The World's Fair
- Thread starter genero81
- Start date
Host introduces Howard Mickoski. Mentions three books he's written about alternative history. Asks him how he got introduced to the World's Fairs topic and why it matters.
He always had an interest in history and got a degree in history. When he first heard about the world's fairs, it blew his mind because he'd studied courses specifically on 19th century American history and the fairs were never mentioned.
Mentions that in 2019 he was in Florence studying cathedrals and how cathedrals were built as machines: "How the energy was being brought into the cathedrals and what it was doing."
When he returned from Florence he saw a video from another researcher about the Chicago expo. He thought it was very strange, the quality of the buildings and architecture and the official stories behind them. He saw some similarities between the buildings and what he'd seen in Florence.
There were 100s of these world's fairs, being built between 1850 and 1920, all over the world. Massive sites: 500 - 1200 acres, 2.3 sq km of site, built in times of two years or less, obviously with no modern type building equipment.
After the expos, they were all dynamited and destroyed.
How were they built? The quality of the workmanship is staggering. Why would you blow it up after?
What was happening at the fairs themselves? The history of the cities they were built in? He assumes the fact they blew them up after was in order to cover something up.
He researched them for 8 months and wrote a book about it.
Host asks what's the difference between the ones built during the 1800s and more modern type expos of the later 20th century into today.
They changed after the first world war. First official one was 1851 in London where the Crystal Palace was built, "An impossible building and an impossible story." Canada had one in 1967 in Montreal and 1998 in Vancouver.
The latest was in Dubai (at time of video). World Expo 2020.
Why are the World's Fairs important?
The early ones were 'technological' fairs. They were meant to demonstrate technology and seemingly manufacture a new historical narrative. They had ancient Roman and Greek style architecture.
Mickoski thinks this was a time of a last 'great reset'. Human societies reach a certain level of technological knowledge and capability and some sort of elites don't like it and push the rest button, and it all collapses and we start fresh without knowledge of how things were before.
Mickoski thinks that everything we think and know about our history of modern cultures, civilisation, technology, how everything works, food production, government, education, all has its origin at the world's fairs.
He always had an interest in history and got a degree in history. When he first heard about the world's fairs, it blew his mind because he'd studied courses specifically on 19th century American history and the fairs were never mentioned.
Mentions that in 2019 he was in Florence studying cathedrals and how cathedrals were built as machines: "How the energy was being brought into the cathedrals and what it was doing."
When he returned from Florence he saw a video from another researcher about the Chicago expo. He thought it was very strange, the quality of the buildings and architecture and the official stories behind them. He saw some similarities between the buildings and what he'd seen in Florence.
There were 100s of these world's fairs, being built between 1850 and 1920, all over the world. Massive sites: 500 - 1200 acres, 2.3 sq km of site, built in times of two years or less, obviously with no modern type building equipment.
After the expos, they were all dynamited and destroyed.
How were they built? The quality of the workmanship is staggering. Why would you blow it up after?
What was happening at the fairs themselves? The history of the cities they were built in? He assumes the fact they blew them up after was in order to cover something up.
He researched them for 8 months and wrote a book about it.
Host asks what's the difference between the ones built during the 1800s and more modern type expos of the later 20th century into today.
They changed after the first world war. First official one was 1851 in London where the Crystal Palace was built, "An impossible building and an impossible story." Canada had one in 1967 in Montreal and 1998 in Vancouver.
The latest was in Dubai (at time of video). World Expo 2020.
Why are the World's Fairs important?
The early ones were 'technological' fairs. They were meant to demonstrate technology and seemingly manufacture a new historical narrative. They had ancient Roman and Greek style architecture.
Mickoski thinks this was a time of a last 'great reset'. Human societies reach a certain level of technological knowledge and capability and some sort of elites don't like it and push the rest button, and it all collapses and we start fresh without knowledge of how things were before.
Mickoski thinks that everything we think and know about our history of modern cultures, civilisation, technology, how everything works, food production, government, education, all has its origin at the world's fairs.
After WWI, the fairs changed. The Greek and Roman architectural style disappeared and was replaced by a more 'futuristic' style. 30's, 40's and 50's was about how science was going to answer all our questions. Then it was about outer space. Then computing and AI. The last one in Dubai started by promoting smart cities and ended with the World Government Summit discussing how we must have a one world government and a new economic system - digital currency.
Nowadays, people are programmed through the media, tv and internet. In the times of the old world's fairs, these means weren't available, so the fairs were built to do the job. The narratives in all the fairs across the world were the same, telling us where we were and where we are, and what's in store in the near future.
