Britain, the Empire, and the World at the Great Exhibition is the first book to situate the Crystal Palace Exhibition of 1851 in a truly global context. Addressing national, imperial, and international themes, this collection of essays considers the significance of the Exhibition both for its British hosts and their relationships to the wider world, and for participants from around the globe. How did the Exhibition connect London, England, important British colonies, and significant participating nation-states including Russia, Greece, Germany and the Ottoman Empire? How might we think about the exhibits, visitors and organizers in light of what the Exhibition suggested about Britain’s place in the global community? Contributors from various academic disciplines answer these and other questions by focusing on the many exhibits, publications, visitors and organizers in Britain and elsewhere. The essays expand our understanding of the meanings, roles and legacies of the Great Exhibition for British society and the wider world, as well as the ways that this pivotal event shaped Britain’s and other participating nations’ conceptions of and locations within the wider nineteenth-century world.
This vintage book contains Sir Walter Scott's 1816 novel, "The Antiquary". There are many characters in this story, but the eponymous antiquary represents a central figure around which the other exciting characters and events revolve. Complete with hidden treasure, a mysterious young man, and a moonlit funeral procession, this volume constitutes Walpole’s gothic novel, and is highly recommended for those with a love for the genre. Sir Walter Scott (1771 - 1832) was a Scottish historical novelist, poet, and playwright - considered to be the first truly international English-language author. Many vintage texts such as this are increasingly scarce and expensive, and it is with this in mind that we are republishing this book now, in an affordable, high-quality, modern edition. It comes complete with a specially commissioned biography of the author.
'Thirst for information, faith in commerce and industry, inventiveness and technical daring, energy and tenacity, and a tendency to mix up religion with visible success - all these qualities have to be remembered as one embarks on a conducted tour of some of the exhibits of 1851.' The Great Exhibition of 1851 at the Crystal Palace was opened by Queen Victoria and would attract more than six million visitors. Writing one hundred years later, Nikolaus Pevsner makes a brilliant survey of what the Exhibition - 'the final flourish of a century of great commercial expansion' - offered to posterity as the hallmarks of High Victorian Design; also as windows into the mentality of mid-nineteenth-century England.
First Published in 1968. Routledge is an imprint of Taylor & Francis, an informa company.
Drawing on a wide range of archival evidence, Abigail McGowan argues that crafts seized the political imagination in western India because they provided a means of debating the present and future of the country.
During the era of the French revolution, patriots across Europe tried to introduce a national uniform. This book, the first comparative study of national uniform schemes, discusses case studies from Austria, Bulgaria, England, France, Germany, Hungary, Italy, the Netherlands, Spain, Sweden, Turkey the United States, and Wales.
In Museum Skepticism, art historian David Carrier traces the birth, evolution, and decline of the public art museum as an institution meant to spark democratic debate and discussion. Carrier contends that since the inception of the public art museum during the French Revolution, its development has depended on growth: on the expansion of collections, particularly to include works representing non-European cultures, and on the proliferation of art museums around the globe. Arguing that this expansionist project has peaked, he asserts that art museums must now find new ways of making high art relevant to contemporary lives. Ideas and inspiration may be found, he suggests, in mass entertainment such as popular music and movies. Carrier illuminates the public role of art museums by describing the ways they influence how art is seen: through their architecture, their collections, the narratives they offer museum visitors. He insists that an understanding of the art museum must take into account the roles of collectors, curators, and museum architects. Toward that end, he offers a series of case studies, showing how particular museums and their collections evolved. Among those who figure prominently are Baron Dominique Vivant Denon, the first director of the Louvre; Bernard Berenson, whose connoisseurship helped Isabella Stewart Gardner found her museum in Boston; Ernest Fenollosa, who assembled much of the Asian art collection now in the Museum of Fine Arts, Boston; Albert Barnes, the distinguished collector of modernist painting; and Richard Meier, architect of the J. Paul Getty Center in Los Angeles. Carrier’s learned consideration of what the art museum is and has been provides the basis for understanding the radical transformation of its public role now under way.
Industrial Enlightenment' explores the transition through which England passed between 1760 and 1820 on the way to becoming the world's first industrialised nation. In drawing attention to the important role played by scientific knowledge, it focuses on a dimension of this transition which is often overlooked by historians. The book argues that in certain favoured regions, England underwent a process whereby useful knowledge was fused with technological 'know how' to produce the condition described here as Industrial Enlightenment. At the forefront of the process were the natural philosophers who entered into a close and productive relationship with technologists and entrepreneurs. Much of the evidence for this study is drawn from the extraordinary archival record of the activities of Matthew Boulton (1728-1809) and his Soho Manufactory. The book will appeal to those keen to explore the dynamics of change in eighteenth-century England, and to those with a broad interest in the cultural history of science and technology.