Rhyl, The Pavilion 1860 - 1894

Editor: Here we have Francis Bedford’s albumen print, "Rhyl, The Pavilion," placing it sometime between 1860 and 1894. It’s quite striking, almost like a stage set. What catches your eye in this cityscape? Curator: The careful arrangement of elements, despite its seemingly straightforward depiction, is quite revealing. Notice how the pavilion itself is framed, almost presented. It speaks volumes about the Victorian era’s aspirations for leisure and progress, doesn't it? Editor: Definitely. The positioning feels very deliberate, as if trying to sell an image of leisure and enjoyment. Are the donkeys part of that, do you think? Curator: Precisely! Donkeys were a typical feature of seaside resorts. But also look at their arrangement, the little donkey procession. They mirror the order and civility promoted by the very structure of the pavilion. This order reflected not only control over nature but social structure as well. Editor: So, the picture goes beyond simply being an advertisement and serves as a signifier of social aspirations and control. Curator: Indeed. Think about the act of photography itself at this time. What did choosing to preserve this scene communicate about their world? Are there similar structures and symbols in use today to reinforce similar ideals? Editor: That’s given me a lot to think about in terms of constructed landscapes and what values they convey! I will now be more attentive to the deliberate choices made within an image. Curator: And I will perhaps remember to ask who isn’t pictured, too, and what the image is trying to cover up with its careful and constructed symbolism.