Abstract
In Regency London, the south side of Piccadilly near Old Bond Street was known for a particularly gaudy edifice. The building, covered in pseudo-hieroglyphic script, recalled the recently excavated temple at Dendera in Egypt. Sphinxes presided over the entrance above giant, lurid statues of Isis and Osiris. To Leigh Hunt’s fastidious eye, this faux-Egyptian erection distinguished itself amongst the red-brick boutiques of Piccadilly as an “uncouth anomaly,” a “practical joke.”1 The fact that William Bullock, a showman and collector of curiosities from Liverpool, had given his new premises the grandiose title “London Museum” only compounded the jarring effect. Two hundred years on, the unblushing nature of the building’s Egyptian references would suggest less fraternity with a museum than a Las Vegas theme hotel. Regency Londoners were similarly skeptical about the establishment’s self-description. Bullock’s lowbrow answer to the British Museum soon gained the nickname “The Egyptian Hall,” a title that captured both the orientalist motifs of its outside and the miscellaneous entertainment to be found within.2 In 1811, Jane Austen wandered through rooms filled with stuffed birds, boa constrictors, giraffes and bears. Bullock maintained this permanent collection of natural curiosities and exotica, but cannily reserved other rooms to rotating exhibitions. In the following decades, his West End emporium hosted art shows, panoramas and dioramas, pseudo-scientific demonstrations, Napoleon’s carriage, and gala appearances by Tom Thumb.
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Notes
A Saunter Through the West End (London, 1861), 43.
For a history of William Bullock and the Egyptian Hall, see Richard Altick, The Shows of London (Cambridge, MA: Harvard University Press, 1978), 236–41.
The most authoritative of the recent biographies of Belzoni, from which I draw the following account, is Stanley Mayes, The Great Belzoni (New York: Walker and Co., 1961), 257–62. John Whale offers a more critical treatment of Belzoni’s place in the history of cultural imperialism in “Sacred Objects and the Sublime Ruins of Art,” Beyond Romanticism, ed. John Whale and Stephen Copley (London: Routledge, 1992), 227–35.
“The Reality Effect,” French Literary Theory Today, ed. Tzvetan Todorov (Cambridge: Cambridge University Press, 1982), 15.
The Greek painter Zeuxis’ rendering of grapes was so lifelike that, as Pliny relates, birds would strive to alight on the painting to sample the fruit. Natural History, trans. D. E. Eicholz (Cambridge, MA: Harvard University Press, 1962), 9: lib.XXXV.10.
Camera Lucida: Reflections on Photography, trans. Richard Howard (New York: Farrar, Straus, and Giroux, 1981), 4.
Essai sur la nature, le but et les moyens de l’imitation dans les beaux-arts (Paris, 1823; rpt. Brussels, 1980), 104 (my translation).
Illuminations, ed. Hannah Arendt (New York: Schocken Books, 1968), 232–38.
“1800 Preface,” Wordsworth and Coleridge: Lyrical Ballads, ed. R. L. Brett and A. R. Jones (London: Routledge, 1991), 248–49.
The Arcades Project, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press, 1999), 530.
Comment, The Panorama, trans. Ann-Marie Glasheen (London: Reaktion Books, 1999), 132.
Emily Apter, October 77 (Summer 1996): 27.
James Heffernan, Museum of Words: The Poetics of Ekphrasis from Homer to Ashbery (Chicago: University of Chicago Press, 1993), 1.
Kurt Andersen, The New Yorker (12 July 1999): 82.
See especially Understanding Media (New York: McGraw-Hill, 1964).
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© 2001 Gillen D’Arcy Wood
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Wood, G.D. (2001). Introduction. In: The Shock of the Real. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-06809-5_1
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