Comprehensive survey of the greatest period in the history of British glass

A complete and fully illustrated survey of British 20th Century glass ranging from art Nouveau masterpieces from 1900 to contemporary studio glass sculpture in 2000.

Glassmaking was one of the earliest manufacturing industries to be set up in Scotland, but one about which little information has been published. This monograph aims to rectify that situation by documenting the early days of Scottish glass production from the granting of the first patent in 1610 up to the mid-18th century.

Framing the market : wine in Britain, 1800-1914 -- Champagne, 1800-1860 -- "A smart agent and lavish expenditure"? : the distribution and marketing of champagne, 1860-76 -- "Taste changes very fast" : consumers and consumption, 1860-75 -- Votaries of fashion? : changing consumer tastes, 1876-1914 -- "The magic of brand" : the marketing and branding of champagne, 1876-1914 -- Conclusion : a luxury transformed.

Demographically, nineteenth-century London, or what Victorians called the “new Rome,” first equaled, then superseded its ancient ancestor. By the mid-eighteenth century, the British capital had already developed into a global city. Sustained by its enormous empire, between 1800 and the First World War London ballooned in population and land area. Nothing so vast had previously existed anywhere. A Mighty Capital under Threat investigates the environmental history of one of the world’s global cities and the largest city in the United Kingdom. Contributors cover the feeding of London, waste management, movement between the city’s numerous districts, and the making and shaping of the environmental sciences in the late nineteenth and early twentieth centuries.

Isobel Armstrong's startlingly original and beautifully illustrated book tells the stories that spring from the mass-production of glass in nineteenth-century England. Moving across technology, industry, local history, architecture, literature, print culture, the visual arts, optics, and philosophy, it will transform our understanding of the Victorian period. The mass production of glass in the nineteenth century transformed an ancient material into a modern one, at the same time transforming the environment and the nineteenth-century imagination. It created a new glass culture hitherto inconceivable. Glass culture constituted Victorian modernity. It was made from infinite variations of the prefabricated glass panel, and the lens. The mirror and the window became its formative elements, both the texts and constituents of glass culture. The glassworlds of the century are heterogeneous. They manifest themselves in the technologies of the factory furnace, in the myths of Cinderella and her glass slipper circulated in print media, in the ideologies of the conservatory as building type, in the fantasia of the shopfront, in the production of chandeliers, in the Crystal Palace, and the lens-made images of the magic lantern and microscope. But they were nevertheless governed by two inescapable conditions. First, to look through glass was to look through the residues of the breath of an unknown artisan, because glass was mass produced by incorporating glassblowing into the division of labour. Second, literally a new medium, glass brought the ambiguity of transparency and the problems of mediation into the everyday. It intervened between seer and seen, incorporating a modern philosophical problem into bodily experience. Thus for poets and novelists glass took on material and ontological, political, and aesthetic meanings. Reading glass forwards into Bauhaus modernism, Walter Benjamin overlooked an early phase of glass culture where the languages of glass are different. The book charts this phase in three parts. Factory archives, trade union records, and periodicals document the individual manufacturers and artisans who founded glass culture, the industrial tourists who described it, and the systematic politics of window-breaking. Part Two, culminating in glass under glass at the Crystal Palace, reads the glassing of the environment, including the mirror, the window, and controversy round the conservatory, and their inscription in poems and novels. Part Three explores the lens, from optical toys to 'philosophical' instruments as the telescope and microscope were known. A meditation on its history and phenomenology, Victorian Glassworlds is a poetics of glass for nineteenth-century modernity.

Jointly published by the National Gallery of Victoria and Macmillan Publishers Australia this book is the first publication to document in depth the nature, extent and history of the National Gallery of Victorias celebrated glass collection. Its author, and expert on the art of glass, Geoffrey Edwards, has selected the most magnificent works from the collection, each reproduced in colour, as the basis for a broader discussion of the history of glassmaking in the worlds leading production centres, from the ancient Mediterranean to the present day. With fine photographs by Garry Sommerfeld, this book provides a most spectacular visual array.

From 1800 to 1922 the Irish Question was the most emotional and divisive issue in British politics. It pitted Westminster politicians, anti-Catholic British public opinion, and Irish Protestant and Presbyterian champions of the Union against the determination of Ireland's large Catholic majority to obtain civil rights, economic justice, and cultural and political independence. In this completely revised and updated edition of The Irish Question, Lawrence J. McCaffrey extends his classic analysis of Irish nationalism to the present day. He makes clear the tortured history of British-Irish relations and offers insight into the difficulties now facing those who hope to create a permanent peace in Northern Ireland.