunningly beautiful widow in her upper thirties, has just been sent packing from the home of a family she had spent some months with, having been discovered carrying on a flagrant affair with the husband of the family, right under his wife\'s nose.”(Austen) Songs of Innocence and of Experience (Paperback) by William Blake was about “The publication of Songs of Innocence began his series of “Illuminated Books,” in which Blake combined text and visual artwork to achieve his poetic effect. Blake always intended the poems of Songs of Innocence to be accompanied by their respective illustrations, making analysis of the texts alone problematic at times.”(Gordon) So you can see Wollstonecraft’s book was very different than anything being published of its time.\r\n\r\nThis book is very significant for the future generations. The future generations must learn of the past trials and tribulations of the past. Until all bans on people’s rights and freedoms no matter what your race, gender, age are lifted people will not really be free to live a free life.\r\n\r\nWork Cited\r\nWollstonecraft, Mary. A Vindication of the Rights of Woman. New York: Alfred A. Knopf, Inc, 1992. Print.\r\nVirginia Woolf, “Mary Wollstonecraft” in her woman and writing, 1979, p.102\r\nOsborne, Kristen. Kissel, Adam ed. \"A Vindication of the Rights of Woman Summary\". GradeSaver, 31 March 2012 Web. 9 October 2013.\r\nGordon, Todd. Wang, Bella ed. \"Songs of Innocence and of Experience Summary\". GradeSaver, 31 May 2011 Web. 14 October 2013.\r\n\"Popular 1790s Books.\" Popular 1790s Books. N.p., n.d. Web. 14 Oct. 2013.\r\nhttp://www.gutenberg.org/catalog/world/readfile?fk_files=3273994&amp;pageno=1\r\n\"Lady Susan.\" By Jane Austen. Search EText, Read Online, Study, Discuss. N.p., n.d. Web. 14 Oct. 2013.','The Vindication of the Rights of Woman','','inherit','open','open','','3426-revision-v1','','','2013-10-14 12:01:18','2013-10-14 18:01:18','',3426,'http://jeanatacc.com/2011/?p=3456',0,'revision','',0),(3457,80,'2013-10-14 12:01:31','2013-10-14 18:01:31','[youtube]<a href=\"http://www.youtube.com/watch?v=8OZCyp-LcGw\">http://www.youtube.com/watch?v=8OZCyp-LcGw</a>[/youtube]\r\n\r\nAs it has been called a “comedy with music” this is known for one of the finest Italian comic operas. The underlying and social implications of this story, this is one of Mozart’s most inspired operas. This should be preserved, as Mozart used the emotional power of music to translate his understanding of humanity.\r\n\r\nItalian opera was superior in Europe, where fairy-tale themes serving to the glorified princes. Mozart did not like the operas as he felt they would hold back the drama. He wanted to make an opera with real situations and everyday modern problems. In 1786 Mozart decided to write music to The Marriage of Figaro. In this story line servants have the same right as their masters, and with Mozart’s music it helped with the story’s underlying sarcasm. It contains delightful music that expresses high-quality humor as well as a delicate proposition of the story’s intriguing and unfair and dishonest practices.\r\n\r\n&nbsp;\r\n\r\nTo understand this piece here is a quick Synopsis of the opera. The Marriage of Figaro continues the plot of The Barber of Seville several years later, and recounts a single \"day of madness\" (<i>la folle giornata</i>) in the palace of Count Almaviva in Spain. Rosina is now the Countess; Dr. Bartolo is seeking revenge against Figaro, as he plans to marry Rosina himself; yet Count Almaviva has declined the romantic youth of <i>Barber</i>. After giving Figaro a job as head of his servant-staff, he is now determined to obtain favors from Figaro\'s bride-to-be, Susanna. However; Count keeps giving excuse after excuse to delay the wedding of his two servants, which is arranged for marriage this very day. Figaro, Susanna, and Countess plot for a way to humiliate Count and expose his plan.  But when Count is exposed, he rebels by trying to force Figaro to marry an older woman who could be his mother. This threat turns out not working since the woman he chose ended up being his mother. Count\'s love for Countess was re-established after Figaro\'s and Susanna\'s quick management.\r\n\r\n&nbsp;\r\n\r\nThe upper class was surprised that they were not flattered. They refused to attend any of Mozart’s concerts.  The Emperor felt it was too long and that was why they did not like it.  The other composer loved his work yet, said it was not very good because they were jealous. Watch this small clip from the movie Amadeus where it shows Mozart conducting the Marriage of Figaro, you see the Emperor yawning and other composers smiling and listen to what the other composer says.\r\n\r\n[youtube]<a href=\"http://www.youtube.com/watch?v=tTfiboMetpY\">http://www.youtube.com/watch?v=tTfiboMetpY</a>[/youtube]\r\n\r\n&nbsp;\r\n\r\nYou can see Mozart’s feelings in his music by listening to the music. Listen to the way the music moves really slow and you can feel the tension in his music as he is in the depressed state, at the same time the music switches to quick, upbeat, and fast paced while his mood switches to a happier and wittier Mozart. After time Mozart becomes broke and depressed; he becomes sick and has to borrow money from his friends. When the modern opera did not go as plan he continues borrowing money and eventually dies at the age of 35. But when asked today how people feel about this piece, it shows by all the different times this piece has been recreated as this opera is readily accepted in today’s world than before.\r\n\r\n&nbsp;\r\n\r\nCited work\r\n\r\n\"Wolfgang Amadeus Mozart.\" <i>Films On Demand</i>. Films Media Group, 1998. Web. 14 Oct. 2013. &lt;http://digital.films.com/PortalPlaylists.aspx?aid=17517&amp;xtid=29999&gt;.\r\n\r\n<a id=\"linkMozartWolfgangAmadeus\" title=\"Search for Mozart, Wolfgang Amadeus\" href=\"__doLinkPostBack(\'\',\'ss%7E%7EAR%20%22Mozart%2C%20Wolfgang%20Amadeus%22%7C%7Csl%7E%7Erl\',\'\');\">Mozart, Wolfgang Amadeus</a><a id=\"linkFisherBurtonD.\" title=\"Search for Fisher, Burton D.\" href=\"__doLinkPostBack(\'\',\'ss%7E%7EAR%20%22Fisher%2C%20Burton%20D%2E%22%7C%7Csl%7E%7Erl\',\'\');\">Fisher, Burton D.</a>In Marriage of Figaro.Coral Gables, Fla : Opera Journeys. 2001\r\n\r\n&nbsp;\r\n\r\n&nbsp;','The Marriage of Figaro ','','inherit','open','open','','3420-revision-v1','','','2013-10-14 12:01:31','2013-10-14 18:01:31','',3420,'http://jeanatacc.com/2011/?p=3457',0,'revision','',0),(1922,1,'2011-10-21 11:07:03','2011-10-21 17:07:03','<p style=\"text-align: center;\" dir=\"LTR\" align=\"LEFT\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan.jpg\"><img class=\"size-medium wp-image-1919 aligncenter\" title=\"EssayOnMan\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan-188x300.jpg\" alt=\"\" width=\"188\" height=\"300\" /></a>http://www.english-e-corner.com/britishliterature/contents/Enlightenment2/EssayOnMan.jpg</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ALEXANDER POPES</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ESSAY ON MAN</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope (21 May 1688 – 30 May 1744) was a poet in england during the 18th century. Pope is regarded as one of the brilliant minds of his time. He is most famously attributed with his work on early author Homer. Alexander is also famous for being the “third-most quoted writer behind Shakespeare and the poet Tennyson.” The works of Pope have out lasted the test of time, tho it is true that many people do not recall or identify the works of pope, everyone comes across them at one point. Although <span style=\"text-decoration: underline;\">Essay of Man</span> was a masterpiece that came later in his life, Pope has always been a man of the written word. Whether it was his work on the translation of Homer, Popes <span style=\"text-decoration: underline;\">Essay on Criticism</span>, his <span style=\"text-decoration: underline;\">Twickenham and the Grotto</span>, or even his Editions of Shakespeare works Pope was a true visionary.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> is a historic piece that could not be replaced if lost. That is why it must be preserved for all time for the people of the present to look back on as a ground breaking poem, but also for the people of the future to show them the ideas of ethics of humanity of people in the past. Popes <span style=\"text-decoration: underline;\">Essay of Man</span> “is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centerpiece of a proposed system of ethics that was to be put forth in poetic form” (Nuttal,1). The poem is in a close resemblance to Milton’s <span style=\"text-decoration: underline;\">Paradise Lost</span> in both of there ideas of God and Man. Pope “attempts to vindicate the ways of God and man” “it makes an assumption that man has fallen and must seek his own salvation”(Nuttal,2) while Milton attempts to “justify the ways of God to Man” (1.26) which dealt more with the fall of Satan and the temptation of Adam and Eve.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> consists of four epistles which presented his view of the universe, he says that “no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God”(Nuttle,1). To humans it appears to be evil and imperfect in many ways but to Pope it is due largely to the minds and the brain power of people and there comprehension of the un-known. Pope goes on to tell about the peoples place in his idea, he describes it as “Great Chain of Being” this being the  “middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives” his belief that if people could understand his ideas of the difference between God and Man the people of the world could possible live better lives. As in that man is in the “stage between angels and beasts” Popes belief is that if man better understood they would no longer be living there life’s in the middle of angels and beast, man would be closer to the stage of the angels and no longer be stuck in the middle. The fact that this poet had these ideas and beliefs so long ago is a surprise to many, when people read The <span style=\"text-decoration: underline;\">Essay of Man</span> they are astonished on how well thought out and how fascinating Popes ideas are. This to me is another reason this work should be preserves for all time. People of today and people of the future can look back on this work and learn from it, whether it be a new look on life, an new idea on religion, or just as a poetic masterpiece. Popes essay is one of the poetic pieces that has a deeper meaning, from starting of as a letter to  Lord Bolingbroke and was transformed into a religious/life outlook.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">WORK CITED</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Essay on Man-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://www.gutenberg.org/files/2428/2428-h/2428-h.htm</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://en.wikipedia.org/wiki/Alexander_Pope#cite_note-Nuttal_1984-12</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Popes Essay</p>\r\n<p dir=\"LTR\" align=\"LEFT\">- http://theotherpages.org/poems/pope-i.html</p>\r\n<p dir=\"LTR\" align=\"LEFT\">An Essay on Man Poem-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://classiclit.about.com/od/essayonmanapope/a/aa_essayonman_e1.htm</p>','Pope\'s Essay on Man','','inherit','open','open','','1846-revision-3','','','2011-10-21 11:07:03','2011-10-21 17:07:03','',1846,'http://jeanatacc.com/2011/?p=1922',0,'revision','',0),(1921,1,'2011-10-21 11:06:22','2011-10-21 17:06:22','<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p style=\"text-align: center;\" dir=\"LTR\" align=\"LEFT\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan.jpg\"><img class=\"size-medium wp-image-1919 aligncenter\" title=\"EssayOnMan\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan-188x300.jpg\" alt=\"\" width=\"188\" height=\"300\" /></a>http://www.english-e-corner.com/britishliterature/contents/Enlightenment2/EssayOnMan.jpg</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ALEXANDER POPES</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ESSAY ON MAN</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><span style=\"font-size: large;\">Alexander Pope (21 May 1688 – 30 May 1744) was a poet in england during the 18th century. Pope is regarded as one of the brilliant minds of his time. He is most famously attributed with his work on early author Homer. Alexander is also famous for being the “third-most quoted writer behind Shakespeare and the poet Tennyson.” The works of Pope have out lasted the test of time, tho it is true that many people do not recall or identify the works of pope, everyone comes across them at one point. Although <span style=\"text-decoration: underline;\">Essay of Man</span> was a masterpiece that came later in his life, Pope has always been a man of the written word. Whether it was his work on the translation of Homer, Popes <span style=\"text-decoration: underline;\">Essay on Criticism</span>, his <span style=\"text-decoration: underline;\">Twickenham and the Grotto</span>, or even his Editions of Shakespeare works Pope was a true visionary.</span></p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> is a historic piece that could not be replaced if lost. That is why it must be preserved for all time for the people of the present to look back on as a ground breaking poem, but also for the people of the future to show them the ideas of ethics of humanity of people in the past. Popes <span style=\"text-decoration: underline;\">Essay of Man</span> “is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centerpiece of a proposed system of ethics that was to be put forth in poetic form” (Nuttal,1). The poem is in a close resemblance to Milton’s <span style=\"text-decoration: underline;\">Paradise Lost</span> in both of there ideas of God and Man. Pope “attempts to vindicate the ways of God and man” “it makes an assumption that man has fallen and must seek his own salvation”(Nuttal,2) while Milton attempts to “justify the ways of God to Man” (1.26) which dealt more with the fall of Satan and the temptation of Adam and Eve.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> consists of four epistles which presented his view of the universe, he says that “no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God”(Nuttle,1). To humans it appears to be evil and imperfect in many ways but to Pope it is due largely to the minds and the brain power of people and there comprehension of the un-known. Pope goes on to tell about the peoples place in his idea, he describes it as “Great Chain of Being” this being the  “middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives” his belief that if people could understand his ideas of the difference between God and Man the people of the world could possible live better lives. As in that man is in the “stage between angels and beasts” Popes belief is that if man better understood they would no longer be living there life’s in the middle of angels and beast, man would be closer to the stage of the angels and no longer be stuck in the middle. The fact that this poet had these ideas and beliefs so long ago is a surprise to many, when people read The <span style=\"text-decoration: underline;\">Essay of Man</span> they are astonished on how well thought out and how fascinating Popes ideas are. This to me is another reason this work should be preserves for all time. People of today and people of the future can look back on this work and learn from it, whether it be a new look on life, an new idea on religion, or just as a poetic masterpiece. Popes essay is one of the poetic pieces that has a deeper meaning, from starting of as a letter to  Lord Bolingbroke and was transformed into a religious/life outlook.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">WORK CITED</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Essay on Man-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://www.gutenberg.org/files/2428/2428-h/2428-h.htm</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://en.wikipedia.org/wiki/Alexander_Pope#cite_note-Nuttal_1984-12</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Popes Essay</p>\r\n<p dir=\"LTR\" align=\"LEFT\">- http://theotherpages.org/poems/pope-i.html</p>\r\n<p dir=\"LTR\" align=\"LEFT\">An Essay on Man Poem-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://classiclit.about.com/od/essayonmanapope/a/aa_essayonman_e1.htm</p>','Pope\'s Essay on Man','','inherit','open','open','','1846-revision-2','','','2011-10-21 11:06:22','2011-10-21 17:06:22','',1846,'http://jeanatacc.com/2011/?p=1921',0,'revision','',0),(1923,1,'2011-10-21 11:11:02','2011-10-21 17:11:02','<p style=\"text-align: center;\" dir=\"LTR\" align=\"LEFT\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan.jpg\"><img class=\"size-medium wp-image-1919 aligncenter\" title=\"EssayOnMan\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan-188x300.jpg\" alt=\"\" width=\"188\" height=\"300\" /></a>http://www.english-e-corner.com/britishliterature/contents/Enlightenment2/EssayOnMan.jpg</p>\n<p dir=\"LTR\" align=\"CENTER\">ALEXANDER POPES</p>\n<p dir=\"LTR\" align=\"CENTER\">ESSAY ON MAN</p>\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope (21 May 1688 – 30 May 1744) was a poet in england during the 18th century. Pope is regarded as one of the brilliant minds of his time. He is most famously attributed with his work on early author Homer. Alexander is also famous for being the “third-most quoted writer behind Shakespeare and the poet Tennyson.” The works of Pope have out lasted the test of time, tho it is true that many people do not recall or identify the works of pope, everyone comes across them at one point. Although <span style=\"text-decoration: underline;\">Essay of Man</span> was a masterpiece that came later in his life, Pope has always been a man of the written word. Whether it was his work on the translation of Homer, Popes <span style=\"text-decoration: underline;\">Essay on Criticism</span>, his <span style=\"text-decoration: underline;\">Twickenham and the Grotto</span>, or even his Editions of Shakespeare works Pope was a true visionary.</p>\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> is a historic piece that could not be replaced if lost. That is why it must be preserved for all time for the people of the present to look back on as a ground breaking poem, but also for the people of the future to show them the ideas of ethics of humanity of people in the past. Popes <span style=\"text-decoration: underline;\">Essay of Man</span> “is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centerpiece of a proposed system of ethics that was to be put forth in poetic form” (Nuttal,1). The poem is in a close resemblance to Milton’s <span style=\"text-decoration: underline;\">Paradise Lost</span> in both of there ideas of God and Man. Pope “attempts to vindicate the ways of God and man” “it makes an assumption that man has fallen and must seek his own salvation”(Nuttal,2) while Milton attempts to “justify the ways of God to Man” (1.26) which dealt more with the fall of Satan and the temptation of Adam and Eve.</p>\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> consists of four epistles which presented his view of the universe, he says that “no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God”(Nuttle,1). To humans it appears to be evil and imperfect in many ways but to Pope it is due largely to the minds and the brain power of people and there comprehension of the un-known. Pope goes on to tell about the peoples place in his idea, he describes it as “Great Chain of Being” this being the  “middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives” his belief that if people could understand his ideas of the difference between God and Man the people of the world could possible live better lives. As in that man is in the “stage between angels and beasts” Popes belief is that if man better understood they would no longer be living there life’s in the middle of angels and beast, man would be closer to the stage of the angels and no longer be stuck in the middle. The fact that this poet had these ideas and beliefs so long ago is a surprise to many, when people read The <span style=\"text-decoration: underline;\">Essay of Man</span> they are astonished on how well thought out and how fascinating Popes ideas are. This to me is another reason this work should be preserves for all time. People of today and people of the future can look back on this work and learn from it, whether it be a new look on life, an new idea on religion, or just as a poetic masterpiece. Popes essay is one of the poetic pieces that has a deeper meaning, from starting of as a letter to  Lord Bolingbroke and was transformed into a religious/life outlook.</p>\n<p dir=\"LTR\" align=\"CENTER\">WORK CITED</p>\n<p dir=\"LTR\" align=\"LEFT\">Essay on Man-</p>\n<p dir=\"LTR\" align=\"LEFT\">http://www.gutenberg.org/files/2428/2428-h/2428-h.htm</p>\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope-</p>\n<p dir=\"LTR\" align=\"LEFT\">http://en.wikipedia.org/wiki/Alexander_Pope#cite_note-Nuttal_1984-12</p>\n<p dir=\"LTR\" align=\"LEFT\">Popes Essay</p>\n<p dir=\"LTR\" align=\"LEFT\">- http://theotherpages.org/poems/pope-i.html</p>\n<p dir=\"LTR\" align=\"LEFT\">An Essay on Man Poem-</p>\n<p dir=\"LTR\" align=\"LEFT\">http://classiclit.about.com/od/essayonmanapope/a/aa_essayonman_e1.htm</p>','Pope\'s Essay on Man','','inherit','open','open','','1846-autosave','','','2011-10-21 11:11:02','2011-10-21 17:11:02','',1846,'http://jeanatacc.com/2011/?p=1923',0,'revision','',0),(1924,1,'2011-10-21 11:07:37','2011-10-21 17:07:37','<p style=\"text-align: center;\" dir=\"LTR\" align=\"LEFT\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan.jpg\"><img class=\"size-medium wp-image-1919 aligncenter\" title=\"EssayOnMan\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/EssayOnMan-188x300.jpg\" alt=\"\" width=\"188\" height=\"300\" /></a>http://www.english-e-corner.com/britishliterature/contents/Enlightenment2/EssayOnMan.jpg</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ALEXANDER POPES</p>\r\n<p dir=\"LTR\" align=\"CENTER\">ESSAY ON MAN</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope (21 May 1688 – 30 May 1744) was a poet in england during the 18th century. Pope is regarded as one of the brilliant minds of his time. He is most famously attributed with his work on early author Homer. Alexander is also famous for being the “third-most quoted writer behind Shakespeare and the poet Tennyson.” The works of Pope have out lasted the test of time, tho it is true that many people do not recall or identify the works of pope, everyone comes across them at one point. Although <span style=\"text-decoration: underline;\">Essay of Man</span> was a masterpiece that came later in his life, Pope has always been a man of the written word. Whether it was his work on the translation of Homer, Popes <span style=\"text-decoration: underline;\">Essay on Criticism</span>, his <span style=\"text-decoration: underline;\">Twickenham and the Grotto</span>, or even his Editions of Shakespeare works Pope was a true visionary.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> is a historic piece that could not be replaced if lost. That is why it must be preserved for all time for the people of the present to look back on as a ground breaking poem, but also for the people of the future to show them the ideas of ethics of humanity of people in the past. Popes <span style=\"text-decoration: underline;\">Essay of Man</span> “is a philosophical poem, written in heroic couplets and published between 1732 and 1734. Pope intended this poem to be the centerpiece of a proposed system of ethics that was to be put forth in poetic form” (Nuttal,1). The poem is in a close resemblance to Milton’s <span style=\"text-decoration: underline;\">Paradise Lost</span> in both of there ideas of God and Man. Pope “attempts to vindicate the ways of God and man” “it makes an assumption that man has fallen and must seek his own salvation”(Nuttal,2) while Milton attempts to “justify the ways of God to Man” (1.26) which dealt more with the fall of Satan and the temptation of Adam and Eve.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The <span style=\"text-decoration: underline;\">Essay of Man</span> consists of four epistles which presented his view of the universe, he says that “no matter how imperfect, complex, inscrutable and disturbing the Universe appears to be, it functions in a rational fashion according to the natural laws. The natural laws consider the Universe as a whole a perfect work of God”(Nuttle,1). To humans it appears to be evil and imperfect in many ways but to Pope it is due largely to the minds and the brain power of people and there comprehension of the un-known. Pope goes on to tell about the peoples place in his idea, he describes it as “Great Chain of Being” this being the  “middle stage between the angels and the beasts of the world. If we are able to accomplish this then we potentially could lead happy and virtuous lives” his belief that if people could understand his ideas of the difference between God and Man the people of the world could possible live better lives. As in that man is in the “stage between angels and beasts” Popes belief is that if man better understood they would no longer be living there life’s in the middle of angels and beast, man would be closer to the stage of the angels and no longer be stuck in the middle. The fact that this poet had these ideas and beliefs so long ago is a surprise to many, when people read The <span style=\"text-decoration: underline;\">Essay of Man</span> they are astonished on how well thought out and how fascinating Popes ideas are. This to me is another reason this work should be preserves for all time. People of today and people of the future can look back on this work and learn from it, whether it be a new look on life, an new idea on religion, or just as a poetic masterpiece. Popes essay is one of the poetic pieces that has a deeper meaning, from starting of as a letter to  Lord Bolingbroke and was transformed into a religious/life outlook.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">WORK CITED</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Essay on Man-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://www.gutenberg.org/files/2428/2428-h/2428-h.htm</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Alexander Pope-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://en.wikipedia.org/wiki/Alexander_Pope#cite_note-Nuttal_1984-12</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Popes Essay</p>\r\n<p dir=\"LTR\" align=\"LEFT\">- http://theotherpages.org/poems/pope-i.html</p>\r\n<p dir=\"LTR\" align=\"LEFT\">An Essay on Man Poem-</p>\r\n<p dir=\"LTR\" align=\"LEFT\">http://classiclit.about.com/od/essayonmanapope/a/aa_essayonman_e1.htm</p>','Pope\'s Essay on Man','','inherit','open','open','','1846-revision-4','','','2011-10-21 11:07:37','2011-10-21 17:07:37','',1846,'http://jeanatacc.com/2011/?p=1924',0,'revision','',0),(1941,42,'2011-10-30 18:46:16','2011-10-31 00:46:16','','CPConstruction','','inherit','open','open','','cpconstruction','','','2011-10-30 18:46:16','2011-10-31 00:46:16','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction.jpg',0,'attachment','image/jpeg',0),(2062,49,'2011-11-09 21:28:37','2011-11-10 03:28:37','<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/SWAN-LAKE-PIC.jpg\"><img class=\"alignleft size-thumbnail wp-image-2063\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/11/SWAN-LAKE-PIC-150x150.jpg\" alt=\"\" width=\"150\" height=\"150\" /></a>Tchaikovsky’s Swan Lake\r\n\r\n<a href=\"http://www.teachwithmovies.org/guides/swan-lake.html\">http://www.teachwithmovies.org/guides/swan-lake.html</a>\r\n\r\nSwan Lake is a monumental ballet composed in 1875 that was the center stage of Romantic ballet. While telling the story of the beautiful Swan Princess Odette, this ballet is able to show the innovations in theatrical effects and its showcase of new styles such as pointe shoe dancing.