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Jonathon Shears

open letter to a number of religious organizations urging them to bar from their pulpits and from fellowship with their churches any visiting Americans who supported slavery’ (2011: p. 177). For Auerbach, many of the objects on display ‘created and diffused’ (1999: p. 113) a national image. At the approach was a huge equestrian statue of Richard Coeur de Lion by Baron Marochetti. Once inside, spectators could marvel at the gold enamelled and jewelled vase by Watherston & Brogden of Covent Garden which depicted Britannia as part of a group emblematical of Great

in The Great Exhibition, 1851
Abstract only
Jonathon Shears

be underplayed. It was undoubtedly at the forefront of new questions raised about British national identity, imperialism and the future of the colonies, and it still resonates today in debates about patriotism. It has also, rightly or wrongly, come to represent an age of faith: faith in a religious sense, but one coupled to, rather than opposed by, material, technological and scientific progress which modernism was to later question and unpick. For many, it symbolises British self-assurance – perhaps drawn from the fact that ‘London was at the centre of an

in The Great Exhibition, 1851