Host says it's weird that in the US, the architecture of the fairs would use Greek and Roman styles - it's more understandable that the ones in Europe would do so due to their histories - since that style of architecture just isn't present in America.
They look at photos. Show world's fair in Chicago in the 1890s and wonder why they use these historically European styles. The scale is incredible. One of the buildings was the largest building on Earth and could hold 300,000 people. It's just one building on a site of 700 acres. How is it possible?
They show another picture and ask how it would be possible to build in this quality on this scale. The official story is that it is claimed that it's built out of a material called 'staff' which is a type of plaster layered over the top of a wooden structure, similar to a movie set. But these were not just 'fronts' of buildings like a movie set. They were complete buildings housing in some cases priceless works of art, countries sent millions of dollars worth of things to put inside them and you can't risk having these buildings collapse.
In many cases, you could take elevators to the tops of the buildings and have views over the tops of the expo. In Buffalo, you could take an elevator to the top of a 325ft high electrical tower. Are you going to have an electrical tower built out of 'staff'? Plaster and wood and have people taking elevators to the top of it and it possibly collapse?
Another photo of people stood at the top of a tall building overlooking the expo. Reiterates the idea that you can't risk having the building collapse with 20,000 people inside.
He talked to a building contractor and asked if he could build it today. The contractor said yes but it would take 15 years. Two years to plan it because it's so massive. Two years just for the waterworks: lakes, rivers, pools. It's all built on swamps.
All the buildings are supposed to be supported by 1000 wooden poles driven into the swamp and then building on top of it would take another 10-12 years.
He said he would need a workforce of 150,000 people and 15 years.
In 1890 how does this get done in two years? It's not possible. It's like the pyramids of Egypt in that the story doesn't match the presentation. And then, it's not just Chicago. It's Buffalo, St. Louis, New York, Nashville, Omaha, Seattle, Portland, and then all over the world. And they're doing this, and then destroying it.
Host points out that Mickoski writes in the book that Chicago had a workforce of 44,000 people. Where did they come from? Where were they living? How were they being fed. Right now, the average hotel in America is 313 rooms. If you put two people per room, then for 44,000 you would need 70 full hotels. Bear in mind that it's two years in Chicago and they have very bad winters. How would they survive building them? You would have to lose 4 months out of each year to the weather conditions.
Mickoski says they were very clear on the fact that they didn't build during the winter and the date of the fair was actually pushed back from 1892 to 1893.
Where were all the bathrooms for the workers? Then you look at the construction photos. Apparently, certain areas of the fairs do show these wood and plaster structures being built, but they're always the more simple structures. But you never see construction photos for the complex buildings and architecture. You just see a photo of an already completed, maybe with some scaffold around it and work being done on the roof.
For him, it makes more sense if the buildings were 'found' or already there. And then these photos would make more sense that the buildings were just being touched-up using a technique of whitewashing.
Next, you notice in these photos, and the contractor he spoke to noticed that all around the buildings, all you see is mud. Where are all the remnants of human activity, the facilities for the workers, the garbage, chairs where they might sit down, bathrooms. If you've got 50,000 people working, it can't be so clean and neat. His take on it was that it was as if no one had been at the site for a year. This isn't a worksite. Where are the building materials? Where is all the massive amounts of scaffolding that would be piled up?
Next they show the midway at the fair in St. Louis. He points out that this one does look more like a movie set.
He gives his hypotheses:
1) They had some sort of unknown technology that really did allow them to build these fairs in a two-year timeframe.
2) The buildings were already there, remnants of an ancient civilisation. The fairs were a cover story for the digging out and uncovering of the buildings, which they would then make look new, and afterwards destroy them.
This is up to the first 30mins of the video.
Nowadays, people are programmed through the media, tv and internet. In the times of the old world's fairs, these means weren't available, so the fairs were built to do the job. The narratives in all the fairs across the world were the same, telling us where we were and where we are, and what's in store in the near future.
Host says it's weird that in the US, the architecture of the fairs would use Greek and Roman styles - it's more understandable that the ones in Europe would do so due to their histories - since that style of architecture just isn't present in America.
They look at photos. Show world's fair in Chicago in the 1890s and wonder why they use these historically European styles. The scale is incredible. One of the buildings was the largest building on Earth and could hold 300,000 people. It's just one building on a site of 700 acres. How is it possible?
They show another picture and ask how it would be possible to build in this quality on this scale. The official story is that it is claimed that it's built out of a material called 'staff' which is a type of plaster layered over the top of a wooden structure, similar to a movie set. But these were not just 'fronts' of buildings like a movie set. They were complete buildings housing in some cases priceless works of art, countries sent millions of dollars worth of things to put inside them and you can't risk having these buildings collapse.
