Monday, 18 November 2013

The Age of Imagination - Children's Toys in the Victorian Period.

The Age of Imagination - 
Children's Toys in the Victorian Period.

"He consented to play ball with me. We found two in a cupboard, among a heap of old toys, tops, and hoops, and battledores and shuttlecocks." (qtd. in Brontë: 201)

Like many aspects of Victorian society, the divide between the wealthy and the poor children becomes apparent not only in the clothes they wore, or the places that they lived in but also in the toys and gifts that they were given. Children from wealthier Victorian families were lavished with the latest inventions and prettiest versions, while those children living in varying forms of poverty made do with broken cast offs, pieces of wood, scraps of metal  or bits of used paper. One thing remained the same for both sets of children however. Though they had to work hard, either with their lessons or to earn money, time was always given for play. The imagination was deemed an incredibly important part of development and lifestyle within the eighteen hundreds, not only for children but for adults too. A sense of freedom and excitement was associated with having  "had no longer [my] imagination under control" (qtd. in Brontë: 25) Many children were influenced by the new muses of the century like architecture, railways and convoluted mechanics. Both classes of children embraced the indoor and outdoor games that became popular during the century, the only difference was what they were playing with. Browning recalls how "Out came the children running./ All the little boys and girls,/ With rosy cheeks and flaxen curls." (qtd. in Browning: 36) Some of the most popular toys and games of the nineteenth century can be discovered below.

Clockwork Pig and Rider from V&A Museum
The Wealthy Boys Wind-Ups and Whistles
As the industrial revolution reached its peak, toys became ever more intricate and mechanically detailed. Boys born into wealthy families were indulged with a huge variety of clockwork models and fully functioning mini replicas. This clockwork pig and it's rider pictured here were produced on mass in the late eighteen hundreds and were incredibly popular in England. When tuning the key found in the pig's stomach it would rear up, buck and jump forward. Though it is perfect in likeness to a pig,  the imagination is sparked by the naughtiness and obscurity of actually riding one. This particular 'Wind-Up' seems incredibly contradictory to the stern and regulated upbringing that many upper-class boys were subjected to. It appears to encourage some form of bad behaviour. For the inventors of clockwork toys what it inspired was not of great importance; for them the importance lay in how complex but also how realistic they could make them.
Clockwork Boat from V&A Museum.
It was not only the new mechanical influence that young boys imaginations were stimulated by.
Silver Whistle from
 Museum Victoria.
Whistles were also given to boys at their christenings. They were heavily detailed and 
moulded out of silver. This tradition coincided with the invention of the train. It must have been fascinating as train lines and their engines began to spread a web across Great Britain. For those boys who were even lucky enough to ride on one, the whistle became an essential part of their day to day play. Every little boy wanted to direct the trains.


Houses and Horses for Higher Class Girls
Dolls House from the V&A Museum.
As architecture reached new levels in eccentricity and design, dolls houses became increasingly popular among girls with families who could afford one. They were often bespoke to the child and elaborately furnished. Imitations of their own houses or well known places were also fashionable. As the eighteen hundreds progressed they became bigger and more detailed and also more expensive.
Earlier Dolls House from
the V&A Museum.
The two pictured here show the change over fifty years and the influence of architectural design. Perhaps it is worth taking note that both wealthy boys and the wealthy girls toys set to inspire an imagination closely weaved with what they are expected to do when they are older. Playing 'house' and families would have been deemed incredibly important by the parents of young girls, as to marry well and run a household would still have been an expectation. Horses also played a massive part in society at the time. Rocking horses were a must-have nursery and playroom item.  

A Handmade Victorian Styled Kensington Rocking Horse.

Balls and Boats for Boys and The Penny Stall and Paper Dolls for Girls.

"and children, making boats with old tables and chairs, appeared as happy" (qtd. in Darwin: 232)

For children in the poorer parts of society, games had to be played outside and with what they could find. Boats were often made out of wood or metal scraps that they found whilst playing on the streets; the only requirement was that it could float. Football, and other ball games, were also particularly popular with poorer children. It is said that many played with blown up pigs bladders from the local butchers.
Paper Doll from the V&A Museum.
Paper was also accessible for children in the Victorian working. Though the doll pictured here would have been purchased by a wealthier family for their daughter, the paper doll was a simple idea that could be replicated by poorer girls. Though the dolls may not have lasted very long, they were also unique and beautifully patterned and coloured. For most of the lower Victorian society, the majority of toys were homemade or broken cast-offs that have been discovered. In the mid eighteen hundreds however, the 'Penny Stall' was introduced to the streets of London and then copied throughout the rest of Great Britain. Small and new mass produced toys were now available as the occasional treat for those with little money. For the child living in poverty, it must have been incredibly exciting to purchase something brand new and especially for them.
Though class played a huge part in how the child was brought up and the toys and games they had, to the children this would not have mattered. The imagination  sparked by either a piece of wood or an elaborate dolls house would have been much the same. It was the imagination of invention but also the 'make-do' attitude of the Victorian period that truly pushed the boundaries forward for children's toys and games.