<!--more-->\r\n\r\nCommissioned by Vladmir Petrovich Begichev of the Russian Imperial Theatres(1), it was very unsuccessful in its first running. It wasn’t until famous choreographers Petipa and Ivanov’s revision did the ballet become what it destined to be, a raging hit. The modern Swan Lake is based on the revision.\r\nSwan Lake is about Princess Odette who is turned into a swan by the evil Sorcerer Rothbart who is both part Swan and human. After her imprisonment, the handsome Prince Siegfried goes on a hunting trip and sees the beautiful Odette who is only able to become human again during the night. He instantly falls in love. Odette explains to him that only when a man vows true love to her will the spell be broken. He invites her to his birthday party where he plans on vowing his love to her. Aware of his plans, Rothbart send his daughter, the Black Swan in her place. On accident, he vows his love to the black swan and Odette is distraught. Realizing what he’s done, he flees to the lake and tells Odette that he would rather be dead the vow his love to someone else. They then recede into the lake together and the ballet ends.\r\n\r\nSwan Lake is a Romantic Era ballet and it lives up to the characteristics of its time. The previous Classical Era was all about restraint and restriction. The Romantic era was the complete opposite with creativity and imagination greatly encouraged. “The heroine of romantic ballets symbolized the elusive ideas and love and beauty that were a favorite subject of the romantic poet.”(3) Most of these ballets centered around the angelic female and the ideal romantic ballerina was a version of the eternal female. A main component of the romantic style is the fixation of the supernatural. This includes Rothbart and Odette being turned into a swan. Many of the ballets and artworks during this period shed light from eternal beings and folk tales. Swan Lake was composed based on Russian mythology. Also, eternal love was a common theme. Dancing en pointe was also popular during this time period. “It was perhaps Marie Taglioni who, at the height of the Romantic Era, developed the aesthetic beauty of pointe work, which enabled her to appear ethereal and weightless.”(4) This weightlessness along with new gaslight theatre lighting helped create beautiful scenes where the ballerina actually appears to “float”.\r\n\r\nDuring the time of its first running, Swan Lake had great difficulty and wasn’t very popular. The music was thought to be very difficult to dance to. The original choreographer, Julius Reisinger, required demanding physical skill from his dancers to perform flawlessly. It was even said that “The prestige with performing Swan Lake flawlessly was invaluable.”- Unknown. The revised version we see today is fantastic. It has been performed and adapted by ballet troupes for almost 150 years.\r\n\r\nI have never seen Swan Lake personally but the clips that I have been able to find are fascinating. The ballerina’s are so fluid and graceful. It makes sense though because they are portraying swans. Like the Romantic era, women dominate the roles with just two men, the sorcerer Rothbart and Prince Siegfried. The dances are beautiful and I think future generations should be able to see Romantic ballet at its best.\r\n\r\nWorks Cited\r\n1. \"A Profile of Swan Lake: The History of Swan Lake.\" Classical Music at About.com - Classical Music for Beginners and Experts Alike. Web. 29 Oct. 2011. .\r\n\r\n2. \"Swan Lake Story | English National Ballet.\" English National Ballet - The Home of Ballet. Web. 29 Oct. 2011. .\r\n\r\n3. http://www.youtube.com/watch?v=gkzf9sYQYJc&amp;feature=related\r\n\r\n4. \"To The Pointe -- A Brief History of the Pointe Shoe.\" Parke Family Web Site. Web. 09 Nov. 2011. .','Tchaikovsky\'s Swan Lake','','publish','open','open','','tchaikovskys-swan-lake','','','2011-11-11 16:20:10','2011-11-11 22:20:10','',0,'http://jeanatacc.com/2011/?p=2062',0,'post','',7),(1928,48,'2011-10-23 11:56:05','2011-10-23 17:56:05','[caption id=\"attachment_1850\" align=\"aligncenter\" width=\"300\" caption=\"Hell&#039;s Kitchen presents The Last Supper!\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo.jpg\"><img class=\"size-medium wp-image-1850\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>[/caption]\n<p style=\"text-align: center\"> http://l.yimg.com/l/tv/us/img/site/94/20/0000039420_20070501155204.jpg</p>\n&nbsp;\n\n&nbsp;\n\nOver the course of his illustrious career, Tintoretto painted\nexactly eight versions of the famous Last Supper, the first one in\n1547, while the last painting was begun in 1591 and finished in 1594,\nthe same year that Tintoretto died. The bulk of these paintings may\nstill be viewed today, as all but a single one remain in Venice.\nAlmost everyone the world over is familiar with the imagery of the\nlast supper, where Jesus and his apostles are sharing the last meal\nthat they will have together. Judas plots the demise of his master,\nwhile Jesus instructs his followers to eat of his flesh and drink of\nhis blood while offering bread and wine for the rite of\ntransubstantiation. <!--more-->Tintoretto painted during the burgeoning\nrenaissance, and was even apprenticed to the great master Titian, who\nre-invented the nude as an art form with his work \'The Venice of\nUrbino\', which is still heralded even today as a timeless piece. \"The\ncentury that began with Bellini and Giorgione is [closing]. Titian,\nthe colossus, has long been buried in the church of the Frari, and\nVeronese, the last legitimate competitor, has been dead for three\nyears; thus Tintoretto, thanks not only to talent, ambition, and\nprodigious energy, but to the brute facts of attrition and survival,\nfinds himself in the role of Venice\'s leading artist” (Hahn 200).\nTintoretto’s Last Supper should without any doubt be preserved just\nfor the legacy that Tintoretto left, but also because his obsession\nwith this particular image and the fact that he continued to work on\nit over the course of his entire career suggests that the artist was\nespecially close to the story and ideas behind the Last Supper.\n\nIt takes almost no skill or knowledge to equate the intense\nreligious message portrayed in The Last Supper with classical art.\nPractically everyone is familiar in one way or another with Leonardo\nDa Vinci\'s painting of the subject, which is still just as eagerly\ndeciphered for its symbology today as his other immortal work, the\nMona Lisa. In the subject matter Tintoretto selected, he was very much\nfollowing the fad of the times, since historical works of art as well\nas those containing religious or mythological subject matter were in\nthe highest of demand. One of Tintoretto\'s peers, the sculptor\nDonatello, portrayed the biblical story of Judith and Holofernes as\none of his works. Michelangelo sculpted the David that still rivets\nour imagination even today. According to the Italian style of\npainting, Tintoretto\'s images are carefully composed, with painstaking\nattention paid to the details of the arrangement, and the mathematical\nproportions of each figure in relation to the room. Humanism was a\nprevalent school of thought at the time, defined as any viewpoint that\nis human-centered. \"Second-generation humanists felt it their duty to\nactively contribute to civic life, resurrecting the classical age\'s\nrepublican ideals along with its literary sensibilities. At the same\ntime, artists showed a new interest in realistic representations of\nthe human body, as seen in the works of Michelangelo. Humanistic\nvalues spread rapidly among the elite, including women scholars like\nAlessandra Scala and Isotta Nogarola” (Boucquey).\n\nIt is only in his technique that Tintoretto towers above his\ncontemporaries. Although the act of setting up a miniature model to\nhelp guide an artist through properly translating the image they\ndesire was not unheard of, it is this practice which gave Tintoretto\nthe ability to create such life-like detail in his paintings. \"The\ncharacteristic qualities of his works—a wonderfully dramatic sense of\nmovement, space, and lighting—were in part aided by his use of small\nwax models which he grouped inside a box to create a stage-like\nsetting, changing the figures, lighting, and setting to explore\ndifferent effects” ( Hutchinson ). Among the artists who used this\nparticular method of preparing their paintings, Tintoretto was\nconsidered possibly the most brilliant of them all, and was capable of\nextracting amazing detail. Tintoretto was also among those who used\nmannerism to break away from the traditional style of the time.\n\"Mannerism [was] a style in art and architecture (c.1520–1600),\noriginating in Italy as a reaction against the equilibrium of form and\nproportions characteristic of the High Renaissance. Mannerists devised\ncompositions in which they deliberately confused scale and spatial\nrelationships between figures, crowding them into the picture plane.\nOften strange tunnel-like spaces were created, as in the works of\nTintoretto and El Greco. Lighting became harsh, and coloring tended to\nbe acrimonious. The mannerists devised sophisticated and obscure\nallegories” (Mannerism).\n\nEven though there are those who look down at Tintoretto for\nchoosing to work in the mannerist style, as well as those who would\nlike to claim that the works of Titian eclipse Tintoretto, whom was at\nodds with his former mentor, there is no denying that Tintoretto was\nacknowledged for his greatness practically within his lifetime. Only a\nfew decades after Tintoretto\'s death at the turn of the century,\nWilliam Blake was partial to Tintoretto\'s paintings and made a point\nto study them along with the works of masters like Michelangelo and\nDonatello. \"Although he adhered to tempera, Blake had seen and been\nmoved by exhibitions of European oils including works by...Titian,\nMichelangelo, and Tintoretto at several London galleries, and his work\nshowed their painterly influence, especially in his use of\nperspective” (Heims). A century after that Yeats had glowing words of\npraise for Tintoretto, even though he uses a work by Tintoretto to\nshow how an image can never tell a story as fully as words. Yeats\nillustrates his point with Tintoretto\'s painting Origin of the Milky\nWay (ca. 1577): \"A hundred generations might write out what seemed the\nmeaning of the one, and they would write different meanings, for no\nsymbol tells all its meaning to any generation; but when you have\nsaid, \'That woman there is Juno, and the milk out of her breast is\nmaking the Milky Way,\' you have told the meaning of the other, and the\nfine painting, which has added so much irrelevant beauty, has not told\nit better” (qtd in Harper).\n\nMore modern reviews of Tintoretto’s work seem to have equally\nkind words, remarking that,\"The style is spontaneous, and the\norganization seems no less inspired. More intuitive Italian rational,\nmore interested in motion and impact than order and logic, his designs\naim to immerse us in their actions, involving us psychologically and\nviscerally” (Hahn). In a rare example of coherency throughout the\nages, the works of this particular artist seem to be found as\ninspiring and entrancing now as they were during the years shortly\nafter his career ended. It is probably a monument to the way\nTintoretto broke away from the conventional style of the renaissance\nby taking part in the mannerist movement that his works stand so far\napart from those that are considered masters of the time while still\nbeing considered masterful in their own right.\n\nWhen I saw this piece I fell immediately in love with the\nintricately rendered details and the way that Tintoretto has invited\nus into the same space that Jesus occupies. The apostles and their\nmaster sit at a table that seems to recede back into the shadowy room\nof a simple inn. Servants go about their business in the foreground,\nand the meal appears to be winding to a close. A single candle\nilluminates the room, with the ghostly suggestion of angels projecting\nfrom the flame to represent the presence of the holy ghost. Compared\nto the usual paintings of the renaissance, Tintoretto’s style seems\nmore moving and realistic, as if he wanted to draw the viewer in with\nthe believability of the scene, then keep them there with all the\nsubtle iconography. There are a myriad of tiny details to engage the\neye, from the cat peeking into the tub of water that a servant girl\nleans over, to the angels that seem to fade into the background,\nemerging from the dusky woodwork.\n\nIn order to compare the Last Supper by Tintoretto with another\nwork of its time, there is only one piece that can be chosen. The Last\nSupper by Leonardo Da Vinci is the obvious choice, although it almost\ndoesn’t seem fair to hold the rather plain fresco alongside\nTintoretto’s brilliantly rendered oil painting. Because these are both\nimages of the Last Supper parable, the best place for comparison would\nbe the actual representation of the story. Leonardo does a better job\nof translating through arrangement and hidden iconography the spirit\nof the story, while it is almost difficult to decipher what Tintoretto\nis seeking to portray, because he has made Jesus and his followers\nseem so human. However, the very humanity that Tintoretto has placed\ninto his painting is what makes it speak to the viewer. Certainly in\nthe sense of style and skill, Tintoretto has outclassed Leonardo.\nLooking at Leonardo’s Last Supper, the image seems flat and almost\nsimplistic. There is less attention paid to the spacial proportions,\nso while there is some recession of the room where Jesus and his\nfollowers are feasting, the proportion seems uninteresting and does\nnot invite the eye to wander past the table and the men seated at it.\nCertainly there are some strange and mysterious theories floating\naround about the Leonardo copy, and what the artist was trying to say\nwith his arrangement, while Tintoretto’s version is more straight\nforward and easier to decipher. However, if mystery is what makes a\npiece of art great, then there is a monumental mystery in Tintoretto’s\ndecision not to specify Judas out of the apostles. There is no way to\nspecifically pinpoint which man is Judas, while in the Leonardo\nfresco, each member of the dinner party has been identified.\n\nNot only was Tintoretto an amazingly talented artist, he was also\na very prolific artist, painting somewhere around five hundred images\nover the course of his life. This may not be as surprising knowing\nthat he did eight different versions of the Last Supper alone. Because\nthe breadth and body of his work is so great, selecting a specific\nwork to represent his skill is difficult. From the eight versions of\nthe Last Supper it is clear that Tintoretto himself was fascinated\nwith this story, and indeed, the story is what makes it such an\nobvious choice to be preserved. For anyone not familiar with the\nbackground of the Last Supper, it was the Passover meal during which\nJesus performed the right of transubstantiation – giving his followers\nbread and wine which was then ‘transubstantiated’ into the body and\nblood of Christ, allowing his followers to take in his spirit and\npower – before being betrayed by Judas and taken to be crucified. The\nLast Supper is the beginning of one of the world’s oldest tales of\nbetrayal, but where Leonardo chose to emphasis that aspect, making it\nclear who each individual in his painting is, Tintoretto has chosen to\nfocus instead on the fellowship of the Passover without hinting at the\ngreat betrayal that is about to take place. For the religious\novertones, the beauty and skill with which the painting was executed,\nand the impact that Tintoretto had on the history and art of the\nrenaissance, this piece is of invaluable importance and should\nabsolutely be preserved for the future.\n\n_______________Works Cited_______________\n\nHahn, Robert. \"Motion, energy, and revelation: Tintoretto\'s Last\nSuppers.\" TriQuarterly 126 (2006): 200+. Literature Resource Center.\nWeb. 9 Oct. 2011.\n\n\"Renaissance art and architecture.\" Columbia Electronic Encyclopedia,\n6th Edition (2010): 1. MasterFILE Premier. EBSCO. Web. 9 Oct. 2011.\n\n\"Tintoretto.\" Hutchinson\'s Biography Database (2011): 1. MAS Ultra -\nSchool Edition. EBSCO. Web. 9 Oct. 2011.\n\nBoucquey, Thierry, gen. ed. \"humanism in the Renaissance.\"\nEncyclopedia of World Writers, 14th through 18th Centuries. New York:\nFacts On File, Inc., 2005. Bloom\'s Literary Reference Online. Facts On\nFile, Inc. 9. Oct. 2011.\n\n\"Mannerism.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1.\nMAS Ultra - School Edition. EBSCO. Web. 9 Oct. 2011.\n\nHarper, George Mills. W. B. Yeats and W. T. Horton: A Record of an\nOccult Friendship; Horton, W. T. A Book of Images; Yeats, W. B. The\nCollected Letters of W. B. Yeats (vols. 2–3), Essays and\nIntroductions.\n\nHeims, Neil. \"Blake, William.\" In Bloom, Harold, ed. William Blake,\nBloom\'s BioCritiques. Philadelphia: Chelsea House Publishing, 2005.\nBloom\'s Literary Reference Online. Facts On File, Inc.\n\nHahn, Robert. \"Tintoretto and the Truths of Incoherence.\" Raritan 26.4\n(2007): 125-150. World History Collection. EBSCO. Web. 10 Oct. 2011.','The Last Supper by Tintoretto','','inherit','open','open','','1843-autosave','','','2011-10-23 11:56:05','2011-10-23 17:56:05','',1843,'http://jeanatacc.com/2011/?p=1928',0,'revision','',0),(1929,48,'2011-10-11 08:18:45','2011-10-11 14:18:45','[caption id=\"attachment_1850\" align=\"aligncenter\" width=\"300\" caption=\"Hell&#039;s Kitchen presents The Last Supper!\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo.jpg\"><img class=\"size-medium wp-image-1850\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/hells-kitchen-logo-300x225.jpg\" alt=\"\" width=\"300\" height=\"225\" /></a>[/caption]\r\n\r\nOver the course of his illustrious career, Tintoretto painted\r\nexactly eight versions of the famous Last Supper, the first one in\r\n1547, while the last painting was begun in 1591 and finished in 1594,\r\nthe same year that Tintoretto died. The bulk of these paintings may\r\nstill be viewed today, as all but a single one remain in Venice.\r\nAlmost everyone the world over is familiar with the imagery of the\r\nlast supper, where Jesus and his apostles are sharing the last meal\r\nthat they will have together. Judas plots the demise of his master,\r\nwhile Jesus instructs his followers to eat of his flesh and drink of\r\nhis blood while offering bread and wine for the rite of\r\ntransubstantiation. <!--more-->Tintoretto painted during the burgeoning\r\nrenaissance, and was even apprenticed to the great master Titian, who\r\nre-invented the nude as an art form with his work \'The Venice of\r\nUrbino\', which is still heralded even today as a timeless piece. \"The\r\ncentury that began with Bellini and Giorgione is [closing]. Titian,\r\nthe colossus, has long been buried in the church of the Frari, and\r\nVeronese, the last legitimate competitor, has been dead for three\r\nyears; thus Tintoretto, thanks not only to talent, ambition, and\r\nprodigious energy, but to the brute facts of attrition and survival,\r\nfinds himself in the role of Venice\'s leading artist” (Hahn 200).\r\nTintoretto’s Last Supper should without any doubt be preserved just\r\nfor the legacy that Tintoretto left, but also because his obsession\r\nwith this particular image and the fact that he continued to work on\r\nit over the course of his entire career suggests that the artist was\r\nespecially close to the story and ideas behind the Last Supper.\r\n\r\nIt takes almost no skill or knowledge to equate the intense\r\nreligious message portrayed in The Last Supper with classical art.\r\nPractically everyone is familiar in one way or another with Leonardo\r\nDa Vinci\'s painting of the subject, which is still just as eagerly\r\ndeciphered for its symbology today as his other immortal work, the\r\nMona Lisa. In the subject matter Tintoretto selected, he was very much\r\nfollowing the fad of the times, since historical works of art as well\r\nas those containing religious or mythological subject matter were in\r\nthe highest of demand. One of Tintoretto\'s peers, the sculptor\r\nDonatello, portrayed the biblical story of Judith and Holofernes as\r\none of his works. Michelangelo sculpted the David that still rivets\r\nour imagination even today. According to the Italian style of\r\npainting, Tintoretto\'s images are carefully composed, with painstaking\r\nattention paid to the details of the arrangement, and the mathematical\r\nproportions of each figure in relation to the room. Humanism was a\r\nprevalent school of thought at the time, defined as any viewpoint that\r\nis human-centered. \"Second-generation humanists felt it their duty to\r\nactively contribute to civic life, resurrecting the classical age\'s\r\nrepublican ideals along with its literary sensibilities. At the same\r\ntime, artists showed a new interest in realistic representations of\r\nthe human body, as seen in the works of Michelangelo. Humanistic\r\nvalues spread rapidly among the elite, including women scholars like\r\nAlessandra Scala and Isotta Nogarola” (Boucquey).\r\n\r\nIt is only in his technique that Tintoretto towers above his\r\ncontemporaries. Although the act of setting up a miniature model to\r\nhelp guide an artist through properly translating the image they\r\ndesire was not unheard of, it is this practice which gave Tintoretto\r\nthe ability to create such life-like detail in his paintings. \"The\r\ncharacteristic qualities of his works—a wonderfully dramatic sense of\r\nmovement, space, and lighting—were in part aided by his use of small\r\nwax models which he grouped inside a box to create a stage-like\r\nsetting, changing the figures, lighting, and setting to explore\r\ndifferent effects” ( Hutchinson ). Among the artists who used this\r\nparticular method of preparing their paintings, Tintoretto was\r\nconsidered possibly the most brilliant of them all, and was capable of\r\nextracting amazing detail. Tintoretto was also among those who used\r\nmannerism to break away from the traditional style of the time.\r\n\"Mannerism [was] a style in art and architecture (c.1520–1600),\r\noriginating in Italy as a reaction against the equilibrium of form and\r\nproportions characteristic of the High Renaissance. Mannerists devised\r\ncompositions in which they deliberately confused scale and spatial\r\nrelationships between figures, crowding them into the picture plane.\r\nOften strange tunnel-like spaces were created, as in the works of\r\nTintoretto and El Greco. Lighting became harsh, and coloring tended to\r\nbe acrimonious. The mannerists devised sophisticated and obscure\r\nallegories” (Mannerism).\r\n\r\nEven though there are those who look down at Tintoretto for\r\nchoosing to work in the mannerist style, as well as those who would\r\nlike to claim that the works of Titian eclipse Tintoretto, whom was at\r\nodds with his former mentor, there is no denying that Tintoretto was\r\nacknowledged for his greatness practically within his lifetime. Only a\r\nfew decades after Tintoretto\'s death at the turn of the century,\r\nWilliam Blake was partial to Tintoretto\'s paintings and made a point\r\nto study them along with the works of masters like Michelangelo and\r\nDonatello. \"Although he adhered to tempera, Blake had seen and been\r\nmoved by exhibitions of European oils including works by...Titian,\r\nMichelangelo, and Tintoretto at several London galleries, and his work\r\nshowed their painterly influence, especially in his use of\r\nperspective” (Heims). A century after that Yeats had glowing words of\r\npraise for Tintoretto, even though he uses a work by Tintoretto to\r\nshow how an image can never tell a story as fully as words. Yeats\r\nillustrates his point with Tintoretto\'s painting Origin of the Milky\r\nWay (ca. 1577): \"A hundred generations might write out what seemed the\r\nmeaning of the one, and they would write different meanings, for no\r\nsymbol tells all its meaning to any generation; but when you have\r\nsaid, \'That woman there is Juno, and the milk out of her breast is\r\nmaking the Milky Way,\' you have told the meaning of the other, and the\r\nfine painting, which has added so much irrelevant beauty, has not told\r\nit better” (qtd in Harper).\r\n\r\nMore modern reviews of Tintoretto’s work seem to have equally\r\nkind words, remarking that,\"The style is spontaneous, and the\r\norganization seems no less inspired. More intuitive Italian rational,\r\nmore interested in motion and impact than order and logic, his designs\r\naim to immerse us in their actions, involving us psychologically and\r\nviscerally” (Hahn). In a rare example of coherency throughout the\r\nages, the works of this particular artist seem to be found as\r\ninspiring and entrancing now as they were during the years shortly\r\nafter his career ended. It is probably a monument to the way\r\nTintoretto broke away from the conventional style of the renaissance\r\nby taking part in the mannerist movement that his works stand so far\r\napart from those that are considered masters of the time while still\r\nbeing considered masterful in their own right.\r\n\r\nWhen I saw this piece I fell immediately in love with the\r\nintricately rendered details and the way that Tintoretto has invited\r\nus into the same space that Jesus occupies. The apostles and their\r\nmaster sit at a table that seems to recede back into the shadowy room\r\nof a simple inn. Servants go about their business in the foreground,\r\nand the meal appears to be winding to a close. A single candle\r\nilluminates the room, with the ghostly suggestion of angels projecting\r\nfrom the flame to represent the presence of the holy ghost. Compared\r\nto the usual paintings of the renaissance, Tintoretto’s style seems\r\nmore moving and realistic, as if he wanted to draw the viewer in with\r\nthe believability of the scene, then keep them there with all the\r\nsubtle iconography. There are a myriad of tiny details to engage the\r\neye, from the cat peeking into the tub of water that a servant girl\r\nleans over, to the angels that seem to fade into the background,\r\nemerging from the dusky woodwork.\r\n\r\nIn order to compare the Last Supper by Tintoretto with another\r\nwork of its time, there is only one piece that can be chosen. The Last\r\nSupper by Leonardo Da Vinci is the obvious choice, although it almost\r\ndoesn’t seem fair to hold the rather plain fresco alongside\r\nTintoretto’s brilliantly rendered oil painting. Because these are both\r\nimages of the Last Supper parable, the best place for comparison would\r\nbe the actual representation of the story. Leonardo does a better job\r\nof translating through arrangement and hidden iconography the spirit\r\nof the story, while it is almost difficult to decipher what Tintoretto\r\nis seeking to portray, because he has made Jesus and his followers\r\nseem so human. However, the very humanity that Tintoretto has placed\r\ninto his painting is what makes it speak to the viewer. Certainly in\r\nthe sense of style and skill, Tintoretto has outclassed Leonardo.