In many cases, you could take elevators to the tops of the buildings and have views over the tops of the expo. In Buffalo, you could take an elevator to the top of a 325ft high electrical tower. Are you going to have an electrical tower built out of 'staff'? Plaster and wood and have people taking elevators to the top of it and it possibly collapse?
Another photo of people stood at the top of a tall building overlooking the expo. Reiterates the idea that you can't risk having the building collapse with 20,000 people inside.
He talked to a building contractor and asked if he could build it today. The contractor said yes but it would take 15 years. Two years to plan it because it's so massive. Two years just for the waterworks: lakes, rivers, pools. It's all built on swamps.
All the buildings are supposed to be supported by 1000 wooden poles driven into the swamp and then building on top of it would take another 10-12 years.
He said he would need a workforce of 150,000 people and 15 years.
In 1890 how does this get done in two years? It's not possible. It's like the pyramids of Egypt in that the story doesn't match the presentation. And then, it's not just Chicago. It's Buffalo, St. Louis, New York, Nashville, Omaha, Seattle, Portland, and then all over the world. And they're doing this, and then destroying it.
Host points out that Mickoski writes in the book that Chicago had a workforce of 44,000 people. Where did they come from? Where were they living? How were they being fed. Right now, the average hotel in America is 313 rooms. If you put two people per room, then for 44,000 you would need 70 full hotels. Bear in mind that it's two years in Chicago and they have very bad winters. How would they survive building them? You would have to lose 4 months out of each year to the weather conditions.
Mickoski says they were very clear on the fact that they didn't build during the winter and the date of the fair was actually pushed back from 1892 to 1893.
Where were all the bathrooms for the workers? Then you look at the construction photos. Apparently, certain areas of the fairs do show these wood and plaster structures being built, but they're always the more simple structures. But you never see construction photos for the complex buildings and architecture. You just see a photo of an already completed, maybe with some scaffold around it and work being done on the roof.
For him, it makes more sense if the buildings were 'found' or already there. And then these photos would make more sense that the buildings were just being touched-up using a technique of whitewashing.
Next, you notice in these photos, and the contractor he spoke to noticed that all around the buildings, all you see is mud. Where are all the remnants of human activity, the facilities for the workers, the garbage, chairs where they might sit down, bathrooms. If you've got 50,000 people working, it can't be so clean and neat. His take on it was that it was as if no one had been at the site for a year. This isn't a worksite. Where are the building materials? Where is all the massive amounts of scaffolding that would be piled up?
Next they show the midway at the fair in St. Louis. He points out that this one does look more like a movie set.
He gives his hypotheses:
1) They had some sort of unknown technology that really did allow them to build these fairs in a two-year timeframe.
2) The buildings were already there, remnants of an ancient civilisation. The fairs were a cover story for the digging out and uncovering of the buildings, which they would then make look new, and afterwards destroy them.
This is up to the first 30mins of the video.
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Good synopsis T.C. He also talks about fires that were happening in multiple cities during that time period. Do those factor in? In what way? Why did the whole World's Fair thing get essentially omitted from history as taught in schools?
Mostly what's discussed is speculation but the point is, there's something strange about all this. What is it that's missing? Conspiracy? Cover up of some natural occurrence? Something else?
Mostly what's discussed is speculation but the point is, there's something strange about all this. What is it that's missing? Conspiracy? Cover up of some natural occurrence? Something else?
Yup, was at the one in Montreal as a lad. It was pretty mesmerizing when material life seemed pretty plain. I don't think they left much behind after, the dome and buildings later used for athlete housing at the 76 Olympics - others here might know more. Being in that time, it does not seem that there was any conspiratorial nuances to that Fair.
That said, @JGeropoulas introduced this subject back in 2021 - see here:
Stolen History video series
Video (part 1 of 3) Intro begins with an idea familiar to forum readers: "The official version of human history is a construct of lies. We are in a state of collective amnesia. Let's free ourselves from the artificial matrix that has been imposed on us." The narrator uses...
cassiopaea.org
Have not watched the one above, yet did catch the ones on @MJF's Alton Towers thread featured by @moyal here. Had posted a photo from the Chicago Wolds Fair of a Phrygian Cap in the Alton Tower thread.
Anyway, if looking at the Stolen History link, it links to another forum and the videos don't work, however the link video's can be accessed through BitChute et cetera. I think every Worlds Fair was covered in some detail.
One interesting mention remembered were these stone walls along some roads in California, might have been associated with the San Diego Worlds Fair. These were walls that seemed to be build out of even those times, just not contemporary with them, nestled behind growth at the side of new roads siting on foundation stones.
