This volume comprises a collection of manuscripts by or relating to T. R. Malthus, recently discovered in the estate of a distant nephew, and previously unpublished. They consist of correspondence, sermons, essays and lecture notes on political economy and history. The manuscripts provide insights into Malthus' personal life - especially his relationships with his parents and his tutors. They also give details of the books he studied as a student, and suggest hitherto unknown influences on his intellectual development. They suggest a solution to the question of who or what influenced him to omit the controversial theological chapters from later editions of his Essay on Population, and his sermons present further evidence of his religious views. The manuscripts represent a remarkable discovery, more than 150 years after Malthus' death, of his correspondence and other unknown writings.

This is the second and final volume of manuscripts by or relating to Thomas Robert Malthus (1766–1834) that are now held at Kanto Gakuen University in Japan. Volume I contains 75 items of correspondence, while Volume II contains transcriptions of further original manuscripts, including: four of Malthus' sermons; his diary of a tour of the Lake District; an extensive set of calculations in the bullion trade, suggesting that he was giving serious thought to becoming a bullion trader on his own account; lecture notes on European history from the fifth to the tenth century; his wife's diary of their holiday in Scotland in 1826 and an essay on foreign trade. These previously unknown and unpublished manuscripts promise insights into his intellectual development and the events and circumstances of his life, as well as glimpses of the lifestyle of his wider family and contemporaries.

The Islamic world's artistic traditions experienced profound transformation in the 19th century as rapidly developing technologies and globalizing markets ushered in drastic changes in technique, style, and content. Despite the importance and ingenuity of these developments, the 19th century remains a gap in the history of Islamic art. To fill this opening in art historical scholarship, Making Modernity in the Islamic Mediterranean charts transformations in image-making, architecture, and craft production in the Islamic world from Fez to Istanbul. Contributors focus on the shifting methods of production, reproduction, circulation, and exchange artists faced as they worked in fields such as photography, weaving, design, metalwork, ceramics, and even transportation. Covering a range of media and a wide geographical spread, Making Modernity in the Islamic Mediterranean reveals how 19th-century artists in the Middle East and North Africa reckoned with new tools, materials, and tastes from local perspectives.