The _personnel_ of upper middle class society in England has been perceptibly affected by the entrance into it through the gate of marriage, of ladies of German origin, of great taste and accomplishments generally, and like all their nation, devoted to music. Hence among other things the increased patronage of the Italian Opera, of all high-class concerts in public as well as of musical artists in private by that well to do section of the Queen's subjects which combines the tastes of culture and of birth with the resources of trade. Its composition of the veritable materials of Paxton's Glass House for the Great Exhibition is not the only respect in which the Crystal Palace at Sydenham is connected with that enterprise of the Prince Consort as a reformer of English taste. To mention only its connection with the subject now being specially considered, the Crystal Palace has maintained its full orchestra since 1854. These concerts have been admittedly during near half a century prime instruments of metropolitan and suburban civilization. They have practically revolutionized the home life of tens of thousands of the prosperous commercial class which fixes its household gods out of earshot of Bow Bells. The impulse thus given to the study of the art on a basis wider and deeper than anything formerly existing can scarcely be exaggerated. It is of itself enough to explain why the number of English students of music in the nineties is so vastly larger than it was during any of the preceding decades.[80]
English art stimulated and strengthened to a degree second only to science by the movements with which, through the Prince Consort, the Victorian Court identified itself. Contrast between the social consideration of artists now and fifty years ago. From Gandish to Gaston Phoebus. Progress in the association of art with the government of England, and general gain to all concerned in consequence. Gradual endowment of art by the State and establishment of the existing machinery for teaching art and displaying its triumphs to a cultivated public. The work of South Kensington. Success of the Academy tested by figures and facts. Reciprocal benefits to art workers and art patrons. Foreign recognition of English art. The past, present and future of English sculpture.