Works Cited

Brontë, E. Wuthering Heights. London: The Thames Publishing Co., Undated.
Browning, R.
Selected Poems. Ed. Daniel Karlin. London: Penguin Books Ltd, 2004.
Victoria & Albert Museum. Museum of Childhood and Moving Toys Gallery. Victoria & Albert Museum, London. Permanent Exhibition.
Museum Victoria.
Childhood and Youth Collection. Musuem Victoria, Melbourne. Permanent Exhibition.
The Kensington Rocking Horse Company.
Victorian Rocking Horse. 2013. Web Page. 18 Nov 2013 < http://www.kensington-rocking-horses.co.uk/victorian-rocking-horse.htm>

Darwin, C.
Voyage of the Beagle. London: Penguin Books Ltd, 1939.
BBC.
Victorian Britain: Toys and Games. 2013. Web Page. 18 Nov 2013. < http://www.bbc.co.uk/schools/primaryhistory/victorian_britain/>

Sunday, 17 November 2013

Attempting to be rich by means of furniture

Decoration of interiors hasn’t changed very much with the passing of the years. I mean, when you now decorate your home with specific furniture, you do it in order to make an impression, you want your guests to love it, and, of course, you spend a lot of time making up your mind about distribution and modeling of the furnishing because you want to live in a place that you actually find pleasant, cozy and nice.

Victorian furniture keeps perfectly this contemporaneous essence.  It is true that Queen Victoria considered herself as a middle-class person; therefore, there was a huge furniture market for this middle-class population. However, she still was the Queen, so she had to represent a high status. Wealthy people used to choose every item carefully, always keeping in mind how their peers would like it, how they could realise they were high-class.

At the beginning of the Victorian era, a change in manufacturing was taking place, hand labour was replaced and this fact made machine-work increase. No need to say, Victorian furniture became very easy to purchase, but at the same time, every designed item was losing its value.

That is why, in that time, the more ostentatious the furniture was, the better. And how could they achieve this swanky style? There were four main principles when embellishing the house:
  1. The first one, color, changed drastically if we compare the Early period and the Later period. At the beginning of the era, the intention was to use lighter and richer colours with the intention of representing open and big spaces, facing the époque in a positive way. Later Victorians turned to deeper tones, because they aimed to highlight the importance of a room. Sometimes, dark colours were used to cover the stains that gas or oil lamps left, or to minimize the effect of grime and soot. 
  2. Secondly, Victorian population really cared about the pattern of the walls. Those who weren’t as rich used wallpapers equally patterned. As I will talk about later, when influences of other eras came, patterns were adjusted to these specific themes that were in trend. Not only the walls followed a style, but carpets and rugs too. 
  3. The third point is basically a word: excessiveness. Rich flourished their wealthy, and the aspirants to that status imitated them by means of cheaper materials that looked alike the others. This is the reason why mass production and machinery helped the middle class to fake such opulence. Extravagantly ornate decorations, china, lace, stained glass, flowers, knick-knacks, busts, souvenirs, framed paintings or prints, multi-layered window treatments, richly patterned fabrics, and accessories galore were used liberally throughout the house. Restraint was not part of Victorian interior decorating. 
  4. Finally, the motif that puts all the rest together: romance.  We are aware that the main basis of any kind of Victorian art is the romantic feeling. The furniture of this era tries to evoke the Romantic one in some way, they want you to put your mind into a fairy tale world. Lush fabrics and exotic trimmings increased the sentiment.

In the first years of the Queen’s reign, most of the pieces were merely imitations of previous artistic periods, like Medieval and Tudor, which were really decorative. A good sample to make us an idea of the influence of the yore is St. George’s Cabinet, by William Morris, in 1861. The surface of it is the most outstanding part, the paintings, which represent the well-known legend of St. George and the Dragon. The curious fact is that the artist portrayed himself and his wife as characters of the artwork. This piece started leading the way towards the romantic intention inside the furniture of that time.

