This children’s gift book conflates the Exhibition’s gathering of things with its gathering of people, presenting child readers with prose descriptions of various nations’ “productions” alongside what the title page calls “pretty stories about the people who have made and sent [the objects], and how they live when at home.” Its lithograph illustrations depict scenes from these anecdotal “pretty stories” rather than offering views of the Exhibition itself—a trait which distinguishes it from other children’s books displayed in this case. For example, India (then under British rule) is represented in part by an illustration of a Hindu sati, which the book describes as “a very cruel custom…which I know will shock you very much” (page 10). This illustration has no relation to India's contributions to the Exhibition; instead, it functions to affirm the centrality of the colonial ‘civilizing mission’ to the Exhibition’s grand vision of a world in which all nations might “be joined together in love and trade, like one great family” (page 3).
In keeping with this perspective, a nation’s perceived failure to contribute to the Exhibition becomes proof—according to the book—of a snobbish unwillingness to participate in this familial unity. Such is the case with China: "[s]ome things have been sent from China to our Exhibition; but the Chinese people do not seem to care very much about it. Indeed, I wonder they sent at all, for they consider themselves as the only civilized nation in the world." In other cases, contributions are not mentioned at all in order to highlight the poverty of a particular nation; for example: "The Poles live in a cold, flat, marshy country, in the north of Europe. The peasantry are in a miserable state, very dirty, and frequently drunken; and their land is in a wretched condition." In short, then, the book envisions the Crystal Palace as a proving ground in which nations might demonstrate their ability or willingness to materially and culturally participate in a new, global society.
Curiously, the book’s colourful lithograph frontispiece seems to invert this relationship between people and things. The upper part of the page shows the Crystal Palace’s interior as being crowded with people but seemingly emptied of objects. The bottom part of the page presents these objects in a haphazard pile. On the one hand, this pile of freely mixing things might represent the Exhibition's broader vision of national cooperation and free trade. On the other hand, by removing these objects from the Crystal Palace’s galleries, the frontispiece implies that within the assembly space of the Exhibition, individual countries’ contributions no longer matter. In short, by emptying the Palace of its things, the frontispiece creates space for unmediated contact between people—a form of contact which the body of the text and accompanying illustrations don’t quite manage to sustain.