\r\nLooking at Leonardo’s Last Supper, the image seems flat and almost\r\nsimplistic. There is less attention paid to the special proportions,\r\nso while there is some recession of the room where Jesus and his\r\nfollowers are feasting, the proportion seems uninteresting and does\r\nnot invite the eye to wander past the table and the men seated at it.\r\nCertainly there are some strange and mysterious theories floating\r\naround about the Leonardo copy, and what the artist was trying to say\r\nwith his arrangement, while Tintoretto’s version is more straight\r\nforward and easier to decipher. However, if mystery is what makes a\r\npiece of art great, then there is a monumental mystery in Tintoretto’s\r\ndecision not to specify Judas out of the apostles. There is no way to\r\nspecifically pinpoint which man is Judas, while in the Leonardo\r\nfresco, each member of the dinner party has been identified.\r\n\r\nNot only was Tintoretto an amazingly talented artist, he was also\r\na very prolific artist, painting somewhere around five hundred images\r\nover the course of his life. This may not be as surprising knowing\r\nthat he did eight different versions of the Last Supper alone. Because\r\nthe breadth and body of his work is so great, selecting a specific\r\nwork to represent his skill is difficult. From the eight versions of\r\nthe Last Supper it is clear that Tintoretto himself was fascinated\r\nwith this story, and indeed, the story is what makes it such an\r\nobvious choice to be preserved. For anyone not familiar with the\r\nbackground of the Last Supper, it was the Passover meal during which\r\nJesus performed the right of transubstantiation – giving his followers\r\nbread and wine which was then ‘transubstantiated’ into the body and\r\nblood of Christ, allowing his followers to take in his spirit and\r\npower – before being betrayed by Judas and taken to be crucified. The\r\nLast Supper is the beginning of one of the world’s oldest tales of\r\nbetrayal, but where Leonardo chose to emphasis that aspect, making it\r\nclear who each individual in his painting is, Tintoretto has chosen to\r\nfocus instead on the fellowship of the Passover without hinting at the\r\ngreat betrayal that is about to take place. For the religious\r\novertones, the beauty and skill with which the painting was executed,\r\nand the impact that Tintoretto had on the history and art of the\r\nrenaissance, this piece is of invaluable importance and should\r\nabsolutely be preserved for the future.\r\n\r\n_______________Works Cited_______________\r\n\r\nHahn, Robert. \"Motion, energy, and revelation: Tintoretto\'s Last\r\nSuppers.\" TriQuarterly 126 (2006): 200+. Literature Resource Center.\r\nWeb. 9 Oct. 2011.\r\n\r\n\"Renaissance art and architecture.\" Columbia Electronic Encyclopedia,\r\n6th Edition (2010): 1. MasterFILE Premier. EBSCO. Web. 9 Oct. 2011.\r\n\r\n\"Tintoretto.\" Hutchinson\'s Biography Database (2011): 1. MAS Ultra -\r\nSchool Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nBoucquey, Thierry, gen. ed. \"humanism in the Renaissance.\"\r\nEncyclopedia of World Writers, 14th through 18th Centuries. New York:\r\nFacts On File, Inc., 2005. Bloom\'s Literary Reference Online. Facts On\r\nFile, Inc. 9. Oct. 2011.\r\n\r\n\"Mannerism.\" Columbia Electronic Encyclopedia, 6th Edition (2010): 1.\r\nMAS Ultra - School Edition. EBSCO. Web. 9 Oct. 2011.\r\n\r\nHarper, George Mills. W. B. Yeats and W. T. Horton: A Record of an\r\nOccult Friendship; Horton, W. T. A Book of Images; Yeats, W. B. The\r\nCollected Letters of W. B. Yeats (vols. 2–3), Essays and\r\nIntroductions.\r\n\r\nHeims, Neil. \"Blake, William.\" In Bloom, Harold, ed. William Blake,\r\nBloom\'s BioCritiques. Philadelphia: Chelsea House Publishing, 2005.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.\r\n\r\nHahn, Robert. \"Tintoretto and the Truths of Incoherence.\" Raritan 26.4\r\n(2007): 125-150. World History Collection. EBSCO. Web. 10 Oct. 2011.','The Last Supper by Tintoretto','','inherit','open','open','','1843-revision-7','','','2011-10-11 08:18:45','2011-10-11 14:18:45','',1843,'http://jeanatacc.com/2011/?p=1929',0,'revision','',0),(1931,45,'2011-10-23 22:01:13','2011-10-24 04:01:13','<p style=\"text-align: center\"> <img class=\"size-full wp-image-1786 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\n<p style=\"text-align: center\">(Joseph Haydn)</p>\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\n<p style=\"text-align: left\"><!--more--></p>\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. (This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. \"The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes\" (Freed). The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\n\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. \"The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\n\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\n\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German\" (Freed). Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\n\nDespite his clever and unusual addition to the “Surprise” symphony, \"Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\n\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune\" (Freed). The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). \"Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn\" (Freed).\n\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\n\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\n\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.\n\n<span style=\"text-decoration: underline\">Works Cited</span>:\n<ul>\n	<li>Deverich, Robin. “<em>Piece: Surprise Symphony NO. 94, 2nd Movement</em>.” RK Deverich. 2011. Web. Accessed: October 5, 2011 &lt;<a href=\"http://www.violinonline.com/unit3_7.html\">http://www.violinonline.com/unit3_7.html</a>&gt;</li>\n</ul>\n&nbsp;\n<ul>\n	<li>Freed, Richard. “<em>Symphony No. 94 in G major, “Surprise”.</em>” The John F. Kennedy Center for the Performing Arts. 2004. Web. Accessed: October 5, 2011</li>\n</ul>\n&lt;<a href=\"http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843\">http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843</a>&gt;\n\n&nbsp;\n<ul>\n	<li>Gutmann, Peter<strong>. “</strong><em>Johann Sebastian Bach: Goldberg Variations.</em>”<strong> </strong>Classical Notes. 2002. Web. Accessed: October 5, 2012</li>\n</ul>\n&lt;<a href=\"http://www.classicalnotes.net/classics/goldberg.html\">http://www.classicalnotes.net/classics/goldberg.html</a>&gt;','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-autosave','','','2011-10-23 22:01:13','2011-10-24 04:01:13','',1764,'http://jeanatacc.com/2011/?p=1931',0,'revision','',0),(1932,45,'2011-10-10 12:04:25','2011-10-10 18:04:25','<p style=\"text-align: center\"> <img class=\"size-full wp-image-1786 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes. The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German. Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune. The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn.\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.\r\n\r\n<span style=\"text-decoration: underline\">Works Cited</span>:\r\n<ul>\r\n	<li>Deverich, Robin. “<em>Piece: Surprise Symphony NO. 94, 2nd Movement</em>.” RK Deverich. 2011. Web. Accessed: October 5, 2011 &lt;<a href=\"http://www.violinonline.com/unit3_7.html\">http://www.violinonline.com/unit3_7.html</a>&gt;</li>\r\n</ul>\r\n&nbsp;\r\n<ul>\r\n	<li>Freed, Richard. “<em>Symphony No. 94 in G major, “Surprise”.</em>” The John F. Kennedy Center for the Performing Arts. 2004. Web. Accessed: October 5, 2011</li>\r\n</ul>\r\n&lt;<a href=\"http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843\">http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843</a>&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gutmann, Peter<strong>. “</strong><em>Johann Sebastian Bach: Goldberg Variations.</em>”<strong> </strong>Classical Notes. 2002. Web. Accessed: October 5, 2012</li>\r\n</ul>\r\n&lt;<a href=\"http://www.classicalnotes.net/classics/goldberg.html\">http://www.classicalnotes.net/classics/goldberg.html</a>&gt;','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-16','','','2011-10-10 12:04:25','2011-10-10 18:04:25','',1764,'http://jeanatacc.com/2011/?p=1932',0,'revision','',0),(1933,45,'2011-10-23 22:01:20','2011-10-24 04:01:20','<p style=\"text-align: center\"> <img class=\"size-full wp-image-1786 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Haydn_portrait_by_Thomas_Hardy_small4.jpg\" alt=\"\" width=\"215\" height=\"231\" /></p>\r\n<p style=\"text-align: center\">(Joseph Haydn)</p>\r\n<p style=\"text-align: center\"><a href=\"http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg\">http://en.wikipedia.org/wiki/File:Haydn_portrait_by_Thomas_Hardy_(small).jpg</a></p>\r\n<p style=\"text-align: left\">Josef Haydn was born March 31, 1732. His mother secretly desired the idea of her child joining the priesthood. His father, however, hoped Joseph would lead towards a musical career and, despite poverty, was determined to aid Joseph in every way he could. A distant relative, Johann Mathias Frankh, arrived for a visit one day and noted Josef and his toy violin. Seeing Joseph had the makings of a musician, he offered to take him to teach him the ways of music.</p>\r\n<p style=\"text-align: left\"><!--more--></p>\r\nJosef Haydn wrote the “<em>Surprise”</em> Symphony in London in 1791. The work opens and proceeds in the most subdued manner of slow movement. Once the audience may be imagined to have comfortably settled, a sudden explosive fortissimo chord is introduced. (This symphony was composed for the first of Haydn\'s two extended visits to London, in 1791. Its first performance did not appear until March 23, 1792. \"The composition includes flutes, oboes, bassoons, horns and trumpets in pairs, with timpani and strings and lasts for 23 minutes\" (Freed). The symphony has remained exceedingly popular in the repertoire for its various musical qualities. It is particularly memorable for the surprise fortissimo in the second movement (<em>Andante</em>),<em> </em>which, according to Haydn, would make the women scream.\r\n\r\nThe effect of this new composure was incredibly successful. It brought numerous, and varied, descriptions and interpretations in the premier’s press reports. \"The insightful writer in <em>The Diary </em>was pleased to describe the slow movement as “<em>simple, profound, and sublime</em>,” but his colleague in <em>The Oracle </em>wrote:\r\n\r\n“<em>The surprise might not be inaptly likened to the situation of a beautiful Shepherdess who, lulled to slumber by the murmur of a distant Water-fall, starts alarmed by the unexpected firing of a fowling-piece</em>.”\r\n\r\nThe symphony was from then on known as the “Surprise Symphony” in English and French areas. It is known as <em>Sinfonie mit dem Paukenschlag</em> (“Symphony with the Drumbeat”) in German\" (Freed). Today, the symphony is still popular. It is still performed, recorded, and frequently adapted to teach musical beginners. For instance, the composer Charles Ives wrote a parody of the second movement (1909). He wrote the words “Nice little easy sugar-plum sounds” using the opening notes, which were a fitting choice for Ives\'s purpose since the notes of Haydn\'s second movement are very simple.\r\n\r\nDespite his clever and unusual addition to the “Surprise” symphony, \"Haydn cited popular tunes in his symphonies quite often, particularly in the variation-type slow movements. He based the <em>Andante </em>of this Symphony in G major on a universal tune (we know it by the name of “Twinkle, twinkle, little star”). Mozart had already composed keyboard variations on this tune (known by its French title “<em>Ah, vous dirai-je, Maman</em>”). Less than a hundred years ago, Ernst von Dohnányi (a Hungarian composer/pianist/conductor) used the tune as the foundation for “<em>Variations on a Nursery Song</em>” (which was written for pianos and orchestras).\r\n\r\nHaydn\'s original intention for the second movement of this symphony was to write variations on a well-known tune\" (Freed). The famous double-forte outburst (which gave the work its nickname) was put in really more of an afterthought. It was not provoked by his supposed wish to wake the audience and make them jump. He saw it as a significant piece towards the need to be competitive with his former pupil Ignaz Pleyel (who had been brought toEnglandby a rival of Salomon, a German-bornLondonmusician and impresario who proposed Haydn visitLondonand compose symphonies there). \"Pleyel had similar devices in his own compositions, having gotten the idea from earlier symphonies of Haydn\" (Freed).\r\n\r\nBach’s famous “Goldberg” Variations (also a Baroque work and in the same form) contrast with the “Surprise” symphony. Bach’s work begins with a highly elaborate aria, but plays no part in the variations that follow it. Instead, each variation is independent. They are created, not from the aria’s melody, but from the bass line. Through this, Bach maintains the work’s overall unity as a set of variations. He achieves this on an unconscious level, however, since the audience isn’t expected to pay attention to the bass line. Each variation calls for a new theme specific to the feeling being expressed. Obviously, Haydn’s approach was quite different. In his symphony, the same simple tune reveals new emotion within each subsequent variation.\r\n\r\nI quite enjoy this piece. The first movement\'s gentle melodies and breathtaking harmonies may possibly put one to sleep. However, the abrupt fortissimo in the second movement will surely awaken you and recapture your attention, while the third and fourth movements provide a wonderful ending to this classical symphony. It would have been interesting though if Haydn had placed the surprise in a different place within the symphony every time it was preformed.\r\n\r\nI think this piece should be preserved because its composition illustrates the importance of sound patterns in perceiving music. Moreover, it proves how a sound that listeners are not expecting to hear can manipulate the listeners\' experience towards the music.\r\n\r\n<span style=\"text-decoration: underline\">Works Cited</span>:\r\n<ul>\r\n	<li>Deverich, Robin. “<em>Piece: Surprise Symphony NO. 94, 2nd Movement</em>.” RK Deverich. 2011. Web. Accessed: October 5, 2011 &lt;<a href=\"http://www.violinonline.com/unit3_7.html\">http://www.violinonline.com/unit3_7.html</a>&gt;</li>\r\n</ul>\r\n&nbsp;\r\n<ul>\r\n	<li>Freed, Richard. “<em>Symphony No. 94 in G major, “Surprise”.</em>” The John F. Kennedy Center for the Performing Arts. 2004. Web. Accessed: October 5, 2011</li>\r\n</ul>\r\n&lt;<a href=\"http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843\">http://www.kennedy-center.org/calendar/?fuseaction=composition&amp;composition_id=2843</a>&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Gutmann, Peter<strong>. “</strong><em>Johann Sebastian Bach: Goldberg Variations.</em>”<strong> </strong>Classical Notes. 2002. Web. Accessed: October 5, 2012</li>\r\n</ul>\r\n&lt;<a href=\"http://www.classicalnotes.net/classics/goldberg.html\">http://www.classicalnotes.net/classics/goldberg.html</a>&gt;','Haydn\'s \"Surprise\" Symphony','','inherit','open','open','','1764-revision-17','','','2011-10-23 22:01:20','2011-10-24 04:01:20','',1764,'http://jeanatacc.com/2011/?p=1933',0,'revision','',0),(1970,1,'2011-10-24 03:47:11','2011-10-24 09:47:11','<p align=\"center\">On The Revolution of The Heavenly Sphere’s</p>\r\n&nbsp;\r\n\r\n          <em>On The Revolutions of The Heavenly Sphere</em> deserves a spot in the time capsule because it outlines many theories and mathematical models of the early heliocentric universe.\r\n\r\nEarly astronomy was based on Ptolemy’s geocentric views on the Universe. This put the Earth in the middle with the sun and remaining planets orbiting around.  Nicolaus Copernicus, an astronomer and mathematician, saw flaws in his ideas and threw out the geocentric model and switched to his, the heliocentric. He “started to believe the earth went around the sun around 1507” (3). The Heliocentric model puts the sun at the very center of the universe. Nicolaus visioned a system where distances from the sun, directly influenced size and orbit of the planets. Nicolaus didn’t put his ideas out until after 1500. His first writing on the heliocentric universe was the <em>Commentariolus</em>. It was written to be an intro to his ideas. It gained some notice by local astronomers but was never officially published. “He received discouragement because it disagreed with the bible” (2)\r\n\r\nCopernicus took his time in the release of<em> On the Revolutions</em> because many of his theories and mathematical models required observation. The rough draft of this work was completed by 1539. The book is made up of 6 different volumes. He received mixed reviews on his previous writing, Commentariolus, and expected the same which was a contributing factor in his delayment of its release as to avoid charges of heresy.\r\n\r\nA protestant minister, Georg Joachim Rheticus was the final piece in the puzzle that would complete <em>On the Revolutions</em>. “A supportive and stimulating colleague in mathematics and astronomy” (1), Rheticus caught wind of the budding astronomer. He brought useful information from fellow colleagues that helped Copernicus tremendously. Rheticus also opened up the possibility of using Johann Petreius as a candidate to publish <em>On the Revolutions</em>. Rheticus greatly encouraged the publication of his new work and wrote the <em>Narratio Prima</em> was written in 1539. <em>The Narratio Prima</em> was a letter written to Johann Shroner outlining Copernicus’ ideas and theories in <em>Revolutions</em>. The printing of <em>Narratio Prima</em> didn’t cause as much controversy as Nicolaus would have liked so he published <em>On The Revolutions</em>. In this, he added a dedication to Pope Paul III for political reasons. He explained his reluctance towards publication and why he finally chose to do so. He didn’t mention Rheticus as he was a protestant minister and the Pope is catholic.\r\n\r\nCopernicus received many mixed reviews. Many people had trouble dealing with the Biblical contradictions his writing exposed. Tycho Brahe described Copernicus as a “second Ptolemy”. Pope Clement reacted well towards his theories. Also, since there was no official stand by the Catholic Church, he wasn’t committing heresy.\r\n\r\nMy initial reaction was positive. I thought it was pretty amazing that he correctly predicted the celestial spheres movement around without high-tech gear. Also, this book deserves to be in the time capsule because this is an early record of how the universe was perceived when knowledge of the era wasn’t enough to prove what he was saying. “On The Revolutions of The Heavenly Spheres stands as one of the greatest intellectual revolutions of all times and profoundly influenced among others, Galileo and Sir Isaac Newton.”(3). \r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n Works Cited\r\n\r\n&nbsp;\r\n\r\n1.         \"On the Revolutions of Heavenly Spheres - Free EBooks Download.\" Free EBooks Download - Ebook3000.com. Web. 17 Oct. 2011. &lt;http://www.ebook3000.com/On-the-Revolutions-of-Heavenly-Spheres_94014.html&gt;.\r\n\r\n&nbsp;\r\n\r\n2.         \"Nicolaus Copernicus (Stanford Encyclopedia of Philosophy).\" Stanford Encyclopedia of Philosophy. Web. 17 Oct. 2011. &lt;http://plato.stanford.edu/entries/copernicus/&gt;.\r\n\r\n&nbsp;\r\n\r\n3.         \"Internet History Sourcebooks.\" FORDHAM.EDU. Web. 19 Oct. 2011. &lt;http://www.fordham.edu/halsall/mod/1543copernicus2.asp&gt;.','Copernicus\' On The Revolutions of the Heavenly Spheres','','inherit','open','open','','1935-revision-2','','','2011-10-24 03:47:11','2011-10-24 09:47:11','',1935,'http://jeanatacc.com/2011/?p=1970',0,'revision','',0),(1935,49,'2011-10-24 03:47:11','2011-10-24 09:47:11','<p align=\"center\">On The Revolution of The Heavenly Sphere’s</p>\r\n&nbsp;\r\n\r\n<em>On The Revolutions of The Heavenly Sphere</em> deserves a spot in the time capsule because it outlines many theories and mathematical models of the early heliocentric universe.<!--more-->\r\n\r\nEarly astronomy was based on Ptolemy’s geocentric views on the Universe. This put the Earth in the middle with the sun and remaining planets orbiting around.  Nicolaus Copernicus, an astronomer and mathematician, saw flaws in his ideas and threw out the geocentric model and switched to his, the heliocentric. He “started to believe the earth went around the sun around 1507” (3). The Heliocentric model puts the sun at the very center of the universe. Nicolaus visioned a system where distances from the sun, directly influenced size and orbit of the planets. Nicolaus didn’t put his ideas out until after 1500. His first writing on the heliocentric universe was the <em>Commentariolus</em>. It was written to be an intro to his ideas. It gained some notice by local astronomers but was never officially published. “He received discouragement because it disagreed with the bible” (2)\r\n\r\nCopernicus took his time in the release of<em> On the Revolutions</em> because many of his theories and mathematical models required observation. The rough draft of this work was completed by 1539. The book is made up of 6 different volumes. He received mixed reviews on his previous writing, Commentariolus, and expected the same which was a contributing factor in his delayment of its release as to avoid charges of heresy.\r\n\r\nA protestant minister, Georg Joachim Rheticus was the final piece in the puzzle that would complete <em>On the Revolutions</em>. “A supportive and stimulating colleague in mathematics and astronomy” (1), Rheticus caught wind of the budding astronomer. He brought useful information from fellow colleagues that helped Copernicus tremendously. Rheticus also opened up the possibility of using Johann Petreius as a candidate to publish <em>On the Revolutions</em>. Rheticus greatly encouraged the publication of his new work and wrote the <em>Narratio Prima</em> was written in 1539. <em>The Narratio Prima</em> was a letter written to Johann Shroner outlining Copernicus’ ideas and theories in <em>Revolutions</em>. The printing of <em>Narratio Prima</em> didn’t cause as much controversy as Nicolaus would have liked so he published <em>On The Revolutions</em>. In this, he added a dedication to Pope Paul III for political reasons. He explained his reluctance towards publication and why he finally chose to do so. He didn’t mention Rheticus as he was a protestant minister and the Pope is catholic.\r\n\r\nCopernicus received many mixed reviews. Many people had trouble dealing with the Biblical contradictions his writing exposed. Tycho Brahe described Copernicus as a “second Ptolemy”. Pope Clement reacted well towards his theories. Also, since there was no official stand by the Catholic Church, he wasn’t committing heresy.\r\n\r\nMy initial reaction was positive. I thought it was pretty amazing that he correctly predicted the celestial spheres movement around without high-tech gear. Also, this book deserves to be in the time capsule because this is an early record of how the universe was perceived when knowledge of the era wasn’t enough to prove what he was saying. “On The Revolutions of The Heavenly Spheres stands as one of the greatest intellectual revolutions of all times and profoundly influenced among others, Galileo and Sir Isaac Newton.”(3).\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\n&nbsp;\r\n\r\n1.         \"On the Revolutions of Heavenly Spheres - Free EBooks Download.\" Free EBooks Download - Ebook3000.com. Web. 17 Oct. 2011. &lt;http://www.ebook3000.com/On-the-Revolutions-of-Heavenly-Spheres_94014.html&gt;.\r\n\r\n&nbsp;\r\n\r\n2.         \"Nicolaus Copernicus (Stanford Encyclopedia of Philosophy).\" Stanford Encyclopedia of Philosophy. Web. 17 Oct. 2011. &lt;http://plato.stanford.edu/entries/copernicus/&gt;.\r\n\r\n&nbsp;\r\n\r\n3.         \"Internet History Sourcebooks.\" FORDHAM.EDU. Web. 19 Oct. 2011. &lt;http://www.fordham.edu/halsall/mod/1543copernicus2.asp&gt;.','Copernicus\' On The Revolutions of the Heavenly Spheres','','publish','open','open','','copernicus-on-the-revolutions-of-the-heavenly-spheres','','','2011-10-31 11:10:22','2011-10-31 17:10:22','',0,'http://jeanatacc.com/2011/?p=1935',0,'post','',4),(1936,49,'2011-10-24 03:46:29','2011-10-24 09:46:29','','On the revolution','','inherit','open','open','','on-the-revolution','','','2011-10-24 03:46:29','2011-10-24 09:46:29','',1935,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/On-the-revolution.jpg',0,'attachment','image/jpeg',0),(1937,49,'2011-10-24 03:46:13','2011-10-24 09:46:13','<p align=\"center\">On The Revolution of The Heavenly Sphere’s</p>\n&nbsp;\n\n          <em>On The Revolutions of The Heavenly Sphere</em> deserves a spot in the time capsule because it outlines many theories and mathematical models of the early heliocentric universe.\n\nEarly astronomy was based on Ptolemy’s geocentric views on the Universe. This put the Earth in the middle with the sun and remaining planets orbiting around.  Nicolaus Copernicus, an astronomer and mathematician, saw flaws in his ideas and threw out the geocentric model and switched to his, the heliocentric. He “started to believe the earth went around the sun around 1507” (3). The Heliocentric model puts the sun at the very center of the universe. Nicolaus visioned a system where distances from the sun, directly influenced size and orbit of the planets. Nicolaus didn’t put his ideas out until after 1500. His first writing on the heliocentric universe was the <em>Commentariolus</em>. It was written to be an intro to his ideas. It gained some notice by local astronomers but was never officially published. “He received discouragement because it disagreed with the bible” (2)\n\nCopernicus took his time in the release of<em> On the Revolutions</em> because many of his theories and mathematical models required observation. The rough draft of this work was completed by 1539. The book is made up of 6 different volumes. He received mixed reviews on his previous writing, Commentariolus, and expected the same which was a contributing factor in his delayment of its release as to avoid charges of heresy.\n\nA protestant minister, Georg Joachim Rheticus was the final piece in the puzzle that would complete <em>On the Revolutions</em>. “A supportive and stimulating colleague in mathematics and astronomy” (1), Rheticus caught wind of the budding astronomer. He brought useful information from fellow colleagues that helped Copernicus tremendously. Rheticus also opened up the possibility of using Johann Petreius as a candidate to publish <em>On the Revolutions</em>. Rheticus greatly encouraged the publication of his new work and wrote the <em>Narratio Prima</em> was written in 1539. <em>The Narratio Prima</em> was a letter written to Johann Shroner outlining Copernicus’ ideas and theories in <em>Revolutions</em>. The printing of <em>Narratio Prima</em> didn’t cause as much controversy as Nicolaus would have liked so he published <em>On The Revolutions</em>. In this, he added a dedication to Pope Paul III for political reasons. He explained his reluctance towards publication and why he finally chose to do so. He didn’t mention Rheticus as he was a protestant minister and the Pope is catholic.