High Minds by Simon Heffer: A thunderous new history of the Victorian era

This is an extended paean to an era whose ethos and moral purpose navigated the transition from the chaos of the Industrial Revolution to the equanimity of late-Victorian Britain.

High Minds: the Victorians and the Birth of Modern Britain
Simon Heffer
Random House, 896pp, £30
 
Not everyone was convinced that the Great Exhibition of 1851 would work. “An exhibition of the industry of all nations, forsooth!” exclaimed Colonel Charles Sibthorp, MP for Lincoln. “An exhibition of the trumpery and trash of foreign countries, to the detriment of our own already too much oppressed manufacturers.”
 
Soon, Prince Albert, the exhibition’s lead patron, was poking fun at all the potential crises that made the project doomed. “Mathematicians,” he wrote, “have calculated that the Crystal Palace will blow down in the first strong gale, engineers that the galleries would crash in and destroy visitors; political economists have prophesied a scarcity of food in London owing to the vast concourse of people . . . [and] moralists that England would be infected by all the scourges of the civilised and uncivilised world.”
 
Despite the Jeremiahs, the Great Exhibition, housed in Joseph Paxton’s Crystal Palace in Hyde Park, went ahead. Its success and legacy in the Albertopolis collection of museums and galleries in South Kensington offered, Simon Heffer argues, perhaps the most comprehensive symbol of the spirit of a people, “one of ambition and of a determination to create institutions of a grandeur and permanence that would project not just the names of their creators but the advances made by Victorian civilisation, for ever”.
 
Heffer’s thunderous new history is an extended paean to an era whose ethos and moral purpose navigated the transition from the chaos of the Industrial Revolution to the equanimity of late-Victorian Britain. In his preface, he outlines the book’s scope: “It takes the great themes of that period and seeks to use them as the illustration of a spirit, or cast of mind, that transformed a wealthy country of widespread inhumanity, primitiveness and barbarism into one containing the germs, and in some measures the evidence, of widespread civilisation and democracy.”
 
High Minds is worthy to the task: serious, scholarly, grand and determined. And, as befits a monument to the mid-Victorian mind, it is occasionally backslapping. Through a history of ideas and the elite lives of those who embodied them – from Robert Peel and Florence Nightingale to Charles Kingsley – Heffer provides the intellectual architecture for a period of remarkable social and economic transformation.
 
Yet the account does not begin promisingly. Quite rightly, in his investigation of the 19th-century clerisy, Heffer starts with the influence of Dr Thomas Arnold of Rugby and the impact that his brand of Christian purposefulness had on a generation of young men. However, as the book’s prologue takes us through the life and times of one minor public school master after another, the sense of Victorian ambition is somewhat dissipated.
 
What is more, this over-concentration on the ideas of a southern, Anglican, landed elite militates against an appreciation of where so much of the energy of the period came from: the northern, Nonconformist, commercial mindset of Manchester, Birmingham and Stoke-on-Trent. Another lacuna is Heffer’s decision to avoid any discussion of imperialism, when one of the great advances of recent scholarship is an appreciation of just how significant was the experience of empire for domestic British culture – not least in the public schools.
 
Thankfully, Heffer then gets into his stride with incisive and innovative accounts of such Victorian staples as the repeal of the Corn Laws, the rise of Chartism and the Oxford Movement. Heffer’s 1995 biography of Thomas Carlyle, Moral Desperado, is a welcome companion to much of this history. Indeed, Heffer is particularly good on the interrelationship between some of the intellectual titans of the time: John Stuart Mill and William Gladstone; Samuel Smiles and Carlyle; John Ruskin and Augustus Pugin.
 
Heffer is also an excellent guide to the aesthetics of the age, giving us powerful accounts of the “battle of the styles” and the Victorian passion for Gothic. I would take the Midland Grand Hotel next to St Pancras in London or Manchester Town Hall as the architectural embodiment of Victoriana but for Heffer it is G E Street’s law courts on the Strand: “In so far as a building could manifest an idea of perfection, this, supposedly, was it . . . It remains one of the most celebrated and conspicuous monuments to the Victorian mind.”
 
The unapologetic place of Christian faith in the public realm is what makes the period so attractive for Heffer. At one point, he quotes Christopher Wordsworth, a nephew of the poet, who later became the bishop of Lincoln, with more than a hint of approbation: “What, gentlemen, is Conservatism? It is the application of Christianity to civil government. And what is English Conservatism? It is the adoption of the principles of the Church of England as the groundwork of legislation.”
 
Across civil society, the same “mission of benevolence” or “pursuit of perfection” was at work as philanthropists, civil servants, ministers and politicians sought to alleviate the poverty of an urban-industrial society and construct a civilisation true to the calling of Christian incarnation. Heffer’s sorrow is that such high-mindedness has vanished, as he charts a familiar line that begins with Lytton Strachey’s Eminent Victorians and the Bloomsbury set’s disavowal of their forefathers. “A climate of prejudice about the Victorians still lingers,” he writes.
 
I am not so sure. Certainly, our inability to understand the Christian motivation behind so much Victorian improvement puts them at a distance. Yet from our renewed focus on the importance of “character” in education to our lament for a lost imperial purpose and a desire to build grand rail and road projects, all are framed within the context of a lack of ambition in contrast to our Victorian predecessors.
 
