Do you want to know about the biggest and most merciless judicial battle in culture and industrial property in 19th century, the echoes of which still ring today? Please, check my 📘 The Battle for Control of the Brass and Instruments Business in the French Industrial Revolution
The instruments were not the only thing on display.
Two years after the Dublin International Exhibition, the Paris Exposition Universelle of 1867 brought nations, manufacturers and visitors together on an even greater stage.
International exhibitions displayed more than manufactured objects. They also presented institutions, uniforms, discipline and national identity—and the musical ensembles that transformed new instruments into public sound.
The instruments were on display.
𝗪𝗵𝗮𝘁 𝗱𝗶𝗱 𝗶𝗻𝗱𝘂𝘀𝘁𝗿𝗶𝗮𝗹 𝗽𝗿𝗼𝗴𝗿𝗲𝘀𝘀 𝘀𝗼𝘂𝗻𝗱 𝗹𝗶𝗸𝗲?
At the Dublin International Exhibition of 1865, clocks, textiles, ceramics and manufactured goods filled an immense iron-and-glass hall.
But look more closely.
At the centre of this contemporary view stands a band, surrounded by brass instruments, music stands and visitors.
International exhibitions were not silent displays of objects. Music helped transform industry into public spectacle
Twelve years later, Queen Victoria sketched the band again.
In 1843, she had drawn French military musicians during her visit to King Louis-Philippe. By 1855, France had a new regime and a new ruler: Napoleon III.
On 25 August, while visiting the Château de la Muette, Victoria
𝗧𝗵𝗲 𝗿𝗲𝗴𝗶𝗺𝗲 𝗵𝗮𝗱 𝗰𝗵𝗮𝗻𝗴𝗲𝗱. 𝗧𝗵𝗲 𝗱𝗶𝗽𝗹𝗼𝗺𝗮𝘁𝗶𝗰 𝗿𝗼𝗹𝗲 𝗼𝗳 𝗺𝗶𝗹𝗶𝘁𝗮𝗿𝘆 𝗺𝘂𝘀𝗶𝗰 𝗵𝗮𝗱 𝗻𝗼𝘁.
That relationship between bands, political power and the brass-instrument industry lies at the heart of
Could a military band help bring two rival nations closer?
On 6 Sept 1843, during Queen Victoria’s first journey abroad as Queen, she sketched musicians of the French 24th Light Infantry from her window at the Château d’Eu, France.
She was visiting King Louis-Philippe, ...
What does Columbus’s egg have to do with Adolphe Sax’s saxhorns?
In 1854, the famous story of Columbus’s egg appeared in the final stage of a major lawsuit over the originality of Sax’s brass instruments.
Why? And what could an egg possibly contribute to a patent dispute?
This is not Elise Hall.
But Hall travelled from Boston to Paris at least twice to perform on the saxophone.
Getting there meant crossing the Atlantic by steamship and continuing by rail. Around 1910, a first-class journey could cost approximately $100 each way—the equivalent of