At its height British toymaking was a significant industry, with famous names such as Britains and Meccano known throughout the world. While in essence a specialised form of small-scale engineering, its products and market have always been unique, reflecting the current priorities of both parents and children. Yet, while individual toys and marques have been catalogued extensively, no previous history of toymaking as a whole exists. The British Toy Business provides a fascinating example of the development of a specific industry. Many early early toys were home-made. From the eighteenth century, with its growing recognition of children as something other than small adults, date the beginnings of specialised toys, usually produced by small workshops and sold by street-sellers. The nineteenth century, with its industrial growth and middle-class prosperity, saw an expansion of toymaking. The 1960s and 1970s were the most successful years of British toymaking, with companies like Lesney making record profits. Yet British toy makers failed to solve a number of fundamental problems. Following an unexpected sudden downturn in sales at a time of high interest rates, the major names in British toy making, Lesney, Airfix, Mettoy and Dunbee Combex Marx, all collapsed between 1979 and 1985, leaving the business to be dominated largely by importers.

In 1880 the concept of girlhood as a separate stage of existence was barely present. But in the decades that followed, due in part to changes in the legal definition of childhood, a new cultural category was inscribed in a flood of popular books and magazines. Indeed, by the turn of the century working-class and middle-class girls were beginning to control enough of their own time and pocket money that publishing for them was a lucrative business.

Examining nineteenth-century British hymns for children, Alisa Clapp-Itnyre argues that the unique qualities of children's hymnody created a space for children's empowerment. Unlike other literature of the era, hymn books were often compilations of many writers' hymns, presenting the discerning child with a multitude of perspectives on religion and childhood. In addition, the agency afforded children as singers meant that they were actively engaged with the text, music, and pictures of their hymnals. Clapp-Itnyre charts the history of children’s hymn-book publications from early to late nineteenth century, considering major denominational movements, the importance of musical tonality as it affected the popularity of hymns to both adults and children, and children’s reformation of adult society provided by such genres as missionary and temperance hymns. While hymn books appear to distinguish 'the child' from 'the adult', intricate issues of theology and poetry - typically kept within the domain of adulthood - were purposely conveyed to those of younger years and comprehension. Ultimately, Clapp-Itnyre shows how children's hymns complicate our understanding of the child-adult binary traditionally seen to be a hallmark of Victorian society. Intersecting with major aesthetic movements of the period, from the peaking of Victorian hymnody to the Golden Age of Illustration, children’s hymn books require scholarly attention to deepen our understanding of the complex aesthetic network for children and adults. Informed by extensive archival research, British Hymn Books for Children, 1800-1900 brings this understudied genre of Victorian culture to critical light.