On 2 August 1876, a young policeman named Constable Nicholas Cock was shot dead while walking 'the beat' at Whalley Range, Manchester. A few months later, on the evening of 29 November 1876, Arthur Dyson, an engineer, was murdered in his own backyard at Banner Cross, Sheffield. Charles Peace was Victorian Britain's most infamous cat burglar and murderer. He was a complex character: ruthless, devious, dangerous, charming, intelligent and creative. Mrs Katherine Dyson identified him as the murderer of her husband, and as the police searched the country for him, Peace was living a life of luxury under another identity in London. One of these murders became the most notorious and scandalous case of the Victorian age, with a tale of illicit romance and a nationwide hunt for Britain's most wanted man; the other was to become a landmark in British legal history. Although no one suspected a link between them, these two sensational murder cases would, in the end, turn out to be tied together in a way that shocked Victorian society to its core.

Includes sections for each style: Gothic Revival, reminiscent of Britain's Middle Ages; Italianate and Second Empire, reminiscent of rural Italy and France; Victorian; and Victorian-influenced farmhouse.

On 2 August 1876, a young policeman named Constable Nicholas Cock was shot dead while walking ‘the beat’ at Whalley Range, Manchester. A few months later, on the evening of 29 November 1876, Arthur Dyson, an engineer, was murdered in his own backyard at Banner Cross, Sheffield. Charles Peace was Victorian Britain’s most infamous cat burglar and murderer. He was a complex character: ruthless, devious, dangerous, charming, intelligent and creative. Mrs Katherine Dyson identified him as the murderer of her husband, and as the police searched the country for him, Peace was living a life of luxury under another identity in London.One of these murders became the most notorious and scandalous case of the Victorian age, with a tale of illicit romance and a nationwide hunt for Britain’s most wanted man; the other was to become a landmark in British legal history. Although no one suspected a link between them, these two sensational murder cases would, in the end, turn out to be tied together in a way that shocked Victorian society to its core.

A rich selection from diaries, letters, advice books, magazines, and paintings creates a rooms-by-room portrait of Victorian life--from childbirth in the master bedroom to separate gender domains in the drawing room and parlor.

History of Victorian era in Australia; brief mention throughout of Aborigines in early settlements.

Taking Hegel's famous " Master-Slave Dialectic " as its starting point, this wide-ranging book examines portrayals of masters, slaves and servants in works by Carlyle, Dickens, Eliot, Collins and others. The questions raised about modern mastery and slavery are pursued in relation to intriguing nineteenth-century figures as the American slave-holder, the musician, the demagogue and the Jew.

How to Do Things with Books in Victorian Britain asks how our culture came to frown on using books for any purpose other than reading. When did the coffee-table book become an object of scorn? Why did law courts forbid witnesses to kiss the Bible? What made Victorian cartoonists mock commuters who hid behind the newspaper, ladies who matched their books' binding to their dress, and servants who reduced newspapers to fish 'n' chips wrap? Shedding new light on novels by Thackeray, Dickens, the Brontës, Trollope, and Collins, as well as the urban sociology of Henry Mayhew, Leah Price also uncovers the lives and afterlives of anonymous religious tracts and household manuals. From knickknacks to wastepaper, books mattered to the Victorians in ways that cannot be explained by their printed content alone. And whether displayed, defaced, exchanged, or discarded, printed matter participated, and still participates, in a range of transactions that stretches far beyond reading. Supplementing close readings with a sensitive reconstruction of how Victorians thought and felt about books, Price offers a new model for integrating literary theory with cultural history. How to Do Things with Books in Victorian Britain reshapes our understanding of the interplay between words and objects in the nineteenth century and beyond.