St. George Cabinet, William Morris, England, 1861 - 1862.
Image sourced from the Victoria and Albert Museum, London

After this first period, manufacturers realised that the best way to embody the romance was imitating the Gothic style, above all, in terms of structure and form: heavy proportions, dark finish, elaborate carving, wood paneling, luxurious upholstery and some ornamentation like heraldic imagery, fleur de lys, trellises, stylized roses, and ecclesiastical motifs such as crosses formed the main basis. Home decoration based on Gothic revival is a style that embodies the romantic tales of knights and dragons, of King Arthur and of mythical gargoyles and other creatures. The biggest representation of the Gothic movement is the Palace of Westminster (after its reconstruction because of the fire of 1834) and, of course, some of its interiors. Augustus Welby Northmore Pugin (1812-1852) was one of the assistants of this reconstruction who provided the building with the vast majority of Gothic Revival details. The pictures below represent works made by A. W. N. Pugin, one variant of one of the clocks inside the Palace and the chairs in the House of Commons and the House of Lords.


Images sourced from the Victoria and Albert Museum, London

Towards the 1850’s there was a unanimous feeling of expansion and internationality of any kind of art, boosted by Queen Victoria and, most of all, the Prince Consort Albert. That’s why in 1851, the first Great Exhibition of the Works of Industry of all Nations took place, in London. It was such a huge success that that was the beginning of the “world’s fair” events, where multiple countries contributed with their works and people were able to see them, while the host company and the city involved made profit of the exhibition. When the third one was about to take place in 1862, in London again, it completely opened the market eastwards. Especially, Japanese and Chinese art happened to be really acclaimed by a wide public, mainly characterised by their motifs and unusual geometrical shapes. This made manufacturers start to mix that esthetic with the Victorian trend of the time. This hybrid was called the Aesthetic or Anglo-Japanese art.  The new tendency was seen as a need for reform in Britain. Among the people who made a difference in this Aesthetic field were Christopher Dresser and E. W. Godwin. Sometimes, iron was included in their pieces of art in aspiration of rebellion in the ideals of the time.


Images sourced from the Victoria and Albert Museum, London

It’s in this very same exhibition, the one in 1862, that William Morris (1834-1896), probably the most influential furniture artist of the Victorian era, began to be recognised. His firm worked in several fields: embroidery, stained glass, tapestries, textiles, cabinets and chairs. By the time, his works were quite luxurious and, therefore, expensive. At first, he was more related to the Gothic Revival spirit, but with the passing of time he acquired the Aesthetic ideals. The important role of this artist is the rebellion he started against the increase of factories and machines that left behind hand-made pieces. He demonstrated the superiority of hand-made furniture, starting the Arts and Crafts movement in the 1880’s. From this new movement, the Art Noveau was born. This new form of art consisted in purchasing second-hand furniture because of their higher value. In consequence, the antique shopping began.

Victorian period was also influenced by other movements as the fashionable French Style, the Renaissance Revival, Greek Revival or Egyptian Revival. All together with the two most important styles explained before made Victorian furniture a whole world of possibilities that worked better for the middle-class population because of their accessibility. Factories and machines helped the people of this status to feign easily. Victorian period meant grandeur and magnificence. Thus, furniture, as any other aspect of daily life, had to prove it.



Works Cited:

Shops and Lives of Shop Assistants in the Victorian Era.


The Victorian Era can be seen as a long period of peace, progression and prosperity. Under Queen Victoria’s reign, London became one of the richest and most successful cities in the world. As the population of England rose rapidly, there was an increase of demand for food meaning more shops were needed. As it was hard to keep food fresh, shopping quickly became part of the daily routine. Large supermarkets did not exist at the time, resulting in people purchasing goods from many different shops.

Shopping during the Victorian era was extremely different to now. Where we walk into a store and pick up what we want, the Victorians had to wait to be served by either the shop keeper or shop assistants depending on the size of the store. The shopkeeper or family members would serve customers in a small store whereas shop assistants were needed in bigger stores. Most of the goods were kept away from customers. They were behind the counters in boxes, on shelves, drawers and storerooms. This was to prevent thieves and shop lifters since the amount of crime committed in the Victorian era was nowhere near low. The shops would usually be open really early in the morning and close late at night.
   
I decided to visit the Museum of London where they have a ‘Victorian Walk’. This gave me the chance to do some ‘window shopping’ in the Victorian streets of London. Made up of original shop-fronts, the Victorian Walk really captured the image of Victorian shops. Since I’ve always pictured Victorian streets to be dark and creepy, I thought that the dim lighting in there worked really well.   
 