Yes, something about it all. There was certainly mass capital put in at times when things were rough, with the interjection of many new devices that would change peoples thinking and use. To see much of it almost immediately ripped down did seem to make sense. The one building, perhaps Pairs, had incredible detailed glass works - gone, fire I think.
I was at Expo '67 in Montreal as a kid. My parents drove us up from Pennsylvania. I only remember standing in long lines, and being hot and tired and wanting to go back to the motel so I could watch TV in French even though I couldn't understand a word. I do remember though, I think we stood in line so I got to ride an elephant for a few minutes. My parents took a lot of old videos, but they have long since been lost. I wish I would have been older so I could have appreciated it more. Or at least remember more of it.
BHelmet
The Living Force
Thanks for reintroducing this topic. It’s bizarre and curious indeed. Worthy of a C’s question.
I saw a recent one on the Paris fair of 1900. One of the claims of “the narrative” is that 50 MILLION people visited and attended.
Attendance quoted for the Chicago Exposition is 27 Milllion. Yet 1893 was a major economic panic and depression in the US. Who has money and time (travel would take days each way by train from the further reaches of America.) to blow in a spending spree joy ride? Population of USA was 63 million in 1890. Sure people visiting from abroad, but really? Why get on a steamship and go to Chicago when you can just go to a fair in Europe?
Another note- everyone in the photos of these fairs is looking so dapper and well dressed. That doesn’t fit the gritty Industrial Revolution narrative. For there to be massive attendance, people, in general, would have to be better off, wouldn’t they?
Bottom line, there IS something to see here, IMO, although I really don’t know what it is.
I saw a recent one on the Paris fair of 1900. One of the claims of “the narrative” is that 50 MILLION people visited and attended.
Attendance quoted for the Chicago Exposition is 27 Milllion. Yet 1893 was a major economic panic and depression in the US. Who has money and time (travel would take days each way by train from the further reaches of America.) to blow in a spending spree joy ride? Population of USA was 63 million in 1890. Sure people visiting from abroad, but really? Why get on a steamship and go to Chicago when you can just go to a fair in Europe?
Another note- everyone in the photos of these fairs is looking so dapper and well dressed. That doesn’t fit the gritty Industrial Revolution narrative. For there to be massive attendance, people, in general, would have to be better off, wouldn’t they?
Bottom line, there IS something to see here, IMO, although I really don’t know what it is.
Yup, was at the one in Montreal as a lad. It was pretty mesmerizing when material life seemed pretty plain. I don't think they left much behind after, the dome and buildings later used for athlete housing at the 76 Olympics - others here might know more. Being in that time, it does not seem that there was any conspiratorial nuances to that Fair.
That said, @JGeropoulas introduced this subject back in 2021 - see here:
Stolen History video series
Video (part 1 of 3) Intro begins with an idea familiar to forum readers: "The official version of human history is a construct of lies. We are in a state of collective amnesia. Let's free ourselves from the artificial matrix that has been imposed on us." The narrator uses...
Have not watched the one above, yet did catch the ones on @MJF's Alton Towers thread featured by @moyal here. Had posted a photo from the Chicago Wolds Fair of a Phrygian Cap in the Alton Tower thread.
Anyway, if looking at the Stolen History link, it links to another forum and the videos don't work, however the link video's can be accessed through BitChute et cetera. I think every Worlds Fair was covered in some detail.
One interesting mention remembered were these stone walls along some roads in California, might have been associated with the San Diego Worlds Fair. These were walls that seemed to be build out of even those times, just not contemporary with them, nestled behind growth at the side of new roads siting on foundation stones.
Yes, something about it all. There was certainly mass capital put in at times when things were rough, with the interjection of many new devices that would change peoples thinking and use. To see much of it almost immediately ripped down did seem to make sense. The one building, perhaps Pairs, had incredible detailed glass works - gone, fire I think.
May I say this is a very interesting thread genero81 has started. You mention one exhibition building that had incredible glass works, which has gone due to fire. I think this could be the original World Fair exhibition centre at the Crystal Palace staged at Hyde Park in London in 1851. See: The Crystal Palace - Wikipedia - You will see that I have highlighted/bolded key data describing its huge size and the extremely short time it was built in:
The Crystal Palace was a cast iron and plate glass structure, originally built in Hyde Park, London, to house the Great Exhibition of 1851. The exhibition took place from 1 May to 15 October 1851, and more than 14,000 exhibitors from around the world gathered in its 990,000 square feet (92,000 m2) exhibition space to display examples of technology developed in the Industrial Revolution. Designed by Joseph Paxton, the Great Exhibition building was 1,851 feet (564 m) long, with an interior height of 128 feet (39 m), and was three times the size of St Paul's Cathedral.
