This period of mid-Victorian London covers a huge span: Victoria's wedding and the place of the royals in popular esteem; how the very poor lived, the underworld, prostitution, crime, prisons and transportation; the public utilities - Bazalgette on sewers and road design, Chadwick on pollution and sanitation; private charities - Peabody, Burdett Coutts - and workhouses; new terraced housing and transport, trains, omnibuses and the Underground; furniture and decor; families and the position of women; the prosperous middle classes and their new shops, e.g. Peter Jones, Harrods; entertaining and servants, food and drink; unlimited liability and bankruptcy; the rich, the marriage market, taxes and anti-semitism; the Empire, recruitment and press-gangs. The period begins with the closing of the Fleet and Marshalsea prisons and ends with the first (steam-operated) Underground trains and the first Gilbert & Sullivan.

    Two of these princesses would themselves produce children of immense consequence. All five would curiously come to share many of the social restrictions and familial machinations borne by nineteenth-century women of less-exulted class.Victoria and Albert's precocious firstborn child, Vicky, wed a Prussian prince in a political match her high-minded father hoped would bring about a more liberal Anglo-German order. That vision met with disaster when Vicky's son Wilhelm-- to be known as Kaiser Wilhelm-- turned against both England and his mother, keeping her out of the public eye for the rest of her life. Gentle, quiet Alice had a happier marriage, one that produced Alexandra, later to become Tsarina of Russia, and yet another Victoria, whose union with a Battenberg prince was to found the present Mountbatten clan. However, she suffered from melancholia and died at age thirty-five of what appears to have been a deliberate, grief-fueled exposure to the diphtheria germs that had carried away her youngest daughter. Middle child Helena struggled against obesity and drug addition but was to have lasting effect as Albert's literary executor. By contrast, her glittering and at times scandalous sister Louise, the most beautiful of the five siblings, escaped the claustrophobic stodginess of the European royal courts by marrying a handsome Scottish commoner, who became governor general of Canada, and eventually settled into artistic salon life as a respected sculptor. And as the baby of the royal brood of nine, rebelling only briefly to forge a short-lived marriage, Beatrice lived under the thumb of her mother as a kind of personal secretary until the queen's death.Principally researched at the houses and palaces of its five subjects in London, Scotland, Berlin, Darmstadt, and Ottawa-- and entertainingly written by an experienced biographer whose last book concerned Victoria's final days-- Victoria's Daughters closely examines a generation of royal women who were dominated by their mother, married off as much for political advantage as for love, and finally passed over entirely with the accession of their n0 brother Bertie to the throne. Packard provides valuable insights into their complex, oft-tragic lives as daughters of their time.

    Expertly blending social history and cultural criticism, Judith Walkowitz shows how these narratives reveal the complex dramas of power, politics, and sexuality that were being played out in late nineteenth-century Britain, and how they influenced the language of politics, journalism, and fiction.Victorian London was a world where long-standing traditions of class and gender were challenged by a range of public spectacles, mass media scandals, new commercial spaces, and a proliferation of new sexual categories and identities. In the midst of this changing culture, women of many classes challenged the traditional privileges of elite males andasserted their presence in the public domain.An important catalyst in this conflict, argues Walkowitz, was W. T. Stead's widely read 1885 article about child prostitution. Capitalizing on the uproar caused by the piece and the volatile political climate of the time, women spoke of sexual danger, articulating their own grievances against men, inserting themselves into the public discussion of sex to an unprecedented extent, and gaining new entree to public spaces and journalistic practices. The ultimate manifestation of class anxiety and gender antagonism came in 1888 with the tabloid tales of Jack the Ripper. In between, there were quotidien stories of sexual possibility and urban adventure, and Walkowitz examines them all, showing how women were not simply figures in the imaginary landscape of male spectators, but also central actors in the stories of metropolotin life that reverberated in courtrooms, learned journals, drawing rooms, street corners, and in the letters columns of the daily press.A model of cultural history, this ambitious book will stimulate and enlighten readers across a broad range of interests.

    But most killers are not shadowy figures stalking the streets with a lust for blood. Many are ordinary citizens driven to the ultimate crime by circumstance, a fit of anger or a desire for revenge. Their crimes, overshadowed by the few, sensational cases, are ignored, forgotten or written off.This book examines all the known murders in London in 1888 to build a picture of society. Who were the victims? How did they live, and how did they die? Why did a husband batter his wife to death after she failed to get him a cup of tea? How many died under the wheels of a horse-driven cab? Just how dangerous was London in 1888?

