Prince albert

If you want to understand Victorian Britain, look to the Great Exhibition of 1851. At a time of unprecedented technological change and international rivalries, this event gathered the finest art and the latest manufactured goods from around the globe and displayed them for almost six months to more than six million visitors in the magnificent Crystal Palace on the southern perimeter of London’s Hyde Park. Its success generated a profit of £186,000, or around £20 million today. The aim was not simply spectacle; in the spirit of the age it was also pedagogic. So this sum was used to buy 86 acres of fields and market gardens in the adjacent suburb of Brompton, where new institutions could be built to further the broad objectives of the Royal Commission behind the exercise.

Looking around London on the eve of the millennium, it would have been difficult to think that the UK government had an adviser on architectural design. The 1990s had been a dismal decade. Yet such a body existed in the quaintly named Royal Fine Art Commission, refounded in 1924. The original Commission had been created as a way of giving Prince Albert, recently married to Queen Victoria, something to do – contriving the decorative scheme for the new Palace of Westminster. Fresco, the chosen medium, was not ideal in that damp position beside the Thames since the plaster took three years to dry; and the Duke of Wellington did not help the project by declaring he could not remember having met Blücher on the field of Waterloo, as depicted by Daniel Maclise.