The 60,000 panes of glass were manufactured by the Chance Brothers. The 990,000 square foot building with its 128 foot high ceiling was completed in thirty-nine weeks. The Crystal Palace boasted the greatest area of glass ever seen in a building. It astonished visitors with its clear walls and ceilings that did not require interior lights.
After the exhibition, the Palace was relocated to an open area of South London known as Penge Place which had been excised from Penge Common. It was rebuilt at the top of Penge Peak next to Sydenham Hill, an affluent suburb of large villas. It stood there from June 1854 until its destruction by fire in November 1936. The nearby residential area was renamed Crystal Palace after the landmark.
The Crystal Palace was a cast iron and plate glass structure, originally built in Hyde Park, London, to house the Great Exhibition of 1851. The exhibition took place from 1 May to 15 October 1851, and more than 14,000 exhibitors from around the world gathered in its 990,000 square feet (92,000 m2) exhibition space to display examples of technology developed in the Industrial Revolution. Designed by Joseph Paxton, the Great Exhibition building was 1,851 feet (564 m) long, with an interior height of 128 feet (39 m), and was three times the size of St Paul's Cathedral.
The 60,000 panes of glass were manufactured by the Chance Brothers. The 990,000 square foot building with its 128 foot high ceiling was completed in thirty-nine weeks. The Crystal Palace boasted the greatest area of glass ever seen in a building. It astonished visitors with its clear walls and ceilings that did not require interior lights.
After the exhibition, the Palace was relocated to an open area of South London known as Penge Place which had been excised from Penge Common. It was rebuilt at the top of Penge Peak next to Sydenham Hill, an affluent suburb of large villas. It stood there from June 1854 until its destruction by fire in November 1936. The nearby residential area was renamed Crystal Palace after the landmark.
More than 5,000 navvies worked on the building during its construction, with up to 2,000 on site at one time during the peak building phase. More than 1,000 iron columns supported 2,224 trellis girders and 30 miles of guttering, comprising 4,000 tons of iron in all.
Thanks to the simplicity of Joseph Paxton's design and the combined efficiency of the building contractor and their suppliers, the entire structure was assembled with extraordinary speed: a team of 80 men could fix more than 18,000 panes of sheet glass in a week, and the building was completed and ready to receive exhibits in just five months.
When completed, the Crystal Palace provided an unrivalled space for exhibits, since it was essentially a self-supporting shell standing on slim iron columns, with no internal structural walls whatsoever. Because it was covered almost entirely in glass, it also needed no artificial lighting during the day, thereby reducing the exhibition's running costs.
The project was engineered by William Cubitt; Paxton's construction partner was the ironwork contractor Fox and Henderson. The 900,000 square feet (84,000 m2) of glass was provided by the Chance Brothers glassworks in Smethwick. This was the only glassworks capable of fulfilling such a large order; it had to bring in labour from France to fulfil the order in time. The final dimensions were 1,848 feet (563 m) long by 456 feet (139 m) wide. The building was 135 feet (41 m) high, with 772,784 square feet (71,794.0 m2) on the ground floor alone.
The Great Exhibition was opened on 1 May 1851 by Queen Victoria. It was the first of the World's fair exhibitions of culture and industry. There were some 100,000 objects, displayed along more than ten miles, by over 15,000 contributors. Britain occupied half the display space inside with exhibits from the home country and the empire. France was the largest foreign contributor. The exhibits were grouped into four main categories—Raw Materials, Machinery, Manufacturers and Fine Arts. The exhibits ranged from the Koh-i-Noor diamond, Sevres porcelain, and music organs to a massive hydraulic press, and a fire engine. There was also a 27-foot tall Crystal Fountain.
A 550-metre pneumatic passenger railway was also constructed and exhibited at the Crystal Palace in 1864, which was known as the Crystal Palace pneumatic railway. See: Crystal Palace pneumatic railway - Wikipedia. This would have been one of the first underground railways in the world - the first was in fact the Metropolitan Railway, a passenger and goods railway that served London from 1863 to 1933. That railway was built between Paddington (then called Bishop's Road) and Farringdon Street.
It is unclear what became of the Crystal Palace line, as records do not state what happened after it ceased to operate, although it has been suggested that its builder Thomas Rammell had originally constructed the small line as a test for a larger atmospheric railway that was to run between Waterloo and Whitehall. A formal excavation was conducted at the site of the upper station in August 1975. A brick tunnel, too small to be the running tunnel, and what is thought to be a retaining wall were found. The running tunnel was not found, and some believed that it may have been destroyed by construction work for the Festival of Empire celebrations in 1911.
