Abstract
The Henry Ford Museum recently closed Mass-produced Elegance, temporary exhibit of approximately 1,600 square feet tucked into corner of its vast 8-acre Hall of Technology. The exhibit aimed to provide a brief excursion into the homes of 19th-century middle-class Americans, as they discovered the mechanical Midas, emulated the ways of the rich and decorated their homes and persons in fitting manner. Such an ambitious charge could easily have been prescription for failure, since entire museums often assume lesser tasks. In fact, led by curator Donna Braden, the Henry Ford staff produced an interesting and visually pleasing study of some of the complex interrelationships of machinery and material culture, taste and style, and marketing and the home environment in Victorian America. The exhibit evolved in curious and roundabout fashion. The
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