    This comprehensive collection of drawings by Gustave Doré, France's most celebrated graphic artist of the period, presents a panoramic portrait of that engrossing city — from fashionable ladies riding in a sunlit park to ragged wretches in a shadowy side street. Here are amazingly perceptive sketches of workaday London, busy market places, the Christy Minstrels, a waterman's family, thieves gambling, the Devils' Acre in Westminster, flower girls, waifs and strays, a wedding at the Abbey, provincials in search of lodgings, a garden party, prisoners in the Newgate exercise yard, stalls at Covent Garden Opera House, and many other scenes that capture the London of a bygone era.

    His Victoria is not only the formidable, demanding, capricious queen of popular imagination—she is also often shy, diffident, and vulnerable, prone to giggling fits and crying jags. Often censorious when confronted with her mother's moral lapses, she herself could be passionately sensual, emotional, and deeply sentimental. Ascending to the throne at age eighteen, Victoria ruled for sixty-four years—an astounding length for any world leader. During her reign, she dealt with conflicts ranging from royal quarrels to war in Crimea and rebellion in India. She saw monarchs fall, empires crumble, new continents explored, and England grow into a dominant global and industrial power. This personal history is a compelling look at the complex woman whom, until now, we only thought we knew.

    Bitten by Witch Fever presents facsimile samples of 275 of the most sumptuous wallpaper designs ever created by designers and printers of the age, including Christopher Dresser and Morris & Co. For the first time in their history, every one of the samples shown has been laboratory tested and found to contain arsenic. Interleaved with the wallpaper sections, evocative commentary guides you through the incredible story of the manufacture, uses and effects of arsenic, and presents the heated public debate surrounding the use of deadly pigments in the sublime wallpapers of a newly industrialized world.

    This book contains first hand accounts of life in the workhouse, enabling you to see the workhouse through the eyes of people who experienced it.CONTENTSFOODI am fond of gruelSaltless gruel and dry breadSweetened gruel and diarrhoeaSour gruelSICKNESSRaw, festering soresThe tramp with diarrhoeaAsking for the doctorBATHING, UNDRESSING AND DRESSINGDirty looking bathsOur clothes were taken from us“Hurry up, women”Wet clothesThe condition of the clothesCONDITIONS AND PEOPLEDo I look like a prostitute?We were “only tramps”Coming into contact with other men’s fleshThirst“Your neighbour breathed right into your face”Being woken up throughout the nightPunished for being cheekyBEDS AND BEDDINGThe wire mattressThe wire pillow – a cruel inventionDirty blankets and hard bedsLABOURPicking oakumStone-breaking in Paddington work houseA NIGHT IN A WORKHOUSEYou’ve missed your gruelA stain of blood bigger than a man's handFilthy anecdotesThe swearing clubChecking for liceThree fourths of a pint of gruel in a yellow basinMilling with the crank-handleTHE CRAWLERS: THE WOMAN UNABLE TO GET ADMISSION TO THE WORKHOUSEA CHILD'S MEMORIES OF BEING PUT IN THE WORKHOUSE

    Reading it is like unravelling the bandages on a mummy to find the face of the past staring back in all its terrible and poignant humanity’ Financial TimesA groundbreaking account of what it was like to live in a Victorian body from one of our best historians.Why did the great philosophical novelist George Eliot feel so self-conscious that her right hand was larger than her left?Exactly what made Darwin grow that iconic beard in 1862, a good five years after his contemporaries had all retired their razors?Who knew Queen Victoria had a personal hygiene problem as a young woman and the crisis that followed led to a hurried commitment to marry Albert?What did John Sell Cotman, a handsome drawing room operator who painted some of the most exquisite watercolours the world has ever seen, feel about marrying a woman whose big nose made smart people snigger?How did a working-class child called Fanny Adams disintegrate into pieces in 1867 before being reassembled into a popular joke, one we still reference today, but would stop, appalled, if we knew its origins?Kathryn Hughes follows a thickened index finger or deep baritone voice into the realms of social history, medical discourse, aesthetic practise and religious observance – its language is one of admiring glances, cruel sniggers, an implacably turned back. The result is an eye-opening, deeply intelligent, groundbreaking account that brings the Victorians back to life and helps us understand how they lived their lives.

