'The Arsenic Waltz' Punch Magazine, 1862 |
When you think of any
middle class Victorian home it is easy to conjure up images of the ‘angel of
the home’ doting upon her husband and family, and, particularly in literature,
was regarded as a refuge for the man within society (Calder, 10) and indeed a
“place of Peace” (Calder, 7). However this period where the home and domestic
peace was becoming more and more important to the emerging middle classes, was
exactly the time when people, mothers, fathers, children and families were all
at the most risk within their own four walls. In every room a new threat could
be found; children’s toys were often decorated with toxic lead paint, early gas
lighting and heating was highly dangerous (exploding boilers were not uncommon)
and in the ongoing quest for female beauty the corset provided a source of
constant suffocation and dislodging and misshaping of internal organs was alarmingly
common (historyextra.com) However the biggest risk to human life in the
harmonious domestic setting was Arsenic; ingested, inhaled and absorbed
possibly by thousands through so many common household items!
The most common and
biggest cause of death by Arsenic could be found in the wallpaper of a
staggeringly high number of homes in Victorian Britain, so much so that
“Victorian Britain was said to be ‘bathed’ in Scheele’s Green” (Haslam),
Scheele’s Green being the name of the green dye most commonly used in wallpaper
manufacturing that was made using toxic levels of arsenic; this green was
popularised by arsenic manufacturers and designers such as William Morris (Ball)
because it was cheap to make and had such an attractive vivid green colour
(Haslam). Possibly the most famous example of this kind of poisoning was that
of Napoleon Bonaparte, who died in 1821, after his exile to St Helena in 1815;
for many years his death was a mystery and foul play was indeed suspected from
the British, but it emerged over 160 years after his death that he had suffered
from Gosio’s Disease, which was essentially long term arsenic poisoning from
low levels of trymethyl arsine found in the vapour released from the vividly
green wallpaper (Victorianweb.org).
However arsenic was not
just found lurking in the walls of the middle classes, the kitchen was also a
source of potential illness or even death. In the early half of the nineteenth
century it was not uncommon for food to be ‘adulterated’ a term used for the
swapping of ingredients of manufactured foods for inferior quality or even non-food
ingredients. (Whorton, 139) Adulterated
foods were usually corrupted with nontoxic substances, that while upsetting the
quality and taste of the food, probably weren’t going to kill you, such as Plaster
of Paris and cheap herbs, flavourings and colourants (although colourants were
more likely to be toxic and lead based). (Whorton, 139) Although, often,
accidentally and on purpose, arsenic managed to find itself in to many homes
across the country, for example sometimes residue could be left in repurposed
arsenic bottles used for wine and root beer (Whorton, 146). But the worst case
of mass accidental arsenic poisoning came in 1858 and came to be known as ‘the
Bradford incident’ – where a sweet manufacturer seeking large quantities
Plaster of Paris was accidentally sold Large quantities of arsenic in a deadly
mix up – resulting in the death of “more than a score of people and sickened
ten times that” – the times described the sweets as “little pills of sugared
death” (Whorton, 141). As the arsenic was sold as a while powder these kinds of
mix ups were even more common within the home itself, with the fine white
powder being mistaken for sugar, salt and medicine (although was also genuinely
prescribed as medicine for a time for morning sickness [Macleans.ca]) regularly
as It was readily available and cheap to buy as rat poison to anyone and kept
in many kitchen cupboards.
William Morris wallpaper design using Scheele's Green. |
Food and the walls of
your home weren’t the only dangers you would encounter in the Victorian home, even
the clothes that you wore (if you were a woman) could be doubly dangerous,
while bearing the health risks of a corset, your dress could be full of deadly
arsenic dye. Upon examination one dress could be found to be carrying 1000
grains of deadly arsenic, suggesting that the wearer “carried in her skirts
poison enough to slay the whole of the admirers she may meet with in half a
dozen ball rooms” (Whorton, 181) – this deadly dance is illustrated in a
cartoon from Punch! Magazine that was published in 1862 called ‘The Arsenic
Waltz’ (Punch.photoshelter.com) the cartoon depicts a female skeleton sitting
and adorned in a lavish ball gown (that can be assumed to be dyed emerald/
Scheele’s green) while a male skeleton is bowing toward her and gesturing to
dance. The skeletal figures drawn in this way illustrate just how deadly these
gowns could be, and that the wearer (as well as anyone courting them) was as
good as dead before they even got to dance.
While this is a humorous take on the ongoing arsenic based epidemic it
shows just how much more aware the press and therefore the public were becoming
of the issue later on in the period.
It was this increased
awareness (although women continued to wear emerald green despite warnings), as
well as a famous incident involving Queen Victoria, whereby she ordered the
removal of all Emerald Green Wallpaper from Buckingham palace in 1879 after a
visiting dignitary fell ill from arsenic poisoning (Haslam), that prompted
arsenic to be seen as a threat to public health. Whilst the government rejected
a bill in the early 1880’s calling for the banning of arsenic in domestic
goods, the general public were inclined to “take matters in to their own hands”
(Haslam) with newspaper campaigns calling for at home testing, that included
burning products to see if they emitted a garlic odour and using drops of
hydrochloric acid to see if products turned blue. (Haslam) Around this time
there was a move towards manufacturers stating that products were ‘arsenic
free’ on their packaging, while that was not necessarily always truthful, it
shows a growing desire from the public to not have arsenic containing products
in their homes. While there was no official legislation banning arsenic at this
time, its use faded from production and going in to the 20th century
was largely not used in domestic products.
It’s clear that in this
age of industrialisation and invention, the domestic environment was more
dangerous than ever! In an age where little was known about the dangers and
health risks of different chemicals it is easy to see how such deadly amounts
of arsenic found themselves in the homes of thousands – even the queen herself!
Even today evidence can be found of this ‘Age of Arsenic’ in dresses kept in
various museums for example, dresses being kept in the Bata Museum in Toronto
today still contain toxic amounts of arsenic (Macleans.ca) – showing just how
high the levels of arsenic was in many products during this period!
Works Cited
Ball, Philip.
'William Morris Made Poisonous Wallpaper'. news@nature (2003):
n. pag. Web. 9 Mar. 2015.
Calder, Jenni. The
Victorian Home. London: Batsford, 1977. Print.
Haslam, Jessica
Charlotte. 'Deadly Décor: A Short History Of Arsenic Poisoning In The Nineteenth
Century'. Res Medica 21.1 (2013): 76. Web.
Historyextra.com,.
'Hidden Killers Of The Victorian Home | History Extra'. N.p., 2013. Web. 2 Mar.
2015.
Macleans.ca,. 'Deadly
Victorian Fashions'. N.p., 2015. Web. 9 Mar. 2015.
Punch.photoshelter.com,.
'Victorian Cartoons From Punch | PUNCH Magazine Cartoon Archive'. N.p., 2015.
Web. 9 Mar. 2015.
Victorianweb.org,.
'Arsenic Poisoning And Napoleon'. N.p., 2015. Web. 9 Mar. 2015.
Whorton, James
C. The Arsenic Century. Oxford: Oxford University Press, 2010.
Print.
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