\n\nCopernicus received many mixed reviews. Many people had trouble dealing with the Biblical contradictions his writing exposed. Tycho Brahe described Copernicus as a “second Ptolemy”. Pope Clement reacted well towards his theories. Also, since there was no official stand by the Catholic Church, he wasn’t committing heresy.\n\nMy initial reaction was positive. I thought it was pretty amazing that he correctly predicted the celestial spheres movement around without high-tech gear. Also, this book deserves to be in the time capsule because this is an early record of how the universe was perceived when knowledge of the era wasn’t enough to prove what he was saying. “On The Revolutions of The Heavenly Spheres stands as one of the greatest intellectual revolutions of all times and profoundly influenced among others, Galileo and Sir Isaac Newton.”(3). \n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n&nbsp;\n\n Works Cited\n\n&nbsp;\n\n1.         \"On the Revolutions of Heavenly Spheres - Free EBooks Download.\" Free EBooks Download - Ebook3000.com. Web. 17 Oct. 2011. &lt;http://www.ebook3000.com/On-the-Revolutions-of-Heavenly-Spheres_94014.html&gt;.\n\n&nbsp;\n\n2.         \"Nicolaus Copernicus (Stanford Encyclopedia of Philosophy).\" Stanford Encyclopedia of Philosophy. Web. 17 Oct. 2011. &lt;http://plato.stanford.edu/entries/copernicus/&gt;.\n\n&nbsp;\n\n3.         \"Internet History Sourcebooks.\" FORDHAM.EDU. Web. 19 Oct. 2011. &lt;http://www.fordham.edu/halsall/mod/1543copernicus2.asp&gt;.','Copernicus\' On The Revolutions of the Heavenly Spheres','','inherit','open','open','','1935-revision','','','2011-10-24 03:46:13','2011-10-24 09:46:13','',1935,'http://jeanatacc.com/2011/?p=1937',0,'revision','',0),(1942,42,'2011-10-30 18:51:38','2011-10-31 00:51:38','','CPConstruction','','inherit','open','open','','cpconstruction-2','','','2011-10-30 18:51:38','2011-10-31 00:51:38','',0,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction1.jpg',0,'attachment','image/jpeg',0),(1944,42,'2011-10-30 19:03:29','2011-10-31 01:03:29','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"center\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"ltr\" align=\"center\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"ltr\" align=\"left\"><!--more--></p>\r\n\r\n\r\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"ltr\" align=\"left\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured with pieces off-site and the modules brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"ltr\" align=\"left\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale, amongst the citizenry of England, were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"ltr\" align=\"left\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"ltr\" align=\"left\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"ltr\" align=\"left\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"ltr\" align=\"left\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"ltr\" align=\"left\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"ltr\" align=\"center\">Bibliography</p>\r\n<p dir=\"ltr\" align=\"left\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit: Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"ltr\" align=\"left\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale. 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 2000. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Raeburn, Michael <em>An Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Roth, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale. 2004. <em>Gale Virtual Reference Library </em>Web. 29 Oct. 2011.</p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','publish','open','open','','paxton%e2%80%99s-crystal-palace-2','','','2011-11-02 15:50:02','2011-11-02 21:50:02','',0,'http://jeanatacc.com/2011/?p=1944',0,'post','',14),(1945,42,'2011-10-30 18:54:54','2011-10-31 00:54:54','','CPConstruction','','inherit','open','open','','cpconstruction-3','','','2011-10-30 18:54:54','2011-10-31 00:54:54','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg',0,'attachment','image/jpeg',0),(1946,42,'2011-10-30 18:56:01','2011-10-31 00:56:01','','Afterwards','A portion of the interior after openning May 1, 1851.','inherit','open','open','','afterwards','','','2011-10-30 18:56:01','2011-10-31 00:56:01','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards.jpg',0,'attachment','image/jpeg',0),(1947,42,'2011-10-30 18:57:36','2011-10-31 00:57:36','','Afterwards','A portion of the interior after openning May 1, 1851.','inherit','open','open','','afterwards-2','','','2011-10-30 18:57:36','2011-10-31 00:57:36','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1.jpg',0,'attachment','image/jpeg',0),(1962,42,'2011-10-30 19:19:46','2011-10-31 01:19:46','','Afterwards','','inherit','open','open','','afterwards-6','','','2011-10-30 19:19:46','2011-10-31 01:19:46','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards5.jpg',0,'attachment','image/jpeg',0),(1955,42,'2011-10-30 19:08:59','2011-10-31 01:08:59','<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a></dt><dd>Construction began in 1850.</dd></dl><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2.jpg\"><img class=\"aligncenter size-medium wp-image-1953\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a></div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-6','','','2011-10-30 19:08:59','2011-10-31 01:08:59','',1944,'http://jeanatacc.com/2011/?p=1955',0,'revision','',0),(1948,42,'2011-10-30 19:03:01','2011-10-31 01:03:01','[caption id=\"attachment_1945\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a>[/caption]\n\n&nbsp;\n\n[caption id=\"attachment_1947\" align=\"alignright\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1.jpg\"><img class=\"size-medium wp-image-1947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\n\n&nbsp;\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\"></p>\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:</p>\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\n&nbsp;\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em><em>\n</em></p>\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\n\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision','','','2011-10-30 19:03:01','2011-10-31 01:03:01','',1944,'http://jeanatacc.com/2011/?p=1948',0,'revision','',0),(1949,42,'2011-10-30 19:03:29','2011-10-31 01:03:29','[caption id=\"attachment_1945\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_1947\" align=\"alignright\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1.jpg\"><img class=\"size-medium wp-image-1947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-2','','','2011-10-30 19:03:29','2011-10-31 01:03:29','',1944,'http://jeanatacc.com/2011/?p=1949',0,'revision','',0),(1950,42,'2011-10-30 19:04:56','2011-10-31 01:04:56','[caption id=\"attachment_1945\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_1947\" align=\"alignright\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1.jpg\"><img class=\"size-medium wp-image-1947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-3','','','2011-10-30 19:04:56','2011-10-31 01:04:56','',1944,'http://jeanatacc.com/2011/?p=1950',0,'revision','',0),(1953,42,'2011-10-30 19:08:43','2011-10-31 01:08:43','','Afterwards','','inherit','open','open','','afterwards-3','','','2011-10-30 19:08:43','2011-10-31 01:08:43','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2.jpg',0,'attachment','image/jpeg',0),(1951,42,'2011-10-31 16:12:46','2011-10-31 22:12:46','<div class=\"mceTemp\">\n<div class=\"mceTemp\">\n<div class=\"mceTemp\">\n\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\n\n</div>\n</div>\n</div>\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\n<p dir=\"ltr\" align=\"center\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\n<p dir=\"ltr\" align=\"center\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\n<p dir=\"ltr\" align=\"left\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\n<p dir=\"ltr\" align=\"left\"><!--more--></p>\n\n\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\n<p dir=\"ltr\" align=\"left\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\n<p dir=\"ltr\" align=\"left\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured with pieces off-site and the modules brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\n<p dir=\"ltr\" align=\"left\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale, amongst the citizenry of England, were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\n<p dir=\"ltr\" align=\"left\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\n<p dir=\"ltr\" align=\"left\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\n<p dir=\"ltr\" align=\"left\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\n<p dir=\"ltr\" align=\"left\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\n<p dir=\"ltr\" align=\"left\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\n<p dir=\"ltr\" align=\"left\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\n<p dir=\"ltr\" align=\"left\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\n<p dir=\"ltr\" align=\"center\">Bibliography</p>\n<p dir=\"ltr\" align=\"left\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\n<p dir=\"ltr\" align=\"left\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011.</p>\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\n<p dir=\"ltr\" align=\"left\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit: Gale. 2003. 98-101. <em>World History in Context</em></p>\n<p dir=\"ltr\" align=\"left\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\n<p dir=\"ltr\" align=\"left\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale. 2004. 504-505. Web. 29 Oct. 2011.</p>\n<p dir=\"ltr\" align=\"left\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 2000. Print.</p>\n<p dir=\"ltr\" align=\"left\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 1979. Print.</p>\n<p dir=\"ltr\" align=\"left\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\n<p dir=\"ltr\" align=\"left\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\n<p dir=\"ltr\" align=\"left\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\n<p dir=\"ltr\" align=\"left\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\n<p dir=\"ltr\" align=\"left\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\n<p dir=\"ltr\" align=\"left\">Raeburn, Michael <em>An Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\n<p dir=\"ltr\" align=\"left\">Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\n<p dir=\"ltr\" align=\"left\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale. 2004. <em>Gale Virtual Reference Library </em>Web. 29 Oct. 2011.</p>\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\n\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-autosave','','','2011-10-31 16:12:46','2011-10-31 22:12:46','',1944,'http://jeanatacc.com/2011/?p=1951',0,'revision','',0),(1954,42,'2011-10-30 19:07:53','2011-10-31 01:07:53','[caption id=\"attachment_1945\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_1947\" align=\"alignright\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1.jpg\"><img class=\"size-medium wp-image-1947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-5','','','2011-10-30 19:07:53','2011-10-31 01:07:53','',1944,'http://jeanatacc.com/2011/?p=1954',0,'revision','',0),(1952,42,'2011-10-30 19:05:42','2011-10-31 01:05:42','[caption id=\"attachment_1945\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n\r\n[caption id=\"attachment_1947\" align=\"alignright\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1.jpg\"><img class=\"size-medium wp-image-1947\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards1-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\"></p>\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-4','','','2011-10-30 19:05:42','2011-10-31 01:05:42','',1944,'http://jeanatacc.com/2011/?p=1952',0,'revision','',0),(1956,42,'2011-10-30 19:10:29','2011-10-31 01:10:29','<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"Construction began in 1850.\" width=\"219\" height=\"300\" /></a></dt><dd>Construction began in 1850.</dd></dl>\r\n\r\n[caption id=\"attachment_1953\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2.jpg\"><img class=\"size-medium wp-image-1953\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-7','','','2011-10-30 19:10:29','2011-10-31 01:10:29','',1944,'http://jeanatacc.com/2011/?p=1956',0,'revision','',0),(1960,42,'2011-10-30 19:15:34','2011-10-31 01:15:34','<div class=\"mceTemp\">\r\n<div class=\"mceTemp mceIEcenter\">\r\n\r\n[caption id=\"attachment_1957\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3.jpg\"><img class=\"size-medium wp-image-1957\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n<dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2.jpg\"><img class=\"size-medium wp-image-1953\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a></dt><dd>A portion of the interior after openning May 1, 1851.</dd></dl></div>\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-9','','','2011-10-30 19:15:34','2011-10-31 01:15:34','',1944,'http://jeanatacc.com/2011/?p=1960',0,'revision','',0),(1957,42,'2011-10-30 19:14:51','2011-10-31 01:14:51','','CPConstruction','Construction began in 1850.','inherit','open','open','','cpconstruction-4','','','2011-10-30 19:14:51','2011-10-31 01:14:51','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3.jpg',0,'attachment','image/jpeg',0),(1958,42,'2011-10-30 19:12:48','2011-10-31 01:12:48','<div class=\"mceTemp\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2.jpg\"><img class=\"size-medium wp-image-1945\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction2-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a></dt><dd>Construction began in 1850.</dd></dl>\r\n\r\n[caption id=\"attachment_1953\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2.jpg\"><img class=\"size-medium wp-image-1953\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards2-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-8','','','2011-10-30 19:12:48','2011-10-31 01:12:48','',1944,'http://jeanatacc.com/2011/?p=1958',0,'revision','',0),(1961,42,'2011-10-30 19:19:37','2011-10-31 01:19:37','','Afterwards','A portion of the interior after openning May 1, 1851.','inherit','open','open','','afterwards-5','','','2011-10-30 19:19:37','2011-10-31 01:19:37','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards4.jpg',0,'attachment','image/jpeg',0),(1959,42,'2011-10-30 19:17:49','2011-10-31 01:17:49','','Afterwards','A portion of the interior after openning May 1, 1851.','inherit','open','open','','afterwards-4','','','2011-10-30 19:17:49','2011-10-31 01:17:49','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards3.jpg',0,'attachment','image/jpeg',0),(1963,42,'2011-10-30 19:18:20','2011-10-31 01:18:20','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1957\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3.jpg\"><img class=\"size-medium wp-image-1957\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-10','','','2011-10-30 19:18:20','2011-10-31 01:18:20','',1944,'http://jeanatacc.com/2011/?p=1963',0,'revision','',0),(1964,42,'2011-10-30 19:23:15','2011-10-31 01:23:15','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1957\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3.jpg\"><img class=\"size-medium wp-image-1957\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-11','','','2011-10-30 19:23:15','2011-10-31 01:23:15','',1944,'http://jeanatacc.com/2011/?p=1964',0,'revision','',0),(1965,42,'2011-10-30 19:31:04','2011-10-31 01:31:04','','Afterwards','A portion of the interior after openning May 1, 1851.','inherit','open','open','','afterwards-7','','','2011-10-30 19:31:04','2011-10-31 01:31:04','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg',0,'attachment','image/jpeg',0),(1966,42,'2011-10-30 19:32:01','2011-10-31 01:32:01','','CPConstruction','Construction was begun in 1850.','inherit','open','open','','cpconstruction-5','','','2011-10-30 19:32:01','2011-10-31 01:32:01','',1944,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg',0,'attachment','image/jpeg',0),(1967,42,'2011-10-30 19:25:31','2011-10-31 01:25:31','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<p>[caption id=\"attachment_1957\" align=\"alignleft\" width=\"219\" caption=\"Construction began in 1850.A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3.jpg\"><img class=\"size-medium wp-image-1957\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction3-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]</p>\r\n</div>\r\n</div>\r\n<p>&nbsp;</p>\r\n<p>&nbsp;</p>\r\n<p dir=\"LTR\" align=\"CENTER\">Both pictures were found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\n<p>The Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.</p>\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\n<p>Young, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358</p>\r\n<p>&nbsp;</p>\r\n','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-12','','','2011-10-30 19:25:31','2011-10-31 01:25:31','',1944,'http://jeanatacc.com/2011/?p=1967',0,'revision','',0),(1968,42,'2011-10-30 19:33:02','2011-10-31 01:33:02','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n<p style=\"text-align: center\"> Image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n\r\n\r\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-13','','','2011-10-30 19:33:02','2011-10-31 01:33:02','',1944,'http://jeanatacc.com/2011/?p=1968',0,'revision','',0),(1973,42,'2011-10-30 19:37:24','2011-10-31 01:37:24','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"LTR\" align=\"CENTER\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"LTR\" align=\"CENTER\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"LTR\" align=\"LEFT\"><!--more--></p>\r\n\r\n\r\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured, in pieces off-site and the pieces brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale amongst the citizenry of England were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"LTR\" align=\"LEFT\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"LTR\" align=\"CENTER\">Bibliography</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit\"Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"LTR\" align=\"LEFT\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 200. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 19779. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">Raeburn, Michael An<em> Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">, Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"LTR\" align=\"LEFT\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale, 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-14','','','2011-10-30 19:37:24','2011-10-31 01:37:24','',1944,'http://jeanatacc.com/2011/?p=1973',0,'revision','',0),(1975,48,'2011-10-31 11:33:34','2011-10-31 17:33:34','<a href=\"http://cinefantastiqueonline.com/wp-content/uploads/munsters_1.jpg\"><img class=\"aligncenter size-medium wp-image-1977\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" /></a>\r\n\r\n<a href=\"http://api.ning.com/files/sIlJ2SN8LKQZ6x073U0Mmib5wxcqXyuI3-AJS4j6GtKzjJofJhQ3tUhG0*3e-tAixstSTPoC*N5TjNT5hEWWwteDGJW-*IYOhPChhVdycys_/munsters.jpg\">http://api.ning.com/files/sIlJ2SN8LKQZ6x073U0Mmib5wxcqXyuI3-AJS4j6GtKzjJofJhQ3tUhG0*3e-tAixstSTPoC*N5TjNT5hEWWwteDGJW-*IYOhPChhVdycys_/munsters.jpg</a>\r\n\r\n&nbsp;\r\n\r\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\r\noriginally written as part of a wager. Mary Shelley was a young woman,\r\nstill in her teens, when she published this work. Later, in 1823, a\r\nrefined edition was published with Shelley\'s name actually on it.\r\nFrankenstein is a story about a doctor who wishes to create life, and\r\nhis creation, the monster. Shelley\'s book raises questions about the\r\nmorality of science and the nature of good and evil in general.<!--more-->\r\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\r\nultimately rejected because of his hideous appearance. Seeking revenge\r\non his creator, the monster kills Frankenstein\'s younger brother and\r\nthen his young bride before ultimately tracking down and destroying\r\nthe man who created him. Both Romanticism and the gothic novel were\r\npopular at the time this work was published, and the Industrial\r\nRevolution was gearing up, leading people to ask questions about the\r\neffects of science and industrialization on society. At this same time\r\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\r\npart of the movement. Enlightenment -- or the Age of Enlightenment --\r\nwas a school of intellectual recourse that involved higher society\r\nduring the eighteenth and nineteenth centuries. It promoted the\r\nvirtues of higher thought and philosophy and railed against the\r\nintolerance of the church and abuses of power by both church and\r\nstate.\r\n\r\nDuring the late seventeen hundreds and the early eighteen hundreds,\r\nthe gothic novel experienced its hayday, and had a great deal of\r\ninfluence on the Romantic movement of art and writing. \"The\r\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\r\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\r\nsecret passages, torchlit dungeons, and an occasional bat. The\r\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\r\n(1794), involves a beautiful heroine beset by dark shadows, strange\r\nnoises, and a candle that keeps blowing out. These early gothic novels\r\naimed at instilling terror. Later examples of the form, such as\r\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\r\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\r\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\r\nperhaps one of the best known examples of the gothic novel, and is\r\nalso considered one of the earliest works of science fiction. Shelley\r\ndeals with themes that were at the time unique to gothic literature,\r\nusing elements of the \'supernatural\' and building her story so as to\r\nincite horror in the reader. At the time it was considered highly\r\ncontroversial, and part of what led up to the second edition of the\r\nbook with Shelley\'s real name on the cover was the need to edit and\r\nrefine the writing due to some of the public\'s reaction to the\r\ncontent. Frankenstein is also somewhat typical of the Romantic era\r\nwriter\'s use of the wayward hero, and a similarity can be found in the\r\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\r\nso much villains as they are typically ambiguous Romantic heroes:\r\nVictor fails miserably, but his quest is inspiring; and the monster,\r\nthough a murderer, is also a victim, and an eloquent and sympathetic\r\nrebel against forces that violate his basic rights, (Classics\r\nReviewed)\".\r\n\r\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\r\ntime is that it is one of the original instances where a story focuses\r\non the laboratory and what takes place there. \"Often called the first\r\nof its kind, Frankenstein paved the way for science fiction writing.\r\nIts depiction of a then impossible scientific feat has in our time\r\nbecome possible and is essentially recognizable in what we now refer\r\nto as bioengineering, biomedicine, or biotechnology...Victor\r\nFrankenstein, has come to serve as the poster child and whipping boy\r\nfor all scientific and technological irresponsibility, so much so that\r\nthanks to him we are able to free ourselves and our scientists from\r\nany real responsibility, since none of us ever would or could be as\r\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\r\nthat Frankenstein has an iconic place in culture, which it would not\r\nhave earned if it were not a revolutionary piece of work. At the time\r\nit was published no mere human could conceive of doing what Victor\r\nFrankenstein had done. Creating life was out of the question, and with\r\nthe primitive conditions that most scientists were forced to function\r\nunder due to the church, even saving lives with improvements to modern\r\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\r\nthat surrounded the act of acquiring body parts for research, which\r\nwas made practically impossible by the religious attitudes of the\r\ntime. \"From the thirteenth to the early seventeenth century, the\r\nbodies of the executed were the only legal source of bodies for\r\ndissection. Starting in the late seventeenth century, the bodies of\r\nunclaimed persons were also made legally available, (Hildebrandt)\".\r\nMary Shelley\'s work was also unusual and unique because of the author,\r\nsince even during the Age of Enlightenment it was still more common\r\nfor men to be published authors than women, and Shelley wrote\r\nFrankenstein while she was still a mere teenager.\r\n\r\nAlthough response to the initial publishing of Frankenstein was mixed,\r\nit seems to be the overall concensus that for better or worse, this\r\nnovel has firmly earned its place in history. Helen Moore wrote in\r\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\r\nquestion the most noteworthy. From the day of its first appearance in\r\nprint down to the present, it has had accorded to it a position as a\r\nunique and remarkable production.\" Although Frankenstein presented\r\nshocking and grotesque new concepts to the public, it also took off as\r\nan allegory for science without morality. The word \'Frankenstein\' has\r\nbecome almost synonymous with \'monster\', even though Frankenstein was\r\nthe monster\'s creator, and the monster himself remained nameless.\r\nFrankenstein was parodied in pictures as early as 1843.\r\n<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a></dt><dd>Frankenstein as Propoganda</dd></dl><a href=\"http://upload.wikimedia.org/wikipedia/commons/3/38/Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\">http://upload.wikimedia.org/wikipedia/commons/3/38/Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg</a></div>\r\nCurrent day opinion of Frankenstein does not seem to have changed much\r\nfrom the attitudes of the time towards the work. In fact, there is an\r\neerie similarity between what critics at the time were saying and what\r\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\r\nWollstonecraft Shelley is responsible for a creative transformation\r\nworthy of her prototypical mad scientist, Victor Frankenstein: she\r\nreconfigures, recontextualizes, and thus modernizes the myth of\r\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\r\nmay very well be that Mary Shelley managed, without entirely meaning\r\nto, to create a story that touches so many people so deeply and\r\neffectively that she has broken the proverbial mold of writing.\r\nWhatever the case may be, there seems to be almost unilateral\r\nagreement that this particular piece of work is well deserving of its\r\nplace in the annals of history.