    Teachers, students, and interested readers can use this resource to examine Victorian life in a multitude of settings, from idyllic country estates to urban slums. Organized for easy reference, the volume provides information about the physical, social, economic, and legal details of daily life in Victorian England. Over sixty illustrations plus excerpts from primary sources enliven the work, which can be used in both the classroom and library to answer questions concerning laws, money, social class, values, morality, and private life.Chapters in the work cover: traditional ways of life in town and country, social class, money, work, crime and punishment, the laws of daily life (marriage, divorce, inheritance, guardians, and bankruptcy), the development of a modern urban world (with railways, electricity, plumbing, and telephones), houses, food, clothing, shopping, the rituals of courtship and funerals, family and social life, education, health and medical care, leisure and pleasure, the importance of religion, and the impact of the Raj and the Empire. Historical contexts are explained and emphasis is placed on groups often invisible in traditional history: children, women both at work and at home, and people who led respectable, ordinary lives. A chronology, glossary, bibliography, and index complete the work. This valuable resource provides students, teachers, and librarians with all the information they need to recreate life in Victorian England.

    Book annotation not available for this title.Title: The Victorian ChristmasAuthor: Selby, AnnaPublisher: Casemate Pub & Book Dist LlcPublication Date: 2008/12/19Number of Pages: 186Binding Type: HARDCOVERLibrary of Congress: 2009293811

    Married at 19 to John Ruskin, she found herself trapped in an unconsummated union. She would fall in love with her husband’s protégé, John Everett Millais, and inspire some of his most memorable art, but controversy and tragedy continued to stalk her.Suzanne Fagence Cooper has gained exclusive access to Effie’s family letters and diaries to show the rise and fall of the Pre-Raphaelite circle from a new perspective, through the eyes of a woman whose charm and ambition helped to shape the careers of both her husbands. Effie Gray is a compelling portrait of the extraordinary woman behind some of the greatest paintings of the Victorian era.

    In the process, it shows how the story of Dick Whittington and his cat has connections with the ancient Middle East, explains why lions rather than ravens at the Tower of London were once felt to be inextricably bound up with the city’s fate, and pinpoints precisely where the story of Sweeney Todd, the demon barber of Fleet Street, was first recorded. Exploring everything from local superstitions, to ghost stories, to annual customs, this is an enchanting guide to the ancient legends and deep-rooted beliefs that can be found the length and breadth of the city.

    They pored over magazines that described the dangerous pleasures of corporal punishment. A few had sexual relationships with each other, exchanged rings and vows, willed each other property, and lived together in long-term partnerships described as marriages. But, as Sharon Marcus shows, these women were not seen as gender outlaws. Their desires were fanned by consumer culture, and their friendships and unions were accepted and even encouraged by family, society, and church. Far from being sexless angels defined only by male desires, Victorian women openly enjoyed looking at and even dominating other women. Their friendships helped realize the ideal of companionate love between men and women celebrated by novels, and their unions influenced politicians and social thinkers to reform marriage law.Through a close examination of literature, memoirs, letters, domestic magazines, and political debates, Marcus reveals how relationships between women were a crucial component of femininity. Deeply researched, powerfully argued, and filled with original readings of familiar and surprising sources, Between Women overturns everything we thought we knew about Victorian women and the history of marriage and family life. It offers a new paradigm for theorizing gender and sexuality--not just in the Victorian period, but in our own.

    And a very strange, very English obsession. But where did this fixation develop? And what does it tell us about ourselves?In The Art of the English Murder, Lucy Worsley explores this phenomenon in forensic detail, revisiting notorious crimes like the Ratcliff Highway Murders, which caused a nationwide panic in the early nineteenth century, and the case of Frederick and Maria Manning, the suburban couple who were hanged after killing Maria's lover and burying him under their kitchen floor. Our fascination with crimes like these became a form of national entertainment, inspiring novels and plays, prose and paintings, poetry and true-crime journalism. At a point during the birth of modern England, murder entered our national psyche, and it's been a part of us ever since.The Art of the English Murder is a unique exploration of the art of crime and a riveting investigation into the English criminal soul by one of our finest historians.