The Great Exhibition of 1851 is routinely portrayed as a manifestly secular event which was confined to celebrating the success of science, technology, and manufacturing in the mid-Victorian age. Geoffrey Cantor presents an innovative reappraisal of the Exhibition, demonstrating that it was widely understood by contemporaries to possess a religious dimension and that it generated controversy among religious groups. Prince Albert bestowed legitimacy on the Exhibition by proclaiming it to be a display of divine providence whilst others interpreted it as a sign of the coming Apocalypse. With anti-Catholic feeling running high following the recent 'papal aggression', many Protestants roundly condemned those exhibits associated with Catholicism and some even denounced the Exhibition as a Papist plot. Catholics, for their part, criticized the Exhibition as a further example of religious repression. Several evangelical religious organisations energetically rose to the occasion, considering the Exhibition to be a divinely ordained opportunity to make converts, especially among 'heathens' and foreigners. Jews generally welcomed the Exhibition, as did Unitarians, Quakers, Congregationalists, and a wide spectrum of Anglicans - but all for different reasons. Cantor explores this diversity of perception through contemporary sermons, and, most importantly, the highly differentiated religious press.