\r\n\r\nMy personal reaction to this work has always been very strong. Whether\r\nreading the book or watching any of the myriad of movies that were\r\ninspired by Frankenstein, it is impossible to resist the allure of the\r\ntale. Victor Frankenstein takes the role of God in his hands and sets\r\nabout to defy death by creating life through the use of science. In\r\nsome ways there lies the majority of the allure. Everyone fears death,\r\nand humankind as a whole has an obsession with defeating it, whether\r\nlooking back to ancient tales of the fountain of youth, or going\r\nforward to the more modern age, where life and death are now\r\ncontrolled in the pristine setting of a laboratory or hospital.\r\n\r\nSecondary but not lesser by any means are the themes of revenge and\r\nbetrayal that come with following Frankenstein\'s creation through his\r\njourney as a misfit of society. Desperately seeking to be accepted and\r\nloved, the monster instead becomes a killer, giving up on attaining\r\nhis dream and instead attempting to get even with the person who\r\ncreated him without thought for what misery might result.\r\nAlthough it was written much later at the closing of the century,\r\nperhaps the best story to compare with Frankenstein is that of Brahm\r\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\r\nromance, Dracula focuses on some of the similar themes that\r\nFrankenstein does, and has also easily become as famous as Shelley\'s\r\nnovel. Both Dracula and Frankenstein have a monsterous main character,\r\nand both Dracula and the monster created by Victor Frankenstein\r\nstruggle to have something resembling a \'human\' existance, even though\r\nsuch a thing is clearly impossible. While Frankenstein is wrought with\r\nanguish at his inability to join society, Dracula seems almost\r\nunbothered by it. Instead, Dracula rejoices in the powers that he has\r\ngained, which may be because of how much easier it is for Dracula to\r\nmove about among the \'normal\' population due to his more human\r\nappearance. Dracula and Frankenstein both rely on gothic themes and\r\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\r\nand in both stories there are a number of innocent people who suffer\r\nbecause of being involved with the monster in some tenebrous way. The\r\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\r\nthan being friends with the family that Dracula is tormenting.\r\nVictor\'s bride Emily falls victim to the monster that her fiancee --\r\nand later husband -- created. Both stories share aspects of\r\nRomanticism and have love stories contained within that are less\r\ncentral to the plot than the monster, which remains the focal point of\r\nthe story-telling.\r\n\r\nFor future generations there are several things to be aware of,\r\nincluding the age at which Mary Shelley authored Frankenstein, the\r\nmoral of the story, which is one cautioning against the development of\r\nscience without a counter-check of morality. To know that a teenage\r\ngirl was capable of creating such a timeless classic should inspire\r\neveryone who reads it to make the best use of their talents and aspire\r\nto do whatever it is that they love. Creativity knows no bounds, and a\r\nwork of genius can be recognized as such no matter who is the creator.\r\nAt the same time, there is also much to be gleaned from the work\r\nitself, not just about being moderate and careful when approaching new\r\nscientific and technological advances, but also about being more\r\naccepting as a society.\r\n<p style=\"text-align: center\">_______________Works Cited_______________</p>\r\n<p style=\"text-align: left\">Quinn, Edward. \"gothic literature.\" A Dictionary of Literary and\r\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\r\nBloom\'s Literary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left\">\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\r\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left\">van der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\r\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\r\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left\">Hildebrandt, S. \"Capital punishment and anatomy: history and ethics of\r\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\r\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.</p>\r\n<p style=\"text-align: left\">Moore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\r\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\r\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\r\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\r\nLiterary Reference Online. Facts On File, Inc.</p>\r\n<p style=\"text-align: left\">Hustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\r\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\r\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\r\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\r\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\r\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\r\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','publish','open','open','','frankenstein-the-man-and-the-monster','','','2011-11-21 12:46:11','2011-11-21 18:46:11','',0,'http://jeanatacc.com/2011/?p=1975',0,'post','',13),(1976,48,'2011-10-31 11:29:55','2011-10-31 17:29:55','','propaganda frankenstein','Frankenstein as Propoganda','inherit','open','open','','446px-punch_anti-irish_propaganda_1882_irish_frankenstein','','','2011-10-31 11:29:55','2011-10-31 17:29:55','',1975,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein.jpg',0,'attachment','image/jpeg',0),(1977,48,'2011-10-31 11:31:50','2011-10-31 17:31:50','','Frankie','','inherit','open','open','','munsters_1','','','2011-10-31 11:31:50','2011-10-31 17:31:50','',1975,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1.jpg',0,'attachment','image/jpeg',0),(1978,48,'2011-10-31 11:31:32','2011-10-31 17:31:32','&nbsp;\n\n&nbsp;\n\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\noriginally written as part of a wager. Mary Shelley was a young woman,\nstill in her teens, when she published this work. Later, in 1823, a\nrefined edition was published with Shelley\'s name actually on it.\nFrankenstein is a story about a doctor who wishes to create life, and\nhis creation, the monster. Shelley\'s book raises questions about the\nmorality of science and the nature of good and evil in general.\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\nultimately rejected because of his hideous appearance. Seeking revenge\non his creator, the monster kills Frankenstein\'s younger brother and\nthen his young bride before ultimately tracking down and destroying\nthe man who created him. Both Romanticism and the gothic novel were\npopular at the time this work was published, and the Industrial\nRevolution was gearing up, leading people to ask questions about the\neffects of science and industrialization on society. At this same time\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\npart of the movement. Enlightenment -- or the Age of Enlightenment --\nwas a school of intellectual recourse that involved higher society\nduring the eighteenth and nineteenth centuries. It promoted the\nvirtues of higher thought and philosophy and railed against the\nintolerance of the church and abuses of power by both church and\nstate.\nDuring the late seventeen hundreds and the early eighteen hundreds,\nthe gothic novel experienced its hayday, and had a great deal of\ninfluence on the Romantic movement of art and writing. \"The\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\nsecret passages, torchlit dungeons, and an occasional bat. The\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\n(1794), involves a beautiful heroine beset by dark shadows, strange\nnoises, and a candle that keeps blowing out. These early gothic novels\naimed at instilling terror. Later examples of the form, such as\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\nperhaps one of the best known examples of the gothic novel, and is\nalso considered one of the earliest works of science fiction. Shelley\ndeals with themes that were at the time unique to gothic literature,\nusing elements of the \'supernatural\' and building her story so as to\nincite horror in the reader. At the time it was considered highly\ncontroversial, and part of what led up to the second edition of the\nbook with Shelley\'s real name on the cover was the need to edit and\nrefine the writing due to some of the public\'s reaction to the\ncontent. Frankenstein is also somewhat typical of the Romantic era\nwriter\'s use of the wayward hero, and a similarity can be found in the\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\nso much villains as they are typically ambiguous Romantic heroes:\nVictor fails miserably, but his quest is inspiring; and the monster,\nthough a murderer, is also a victim, and an eloquent and sympathetic\nrebel against forces that violate his basic rights, (Classics\nReviewed)\".\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\ntime is that it is one of the original instances where a story focuses\non the laboratory and what takes place there. \"Often called the first\nof its kind, Frankenstein paved the way for science fiction writing.\nIts depiction of a then impossible scientific feat has in our time\nbecome possible and is essentially recognizable in what we now refer\nto as bioengineering, biomedicine, or biotechnology...Victor\nFrankenstein, has come to serve as the poster child and whipping boy\nfor all scientific and technological irresponsibility, so much so that\nthanks to him we are able to free ourselves and our scientists from\nany real responsibility, since none of us ever would or could be as\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\nthat Frankenstein has an iconic place in culture, which it would not\nhave earned if it were not a revolutionary piece of work. At the time\nit was published no mere human could conceive of doing what Victor\nFrankenstein had done. Creating life was out of the question, and with\nthe primitive conditions that most scientists were forced to function\nunder due to the church, even saving lives with improvements to modern\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\nthat surrounded the act of acquiring body parts for research, which\nwas made practically impossible by the religious attitudes of the\ntime. \"From the thirteenth to the early seventeenth century, the\nbodies of the executed were the only legal source of bodies for\ndissection. Starting in the late seventeenth century, the bodies of\nunclaimed persons were also made legally available, (Hildebrandt)\".\nMary Shelley\'s work was also unusual and unique because of the author,\nsince even during the Age of Enlightenment it was still more common\nfor men to be published authors than women, and Shelley wrote\nFrankenstein while she was still a mere teenager.\nAlthough response to the initial publishing of Frankenstein was mixed,\nit seems to be the overall concensus that for better or worse, this\nnovel has firmly earned its place in history. Helen Moore wrote in\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\nquestion the most noteworthy. From the day of its first appearance in\nprint down to the present, it has had accorded to it a position as a\nunique and remarkable production.\" Although Frankenstein presented\nshocking and grotesque new concepts to the public, it also took off as\nan allegory for science without morality. The word \'Frankenstein\' has\nbecome almost synonymous with \'monster\', even though Frankenstein was\nthe monster\'s creator, and the monster himself remained nameless.\nFrankenstein was parodied in pictures as early as 1843.\n\n[caption id=\"attachment_1976\" align=\"aligncenter\" width=\"223\" caption=\"Frankenstein as Propoganda\"]<a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a>[/caption]\n\nCurrent day opinion of Frankenstein does not seem to have changed much\nfrom the attitudes of the time towards the work. In fact, there is an\neerie similarity between what critics at the time were saying and what\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\nWollstonecraft Shelley is responsible for a creative transformation\nworthy of her prototypical mad scientist, Victor Frankenstein: she\nreconfigures, recontextualizes, and thus modernizes the myth of\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\nmay very well be that Mary Shelley managed, without entirely meaning\nto, to create a story that touches so many people so deeply and\neffectively that she has broken the proverbial mold of writing.\nWhatever the case may be, there seems to be almost unilateral\nagreement that this particular piece of work is well deserving of its\nplace in the annals of history.\nMy personal reaction to this work has always been very strong. Whether\nreading the book or watching any of the myriad of movies that were\ninspired by Frankenstein, it is impossible to resist the allure of the\ntale. Victor Frankenstein takes the role of God in his hands and sets\nabout to defy death by creating life through the use of science. In\nsome ways there lies the majority of the allure. Everyone fears death,\nand humankind as a whole has an obsession with defeating it, whether\nlooking back to ancient tales of the fountain of youth, or going\nforward to the more modern age, where life and death are now\ncontrolled in the pristine setting of a laboratory or hospital.\nSecondary but not lesser by any means are the themes of revenge and\nbetrayal that come with following Frankenstein\'s creation through his\njourney as a misfit of society. Desperately seeking to be accepted and\nloved, the monster instead becomes a killer, giving up on attaining\nhis dream and instead attempting to get even with the person who\ncreated him without thought for what misery might result.\nAlthough it was written much later at the closing of the century,\nperhaps the best story to compare with Frankenstein is that of Brahm\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\nromance, Dracula focuses on some of the similar themes that\nFrankenstein does, and has also easily become as famous as Shelley\'s\nnovel. Both Dracula and Frankenstein have a monsterous main character,\nand both Dracula and the monster created by Victor Frankenstein\nstruggle to have something resembling a \'human\' existance, even though\nsuch a thing is clearly impossible. While Frankenstein is wrought with\nanguish at his inability to join society, Dracula seems almost\nunbothered by it. Instead, Dracula rejoices in the powers that he has\ngained, which may be because of how much easier it is for Dracula to\nmove about among the \'normal\' population due to his more human\nappearance. Dracula and Frankenstein both rely on gothic themes and\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\nand in both stories there are a number of innocent people who suffer\nbecause of being involved with the monster in some tenebrous way. The\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\nthan being friends with the family that Dracula is tormenting.\nVictor\'s bride Emily falls victim to the monster that her fiancee --\nand later husband -- created. Both stories share aspects of\nRomanticism and have love stories contained within that are less\ncentral to the plot than the monster, which remains the focal point of\nthe story-telling.\nFor future generations there are several things to be aware of,\nincluding the age at which Mary Shelley authored Frankenstein, the\nmoral of the story, which is one cautioning against the development of\nscience without a counter-check of morality. To know that a teenage\ngirl was capable of creating such a timeless classic should inspire\neveryone who reads it to make the best use of their talents and aspire\nto do whatever it is that they love. Creativity knows no bounds, and a\nwork of genius can be recognized as such no matter who is the creator.\nAt the same time, there is also much to be gleaned from the work\nitself, not just about being moderate and careful when approaching new\nscientific and technological advances, but also about being more\naccepting as a society.\n<p style=\"text-align: center\">\n_______________Works Cited_______________</p>\n<p style=\"text-align: left\">\nQuinn, Edward. \"gothic literature.\" A Dictionary of Literary and\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\nBloom\'s Literary Reference Online. Facts On File, Inc.\n\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.\nvan der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.\nHildebrandt, S. \"Capital punishment and anatomy: history and ethics of\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.\nMoore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\nLiterary Reference Online. Facts On File, Inc.\nHustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','inherit','open','open','','1975-revision','','','2011-10-31 11:31:32','2011-10-31 17:31:32','',1975,'http://jeanatacc.com/2011/?p=1978',0,'revision','',0),(1980,48,'2011-10-31 11:32:34','2011-10-31 17:32:34','<a href=\"http://cinefantastiqueonline.com/wp-content/uploads/munsters_1.jpg\"><img class=\"aligncenter size-medium wp-image-1977\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/munsters_1-201x300.jpg\" alt=\"\" width=\"201\" height=\"300\" /></a>\n\n&nbsp;\n\nPublished anonymously in 1818, Mary Shelley\'s work, Frankenstein, was\noriginally written as part of a wager. Mary Shelley was a young woman,\nstill in her teens, when she published this work. Later, in 1823, a\nrefined edition was published with Shelley\'s name actually on it.\nFrankenstein is a story about a doctor who wishes to create life, and\nhis creation, the monster. Shelley\'s book raises questions about the\nmorality of science and the nature of good and evil in general.\nAlthough Frankenstein\'s monster seeks to be accepted by society, he is\nultimately rejected because of his hideous appearance. Seeking revenge\non his creator, the monster kills Frankenstein\'s younger brother and\nthen his young bride before ultimately tracking down and destroying\nthe man who created him. Both Romanticism and the gothic novel were\npopular at the time this work was published, and the Industrial\nRevolution was gearing up, leading people to ask questions about the\neffects of science and industrialization on society. At this same time\nthe Enlightenment was in full swing, and Mary Shelley\'s own father was\npart of the movement. Enlightenment -- or the Age of Enlightenment --\nwas a school of intellectual recourse that involved higher society\nduring the eighteenth and nineteenth centuries. It promoted the\nvirtues of higher thought and philosophy and railed against the\nintolerance of the church and abuses of power by both church and\nstate.\nDuring the late seventeen hundreds and the early eighteen hundreds,\nthe gothic novel experienced its hayday, and had a great deal of\ninfluence on the Romantic movement of art and writing. \"The\ntraditional setting, beginning with Hugh Walpole\'s The Castle of\nOtranto (1764), is a medieval (hence, \"gothic\") castle, replete with\nsecret passages, torchlit dungeons, and an occasional bat. The\ntraditional plot, as in Anne Radcliffe\'s The Mysteries of Udolpho\n(1794), involves a beautiful heroine beset by dark shadows, strange\nnoises, and a candle that keeps blowing out. These early gothic novels\naimed at instilling terror. Later examples of the form, such as\nMatthew Lewis\'s The Monk (1796), moved beyond terror to horror,\ninvoking demons, ghosts, and other supernatural paraphernalia in gory\nand subliminally erotic detail, (Quinn)\". Mary Shelley\'s work was\nperhaps one of the best known examples of the gothic novel, and is\nalso considered one of the earliest works of science fiction. Shelley\ndeals with themes that were at the time unique to gothic literature,\nusing elements of the \'supernatural\' and building her story so as to\nincite horror in the reader. At the time it was considered highly\ncontroversial, and part of what led up to the second edition of the\nbook with Shelley\'s real name on the cover was the need to edit and\nrefine the writing due to some of the public\'s reaction to the\ncontent. Frankenstein is also somewhat typical of the Romantic era\nwriter\'s use of the wayward hero, and a similarity can be found in the\nstory of Prometheus, by Johann Gothe. \"Victor and the monster are not\nso much villains as they are typically ambiguous Romantic heroes:\nVictor fails miserably, but his quest is inspiring; and the monster,\nthough a murderer, is also a victim, and an eloquent and sympathetic\nrebel against forces that violate his basic rights, (Classics\nReviewed)\".\nWhat truely sets Mary Shelley\'s tale apart from other writing of the\ntime is that it is one of the original instances where a story focuses\non the laboratory and what takes place there. \"Often called the first\nof its kind, Frankenstein paved the way for science fiction writing.\nIts depiction of a then impossible scientific feat has in our time\nbecome possible and is essentially recognizable in what we now refer\nto as bioengineering, biomedicine, or biotechnology...Victor\nFrankenstein, has come to serve as the poster child and whipping boy\nfor all scientific and technological irresponsibility, so much so that\nthanks to him we are able to free ourselves and our scientists from\nany real responsibility, since none of us ever would or could be as\nmonstrous as Frankenstein,  (van der Laan)\". There can be no doubt\nthat Frankenstein has an iconic place in culture, which it would not\nhave earned if it were not a revolutionary piece of work. At the time\nit was published no mere human could conceive of doing what Victor\nFrankenstein had done. Creating life was out of the question, and with\nthe primitive conditions that most scientists were forced to function\nunder due to the church, even saving lives with improvements to modern\nmedicine was difficult. Mary Shelley touches on the back-alley secrecy\nthat surrounded the act of acquiring body parts for research, which\nwas made practically impossible by the religious attitudes of the\ntime. \"From the thirteenth to the early seventeenth century, the\nbodies of the executed were the only legal source of bodies for\ndissection. Starting in the late seventeenth century, the bodies of\nunclaimed persons were also made legally available, (Hildebrandt)\".\nMary Shelley\'s work was also unusual and unique because of the author,\nsince even during the Age of Enlightenment it was still more common\nfor men to be published authors than women, and Shelley wrote\nFrankenstein while she was still a mere teenager.\nAlthough response to the initial publishing of Frankenstein was mixed,\nit seems to be the overall concensus that for better or worse, this\nnovel has firmly earned its place in history. Helen Moore wrote in\n1886 that,\"Of Mrs. Shelley\'s writings, Frankenstein is without\nquestion the most noteworthy. From the day of its first appearance in\nprint down to the present, it has had accorded to it a position as a\nunique and remarkable production.\" Although Frankenstein presented\nshocking and grotesque new concepts to the public, it also took off as\nan allegory for science without morality. The word \'Frankenstein\' has\nbecome almost synonymous with \'monster\', even though Frankenstein was\nthe monster\'s creator, and the monster himself remained nameless.\nFrankenstein was parodied in pictures as early as 1843.\n\n[caption id=\"attachment_1976\" align=\"aligncenter\" width=\"223\" caption=\"Frankenstein as Propoganda\"]<a href=\"http://en.wikipedia.org/wiki/File:Punch_Anti-Irish_propaganda_(1882)_Irish_Frankenstein.jpg\"><img class=\"size-medium wp-image-1976\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/446px-Punch_Anti-Irish_propaganda_1882_Irish_Frankenstein-223x300.jpg\" alt=\"\" width=\"223\" height=\"300\" /></a>[/caption]\n\nCurrent day opinion of Frankenstein does not seem to have changed much\nfrom the attitudes of the time towards the work. In fact, there is an\neerie similarity between what critics at the time were saying and what\nthe modern day critics seem to feel about Shelley\'s masterpiece. \"Mary\nWollstonecraft Shelley is responsible for a creative transformation\nworthy of her prototypical mad scientist, Victor Frankenstein: she\nreconfigures, recontextualizes, and thus modernizes the myth of\nPrometheus by means of a tiresome, unlucky ghost story, (Hustis)\". It\nmay very well be that Mary Shelley managed, without entirely meaning\nto, to create a story that touches so many people so deeply and\neffectively that she has broken the proverbial mold of writing.\nWhatever the case may be, there seems to be almost unilateral\nagreement that this particular piece of work is well deserving of its\nplace in the annals of history.\nMy personal reaction to this work has always been very strong. Whether\nreading the book or watching any of the myriad of movies that were\ninspired by Frankenstein, it is impossible to resist the allure of the\ntale. Victor Frankenstein takes the role of God in his hands and sets\nabout to defy death by creating life through the use of science. In\nsome ways there lies the majority of the allure. Everyone fears death,\nand humankind as a whole has an obsession with defeating it, whether\nlooking back to ancient tales of the fountain of youth, or going\nforward to the more modern age, where life and death are now\ncontrolled in the pristine setting of a laboratory or hospital.\nSecondary but not lesser by any means are the themes of revenge and\nbetrayal that come with following Frankenstein\'s creation through his\njourney as a misfit of society. Desperately seeking to be accepted and\nloved, the monster instead becomes a killer, giving up on attaining\nhis dream and instead attempting to get even with the person who\ncreated him without thought for what misery might result.\nAlthough it was written much later at the closing of the century,\nperhaps the best story to compare with Frankenstein is that of Brahm\nStoker\'s Dracula. A similar tale of supernatural horror and foiled\nromance, Dracula focuses on some of the similar themes that\nFrankenstein does, and has also easily become as famous as Shelley\'s\nnovel. Both Dracula and Frankenstein have a monsterous main character,\nand both Dracula and the monster created by Victor Frankenstein\nstruggle to have something resembling a \'human\' existance, even though\nsuch a thing is clearly impossible. While Frankenstein is wrought with\nanguish at his inability to join society, Dracula seems almost\nunbothered by it. Instead, Dracula rejoices in the powers that he has\ngained, which may be because of how much easier it is for Dracula to\nmove about among the \'normal\' population due to his more human\nappearance. Dracula and Frankenstein both rely on gothic themes and\nisolated landscapes to enhance the \'horrific\' aspect of the narrative,\nand in both stories there are a number of innocent people who suffer\nbecause of being involved with the monster in some tenebrous way. The\ncarefree Lucy in Brahm Stoker\'s tale is killed for no reason other\nthan being friends with the family that Dracula is tormenting.\nVictor\'s bride Emily falls victim to the monster that her fiancee --\nand later husband -- created. Both stories share aspects of\nRomanticism and have love stories contained within that are less\ncentral to the plot than the monster, which remains the focal point of\nthe story-telling.