f the Festival of Britain,
opened on the centennial
anniversary of the Great
Exhibition of 1851, hailed a
success by both organisers and visitors, largely failed in its objective of lifting the nation’s morale, the accession of a young Elizabeth II, which heralded the dawn of a youth culture in this country, engendered a national pride in all citizens as they huddled round the flickering small screen of their own or friends television set.
Wars, especially those which involve the civilian population whether as volunteers, conscripts, or victim, always disturb settled social patterns, the last did no more than accelerate a process that had been started by the Boar War at the start of the twentieth century, and continued after the first World War. Whatever the reason social barriers were eroded further as the social wage of ordinary British citizens produced improved provisions for health, welfare, pensions, education and living standards. This translating into a greater involvement in canine affairs by a wider spectrum of society, so that Shows, at all levels, were no longer seen as the preserve of the entrepreneurial and landed classes or commercial exhibitor/breeder kennels, rather they were increasingly viewed as an enjoyable family day out.
Artists Impression of Festival of Britain Site
only the Festival Hall, left facing the river, Rremains
