Based on the Ford Lectures, delivered at Oxford in 1960, the author describes some of the forces which created what we call `Victorian England'.

Schlossberg (senior research associate, the Ethics and Public Policy Center) argues that by the time Victoria became queen in 1837, Victorian culture was already in place. Focusing on the period between the 1790s and the 1840s, he shows how the religious revival that took hold of England's culture constituted a "silent revolution" that formed the basis of Victorian culture. He describes various manifestations of the religious revival, focusing on the main renewal movements in the Church of England and the spread of evangelicalism to dissenting religious groups. Annotation copyrighted by Book News, Inc., Portland, OR

When women were admitted to the Royal Academy Schools in 1860, female art students gained a foothold in the most conservative art institution in England. The Royal Female College of Art, the South Kensington Schools and the Slade School of Fine Art also produced increasing numbers of women artists. Their entry into a male-dominated art world altered the perspective of other artists and the public. They came from disparate levels of society--Princess Louise, the fourth daughter of Queen Victoria, studied sculpture at the National Art Training School--yet they all shared ambition, talent and courage. Analyzing their education and careers, this book argues that the women who attended the art schools during the 1860s and 1870s--including Kate Greenaway, Elizabeth Butler, Helen Allingham, Evelyn De Morgan and Henrietta Rae--produced work that would accommodate yet subtly challenge the orthodoxies of the fine art establishment. Without their contributions, Victorian art would be not simply the poorer but hardly recognizable to us today.

A history of pre-Victorian England cites the contributions of Romantic authors, profiles the role of imperialism, and traces Britain's influence as an economic and political power, likening elements of the period to those of today's world.

This book investigates Rammohun Roy as a transnational celebrity. It examines the role of religious heterodoxy - particularly Christian Unitarianism - in transforming a colonial outsider into an imagined member of the emerging Victorian social order It uses his fame to shed fresh light on nineteenth-century British reformers, including advocates of liberty of the press, early feminists, free trade imperialists, and constitutional reformers such as Jeremy Bentham. Rammohun Roy's intellectual agendas are also interrogated, particularly how he employed Unitarianism and the British satiric tradition to undermine colonial rule in Bengal and provincialize England as a laggard nation in the progress towards rational religion and political liberty.

An ambitious exploration of the making of the Victorian Age—and the Victorian mind—by a master historian. Britain in the 1840s was a country wracked by poverty, unrest, and uncertainty; there were attempts to assassinate the queen and her prime minister; and the ruling class lived in fear of riot and revolution. By the 1880s it was a confident nation of progress and prosperity, transformed not just by industrialization but by new attitudes to politics, education, women, and the working class. That it should have changed so radically was very largely the work of an astonishingly dynamic and high-minded group of people—politicians and philanthropists, writers and thinkers—who in a matter of decades fundamentally remade the country, its institutions and its mindset, and laid the foundations for modern society. High Minds explores this process of transformation as it traces the evolution of British democracy and shows how early laissez-faire attitudes to the fate of the less fortunate turned into campaigns to improve their lives and prospects. The narrative analyzes the birth of new attitudes in education, religion, and science. And High Minds shows how even such aesthetic issues as taste in architecture collided with broader debates about the direction that the country should take. In the process, Simon Heffer looks at the lives and deeds of major politicians; at the intellectual arguments that raged among writers and thinkers such as Matthew Arnold, Thomas Carlyle, and Samuel Butler; and at the "great projects” of the age, from the Great Exhibition to the Albert Memorial. Drawing heavily on previously unpublished documents, he offers a superbly nuanced portrait into life in an extraordinary era, populated by extraordinary people—and show how the Victorians’ pursuit of perfection gave birth to the modern Britain we know today.

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.

Corporate capitalism was invented in nineteenth-century Britain; most of the market institutions that we take for granted today - limited companies, shares, stock markets, accountants, financial newspapers - were Victorian creations. So were the moral codes, the behavioural assumptions, the rules of thumb and the unspoken agreements that made this market structure work. This innovative study provides the first integrated analysis of the origin of these formative capitalist institutions, and reveals why they were conceived and how they were constructed. It explores the moral, economic and legal assumptions that supported this formal institutional structure, and which continue to shape the corporate economy of today. Tracing the institutional growth of the corporate economy in Victorian Britain and demonstrating that many of the perceived problems of modern capitalism - financial fraud, reckless speculation, excessive remuneration - have clear historical precedents, this is a major contribution to the economic history of modern Britain.

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.

A look at Victorian art from the perspective of the middle-class patron.