\nFor future generations there are several things to be aware of,\nincluding the age at which Mary Shelley authored Frankenstein, the\nmoral of the story, which is one cautioning against the development of\nscience without a counter-check of morality. To know that a teenage\ngirl was capable of creating such a timeless classic should inspire\neveryone who reads it to make the best use of their talents and aspire\nto do whatever it is that they love. Creativity knows no bounds, and a\nwork of genius can be recognized as such no matter who is the creator.\nAt the same time, there is also much to be gleaned from the work\nitself, not just about being moderate and careful when approaching new\nscientific and technological advances, but also about being more\naccepting as a society.\n<p style=\"text-align: center\">\n_______________Works Cited_______________</p>\n<p style=\"text-align: left\">\nQuinn, Edward. \"gothic literature.\" A Dictionary of Literary and\nThematic Terms, Second Edition. New York: Facts On File, Inc., 2006.\nBloom\'s Literary Reference Online. Facts On File, Inc.\n\"Frankenstein.\" Recommended Reading: 500 Classics Reviewed (1995): 1.\nMagillOnLiterature Plus. EBSCO. Web. 30 Oct. 2011.\nvan der Laan, J. M. \"Frankenstein as Science Fiction and Fact.\"\nBulletin of Science, Technology &amp; Society 30.4 (2010): 298-304.\nVocational and Career Collection. EBSCO. Web. 30 Oct. 2011.\nHildebrandt, S. \"Capital punishment and anatomy: history and ethics of\nan ongoing association.\" Clinical Anatomy (New York, N.Y.) 21.1\n(2008): 5-14. MEDLINE. EBSCO. Web. 30 Oct. 2011.\nMoore, Helen. From \"Frankenstein, and Other Writings.\" In Mary\nWollstonecraft Shelley: 244–264. 1886. Quoted as \"Frankenstein, and\nOther Writings\" in Bloom, Harold, ed. Mary Shelley, Bloom\'s Classic\nCritical Views. New York: Chelsea House Publishing, 2008. Bloom\'s\nLiterary Reference Online. Facts On File, Inc.\nHustis, Harriet. \"Responsible Creativity and the \"Modernity\" of Mary\nShelley\'s Prometheus.\" SEL: Studies in English Literature, 1500–1900,\n43, no. 4 (Autumn 2003): 845–858. Quoted as \"Responsible Creativity\nand the \"Modernity\" of Mary Shelley\'s Prometheus\" in Bloom, Harold,\ned. Mary Wollstonecraft Shelley, New Edition, Bloom\'s Modern Critical\nViews. New York: Chelsea House Publishing, 2009. Bloom\'s Literary\nReference Online. Facts On File, Inc</p>','Frankenstein - The Man and the Monster','','inherit','open','open','','1975-revision-2','','','2011-10-31 11:32:34','2011-10-31 17:32:34','',1975,'http://jeanatacc.com/2011/?p=1980',0,'revision','',0),(1983,42,'2011-10-31 11:21:19','2011-10-31 17:21:19','<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n<div class=\"mceTemp\">\r\n\r\n[caption id=\"attachment_1966\" align=\"aligncenter\" width=\"219\" caption=\"Construction was begun in 1850.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4.jpg\"><img class=\"size-medium wp-image-1966\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/CPConstruction4-219x300.jpg\" alt=\"\" width=\"219\" height=\"300\" /></a>[/caption]\r\n\r\n</div>\r\n</div>\r\n</div>\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"center\">To get an idea of the scope and construction of the Crystal Palace, see this video put together by a student for a history assignment at:</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/Vqs8SGpN3aA\">http://youtu.be/Vqs8SGpN3aA</a></p>\r\n<p dir=\"ltr\" align=\"center\">For a slide show of period prints and paintings of the Palace, see this video made by World Star Academy in 2010. Portions of it are made to simulate a tour of the Exhibition.</p>\r\n<p dir=\"ltr\" align=\"center\"><a href=\"http://youtu.be/eqM6PXyp5MA\">http://youtu.be/eqM6PXyp5MA</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition of the Works of Industry of All Nations, soon to be known as Paxton’s Crystal Palace was the first prefabricated building ever constructed. Who knows where our 2100 Time Capsule will take us? And what will we use for shelter when we get there? As a symbol of pride and peace and as a building capable of enclosing 19 acres, built with modular  portable pieces that can be assembled without scaffolding or heavy lifting equipment, this is the architecture to save for our future.</p>\r\n<p dir=\"ltr\" align=\"left\"><!--more--></p>\r\n\r\n\r\n[caption id=\"attachment_1965\" align=\"aligncenter\" width=\"300\" caption=\"A portion of the interior after openning May 1, 1851.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6.jpg\"><img class=\"size-medium wp-image-1965\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Afterwards6-300x256.jpg\" alt=\"\" width=\"300\" height=\"256\" /></a>[/caption]\r\n<p style=\"text-align: center\">This image was found at:  <a href=\"http://www.victorianstation.com/palace.html\">http://www.victorianstation.com/palace.html</a></p>\r\n<p dir=\"ltr\" align=\"left\">The Great Exhibition was an idea conceived by Queen Victoria’s husband, Prince Albert. \"In 1848 he placed a proposal before British Parliament to set up a self-supporting exhibition of the products of British Industry.\" (Howell) It was accepted. Prince Albert had two rules for the building. One was that the building must go up quickly. The other was that it must be removed after the fair was over. (Karwatka) The location was to be Hyde Park, London. 250 architectural plans were submitted. \"Some 245 entries used masonry and did not obviously meet the requirement. Others would have been far too expensive or simply looked unpleasant. Another group of entries was requested.\" (Karwatka) Joseph Paxton (1801-1865), a \"distinguished horticulturist and greenhouse desgner\" (Fiero, 313) submitted his design to the Royal Commission in June 1850. Paxton believed he could build the temporary structure for 79,800. His proposal was accepted in July of 1850. When Prince Albert showed the plans to Queen Victoria he is reported as saying \"Look well on these, my dear, for you may be looking at the architecture of the future.\" (\"Industrial Design\", 9:514)</p>\r\n<p dir=\"ltr\" align=\"left\">\"On Saturday, May 1st, 1851 (less than a year after Paxton’s proposal was accepted) the inauguration of the Palace of Industry was graced by Her Majesty Queen Victoria and Prince Albert.\"(Howell) The building that the crowds flocked to was completely manufactured with pieces off-site and the modules brought to Hyde Park to be assembled. (Fiero, 313) The Crystal Palace \"was the largest building built to date, a third of a mile long, 450 feet wide, and enclosing an area of almost twenty-one acres. Its skeleton was made of cast iron, not timber, and its outer walls and roof were sheathed in plate glass, (about 300,000 panes) held in place by 205 miles of sash bars.\" (Marschall) A building made almost entirely of glass quickly gave rise to the name, Paxton’s Crystal Palace. The Great Exhibition of the Works of All Nations was housed in a giant greenhouse.</p>\r\n<p dir=\"ltr\" align=\"left\">The Industrial Revolution began in the 1750\"s. \"The application of steam power to production machinery, the ability to ship goods worldwide, and the rise of the industrious middle classes were some of the many reasons that Britain was the first nation to industrialize. The results were a mixed bag. Industrialization brought misery for those all but forced into mechanized sweatshops and encouraged cities to grow beyond their capacity or ability to provide civilized places to live. Pollution and new forms of accident and disease became rife.\" (Glancy, 136) It would be understandable if bad morale, amongst the citizenry of England, were one of the reasons that Prince Albert wanted to have this exhibition. The exhibition also would have provided an excuse and apology for British imperialism. Maybe he was also spurred by the conviction that Industrialization had an up-side, as much as by the prevailing winds of nationalist pride indicative of the Romantic era, to build a monument and cathedral of commerce for the Works of Industry as they existed in his time. He did want to showcase what Great Britain had accomplished. By colonization, they had wrested the raw materials of production and had them brought to England for the manufacturing of goods that could now be afforded by the new middle class.</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace \"downplayed the violence of imperialism, instead celebrating the \"progress’ and ‘modernity’ produced by colonialism.\" (Farr, 101) Prince Albert’s intentions may have been to demonstrate Great Britain’s technological competitiveness, but it also gave countries like India and China an opportunity to represent themselves \"outside their own territories.\" (Grafe, 283) \"Studies of the Great Exhibition...have recognized that the displays were bound up with the idea that industrial capitalism would generate peace, progress and prosperity.\" (Young, 344) The Crystal Palace was a physical monument to the ideals of the Romantic era. It was built to heroic proportions and for the pride of industry and nationalism Great Britain desired to show its citizens. (Fiero, 315)</p>\r\n<p dir=\"ltr\" align=\"left\">\"More than 13,000 exhibitors took part.\" (\"Crystal Palace Exhibition\", III:274) Exhibits included minerals and goods from as far away as India and China. The United States had it’s own wing. The Kohinoor diamond held \"center stage. The 186.5 carat diamond (was) positioned centrally within the Palace. The six foot high cage that housed the diamond featured a system of gas lights which were intended to illuminate the stone from below.\"(Young, 345-346) Also featured was a display of Samuel Colt’s new invention, made by the new American manufacturing ‘system of interchangeable parts’, the revolving pistol, currently being used from horseback in the wars against the American Indians. (\"Samuel Colt\", 172) Silks from China, embroidery from the English countryside, a canoe suspended above the Canadian exhibit and many more exotic items from the world outside England rounded out the show.</p>\r\n<p dir=\"ltr\" align=\"left\">Tickets were sold ahead and were sold out for the day of the opening. During the nine months it was located in Hyde Park, London, the Exhibition was attended by 6,000,000 visitors. (\"Crystal Palace\", III:274) This number was helped when the ticket prices were dropped from 4 per person (to attend the opening with the Queen and her Prince Consort) to 5 shillings per person within a month of the opening. (Howell) A profit of the equivalent of $750,000 was made. Afterwards it was disassembled and moved to Sydenham, London, where it remained a tourist attraction for the next 85 years. (Crystal Palace\", III:274) The exhibition was meant not only as an advertisement and aggrandizement of British ingenuity, but as an \"effort to educate through recreation.\" (Piggot) And educate it did, in a very profitable and popular way.</p>\r\n<p dir=\"ltr\" align=\"left\">In his book, \"<em>The Closing of the Great Exhibition or, England’s Mission to all Nations\", </em>the Reverend William Forster \"cast the display of raw materials and artifacts set out within Joseph Paxton’s purpose-built Crystal Palace as an embodiment of free-trade and universal peace ideas.\" (Young, 343) Nikolai Chernyshevsky(1828-1889) was a writer and editor for the radical \"Contemporary\" in Russia. He visited the Palace in 1859. (\"Nikolai Gavilovich Chernyshevsky\", 504) Afterwards, Michael Katz wrote that Chernyshevsky’s reaction was that \"the elegance, simplicity, harmony, and rationality of the structure would provide evidence of man’s absolute and total perfectibility. The Crystal Palace was the secular actualization of the kingdom of heaven on earth.\" (Katz, 44)</p>\r\n<p dir=\"ltr\" align=\"left\">Not all reactions were good. Chernyshevsky’s compatriot Fedor Dostoevsky (1821-1881), another Russian writer, visited the Crystal Palace in the summer of 1862. Michael Katz describes Dostoevsky’s reaction as extremely negative. \"To him (Dostoevsky), the building represented the triumph of mathematics and engineering: it left no room for man’s whims...it (the Palace) was an emblem of human pride and arrogance; it constituted a threat to human freedom and autonomy.\"     The Crystal Palace etched itself onto the world’s consciousness, even if sometimes that impression was not always favorable.</p>\r\n<p dir=\"ltr\" align=\"left\">John Ruskin, (1819-1900) \"perhaps the greatest art critic of the second half of the nineteenth century, appreciated the Crystal Palace as a feat of engineering, but not as art.\" (Farr, 66) \"Many architects in 1851 would have seen the Crystal Palace as a threat, or if they had no sense of the future, would have dismissed it as a large greenhouse and not proper architecture.\" (Glancy, 141) Architects of today recognize it as a major milestone in the evolution of architecture. Jonathon Glancy wrote in his book, \"<em>The Story of Architecture</em>\", that the Palace was the \" first large-scale prefabricated building in modern materials the world had seen. (Plate-glass and cast iron were recent manufacturing inventions.) It pointed the way forward to a new way of building, free from style and materials (wood and stone masonry) that had held architecture in their grasp from Mesopotamia to nineteenth-century England. In fact it foreshadowed the great glazed (glass curtained) buildings of the late twentieth-century office atriums and shopping malls.\" (Glancy, 141)</p>\r\n<p dir=\"ltr\" align=\"left\">The Crystal Palace’s closest cousin is the Eiffel Tower in Paris, France. Built 38 years after the Crystal Palace, the Eiffel Tower was designed and built by Gustav Eiffel as the entrance arch \"for the Paris World Exhibition of 1889.\" (Fiero, 315) Unlike the Crystal Palace, which was built to view the treasures of the known world, the Eiffel Tower was built with the sole purpose of viewing the surrounding landscape. Built by the same new technology as the Crystal Palace and for the same reasons, the Eiffel tower took up 1,064 feet of vertical space; just 787 feet shorter than the Palace was long in horizontal space. It was very convenient that elevators had been invented around the mid-nineteenth century. The Eiffel tower was equipped with an elevator that ran from the 3rd level to the panoramic viewing deck. The Palace had only two levels of flooring with flights of stairs at regular intervals throughout the hall. The Palace was an enclosed space. The Eiffel Tower was all open and decorative metal work. While the Palace took only nine months to build, the Eiffel Tower took the years 1887-1889 to complete. Both constructions were \"landmarks of heroic materialism.\" (Fiero, 315) Both were built for exhibitions. Both were built in the spirit of the Romantic era’s nationalistic pride in their respective nations. The Eiffel Tower is still standing where it was originally built and has become a symbol of the city of Paris, France. The Crystal Palace was moved after October of 1851 to Sydenham, London and \"reconstructed there as the focal point of a landscaped park until it was destroyed by fire on November 30th, 1936.\" (Farr, 66) All that was left was the water fountains that decorated the park and those were destroyed when \"in 1941 German bombers (used the fountains) to mark a portal to the city (of London) and were demolished. (Piggot)</p>\r\nThe Crystal Palace was a representation of globalization and peace. It made the citizens of Great Britain aware of being more than citizens of London or even England; it made them citizens of the world. That is a sentiment that is still pertinent today with all of its attending anxieties. Was there ever a tribe of people or a civilization that had no awareness of other competing groups? If there ever was, it is gone from known human histories. We could use Paxton’s Crystal Palace as a symbol of world peace and human ingenuity in our future endeavors. It is a powerful testament to our better intentions. It also has practical applications. Built primarily of glass and cast iron, it enclosed entire mature trees. The light the glass let in, was conducive to life within. Capable of allowing up to 80,000 people to stand in its environs, it could become the main building in any new community we might establish. Easily manufactured modules could be built into a useful and magnificent center of community. The plans that Joseph Paxton submitted in 1850 are still relevant today and could be shipped in the 2100 Time Capsule to be built with the stronger materials of our space age. Paxton’s Crystal Palace is the architecture to save in the 2100 Time Capsule for the future of mankind.\r\n<p dir=\"ltr\" align=\"center\">Bibliography</p>\r\n<p dir=\"ltr\" align=\"left\">Banham, Rayner <em>Age of the Masters</em> New York: Icon Editions Harper and Row Publishers. 1975. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Bellis, Mary \"History of the Elevator: Elisha Otis\" About.com Web. 30 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Crystal Palace Exhibition\" <em>The New Encyclopaedia Britannica: Micropaedia</em>. 15th ed. Vol. III 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Farr, Ed. James R. Vol. 9 \"Industrial Revolution in Europe, 1750-1914\"<em> </em>Detroit: Gale. 2003. 98-101. <em>World History in Context</em></p>\r\n<p dir=\"ltr\" align=\"left\">Fiero, Gloria K. The Humanistic Tradition: <em>The Early Modern World to the Present </em>6th ed. Boston: McGraw Hill. 2011. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Fedor Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale. 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Glancy, Jonathan <em>The Story of Architecture </em>New York: Dorling Kindersley Publishing, Inc. 2000. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Industrial Design\" <em>Encyclopaedia Britannica: Macropaedia </em>15th ed. Vol. 9 1979. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Karwatka, Dennis J<em>oseph Paxton and the Crystal Palace</em> Tech Directions 61.5 (2001):8. Academic Search Complete EBSCO. Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Katz, Michael \"The Russian Response to Modernity: Crystal Palace, Eiffel Tower, Brooklyn Bridge\" <em>Southwest Review</em> 2008:93.1 44-57. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Marschall, Laurence A. \"The Busiest Man in England: A Life of Joseph Paxton, Gardener, Architect and Victorian Visionary\" <em>Natural History </em>Sept. 2006: 54.<em> World History in Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Nikolai Gavrilovich Chernyshevsky\" <em>Encyclopedia of World Biography </em>Vol. 3. 2nd ed. Detroit: Gale, 2004. 504-505. Web. 29 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Piggot, Jan \"Reflections of empire: glittering monument to Britain’s colonial achievement or fragile symbol of a fragmenting imperial dream?\" <em>History Today </em>61.4 (2011):32+ <em>World History In Context. </em>Web. 15 Oct. 2011.</p>\r\n<p dir=\"ltr\" align=\"left\">Raeburn, Michael <em>An Outline of World Architecture </em>London: Octopus Books Limited. 1978. Print.</p>\r\n<p dir=\"ltr\" align=\"left\">Leland M. <em>Understanding Architecture: Its Elements, History and Meaning </em>New York: Icon Editions An Imprint of Harper Collins Publishers. 1993, Print.</p>\r\n<p dir=\"ltr\" align=\"left\">\"Samuel Colt\" <em>Encyclopedia of World Biography </em>2nd ed. Vol. 4. Detroit: Gale. 2004. <em>Gale Virtual Reference Library Web. 29 Oct. 2011.</em></p>\r\nYoung, Paul <em>Carbon, Mere Carbon: The Kohinoor, the Crystal Palace and the Mission to Make Sense of British India </em>Nineteenth-Century Contexts. Dec. 2007. 29:4:343-358\r\n\r\n&nbsp;','Paxton’s Crystal Palace','','inherit','open','open','','1944-revision-15','','','2011-10-31 11:21:19','2011-10-31 17:21:19','',1944,'http://jeanatacc.com/2011/?p=1983',0,'revision','',0),(1985,46,'2011-10-31 17:15:16','2011-10-31 23:15:16','<span style=\"font-family: \'Times New Roman\', serif;font-size: x-small\"><img class=\"alignnone\" src=\"http://vampirewarzone.yolasite.com/resources/faust2.jpg\" alt=\"\" width=\"400\" height=\"373\" /></span>\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif;font-size: x-small\"><a href=\"http://vampirewarzone.yolasite.com/resources/faust2.jpg\">http://vampirewarzone.yolasite.com/resources/faust2.jpg</a></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">Goethe\'s </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> is one of the most important works t ever have been written, especially when concerning the development of literary and theatrical works. Let alone being immediately accepted as one of the best representations of a romantic hero, Faust is characterized amazingly well. Through flowing acts and solid writing, Goethe gives the world something to remember. Goethe\'s </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> must be preserved, as it is the quintessential representation of the romantic movement through its characterization of the Promethean hero and his selfless sacrifice.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif;font-size: x-small\"><!--more--></span>\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">The tale of Faust is divided into two main tragedies. The story opens with Mephistopheles and God making a wager, that Mephistopheles can sway God\'s favorite human, Faust, towards evil. We then cut to Faust despairing over his limited ability to gain new knowledge, even so much as to consider ending his life as a solution. Mephistopheles appears to Faust and has him sign a contract in blood, stating that Faust will be granted unlimited knowledge and upon death Faust will serve Mephistopheles in hell. The arrangement also includes the clause that if at any point Faust is so overwhelmed by anything Mephistopheles presents and desires it so much he would want to remain in that moment forever, Faust would immediately die. Through a series of tragedies, Faust\'s found love interest, Gretchen, is put in jail for the murder of her child with Faust. Faust attempts to release Gretchen from prison to save her from death, but she refuses and he must escape with Mephistopheles. And so ends the first act.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> When the second act begins, we are shown five various acts in which Faust attempts to live his life with a new love interest, Helen. Through much of this there are dangers that keep them apart, while Mephistopheles plays tricks and manipulates through disguise many people around the two. Eventually Helen and Faust have a son, who falls to his death and causes Helen to pursue him in the afterlife. It is then revealed that the force behind all fortune bringing Faust and Helen together has actually been Mephistopheles the entire time. In the final act, Faust reaches his moment of pure bliss, but only when he decides openly to better the lives of all of his subjects. Mephistopheles attempts to claim Faust\'s soul, as per their wager, but Angels descend and claim Faust for God.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The play</span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> was recognized almost instantly as one of the works that could represent the entirety of the romantic movement. People saw characteristics of classic romanticism in all the characters and portrayal of tragedy. (Fiero) By exploring knowledge and salvation in a new way Goethe opened many doors for other writers. Critical reception was an immediate success, and any arguments against the portrayal of Faust as a hero came much later. We have some of the more central themes of the entire romantic movement such as “salvation through striving, quest for knowledge, deception and the fact that life is worth living (Cummings).”</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Faust holds many characteristics of other works of the time, in many ways because it was the initial frame of reference for other folks. Many other writers, playwrights and musicians took the characterization elements of </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> and built on those elements. Having a character that was completely selfless and the ultimate Promethean hero, Goethe gives us a view into the workings of humanity. This idea of looking into what a person would do with infinite information and knowledge is very important to the thinkers of the time. If we take a look at Shelley\'s </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Frankenstein</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">, using his extreme knowledge of science, the boundaries between life and death are broken by Dr. Frankenstein (Fiero). The use of this knowledge was for the best of society but executed poorly. The key element of this however is that neither Faust or Frankenstein ever sought to do anything power related with their knowledge. We see Faust pursue things that in turn grant him power and sway, but this is never his goal. This theme can be seen running through many works of the time. These heroes stepped away from many of the Germanic and other classic type heroes of the past. Power was not important in the way that knowledge was.</span></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\r\n</span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">The play additionally follows form with many other works of the time, in it\'s choice of language. Many writers and musicians were starting to show great nationalism and pride in their heritage. Goethe knew that German language could be beautiful and wanted to show the world. He chose to write </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> in German as opposed to English or another more readily artistically accepted language to prove its power lyrically and emotionally. From the paintings that cropped up out of the Americas to the choices of stories by the Brothers Grimm to the focus on Napoleon and the French strength, all through this movement we see a strong nationalistic focus. Goethe was definitely a part of this, and made it known.</span></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\r\n</span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">We also see very interesting similarities in Goethe\'s portrayal of Margaret. Presenting her as an incredibly pure and holy source, we see one of the two ways women were portrayed. Either deified such as in Faust, or vilified as in </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Carmen </em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">(Fiero). Goethe draws upon many of the more progressive elements of the romantic era, seeing that a woman could be the element of salvation as opposed to only ever being the Pandora or Eve and causing the downfall of man. Though, while he identified with many of the folk of the time, Goethe also stood opposite of many others.