''Five million barrels of porter'' (p. 140)
This is a timely and necessary book after nearly a quarter of a century during which a steady stream of specialist monographs and articles on Irish communities in individual British towns and cities has appeared.
This book is one of a series entitled The Making of Europe, which aims 'to address crucial aspects of European history in every field - political, economic, social, religious, and cultural' (p. xii).
Any reviewer must experience an initial sense of admiration if not awe in picking up this 900-page magnum opus.
Governance has replaced government as the object of fascination for political scientists. As the structures of the state are steadily dismantled so it has become necessary to look elsewhere for the seats of power and the means by which it is exercised.
Interest in Jack the Ripper continues to be insatiable. New books, articles and webpages on the subject appear almost weekly - a Google search on 'Jack the Ripper' yields nearly 197,000 online references with varying degrees of accuracy and seriousness, the front-runner being www.casebook.org.
Never mind the cover (lovely though it is). Readers who are fast to judge and slow to think will be tempted to judge this book by its title alone. What, they will want to ask, could Patrice Higonnet possibly mean by calling Paris ‘capital of the world?’ Does the world have a capital? Since when has it been located in Paris?
This volume seeks to display mid-nineteenth century views on modernity as well as to investigate aspects of modernisation in Victorian London. Observers then and now could not and cannot help but note the piecemeal re-development of London in this period, compared, for instance, with Paris.
For a very long time, writers have sneered at the suburbs. They have looked down on suburbanites for being materialistic, unimaginative, and boring. They have complained about the social and physical monotony of the suburban scene while deploring its individualism and lack of community.
The Metropolis is now before me: POUSSIN never had a more luxuriant, variegated and interesting subject for a landscape; nor had SIR JOSHUA REYNOLDS finer characters for his canvas than what we have already had a sitting for their likenesses to embellish LIFE IN LONDON.(1)