Forum members have wondered whether there is any connection between this Crystal Palace and the C's enigmatic mention of a "crystal palace" in the transcripts:
"You are dancing on the 3rd density ballroom floor. "Alice likes to go through the looking glass" at the Crystal Palace".
The mention of "Alice" and "looking glass" seems to suggest a link here to Lewis Carroll and his famous novel "Through the Looking Glass", which featured his eponymous heroine Alice from his book Alice in Wonderland. Lewis Carroll was certainly alive at the time of the Crystal Palace exhibition and may have visited it. The exhibition centre was subsequently used for mass entertainment. In the central transept was a 4,000-piece Grand Orchestra built around the 4,500-pipe Great Organ. There was also a concert room with over 4,000 seats that hosted successful Handel Festivals for many years. The performance spaces hosted concerts, exhibits, and public entertainment. Many famous people visited The Crystal Palace especially during its early years, including the likes of Emma Darwin, the wife of Charles Darwin who noted in her diary on 10 June 1854, "Opening Crystal Pal". The centre transept once even housed a circus and was the scene of daring feats by acts such as the tightrope walker Charles Blondin.
It is curious that Joseph Paxton, the designer of the Crystal Palace had a daughter named Alice. In 1849, Paxton caused a sensation in the horticultural world when he succeeded in producing the first amazonica flowers to be grown in England. His daughter Alice was drawn for the newspapers, standing on one of the leaves. The lily and its house led directly to Paxton's design for the Crystal Palace. He later cited the huge ribbed floating leaves as a key inspiration. However, I find it hard to make a connection here between this Alice, the Crystal Palace in London and what the C's are describing above unless someone reading this can establish one.
Thanks to the simplicity of Joseph Paxton's design and the combined efficiency of the building contractor and their suppliers, the entire structure was assembled with extraordinary speed: a team of 80 men could fix more than 18,000 panes of sheet glass in a week, and the building was completed and ready to receive exhibits in just five months.
When completed, the Crystal Palace provided an unrivalled space for exhibits, since it was essentially a self-supporting shell standing on slim iron columns, with no internal structural walls whatsoever. Because it was covered almost entirely in glass, it also needed no artificial lighting during the day, thereby reducing the exhibition's running costs.
The project was engineered by William Cubitt; Paxton's construction partner was the ironwork contractor Fox and Henderson. The 900,000 square feet (84,000 m2) of glass was provided by the Chance Brothers glassworks in Smethwick. This was the only glassworks capable of fulfilling such a large order; it had to bring in labour from France to fulfil the order in time. The final dimensions were 1,848 feet (563 m) long by 456 feet (139 m) wide. The building was 135 feet (41 m) high, with 772,784 square feet (71,794.0 m2) on the ground floor alone.
The Great Exhibition was opened on 1 May 1851 by Queen Victoria. It was the first of the World's fair exhibitions of culture and industry. There were some 100,000 objects, displayed along more than ten miles, by over 15,000 contributors. Britain occupied half the display space inside with exhibits from the home country and the empire. France was the largest foreign contributor. The exhibits were grouped into four main categories—Raw Materials, Machinery, Manufacturers and Fine Arts. The exhibits ranged from the Koh-i-Noor diamond, Sevres porcelain, and music organs to a massive hydraulic press, and a fire engine. There was also a 27-foot tall Crystal Fountain.
A 550-metre pneumatic passenger railway was also constructed and exhibited at the Crystal Palace in 1864, which was known as the Crystal Palace pneumatic railway. See: Crystal Palace pneumatic railway - Wikipedia. This would have been one of the first underground railways in the world - the first was in fact the Metropolitan Railway, a passenger and goods railway that served London from 1863 to 1933. That railway was built between Paddington (then called Bishop's Road) and Farringdon Street.
It is unclear what became of the Crystal Palace line, as records do not state what happened after it ceased to operate, although it has been suggested that its builder Thomas Rammell had originally constructed the small line as a test for a larger atmospheric railway that was to run between Waterloo and Whitehall. A formal excavation was conducted at the site of the upper station in August 1975. A brick tunnel, too small to be the running tunnel, and what is thought to be a retaining wall were found. The running tunnel was not found, and some believed that it may have been destroyed by construction work for the Festival of Empire celebrations in 1911.
Forum members have wondered whether there is any connection between this Crystal Palace and the C's enigmatic mention of a "crystal palace" in the transcripts:
"You are dancing on the 3rd density ballroom floor. "Alice likes to go through the looking glass" at the Crystal Palace".