</span></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">\r\n</span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">While following the nationalistic trend of things, the fact that Faust was actually in German was incredibly unusual and new. Plays before, even by German playwrights followed a tradition of being written in a more commonly accepted beautiful language. By writing in German, Goethe broke out of the norm and was forcing people to participate in his nationalism, where many other artists and writers held elements of nationalism as parts of their work, they were not encompassed by it (Shroff). </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> also stepped into an interesting realm in its two acts. Instead of being centrally located and easily followed through a scene, Goethe throws the viewer from the central view in the first part into a completely different cycle. With brand new thematic elements through all five acts of the second part, the viewer no longer has the dread and tragedy that is present in act one. When you look at other classic plays and plays of this time, there is still a very central focus. The characters either maintain a thematic centrality or the plot is focused and direct, there is a very linear element to it all. </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> remains linear, but both parts take place on two completely separate lines, that run parallel but on very different planes. Because of this, we also see the idea that there are two separate climaxes, one when Faust attempts the rescue, and the other when he realizes his happiness (Cummings). One of the best descriptions of how </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> differs from other plays of its time outside of that is from Theatre History.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> “</span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: small\">The principal contrast between the popular play and Goethe\'s </span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: small\"><em>Faust</em></span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\'\"><span style=\"font-size: small\">is that, in the former, love and enjoyment bring the hero to ruin, while, in the latter, love and activity are his salvation.</span></span></span><span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">”</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust </em></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\">also remains separate from many of the other works of the time simply because if it\'s divine focus. Most other romantic works tended to gravitate towards nature or purely knowledge and man, where as Faust is only a part of the tale because of divine forces. Having a moment of Deus Ex Machina where Angels descend and claim Faust\'s soul for God is very interesting, considering it is not just a message of salvation, but a message that connects things back to a much larger spiritual nature.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> One amazing thing about </span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> is how it maintains such power even in modern day. With several film, opera and literary adaptations, including comic books, we can see the devotion to the same ideals that Goethe held so true. There are countless essays in which people explore Faust as the perfect tragic hero, and even to this day, any deal or wager with a devilish figure is referred to as “Faustian.” I think it has been embellished more so in our society today, but the idea of the perfect martyr who\'s prime moment of bliss and downfall comes from helping another human being is incredibly powerful. I think this holds so true today, that even our own current “folk lore” and hero construction mimics the idea.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> If we look at two of the most popular comic series of the current generation, we see extremely similar elements between them and Faust. The first to take a look at is the creation of Todd McFarlane, “Spawn.” In the series, a man sells his soul to the devil in exchange for the ability to return to Earth and posses the powers necessary to fight evil. Just a tad familiar we could say. This sale of a soul and pursuit of a “noble” cause is the central element of both stories. We even see the two take place in a series of acts or arcs, that build to a conclusion of salvation. Spawn, defeats evil head on, though by questionable means at times, and is often manipulated by dark forces into participating in events that have a tragic outcome. It has often been referred to that such a situation as this is a “Faustian double bind (Hedges).” The ability to do something, but being manipulated by the ability the whole time is very hard for any hero to cope with. </span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> The main difference between the two tales is the hero\'s image of himself. Faust sees himself often as simply wanting the best and does not necessarily identify as the tragic hero. Faust gives up his eternal future without knowing what specifically he will accomplish, only assuming it will be good. Spawn on the other side of that coin, understands his new found vigilante status. Spawn very closely identifies as the hero of an unfair circumstantial outcome, and knows specifically what he wants to accomplish and actually assumes it is going to be bad for him. This primarily shows the shift in cultural focus in my opinion. It has become more acceptable and desirable to understand that you are the “unwilling hero”. Though, it is important to point out that the newly formed “unwilling hero” trope is almost exclusively an American invention.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Following the path of American folklore comics, we have a character and story that many regard as the quintessential modern hero, Batman. Batman sacrifices all he has outside of his pursuit of good, and in many ways understands he is fighting an uphill battle. While no particular deal with any demonic entity, both Faust and Batman are regarded as complete representations of their time\'s sentiments towards heroism. Batman sought knowledge and made his dark deal in deciding to embezzle from his inherited company and sacrifice any chance he had for happiness outside of justice. Faust is often tricked into participating in things that end up tragic, where as Batman often engages in questionable methods to ensure his outcomes be positive. While both of these characters experience their ultimate joy in lessening the suffering of others, the concept of martyrdom is far heavier in Faust. Again, I think this is mainly a statement on the evolution of society\'s ideals more than anything. While the idea of a martyr is appealing in this day and age, it does not represent the pinnacle of heroism any longer.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> My passion regarding the subject discussed is by no means a secret at this point. Regardless of what genre I find myself exploring, the Promethean hero is my ideal. I find Goethe\'s depiction of Faust to be a superb representation of what man can be capable of. One of the things I truly appreciate about the play is the lack of importance in extraneous things. The human drama of the play is what drives it. I have made no mention of sets or props or back drops, because it is the characters and human element that drive the story so completely. I firmly believe that </span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> is the epitome of play writing, in which a message of heroism is presented. One thing I believe should and will be noticed is my choice to not include any direct quotes or dialogue from the work itself. I think that taking the little pieces out of the play hardly do it justice. The play was designed and written to be seen in its entire context.</span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> Goethe has given us something truly worth preservation. </span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> is one of the most amazingly beautiful and tragic depictions of romantic heroism that has ever come to be. Just as we must remember all real martyrs, we must never forget the characters who show us through mystical and spiritual means what humanity is capable of when good is at heart. </span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"><em>Faust</em></span></span><span style=\"font-family: \'Times New Roman\', serif\"><span style=\"font-size: small\"> must be preserved and read so that future generations can understand the importance of finding that one, death-inducing, perfect, spiritual moment of bliss.</span></span>\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><span style=\"font-family: \'Times New Roman\', serif\"> Works Cited</span></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Brians, Paul. \"Faust Study Questions.\"<em>Washington State University - Pullman, Washington</em>. 14 June 1995. Web. 29 Oct. 2011. &lt;<a href=\"http://public.wsu.edu/~brians/hum_303/faust.html\">http://public.wsu.edu/~brians/hum_303/faust.html</a>&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A really good set of study questions by a professor. I liked to use these to help me critically analyze much of the original work.</em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Cummings, Michael J. \"Faust.\"<em>Free Study Guides for Shakespeare and Other Authors</em>. Web. 30 Oct. 2011. &lt;<a href=\"http://www.cummingsstudyguides.net/Faust.html\">http://www.cummingsstudyguides.net/Faust.html</a>&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A fantastic resource for all things related to Faust. It covers many of the central themes and how the play was accepted in its own time.</em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><span style=\"font-family: \'Times New Roman\', Times, serif\">Fiero, Gloria K. \"28.\" </span><em><span style=\"font-family: \'Times New Roman\', Times, serif\">The Humanistic Tradition. </span></em><span style=\"font-family: \'Times New Roman\', Times, serif\">New York, NY: McGraw-Hill, 2011. Print.</span><em> </em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Text for the course, but contains an amazing section on the romantic hero archetype. Used for much of my comparison to that genre.</em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">\"Faust.\"<em>TheatreHistory.com</em>. Web. 29 Oct. 2011. &lt;<a href=\"http://www.theatrehistory.com/german/goethe012.html\">http://www.theatrehistory.com/german/goethe012.html</a>&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A decent summary of the work, but has very keen insight into some of the deeper thematic elements. I used this for looking at much of the character elements.</em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">\"Goethe\'s Faust.\"<em>LEVITY</em>. Web. 28 Oct. 2011. &lt;<a href=\"http://www.levity.com/alchemy/faustidx.html\">http://www.levity.com/alchemy/faustidx.html</a>&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A copy of the whole text in hyperlink form. Helped me read the entirety of the work, and jump between sections.</em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Hedges, Inez. \"Framing Faust: Twentieth-century ... - Inez Hedges.\"<em>Google Books</em>. Web. 30 Oct. 2011. &lt;<a href=\"http://books.google.com/books?id=fnQriMeVz4EC\">http://books.google.com/books?id=fnQriMeVz4EC</a>&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>A great book about Faustian characters in modern day. Contains many examples through literary works and film. Primarily used for my Spawn comparison.</em></span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\">Shroff, Satis. \"On Doctor Faustus and Mephistopheles.\"<em>Boloji.com - A Study in Diversity - News, Views, Analysis, Literature, Poetry, Features - Express Yourself</em>. 13 Jan. 2008. Web. 29 Oct. 2011. &lt;<a href=\"http://www.boloji.com/index.cfm?md=Content\">http://www.boloji.com/index.cfm?md=Content</a>&gt;.</span></span></span>\r\n\r\n&nbsp;\r\n\r\n<span style=\"color: #000000\"><span style=\"font-family: \'Times New Roman\', Times\"><span style=\"font-size: small\"><em>Great insight into Goethe\'s purposes for how and why he developed characters the way he did. I used this to tie into the nationalism argument. </em></span></span></span>\r\n\r\n<span style=\"font-family: \'Times New Roman\', serif;font-size: x-small\">\r\n</span>','Goethe\'s Faust -  Promethean Heroism Defined','','publish','open','open','','goethes-faust-promethean-heroism-defined','','','2011-10-31 17:15:16','2011-10-31 23:15:16','',0,'http://jeanatacc.com/2011/?p=1985',0,'post','',8),(1986,46,'2011-10-31 17:13:59','2011-10-31 23:13:59','','faust2','','inherit','open','open','','faust2','','','2011-10-31 17:13:59','2011-10-31 23:13:59','',1985,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/faust2.jpg',0,'attachment','image/jpeg',0),(1987,46,'2011-10-31 17:14:30','2011-10-31 23:14:30','','faust2','','inherit','open','open','','faust2-2','','','2011-10-31 17:14:30','2011-10-31 23:14:30','',1985,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/faust21.jpg',0,'attachment','image/jpeg',0),(1988,46,'2011-10-31 17:13:08','2011-10-31 23:13:08','','Goethe\'s Faust -  Promethean Heroism Defined','','inherit','open','open','','1985-revision','','','2011-10-31 17:13:08','2011-10-31 23:13:08','',1985,'http://jeanatacc.com/2011/?p=1988',0,'revision','',0),(1998,39,'2011-10-31 20:00:04','2011-11-01 02:00:04','<p style=\"text-align: center\"></p>\r\n&nbsp;\r\n\r\n\"A Doll\'s House\" is a play that was written in 1879 by Henrik Ibsen that broke the barriers of social norms for its time.  Ibsen was a figure head in his field known world wide for his playwrights one critic states, \"was not the second half of the nineteenth century the age of Ibsen: is tragedy not restored to the heights in him?\". <!--more-->\r\n(Gray)  It focuses on a typical married couple for the time period, Torvald and Nora.  In order to save her husband’s life Nora forges a signature to get money to save him only to find he is very unappreciative.  Some say it is a piece that was written for women’s rights.  Ibsen however has stated that the play was not written simply about women\'s rights during the time, but every human’s natural right that had been taken or severely restricted due to social norms.  \"A Doll\'s House\" should be preserved due to its innovative thought about human rights and how these natural rights we have were so suppressed under irrational social norms.\r\n\r\nThe piece is beautiful in my opinion.  Not only does it express the harsh reality of the social conditions that people had to live through during those times.  I mean compared to current day where some men don\'t even work and stay home while the woman is the bread winner.  He was not afraid to let people know that he was not ok following this unwritten handbook of social acceptability.  The other thing that I love about the piece is that it is a woman who goes through the harsh times, but he defends the husband stating that it’s about human rights.  Ibsen said, \"I . . . must disclaim the honor of having consciously worked for women\'s rights. I am not even quite sure what women\'s rights really are. To me it has been a question of human rights.\" (Goonetilleke)   Torvald then does not seem like so much of a monster with that statement.  If it weren\'t for the norms put in place he may have reacted properly with love rather than anger about his wife\'s decision.\r\n\r\nIt is uncanny however how two pieces that have to do with personal rights were created so closely in time.  Another work that was made about women\'s rights but still about natural human rights was \"The Subjugation of Women\" by John Stuart Mill in 1869.  The piece talks about how social norms have turned women into willing slaves.  They are deprived from a young age of opportunity that men have and this causes them to play the subordinate role.  It talks about how women are pretty much bread from a young age to be placed in the house taking care of children and chores.  The other great point Mill makes as well is that all women of the time have been brainwashed into thinking it is acceptable.  As said they are turned into willing slaves by the social norms.(Fiero)  This factor is almost identical to Ibsen\'s display of social norms stating men will act based on social norms regardless of situation, and that the women are expected to abide by these norms because that is just how things are.\r\n\r\nThis piece is very innovative for its time.  Ibsen was going against the level of social acceptability that was in place at the time, and had been in place for years.  Almost an unwritten rule on how people were supposed to act based on their given gender role.  It was innovative; however as said before you had other artists such as Mills who were still standing up for women\'s rights.  A little more off based than Ibsen who saw how the guidelines for \"social acceptability\" were depriving citizens of their natural birth rights.  Both produced their works in order to show people that the way things have been just did not make sense and it did not take a genius to see that.  Ibsen denying he wrote for women\'s rights however I feel made a more profound impact stating that he wrote because both men\'s and women\'s rights were being impeded on.\r\n\r\nWhen the play was originally written it did not go over very well with audiences due to the shocking acts of Nora.  One critic has stated, “The play was deemed so daring that, when performed in many countries, the ending was changed so that Nora returns home, finding she cannot leave Torvald or her three children so great is her love and devotion to them.” (Brunnemer)  However today the once shocking actions of Nora are now seen in a different light, “Nora\'s quest for her personal identity, while scandalous to some at the time, is exactly what made the play so famous—and why it continues to hold such currency as a drama today.” (Brunnemer)  Ibsen’s portrayal of how social norms had stunted human rights for all citizens is something that will always be appreciated.\r\n\r\nThe important reason for future generations to know about \"A Doll\'s House\" is how it was created to try and change social norms.  Ibsen saw how these roles are predetermined simply based on gender and nothing else.  No one gave the thought that women might be able to operate just as well as men in the work place and other aspects of life.  They were bread and brainwashed into thinking their role was in the house and to be subservient to their husbands.  Then he comes back and defends the men of society as well.  They too are brainwashed and set in their ways of how things are supposed to be and follow it strictly.  As quoted before Ibsen wrote this with the thought of all human rights in mind not just about one gender as both fell victim to the “cookie cutter” social norms.\r\n\r\n\"A Doll\'s House\" is a play written in order to sway public opinion and generate some thought about equality in gender.  Not only in gender but also in social acceptability associated with gender.  It showed how the women were slaves or a \"Doll\" merely in the “Doll House”.  It gives us a real view into how things were in those days.  To the extremes where even if a woman lied to save her husbands life he would recover with disappointment and criticism of such a wrong action.  Who could think of something like that today?  Many would do anything to save loved ones lives and their loved ones would be nothing but thankful.  It shows us how even when it came to actions of the people we hold closest the social norms were so overbearing that one could treat a spouse as a stranger committing such an act.   \"A Doll\'s House\" should be preserved due to its innovative school of thought about natural rights and how far society has come since then.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\nBrunnemer, Kristin. \"Sexuality in Henrik Ibsen\'s <em>A Doll\'s House</em>.\" In Bloom, Harold, ed. <em>Human Sexuality</em>, Bloom\'s Literary Themes. New York: Chelsea House Publishing, 2009. <em>Bloom\'s Literary Reference Online.</em> Facts On File, Inc. http://www.fofweb.com\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nGoonetilleke, D.C.R.A. \"A Doll\'s House (Et Dukkehjem) Play by Henrik Ibsen, 1879.\" <em>Reference Guide to World Literature</em>. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1231-1232. <em>Gale</em><em> Virtual Reference Library</em>. Web. 17 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nGray, Ronald. \"Ibsen, Henrik (1828-1906).\" <em>European Writers</em>: <em>The Romantic Century</em>. Ed. George Stade. Vol. 7. New York: Charles Scribner\'s Sons, 1983. 1421-1447. <em>Gale Virtual Reference Library</em>. Web. 31 Oct. 2011.\r\n\r\n&nbsp;','Ibsen\'s \"A Doll\'s House\"','','inherit','open','open','','1990-revision-4','','','2011-10-31 20:00:04','2011-11-01 02:00:04','',1990,'http://jeanatacc.com/2011/?p=1998',0,'revision','',0),(1990,39,'2011-10-31 19:58:24','2011-11-01 01:58:24','\"A Doll\'s House\" is a play that was written in 1879 by Henrik Ibsen that broke the barriers of social norms for its time.  Ibsen was a figure head in his field known world wide for his playwrights one critic states, \"was not the second half of the nineteenth century the age of Ibsen: is tragedy not restored to the heights in him?\". <!--more-->\r\n(Gray)  It focuses on a typical married couple for the time period, Torvald and Nora.  In order to save her husband’s life Nora forges a signature to get money to save him only to find he is very unappreciative.  Some say it is a piece that was written for women’s rights.  Ibsen however has stated that the play was not written simply about women\'s rights during the time, but every human’s natural right that had been taken or severely restricted due to social norms.  \"A Doll\'s House\" should be preserved due to its innovative thought about human rights and how these natural rights we have were so suppressed under irrational social norms.\r\n\r\nThe piece is beautiful in my opinion.  Not only does it express the harsh reality of the social conditions that people had to live through during those times.  I mean compared to current day where some men don\'t even work and stay home while the woman is the bread winner.  He was not afraid to let people know that he was not ok following this unwritten handbook of social acceptability.  The other thing that I love about the piece is that it is a woman who goes through the harsh times, but he defends the husband stating that it’s about human rights.  Ibsen said, \"I . . . must disclaim the honor of having consciously worked for women\'s rights. I am not even quite sure what women\'s rights really are. To me it has been a question of human rights.\" (Goonetilleke)   Torvald then does not seem like so much of a monster with that statement.  If it weren\'t for the norms put in place he may have reacted properly with love rather than anger about his wife\'s decision.\r\n\r\nIt is uncanny however how two pieces that have to do with personal rights were created so closely in time.  Another work that was made about women\'s rights but still about natural human rights was \"The Subjugation of Women\" by John Stuart Mill in 1869.  The piece talks about how social norms have turned women into willing slaves.  They are deprived from a young age of opportunity that men have and this causes them to play the subordinate role.  It talks about how women are pretty much bread from a young age to be placed in the house taking care of children and chores.  The other great point Mill makes as well is that all women of the time have been brainwashed into thinking it is acceptable.  As said they are turned into willing slaves by the social norms.(Fiero)  This factor is almost identical to Ibsen\'s display of social norms stating men will act based on social norms regardless of situation, and that the women are expected to abide by these norms because that is just how things are.\r\n\r\nThis piece is very innovative for its time.  Ibsen was going against the level of social acceptability that was in place at the time, and had been in place for years.  Almost an unwritten rule on how people were supposed to act based on their given gender role.  It was innovative; however as said before you had other artists such as Mills who were still standing up for women\'s rights.  A little more off based than Ibsen who saw how the guidelines for \"social acceptability\" were depriving citizens of their natural birth rights.  Both produced their works in order to show people that the way things have been just did not make sense and it did not take a genius to see that.  Ibsen denying he wrote for women\'s rights however I feel made a more profound impact stating that he wrote because both men\'s and women\'s rights were being impeded on.\r\n\r\nWhen the play was originally written it did not go over very well with audiences due to the shocking acts of Nora.  One critic has stated, “The play was deemed so daring that, when performed in many countries, the ending was changed so that Nora returns home, finding she cannot leave Torvald or her three children so great is her love and devotion to them.” (Brunnemer)  However today the once shocking actions of Nora are now seen in a different light, “Nora\'s quest for her personal identity, while scandalous to some at the time, is exactly what made the play so famous—and why it continues to hold such currency as a drama today.” (Brunnemer)  Ibsen’s portrayal of how social norms had stunted human rights for all citizens is something that will always be appreciated.\r\n\r\nThe important reason for future generations to know about \"A Doll\'s House\" is how it was created to try and change social norms.  Ibsen saw how these roles are predetermined simply based on gender and nothing else.  No one gave the thought that women might be able to operate just as well as men in the work place and other aspects of life.  They were bread and brainwashed into thinking their role was in the house and to be subservient to their husbands.  Then he comes back and defends the men of society as well.  They too are brainwashed and set in their ways of how things are supposed to be and follow it strictly.  As quoted before Ibsen wrote this with the thought of all human rights in mind not just about one gender as both fell victim to the “cookie cutter” social norms.\r\n\r\n\"A Doll\'s House\" is a play written in order to sway public opinion and generate some thought about equality in gender.  Not only in gender but also in social acceptability associated with gender.  It showed how the women were slaves or a \"Doll\" merely in the “Doll House”.  It gives us a real view into how things were in those days.  To the extremes where even if a woman lied to save her husbands life he would recover with disappointment and criticism of such a wrong action.  Who could think of something like that today?  Many would do anything to save loved ones lives and their loved ones would be nothing but thankful.  It shows us how even when it came to actions of the people we hold closest the social norms were so overbearing that one could treat a spouse as a stranger committing such an act.   \"A Doll\'s House\" should be preserved due to its innovative school of thought about natural rights and how far society has come since then.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\nBrunnemer, Kristin. \"Sexuality in Henrik Ibsen\'s <em>A Doll\'s House</em>.\" In Bloom, Harold, ed. <em>Human Sexuality</em>, Bloom\'s Literary Themes. New York: Chelsea House Publishing, 2009. <em>Bloom\'s Literary Reference Online.</em> Facts On File, Inc. http://www.fofweb.com\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nGoonetilleke, D.C.R.A. \"A Doll\'s House (Et Dukkehjem) Play by Henrik Ibsen, 1879.\" <em>Reference Guide to World Literature</em>. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1231-1232. <em>Gale</em><em> Virtual Reference Library</em>. Web. 17 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nGray, Ronald. \"Ibsen, Henrik (1828-1906).