As you can see there are a number of shops you can observe and explore. The details in each are amazing and really bring the shops alive.

Image of the interior of a Sainsbury’s store.


 
 Tobacconist and Grocer in Victorian England, Museum of London.

As you can see from the images, most of the stock was behind the counters and in cupboards. Customers would have to queue up and wait to be served individually. Their items would be brought to them personally by shop assistants. Certain goods would also be weighed on the spot. I think you can imagine how long it would take to buy something if the store was packed. This is why it was mainly the middle and upper classes who purchased foods from these stores. As mentioned briefly in the blog entry titled ‘Domesticity and Food in Victorian Culture’, the working class were far too busy working. They simply did not have the time to stand around and wait for assistance. Normally, they would buy their food from markets and street stalls as it was much quicker and cheaper. 

This is an example of where the lower working class would purchase bread.

Although window displays were extremely uncommon in food stores, other businesses used these displays to their advantage.   
  
Toy Store in Victorian England, Museum of London.


Through the window of the Toy Store here you can see the different varieties of toys being sold. Just imagine how entertained the young Victorian children would have been just looking at them! However, children were not the only ones attracted by these views, as in Elizabeth Gaskell’s Mary Barton, it states  

“it is a pretty sight to walk through a street with lighted shops; the gas is so brilliant, the display of goods so much more vividly shown than by day, and of all the shops a druggist’s looks the most like the tales of our childhood, from Aladdin’s garden of enchanted fruits to the charming Rosamond with her purple jar.” (59)
 

My photo of the pharmacy doesn’t really do the quote justice but you can imagine how pretty the shop would be with different coloured jars glowing in the dark at night. The counters, furniture and flooring in most of the shops in the walk were made of wood which suggests that it was very hard to keep the shops clean back then. 










As there was an increase in shops and self-servicing was almost unknown, shop assistants were vital. You would think that since they were so needed they would be appreciated and treated nicely right? Wrong. According to Christopher P. Hosgood’s chapter "Mercantile Monasteries": Shops, Shop Assistants, and Shop Life in Late-Victorian and Edwardian Britain (1999), he states that "shop assistants were indeed "absolutely powerless and helpless."" (325) Not only were they under the control of their employer during work, but many of them had to ‘live in’. Accommodation was provided and this meant that “the shop assistants were "always within the glance of their master's eye; almost every movement of theirs [was] known to him."” (326) They were unable to negotiate with their employers about issues bothering them, they had no freedom and almost no status. 
Sally Mitchell’s Daily Life in Victorian England (1996) also goes into great detail about the routines and lives of shop assistants. Surprisingly, “increasing numbers of women went into shop work.” (65) They only needed to have the skills of returning correct change to customers and reading- which was still quite rare during the Victorian era. Although the pay was fairly low, many young women were happy to work “for a few years between school and marriage” (65) However, if they were ‘living in’ a large proportion of their wages would be gone.   

It is clear to see that the Victorian Era was one of the most successful eras in English history. The rise in trade meant an increase in shops resulting to more job opportunities. It is interesting to see how the simple job of being a shop assistant could be so depressing and how working rights and conditions have changed so much over the past two centuries.  
  

Works Cited:

- Gaskell, E. Mary Barton.UK: Wordsworth Editions Limited, 2012.

- Hosgood, C. Journal of British Studies , Vol. 38, No. 3, Masculinity and the Lower Middle Class (Jul., 1999), pp. 322-352. Published by: Cambridge University Press on behalf of The North American Conference on British Studies. Article Stable URL: http://www.jstor.org/stable/176059 "Mercantile Monasteries": Shops, Shop Assistants, and Shop Life in Late-Victorian and Edwardian Britain

- Mitchell, S. Daily Life in Victorian England. USA: Greenwood Publishing Group, 1996. 
Available: <http://books.google.co.uk/books?id=CsGKl5q-CMoC&pg=PA66&lpg=PA66&dq=lives+of+shop+assistants+in+victorian+era&source=bl&ots=IBo2vtwqcX&sig=AG3mCjo66Z7AoBUD-zB1vV71A58&hl=en&sa=X&ei=k9iHUqG_JIKShgeDxIDgDg&ved=0CDYQ6AEwAg#v=onepage&q=lives%20of%20shop%20assistants%20in%20victorian%20era&f=true>

- <http://archive.museumoflondon.org.uk/SainsburyArchive/Learning/Spotlight/Victorians/>