The mention of "Alice" and "looking glass" seems to suggest a link here to Lewis Carroll and his famous novel "Through the Looking Glass", which featured his eponymous heroine Alice from his book Alice in Wonderland. Lewis Carroll was certainly alive at the time of the Crystal Palace exhibition and may have visited it. The exhibition centre was subsequently used for mass entertainment. In the central transept was a 4,000-piece Grand Orchestra built around the 4,500-pipe Great Organ. There was also a concert room with over 4,000 seats that hosted successful Handel Festivals for many years. The performance spaces hosted concerts, exhibits, and public entertainment. Many famous people visited The Crystal Palace especially during its early years, including the likes of Emma Darwin, the wife of Charles Darwin who noted in her diary on 10 June 1854, "Opening Crystal Pal". The centre transept once even housed a circus and was the scene of daring feats by acts such as the tightrope walker Charles Blondin.
It is curious that Joseph Paxton, the designer of the Crystal Palace had a daughter named Alice. In 1849, Paxton caused a sensation in the horticultural world when he succeeded in producing the first amazonica flowers to be grown in England. His daughter Alice was drawn for the newspapers, standing on one of the leaves. The lily and its house led directly to Paxton's design for the Crystal Palace. He later cited the huge ribbed floating leaves as a key inspiration. However, I find it hard to make a connection here between this Alice, the Crystal Palace in London and what the C's are describing above unless someone reading this can establish one.
The model for Alice in Wonderland was reptudely the young Alice Liddell. However, as I described in an article for the Science Fiction and Fantasy Writers thread (see: Science Fiction and Fantasy Writers) the esoteric Alice in Wonderland may have been Emma Hardinge Britten, a well known trance medium and spiritualist who had connections variously with the English Rosicrucians, the Orphic Circle, Madame Blavatsky and the Theosophists, and the Spiritualist movement in England and the USA (where she would come to the attention of President Abraham Lincoln and his wife). Lewis Carroll was also reputedly a Rosicrucian and a member of the Orphic Circle (see: http://www.ehbritten.org/docs/hypotheses_on_the_orphic_circle.pdf), for whom Emma Hardinge Britten claimed to have acted for as a scryer (medium) during her teen years. In that thread I wrote:
If Britten used a mirror to gain the information that Carroll and Bulwer-Lytton subsequently used in their books, this may make sense of the C's statement "You are dancing on the 3rd density ballroom floor. "Alice likes to go through the looking glass" at the Crystal Palace".
Emma Hardinge Britten under her maiden name Emma Floyd was an actress, singer and dancer on the London stage before she became a well known medium and spiritualist. The building that became known as the Crystal Palace was erected in 1851 for the Great Exhibition but it would subsequently be disassembled and moved to Penge in South London a few years later. The building, which was enormous, was used for all manner of performances including circuses and pantomimes. I doubt if Britten performed there professionally though since her stage career was quite short (about 7-8 years). It is possible that the Orphic Circle may have met there for some of their sessions, as the Crystal Palace had many antechambers where all sorts of exhibitions and meetings would take place. However, the Crystal Palace seems to me to be too public a venue for a secret society to gather and practice occult arts. The most likely venue for these sessions was probably Craven Cottage in Fulham, which was owned or rented by Bulwer-Lytton during the same time period.
However, once you know that Emma Mae Britten may have used one of Hockley's gazing mirrors during trance sessions for the Orphic Circle (which may have included Lewis Carroll as a participant), it makes sense to me that this is what the C's were probably referring to. I have also pointed out in the 'Atlantis' thread on the Forum that one of the key monitoring devices used at the Large Hadron Collider in Cern, Switzerland is called 'ALICE'. I don't think this is a coincidence either given that the scientists are using ALICE to investigate the world of sub-atomic particles and possibly [by extension] hyperdimensional physics."
On this last point, the C's may have given us a further clue on the connection here to hyperdimensional physics (and maybe the Large Hadron Collider) in the Session dated 22 June 1996:
A: Slowly, but surely. Now, get ready for a message: We have told you before that the upcoming "changes" relate to the spiritual and awareness factors rather than the much publicized physical. Symbolism is always a necessary tool in teaching. But, the trick is to read the hidden lessons represented by the symbology, not to get hung up on the literal meanings of the symbols!
[…]
Q: (F) Well, they mentioned twice to be careful about putting in the designated quotes. (L) One of the crop circles you interpreted was an "astronomical twin phenomenon." What is an astronomical twin phenomenon?
A: Many perfectly synchronous meanings.
Q: (L) Synchronicity is involved. Does this have something to do with "image?"
A: Duplicity of, as in "Alice through the looking glass." [Consider here the twin characters of Tweedle Dee and Tweedle Dumb?]
Q: (L) Double images. Does this relate to matter and antimatter?
A: Yes, and...