Heffer is a leading Daily Mail journalist as well as a historian. While it would be unfair to load on him all the gripes and prejudices of the Mail group, if we had to think of the single most influential contemporary voice set against ambitious developments, risky schemes, state expenditure, high culture or iconoclastic thinking, it would be his editorial colleagues.
 
Heffer’s day job is to act as the Colonel Sibthorp of the 21st century. By contrast, his extra-curricular activity is to produce works of great learning and insight into an era of ambitious duty and benevolence. We could all do with more of the latter.
 
Tristram Hunt is the MP for Stoke-on-Trent Central (Labour), and was appointed Shadow Secretary of State for Education in the 7 October 2013 Shadow Cabinet reshuffle. His books include “Building Jerusalem” ( Phoenix, £12.99)
Inside the Great Exhibition in the Crystal Palace in 1851. Image: Getty

This article first appeared in the 07 October 2013 issue of the New Statesman, The last days of Nelson Mandela

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“I see the world in rectangles”: Life as a Lego Master Builder

Nathan Sawaya stunned colleagues when he quit his job as a lawyer to play with Lego full-time. Now everyone from Lady Gaga to Barack Obama’s a fan.

Nathan Sawaya is describing his favourite Lego brick, shiny-eyed and grinning at the thought of it. But he’s not a child proudly displaying a beloved toy. He’s a 43-year-old former corporate lawyer, and well over six foot tall. The brick he is evangelising about is a small 1x2 socket plate with a stud in the centre of its top. He calls this a “Jumper”.

“You know your Lego lingo?” he asks, looking crestfallen when I shake my head. “It has only one stud instead of two, and it allows you to do even more detail because you can offset the brick a little bit. But in general, I focus on the rectangular pieces.”


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Sawaya is one of the world’s eight Lego Master Builders, having left his job at a New York law firm when he was 32 to dedicate his life to building Lego constructions full-time. His most striking works include a torso of a man ripping his chest open with bricks spilling out, called Yellow, a lifesize T-Rex skeleton, a two-metre long model of Brooklyn Bridge, and replicas of famous paintings, including the Mona Lisa, and Edvard Munch’s Scream.

I meet him in a dark exhibition space in a tent on London’s Southbank, where his works are lit up around us. His latest constructions consist of a series of DC Comics superheroes, so we are surrounded by expressionless Supermen flying around us, capes realistically rippling, and a full-size Batmobile with glistening batwings. His boyish eagerness aside, Sawaya himself looks like a comic book villain – a hulking figure dressed in black from top to toe, with a long black overcoat, piercing eyes and thick dark hair.


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Back in his early thirties when he was a lawyer, he would come home after a punishing day at work and do something creative – drawing, painting, sculpting with clay and wire. He soon began to experiment with Lego, constructing models out of sets he had lying around the house. His son, now 17, was never particularly interested in playing with it himself.

“Eventually I made the choice to leave the law firm behind and become a full-time artist who plays with toys,” he beams.

His family was supportive, his colleagues jealous, and his bosses confused – but it wasn’t long until Sawaya found success as a Lego artist. He has had exhibitions of his work on every continent but Antarctica, and gained some high-profile fans. When he was US President, Barack Obama posed with one of his installations – monochrome life-size men sitting on park benches in Washington – and Bill Clinton has a sculpture in his office, as does Lady Gaga in a music video.

“That is the magic of Lego,” he says of his popularity. “It has become a universal language in a way.”


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Sawaya’s Master Builder status means he can buy all his bricks directly from Lego in bulk – not possible for us Lego civilians. He used to buy sets in toy shops and on eBay when starting out; now he can email asking for 500,000 red 2x4 bricks, say, and Lego ships them to him on wooden pallets. He has six million bricks on hand at his studio in Los Angeles. “Millions of each colour and shape and size,” he says. “And they’re all organised by shape and colour.”

He works away for hours at a time in his studio, with his dogs obediently at his feet, in what he describes as a “trance”. He plans designs on special “brick paper” like graph paper, but sometimes he free-builds from his imagination. “I do often see the world in rectangles,” he says, and sometimes he even dreams in bricks.

Just like children do with Lego sets, he simply snaps the bricks together – though he does dab glue between each brick, which triples the time it takes. He describes it as “therapeutic”, but says making a mistake can be “heartbreaking” – he can lose days and weeks of work at a time. “There may be times where I start questioning my choices in life,” he smiles.


Photos: Copyright Jane Hobson

Sawaya faced snobbery from the art world when he first began approaching galleries as a Lego artist. “Oh, is that cars and trucks and little castles?” was the response. He feels it’s now a more acceptable medium. “It makes art accessible,” he says. “And in doing that, it democratises the art world a bit. It allows people to relate to the art. Everyone has snapped a brick together at one point, every child has played a little bit with Lego.

“As an artist, my role is to inspire. And what better way to do it than through a medium everyone is familiar with? If someone sees a marble statue, they can appreciate it, but very few people have marble at home they can chip away at.”

The first Lego creation Sawaya can remember making was a little house, when he was first given the toy at the age of five. He then made a city that grew to 36 square feet. When he was ten, he was desperate for a dog. His parents refused, so he tore all his creations down and built a lifesize one. “It was blocky and very multi-coloured, of course,” he says. “But it was that ‘Aha!’ moment – when I realised it doesn’t have to be on the front of the box. It can be whatever I want.”

The Art of the Brick: DC Super Heroes is on at Upper Ground, Southbank, London, until 3 September 2017.

Anoosh Chakelian is senior writer at the New Statesman.

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