Vilified by leading architectural modernists and Victorian critics alike, mass-produced architectural ornament in iron has received little sustained study since the 1960s; yet it proliferated in Britain in the half century after the building of the Crystal Palace in 1851 - a time when some architects, engineers, manufacturers, and theorists believed that the fusion of iron and ornament would reconcile art and technology and create a new, modern architectural language. Comprehensively illustrated and richly researched, Iron, Ornament and Architecture in Victorian Britain presents the most sustained study to date of the development of mechanised architectural ornament in iron in nineteenth-century architecture, its reception and theorisation by architects, critics and engineers, and the contexts in which it flourished, including industrial buildings, retail and seaside architecture, railway stations, buildings for export and exhibition, and street furniture. Appealing to architects, conservationists, historians and students of nineteenth-century visual culture and the built environment, this book offers new ways of understanding the notion of modernity in Victorian architecture by questioning and re-evaluating both Victorian and modernist understandings of the ideological split between historicism and functionalism, and ornament and structure.

Brilliant photos of 1870s, 1880s, showing finest domestic, public architecture; many buildings now gone. 120 plates.

The British country house has long been regarded as the jewel in the nation's heritage crown. But the country house is also an expression of wealth and power, and as scholars reconsider the nation's colonial past, new questions are being posed about these great houses and their links to Atlantic slavery.This book, authored by a range of academics and heritage professionals, grew out of a 2009 conference on 'Slavery and the British Country house: mapping the current research' organised by English Heritage in partnership with the University of the West of England, the National Trust and the Economic History Society. It asks what links might be established between the wealth derived from slavery and the British country house and what implications such links should have for the way such properties are represented to the public today.Lavishly illustrated and based on the latest scholarship, this wide-ranging and innovative volume provides in-depth examinations of individual houses, regional studies and critical reconsiderations of existing heritage sites, including two studies specially commissioned by English Heritage and one sponsored by the National Trust.

In the half century after the building of the Crystal Palace (1851), some architects, engineers, manufacturers and theorists believed that the fusion of iron and ornament would reconcile art and technology and create a new, modern architectural language. This book studies the development of mechanised architectural ornament in iron in nineteenth-century architecture, its reception and theorisation, and the contexts in which it flourished. As such, it offers new ways of understanding the notion of modernity in Victorian architecture.

These days it seems obvious that stupendous constructions like St Pancras Station should be preserved and restored. But as recently as the 1970s Glasgow’s superb St Enoch’s Hotel made way for a shopping centre, and in the 1960s St Pancras itself was also earmarked for demolition. “Victorian” was a term of abuse. Add in wartime bombing by the Luftwaffe, and town planners eager for ring roads and multi-storeys, and the destruction is shocking. This poignant, angry book, full of stunning images, chronicles the catastrophic swathe cut through Britain’s architectural heritage by the twentieth century’s sustained antipathy to the nineteenth, entirely through buildings that have disappeared. Of the 200 notable examples of Victorian architecture illustrated in this book, from the magnificent Imperial Institute in Kensington to the vast country house of Eaton Hall, not one still exists. A photograph is all we have left. As well as architectural causes célèbres like the Euston Arch and London’s Coal Exchange, Gavin Stamp turns up many lesser-known Victorian buildings, like the extraordinary Gothic battlements of Columbia Market in East London, or Chatsworth’s soaring glasshouse streamlined like a spaceship. Surprising, chastening, but also uplifting, Lost Victorian Britain is a memorable journey back into a world that should never have been lost.

A compact and useful guide, filled with detailed drawings, to help put a date on the variety of buildings one sees when travelling through Britain. This guide covers an immense range of structures and styles from 1500 to 1950. In addition, it includes a glossary of architectural terms and a historical time chart. This book will prove an invaluable

This book contains 2,500 bibliographical entries covering most aspects of the history of Victorian England.

A comprehensive biographical directory of some 11,000 British architects who worked between 1834 and 1914 .