Q: (L) Gravity and manifesting on one side and manifesting a mirror image on the other...
A: Yes, and...
Q: (L) And images of 4th density bodies with tenuous fibres connecting to DNA as in manifesting imaginal bodies on 4th density?
A: Astronomical.
Q: (L) Okay, that relates to stars and planets... astronomical in terms of another universe, an alternate universe composed of antimatter?
A: Yes, and....
Q: (L) And is this alternate universe going to merge with our universe...
A: No.
Q: (L) Is this alternate universe of antimatter the point from which phenomena occur or are manifested in our universe?
A: More like doorway or "conduit."
Q: (L) Is this alternate universe the means by which we must travel to 4th density? Is it like a veil, or an abyss of some sort?
A: Think of it as the highway.
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Nević Nenad
The Living Force
Anothe loony of the "Grand Tartaria" lore?
I remember going to the NY World's Fair in 1964 as a sixteen year old. I was one of six teens in a folk singing group, who entered a talent show and somehow won a spot to perform in the NY state pavilion. The thing was so huge that we looked and felt like tiny ants in the middle of the stage. Since the roof was cable or something, the planes flying overhead were so loud that I doubt we were even heard. The whole thing was futuristic, and interestingly, I have no memory of being impressed by it or wanting to spend extra time there. I don't even recall what the attractions were...seems like just a blur of structures that one would expect to see on another planet. We were naive country kids, from a rural town with a population of 2000 or less, put on a bus to the big city and housed in a fancy hotel. It was all very exciting. Funny thing is, once in the city, no one looked out for us or guided us in any way. If our parents had realized there was to be no chaperone or mentor of any sort, I am sure we would not be allowed to go or at least a parent would have accompanied us. There were three girls and three boys. It never occurred to us, after realizing we were entirely on our own, to be wild. Oh, but there was one guy in our group who was 18 and could drink. He went to a bar but came back in a short time kind of shaken with the story that some man tried to pick him up. He did buy himself a big cigar though. How we found our way to Queens from Manhattan I don't even know...
The NY World's Fair of the sixties doesn't seem to have the same flair as earlier versions depicted in the video and is now a park with many of the structures still in place. I haven't gotten all the way through the video yet but it does create some questions, for sure.
The NY World's Fair of the sixties doesn't seem to have the same flair as earlier versions depicted in the video and is now a park with many of the structures still in place. I haven't gotten all the way through the video yet but it does create some questions, for sure.
Ina
The Living Force
There is a lot of information missing about the actual documentations of the works which I doubt existed in large quantities. In the older days people were creating with their heads and were making drawings, plans maps and lists of materials. The builders did not need training or how-to written cheat sheets because by our standards today, they were masters, each and every one of them. Nobody had to write weekly and monthly reports for the shareholders. The people really knew how to work and were really working!
Also there is a lot of information lost today about the low tech. What woodworkers did with a saw, chisel, and hammer, today you need 3 power tools, and you'll will never achieve the same finish.
I do not think it is a matter of conspiracy.
For the fact that World Fairs have changed with each major conflagration, well that should point to the massive destruction of skill, and know-how, and the massive loss in skilled people.
BTW, White wash is a very good paint, still used today.
2c
I thought the Parthenon in Nashville USA was a building from a world fair but apparently it was built for a centennial exposition in 1879. However, there are some (too few maybe?) monuments built for world fairs that are still in use today. Found this compilation (the post WW2 one are kind of lame for the most part): .https://blog.musement.com/us/iconic-worlds-fair-monuments-still-standing/
BHelmet
The Living Force
Hey you guys that went to the Montreal expo, do any of you remember the UK exhibit?? It was insane and definitely a social engineering wake up call even though I was a 17 year old.
So, they had a polished chrome floor (or something) and an overhead arched roof that made it look like you were walking through a tube. There was this pulsating soundtrack like a pounding heart and a Brit narrator going on and out about how pollution forced man into domed cities and now even the air outside the domes was too polluted to filter. IOW, the SAME narrative we have today: man is ruining the earth. It was so depressing. I have never heard anyone remember this or talk about it. Do any of you?
So, they had a polished chrome floor (or something) and an overhead arched roof that made it look like you were walking through a tube. There was this pulsating soundtrack like a pounding heart and a Brit narrator going on and out about how pollution forced man into domed cities and now even the air outside the domes was too polluted to filter. IOW, the SAME narrative we have today: man is ruining the earth. It was so depressing. I have never heard anyone remember this or talk about it. Do any of you?
Nice examples. Spain seemed to keep many structures/monuments. This one, had walked around (near the waterfront) and never knew its beginnings:
No, not at all.