\" <em>European Writers</em>: <em>The Romantic Century</em>. Ed. George Stade. Vol. 7. New York: Charles Scribner\'s Sons, 1983. 1421-1447. <em>Gale Virtual Reference Library</em>. Web. 31 Oct. 2011.\r\n\r\n&nbsp;','Ibsen\'s \"A Doll\'s House\"','','publish','open','open','','ibsens-a-dolls-house','','','2011-11-01 17:28:00','2011-11-01 23:28:00','',0,'http://jeanatacc.com/2011/?p=1990',0,'post','',10),(1991,39,'2011-10-31 19:57:41','2011-11-01 01:57:41','','Ibsen\'s \"A Doll\'s House\"','','inherit','open','open','','1990-revision','','','2011-10-31 19:57:41','2011-11-01 01:57:41','',1990,'http://jeanatacc.com/2011/?p=1991',0,'revision','',0),(2000,41,'2011-10-31 21:23:14','2011-11-01 03:23:14','[caption id=\"attachment_2013\" align=\"alignleft\" width=\"292\" caption=\"Portrait of Jane Austen Source: http://www.janeaustenfestival.org/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\"><img class=\"size-full wp-image-2013 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Jane.jpg\" alt=\"\" width=\"292\" height=\"224\" /></a>[/caption]\r\n<p align=\"left\"><em>Pride and Prejudice</em> was completed in August of 1797 by Jane Austen and is an epic and cautionary tale about marriage.  Don’t let that fact discourage you from enjoying this piece of literary excellence. It is a book about how personal pride and unknown prejudices can ruin lives, devastate families, divide generations and drive life-long wedges between people. Fortunately, it is also a book about overcoming obstacles, healing personal flaws, avoiding catastrophes and forming a love-filled marriage based on mutual respect. This iconic piece of literature must be preserved for all future generations because <em>Pride and Prejudice</em> changed the world by offering insight into how married life could be both disastrous and wonderful.<!--more--></p>\r\n<p align=\"left\">The protagonist of the story is Miss Elizabeth Bennet. She is considered Jane Austen’s most memorable feminine heroine, and her intelligent and strong-willed character single-handedly effects a monumental change in societal views that is still heralded, discussed, debated and agonized over today, some 198 years after the novel was completed [Marsh].  The classic and well-loved story was published in 1813 and details the life of Elizabeth Bennet, as she confronts issues of etiquette, manners, morality, education and marriage in the society of the affluent classes during early 19th-century England.</p>\r\n<p align=\"left\">Elizabeth is the second of five daughters and part of a middle-class family that lives near the fictional English town just outside of London. The original title of this work was <em>First Impressions</em> but I am pleased that the title was changed to <em>Pride and Prejudice </em>[Shields]. The fictional story focuses on a myriad of prejudices that each of us acquire as we travel through our lives and how our pride can cloud our view of others. The storyline clearly shows how one’s decisions are influenced by unknown prejudices and stubborn haughtiness. The end result of this fictional work is a message that is timeless.</p>\r\n<p align=\"left\">Miss Bennet miserably suffers through the typical adventures of an early 19th-century middle-class woman with the constant shadow of societal expectations looming over her shoulder. Bennet and the other five eligible females in the story are counted upon to land well-established, wealthy and aristocratic husbands starting around their sixteenth birthday. These marriages were often the means by which families survived, plain and simple. Therefore, grooming their daughters in an effort to secure a rich son-in-law was paramount to all middle-class families. Daughters were generally compliant and actively participated in the delicate dance of snaring an eligible (and wealthy) husband. However, Miss Bennet differs greatly from her peers because she is highly self-reliant, well-read, assertive, independent and strong-willed. And, she is not so sure that a “good marriage” is actually possible for any woman.</p>\r\n\r\n\r\n[caption id=\"attachment_2014\" align=\"alignright\" width=\"300\" caption=\"The Five Bennet Sisters Source: http://tinyurl.com/3mr6t7y\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1.jpg\"><img class=\"size-medium wp-image-2014\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/group1-300x211.jpg\" alt=\"\" width=\"300\" height=\"211\" /></a>[/caption]\r\n<p align=\"left\">She is not mesmerized by the gentry (what the upper-middle-class were often called) or the aristocracy and does not fall prey to the typical aristocratic and societal expectations. Bennet is not the typical young woman of the early 1800s. She abhors arrogance and much to her frustration, finds it in abundance among aristocratic men. According to the tenets of society, Bennet, her four sisters and their family friend, Charlotte Lucas, <em>require</em> husbands. There was no other means available for a young woman to make her way in the world besides riding on the coattails of a husband. Men were the only ones allowed to own land and other property. Even if a woman inherited a fortune, it was rare that she was allowed to manage it or even touch any of it. Women were considered too delicate and unsophisticated to have financial or business minds. Bennet was hearing none of that and remained head-strong.</p>\r\n<p align=\"left\">Austen’s tale accompanies the six women through various garden parties, drawing rooms, ballrooms and dramatic performances on their way to finding their perfect match. Most of the interactions between the characters in the book are quite interesting including the possibility of cousins marrying each other, sex before marriage, social class rivalries and dramatic verbal altercations. Critics of Austen’s work have generally discounted the authenticity of her writing because she rarely mentions the undercurrent of real-world political events that were in existence at the time [Watt]. The plot of <em>Pride and Prejudice</em> does not introduce these women to the historical events swirling around them and some say that fact is a shortcoming of Austen’s writing. In the story, there are off-handed and miscellaneous references to the excitement surrounding soldiers visiting the quaint town, including the blackguard George Wickham, but the intricate details of the political upheaval in England are skillfully ignored by Austen. It appears to modern-day readers that Austen has tried to focus her novel on bringing to light the strict marital obligations placed upon young women of the day and she carves out a picture-perfect environment and does not allow the fears of revolution in Great Britain to encroach on her story.</p>\r\n<p align=\"left\">Austen has also been criticized for writing about what she knew, and that mundane topics were not scintillating enough for the newer and more discerning reader of  the early 1800\'s [Shields]. The world of 19<sup>th</sup> Century England and the pressures on women were the focus of all of her books. I don’t find this unusual or lacking at all. It was natural for Austen to write about being encumbered by society’s expectations because she experienced that in her own life. As a middle-class young woman the political disturbances of the time did not affect her much. Nor did it affect the characters she conceived in <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\">When Austen began laying the foundation for this novel, in 1796, the British government was still reeling after their devastating loss of thousands men in battle against the Colonists, and they had depleted their coffers to the tune of an estimated $100 million in the fight to maintain control over the thirteen colonies [Fiero]. The political climate in Great Britain was horrific when the remnants of that war were coupled with their four-year-long conflict with France. Toward the end of her writing <em>Pride and Prejudice</em>, in 1797, the British began the blockade of Spain and this move brought further political uproar. Great Britain had become a shadow of its former self and Austen may have intentionally ignored the political chaos and written the novel as an enormous distraction for the nation. In fact, she does not mention the Napoleonic wars a single time in any of her nine novels [Shields].</p>\r\nGenerally, popular literary work of the time was either romantically sentimental to the point of being sickening sweet and unrealistic or Gothic-related horror. This type of sensationalism repelled Austen and she refused to construct her novels in a similar fashion. For example, <em>The Castle of Otranto</em> (Horace Walpole, 1765) and <em>The Mysteries of Udolpho</em> (Ann Radcliffe, 1794) were set in far-off, unrealistic places and filled with princes, dukes, and counts. These two novels were also known for their “violent, horrific and often supernatural action,” states Marsh. Readers were so used to being taken on a fantasy ride while reading a novel that they considered Austen’s <em>Pride and Prejudice</em> boring when it was published. Her book was not typical of its era because it was written in a ironic style that showed that ordinary, real life in a familiar town could also be malicious and terribly cruel.\r\n\r\n[caption id=\"attachment_2015\" align=\"alignleft\" width=\"174\" caption=\"Colin Firth as Mr. Darcy Source: http://en.paperblog.com/talking-jane-austen-84059/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy.jpg\"><img class=\"size-medium wp-image-2015\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/Darcy-174x300.jpg\" alt=\"\" width=\"174\" height=\"300\" /></a>[/caption]\r\n\r\nAnother reason why Austen’s <em>Pride and Prejudice</em> was considered unusual for its time was because it was one of the first books that blatantly addressed society’s oppression of women. Her creation of a complex main character that was embarrassed by her own family’s etiquette and yet wanted to defend their right to be themselves (no matter what their habits may be) had never been seen in a main character before [Baker]. At one point in the story, Bennet refuses a marriage proposal from Mr. Darcy (the richest and most well bred aristocrat in all of England), she does so with such insolence, and audacity that the readers must have gasped, dropped their snuffboxes, and tossed the book across the room upon reading that section. Refusing a man such as Mr. Darcy was simply <em>not done</em>. Nor were stories of such ill-mannered behavior told in polite society. Miss Elizabeth Bennet was, indeed, a rebel and created a storm of controversy. Click here to watch the scene where Elizabeth rebuffs Mr. Darcy and his proposal of marriage: <a href=\"http://www.youtube.com/watch?v=BJX5_rj2lZg\">Elizabethe refuses Mr. Darcy Source: http://www.youtube.com/watch?v=BJX5_rj2lZg</a>\r\n<p align=\"left\">Sadly, it was not until after her death in 1817, at the age of 42, that her writing managed to gain popularity with the English. <em>Pride and Prejudice</em>, in particular, has become one of the most popular novels in English literature, and receives considerable attention from literary scholars. Modern interest in the book has resulted in a large number of dramatic versions and a profusion of novels and tales imitating Austen\'s memorable characters and themes about strong-willed and independent women. <em>Pride and Persuasion</em> has sold more than 20 million copies worldwide, been made into several movies, mini-series dramas, and plays [Marsh].</p>\r\n<p align=\"left\">When researching the scholarly view of Austen’s work, I stumbled across an organization called the English Association. This body of work was created after the First World War (WWI) when many pieces of English Literature were lost during the skirmishes of war. The organization was founded by A.C. Bradley, a University professor and advocate for placing Austen’s work on the Association’s list of English Literature to be studied on the University level. In his 1911 lecture, A.C. Bradley stated, “I was meant to fall in love with her [Bennet], and I do.” The popularity of Austen’s work was greatly elevated in the years immediately following WWI, as shown in the mention of her work in Rudyard Kipling’s <em>The Janeites</em> (1922). Kipling speaks of soldiers reading Austen\'s books (<em>Pride and</em> <em>Prejudice</em> in particular) in the trenches of war to uplift their spirits. Baker states in his review of <em>Jane Austen Once More</em> that Austen’s work had a “class-less appeal that helped severely shell-shocked soldiers through the healing process” after WWI. The Jane Austen Society, created during the Blitz, was hell-bent on preserving and restoring Austen’s texts as if Jane Austen was a saint and her writings were prized relics. [Baker]</p>\r\n<p align=\"left\">This book has impacted my life in many ways. I know men and women that have entered into marriages for reasons other than love. It happens every single day, actually. I believe that people spend more time choosing a house than a life partner. I do not see that will change anytime in the future. One poignant moment in the book was when, speaking of her mother, Elizabeth Bennet\'s father says that he \"had married a woman whose weak understanding and illiberal mind had, very early in their marriage, put an end to all real affection for her.\" He admitted to his daughter that he had not thought things through when he married her mother. He further stated that he was, \"captivated by youth and beauty, and that appearance of good humour\" and then had tears in his eyes when he admitted he had not loved his wife in years [Austen]. This innocent and touching conversation in the father\'s library affected me deeply.  I have often wondered if my parents have felt the same way as Mr. Bennet after their 59 years of marriage.</p>\r\n<p align=\"left\"> I was also profoundly affected by the thread of prejudice that runs through the book. The prejudices spotlighted in this book are not the usual type of prejudice that we see and hear about today, but they run deep, occur on many levels and for many different reasons. Reading this book has caused me to inspect my own prejudices and see how they may be limiting the experiences in my own life. Sure, readers of this novel should be moved by the numerous events that occur. If nothing else, they should value the microscope that shines a light on all of our own prejudices that magically defy time and place. Today, we have some of the same prejudices that Jane Austen had back in 1796.</p>\r\n\r\n\r\n[caption id=\"attachment_2016\" align=\"alignright\" width=\"300\" caption=\"Five Bennet Daughters with Mother Source: http://tinyurl.com/69dbq5p\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters.jpg\"><img class=\"size-medium wp-image-2016\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/10/5daughters-300x213.jpg\" alt=\"\" width=\"300\" height=\"213\" /></a>[/caption]\r\n<p align=\"left\"> Marriages are not a means to climb the social ladder, become popular, or support your parents in their old age. Marriages are meant to be a joining of two people with the same goals, aspirations, and visions for their future. It is not enough for a woman to want to find “true love” before she marries. It is not enough for a man to heal his financial ills by obtaining an enormous dowry from his new wife. The back room political and financial wrangling that took place during the time Austen wrote this epic story was always slanted toward the absurd. This book shall stand as an example of what we do <em>not want</em> in marriages of today.</p>\r\n<p align=\"left\">I suppose I don\'t have to tell you that Simon Langton’s 1995 version of <em>Pride and Prejudice</em> (with Colin Firth) is the only DVD I own. I am thankful that times have changed for women and that the pressure of a \"good marriage\" is not placed squarely on the shoulders of young, naive women. If you are not married yet, read this book and then take time to find a partner that believes in mutual respect and honesty. This book must be preserved for numerous reasons; the very least of which is that it just might save you from entering a bad marriage!  Remember, don\'t judge a book (or a person) by its cover!</p>\r\n<p align=\"left\"><strong>WORKS CITED</strong></p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane. <em>Pride and Prejudice</em>. London: Penguin, 2003. Print. This is the original, reprinted version of the book that I used to quote Mr. Bennet when he was speaking of his own marriage.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em></em><em>Pride and Prejudice</em> / Jane Austen; edited with an introduction and notes by Vivien Jones; with the original Penguin Classics introduction by Tony Tanner. Imprint London; New York: Penguin Books, 2008. This is a Biography and I used the Introduction and Notes sections of this Biography, written by Vivian Jones, when referencing the original, reprinted text of <em>Pride and Prejudice</em>.</p>\r\n<p align=\"left\"><strong>Austen</strong>, Jane, 1775-1817. <em>The Complete Novels of Jane Austen.</em> Imprint New York, The Modern Library 1933  This is a compilation of Jane Austen\'s writing that I used to compare themes regarding strong-willed women characters.</p>\r\n<p align=\"left\"><strong>Baker</strong>, William.<strong> </strong><em>Jane Austen Once More</em>. Rev. of Jane Austen and The Enlightenment by Peter Knox-Shaw. Studies in the Novel, Fall 2007, Vol. 39 Issue 3, p357-367. Accessed online EBSCO Database on October 31, 2011. Website: http://tinyurl.com/4yfo2nq</p>\r\n<p align=\"left\"><strong>Fiero</strong>, Gloria., The Humanist Tradition, Volume Two, Chapter 26, McGraw-Hill, New York, 2011. Accessed online version, pages unknown; Date accessed October 24-26, 2011. This is a college-level course textbook that I used to learn about Jane Austen\'s literary piece called, <em>Pride and Prejudice</em>. I researched romantic stereotypes at the time <em>Pride and Prejudice</em> was written.</p>\r\n<p align=\"left\"><strong>Marsh</strong>, Nicholas. <em>Jane Austen: The Novels, Analyzing Texts</em>. New York: St. Martin\'s, 1998. Print. I used this analytical study of Jane Austen\'s writing to research how she created her characters from real-life examples, the general view of women in society at the time <em>Pride and Prejudice</em> was written and what the critics thought of this work when it was published.</p>\r\n<p align=\"left\"><strong>Shields</strong>, Carol. <em>Jane Austen.</em> New York: Viking Penguin, 2001. Print. I used this Biography to research Jane Austen\'s view of her family life and how it manifested itself in her writing. I used the facts of her broken engagement and her view of marriage to compare with the views of the characters she created.</p>\r\n<p align=\"left\"><strong>Watt</strong>, Ian P. <em>Jane Austen: A Collection of Critical Essays</em>. Englewood Cliffs, NJ: Prentice-Hall, 1963. Print. I used this book of criticisms and interpretations for research about how the book is viewed today.</p>','Don\'t Judge a Book by Its Cover!','','publish','open','open','','dont-judge-a-book-by-its-cover','','','2011-11-01 17:28:44','2011-11-01 23:28:44','',0,'http://jeanatacc.com/2011/?p=2000',0,'post','',12),(1997,39,'2011-10-31 20:02:48','2011-11-01 02:02:48','','a-dolls-house-review','','inherit','open','open','','a-dolls-house-review','','','2011-10-31 20:02:48','2011-11-01 02:02:48','',1990,'http://jeanatacc.com/2011/wp-content/uploads/2011/10/a-dolls-house-review.png',0,'attachment','image/png',0),(1993,39,'2011-10-31 19:58:24','2011-11-01 01:58:24','&nbsp;\r\n<p style=\"text-align: center\"></p>\r\n&nbsp;\r\n\r\n\"A Doll\'s House\" is a play that was written in 1879 by Henrik Ibsen that broke the barriers of social norms for its time.  Ibsen was a figure head in his field known world wide for his playwrights one critic states, \"was not the second half of the nineteenth century the age of Ibsen: is tragedy not restored to the heights in him?\". <!--more-->\r\n(Gray)  It focuses on a typical married couple for the time period, Torvald and Nora.  In order to save her husband’s life Nora forges a signature to get money to save him only to find he is very unappreciative.  Some say it is a piece that was written for women’s rights.  Ibsen however has stated that the play was not written simply about women\'s rights during the time, but every human’s natural right that had been taken or severely restricted due to social norms.  \"A Doll\'s House\" should be preserved due to its innovative thought about human rights and how these natural rights we have were so suppressed under irrational social norms.\r\n\r\nThe piece is beautiful in my opinion.  Not only does it express the harsh reality of the social conditions that people had to live through during those times.  I mean compared to current day where some men don\'t even work and stay home while the woman is the bread winner.  He was not afraid to let people know that he was not ok following this unwritten handbook of social acceptability.  The other thing that I love about the piece is that it is a woman who goes through the harsh times, but he defends the husband stating that it’s about human rights.  Ibsen said, \"I . . . must disclaim the honor of having consciously worked for women\'s rights. I am not even quite sure what women\'s rights really are. To me it has been a question of human rights.\" (Goonetilleke)   Torvald then does not seem like so much of a monster with that statement.  If it weren\'t for the norms put in place he may have reacted properly with love rather than anger about his wife\'s decision.\r\n\r\nIt is uncanny however how two pieces that have to do with personal rights were created so closely in time.  Another work that was made about women\'s rights but still about natural human rights was \"The Subjugation of Women\" by John Stuart Mill in 1869.  The piece talks about how social norms have turned women into willing slaves.  They are deprived from a young age of opportunity that men have and this causes them to play the subordinate role.  It talks about how women are pretty much bread from a young age to be placed in the house taking care of children and chores.  The other great point Mill makes as well is that all women of the time have been brainwashed into thinking it is acceptable.  As said they are turned into willing slaves by the social norms.(Fiero)  This factor is almost identical to Ibsen\'s display of social norms stating men will act based on social norms regardless of situation, and that the women are expected to abide by these norms because that is just how things are.\r\n\r\nThis piece is very innovative for its time.  Ibsen was going against the level of social acceptability that was in place at the time, and had been in place for years.  Almost an unwritten rule on how people were supposed to act based on their given gender role.  It was innovative; however as said before you had other artists such as Mills who were still standing up for women\'s rights.  A little more off based than Ibsen who saw how the guidelines for \"social acceptability\" were depriving citizens of their natural birth rights.  Both produced their works in order to show people that the way things have been just did not make sense and it did not take a genius to see that.  Ibsen denying he wrote for women\'s rights however I feel made a more profound impact stating that he wrote because both men\'s and women\'s rights were being impeded on.\r\n\r\nWhen the play was originally written it did not go over very well with audiences due to the shocking acts of Nora.  One critic has stated, “The play was deemed so daring that, when performed in many countries, the ending was changed so that Nora returns home, finding she cannot leave Torvald or her three children so great is her love and devotion to them.” (Brunnemer)  However today the once shocking actions of Nora are now seen in a different light, “Nora\'s quest for her personal identity, while scandalous to some at the time, is exactly what made the play so famous—and why it continues to hold such currency as a drama today.” (Brunnemer)  Ibsen’s portrayal of how social norms had stunted human rights for all citizens is something that will always be appreciated.\r\n\r\nThe important reason for future generations to know about \"A Doll\'s House\" is how it was created to try and change social norms.  Ibsen saw how these roles are predetermined simply based on gender and nothing else.  No one gave the thought that women might be able to operate just as well as men in the work place and other aspects of life.  They were bread and brainwashed into thinking their role was in the house and to be subservient to their husbands.  Then he comes back and defends the men of society as well.  They too are brainwashed and set in their ways of how things are supposed to be and follow it strictly.  As quoted before Ibsen wrote this with the thought of all human rights in mind not just about one gender as both fell victim to the “cookie cutter” social norms.\r\n\r\n\"A Doll\'s House\" is a play written in order to sway public opinion and generate some thought about equality in gender.  Not only in gender but also in social acceptability associated with gender.  It showed how the women were slaves or a \"Doll\" merely in the “Doll House”.  It gives us a real view into how things were in those days.  To the extremes where even if a woman lied to save her husbands life he would recover with disappointment and criticism of such a wrong action.  Who could think of something like that today?  Many would do anything to save loved ones lives and their loved ones would be nothing but thankful.  It shows us how even when it came to actions of the people we hold closest the social norms were so overbearing that one could treat a spouse as a stranger committing such an act.   \"A Doll\'s House\" should be preserved due to its innovative school of thought about natural rights and how far society has come since then.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n<p align=\"center\">Work Cited</p>\r\n<p align=\"center\"></p>\r\nBrunnemer, Kristin. \"Sexuality in Henrik Ibsen\'s <em>A Doll\'s House</em>.\" In Bloom, Harold, ed. <em>Human Sexuality</em>, Bloom\'s Literary Themes. New York: Chelsea House Publishing, 2009. <em>Bloom\'s Literary Reference Online.</em> Facts On File, Inc. http://www.fofweb.com\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria“The Humanistic Tradition Vol 2” 6<sup>th</sup> edition Page B4.138, 06 October 2011  <a href=\"http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs\">http://connect.mcgraw-hill.com/connect/hmEBook.do?setTab=sectionTabs</a>\r\n\r\n&nbsp;\r\n\r\nGoonetilleke, D.C.R.A. \"A Doll\'s House (Et Dukkehjem) Play by Henrik Ibsen, 1879.\" <em>Reference Guide to World Literature</em>. Ed. Sara Pendergast and Tom Pendergast. 3rd ed. Vol. 2: Works. Detroit: St. James Press, 2003. 1231-1232. <em>Gale</em><em> Virtual Reference Library</em>. Web. 17 Oct. 2011.\r\n\r\n&nbsp;\r\n\r\nGray, Ronald. \"Ibsen, Henrik (1828-1906).\" <em>European Writers</em>: <em>The Romantic Century</em>. Ed. George Stade. Vol. 7. New York: Charles Scribner\'s Sons, 1983. 1421-1447. <em>Gale Virtual Reference Library</em>. Web. 31 Oct. 2011.\r\n\r\n&nbsp;','Ibsen\'s \"A Doll\'s House\"','','inherit','open','open','','1990-revision-2','','','2011-10-31 19:58:24','2011-11-01 01:58:24','',1990,'http://jeanatacc.com/2011/?p=1993',0,'revision','',0),