In this comprehensive examination of British sympathy for the South during and after the American Civil War, Michael J. Turner explores the ideas and activities of A. J. Beresford Hope—one of the leaders of the pro-Confederate lobby in Britain—to provide fresh insight into that seemingly curious allegiance. Hope and his associates cast famed Confederate general Thomas J. “Stonewall” Jackson as the embodiment of southern independence, courage, and honor, elevating him to the status of a hero in Britain. Historians have often noted that economic interest, political attitudes, and concern about Britain’s global reach and geostrategic position led many in the country to embrace the Confederate cause, but they have focused less on the social, cultural, and religious reasons enunciated by Hope and ostensibly represented by Jackson, factors Turner suggests also heightened British affinity for the South. During the war, Hope noticed a tendency among British people to view southerners as heroic warriors in their struggle against the North. He and his pro-southern followers shared and promoted this vision, framing Jackson as the personification of that noble mission and raising the general’s profile in Britain so high that they collected enough funds to construct a memorial to him after his death in 1863. Unveiled twelve years later in Richmond, Virginia, the statue stands today as a remarkable artifact of one of the lesser-known strands of British pro-Confederate ideology. Stonewall Jackson, Beresford Hope, and the Meaning of the American Civil War in Britain serves as the first in-depth analysis of Hope as a leading pro-southern activist and of Jackson’s reputation in Britain during and after the Civil War. It places the conflict in a transnational context that reveals the reasons British citizens formed bonds of solidarity with the southerners whom they perceived shared their social and cultural values.

In this comprehensive examination of British sympathy for the South during and after the American Civil War, Michael J. Turner explores the ideas and activities of A. J. Beresford Hope—one of the leaders of the pro-Confederate lobby in Britain—to provide fresh insight into that seemingly curious allegiance. Hope and his associates cast famed Confederate general Thomas J. “Stonewall” Jackson as the embodiment of southern independence, courage, and honor, elevating him to the status of a hero in Britain. Historians have often noted that economic interest, political attitudes, and concern about Britain’s global reach and geostrategic position led many in the country to embrace the Confederate cause, but they have focused less on the social, cultural, and religious reasons enunciated by Hope and ostensibly represented by Jackson, factors Turner suggests also heightened British affinity for the South. During the war, Hope noticed a tendency among British people to view southerners as heroic warriors in their struggle against the North. He and his pro-southern followers shared and promoted this vision, framing Jackson as the personification of that noble mission and raising the general’s profile in Britain so high that they collected enough funds to construct a memorial to him after his death in 1863. Unveiled twelve years later in Richmond, Virginia, the statue stands today as a remarkable artifact of one of the lesser-known strands of British pro-Confederate ideology. Stonewall Jackson, Beresford Hope, and the Meaning of the American Civil War in Britain serves as the first in-depth analysis of Hope as a leading pro-southern activist and of Jackson’s reputation in Britain during and after the Civil War. It places the conflict in a transnational context that reveals the reasons British citizens formed bonds of solidarity with the southerners whom they perceived shared their social and cultural values.

For over a hundred years, Anglican church buildings in every part of the world were dominated by a single idea of what churches should look like and how they should be arranged inside. Only since Vatican II has the dominance of this idea been finally overthrown. Thousands of churches still reflect the architectural dogmas of the Cambridge Camden Society. Millions of worshippers still imbibe the theology so effectively promoted by this group through its powerful influence on the arrangement of church interiors and the style of such buildings. And many of these architectural images of what is the nature of the Church itself have proved to be the most stubborn resisters of Vatican II reforms. The Cambridge Camden Society was so successful in changing the outward aspects of Anglican worship because it had specific ideas as to how churches should be arranged. The Society's infatuation with a certain period of gothic architecture and with the whole medieval 'cultus' brought about drastic changes in worship according to the 'Book of Common Prayer' without changing a single letter of the prayer book itself. The members of the Society led the way not only in the revival of medieval architecture but also of vestments and ceremonial. Though much of the Cambridge Camden theology reflects that of the Oxford Movement, Dr. White shows both parallels and contrasts between the aims of Oxford tractarians and Cambridge ecclesiologists. Architecture proved to be every bit as effective a form of propaganda as tracts, and a good deal more permanent. The public, at first hostile, eventually became receptive to the ideals of the Cambridge Movement. The measure of the Movement's success is seen in almost all Anglican (and many Protestant) churches built or remodelled between 1840 and the 1960s. This is a valuable contribution to nineteenth-century studies, especially to the visual history of the period.

Continuing the series on Women's Travel Writings, this two-part collection presents some fascinating tales of North Africa and the Middle East. Part I includes three separate volumes that include the writings of Volume 1: Sarah Wilson, The Fruits of Enterprise Exhibited in the Travels of Belzoni in Egypt and Nubia (1825); Volume 2 Barbara Hofland, The Young Pilgrim, or Alfred Campbell's Return to the East and his Travels in Egypt, Nubia, Asia Minor, Arabia Petraea (1826); and Volume 3: 'Miss Tully', Narrative of a Ten Years' Residence at Tripoli in Africa (1816).

First published in 1984. Signs for the Times explores imaginative and creative relationships between three major areas of mid-Victorian arts: literature, painting and architecture. Through the detailed critical analysis of particular novels, prose writings, paintings and buildings, Chris Brooks establishes a fusion of realistic and symbolic values that he sees as central to the Victorian creative imagination. He argues that the creative achievement of the mid-nineteenth century needs to be seen far more as a whole than it has previously, and that fundamental imaginative terms are common to art and architecture, to major theoretical writers such as Carlyle, Ruskin and Rugin as well as to the central literary figure of Dickens. All those interested in literature, art, or architecture will welcome this interpretation of symbolic realism within the mid-Victorian world.