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Putting a Good Face On It, 1863. Artist: John Tenniel
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Putting a Good Face On It, 1863. Artist: John Tenniel
Putting a Good Face On It, 1863. Palmerston, (The Plasterer), says: Lor Bless You! A Little Bit O Stucco Will Make It Perfect. Palmerstons government had proposed that nearly half a million pounds be allocated to retain and refurbish the building, designed by Captain Francis Fowke of the Royal Engineers, that had been erected to house the International Exhibition of 1862. Apparently, Palmerston had said that a little stucco would serve quite well to hide the buildings numerous blemishes. From Punch, or the London Charivari, June 27, 1863
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Media ID 14830626
© The Print Collector / Heritage-Images
Builder Building Site Construction Dome Fowke Francis Francis Fowke Henry John Henry John Temple Heritage Image Partnership John Tenniel Ladder Lord Lord Palmerston Palmerston Plaster Plasterer Prime Minister Sir John Tenniel Stucco Tenniel Trowel Viscount Palmerston Aristocrat Blemish Metaphor
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Putting a Good Face On It, 1863
EDITORS COMMENTS
is a captivating print that captures the essence of political maneuvering and deception during the 19th century. The artwork, created by renowned artist John Tenniel, depicts Lord Palmerston, also known as "The Plasterer" standing proudly on a ladder with his trusty trowel in hand. In this satirical portrayal, Palmerston represents the British government's attempt to hide its flaws and shortcomings behind a facade of stucco. With an aristocratic air about him and donning his distinctive headgear, he confidently asserts that a little bit of plaster will make everything perfect. The image symbolizes not only Palmerston's occupation as a builder but also serves as a metaphor for the political landscape at the time. Just like papering over cracks or applying stucco to hide imperfections in construction, politicians were often accused of masking their failures with empty promises and superficial solutions. This engraving from Punch magazine reflects the public sentiment towards Palmerston's proposal to allocate significant funds for refurbishing Captain Francis Fowke's building after hosting the International Exhibition of 1862. The cartoon cleverly exposes how politicians can manipulate appearances while neglecting genuine progress or addressing underlying issues. Through its monochrome black-and-white composition, this heritage image partnership between Francis Fowke's architectural design and John Tenniel's artistic skills offers us insight into both historical events and timeless human nature – reminding us that sometimes putting on a good face may not be enough to truly fix what lies beneath.
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