The East India Company at Home, 1757–1857 explores how empire in Asia shaped British country houses, their interiors and the lives of their residents. It includes chapters from researchers based in a wide range of settings such as archives and libraries, museums, heritage organisations, the community of family historians and universities. It moves beyond conventional academic narratives and makes an important contribution to ongoing debates around how empire impacted Britain. The volume focuses on the propertied families of the East India Company at the height of Company rule. From the Battle of Plassey in 1757 to the outbreak of the Indian Uprising in 1857, objects, people and wealth flowed to Britain from Asia. As men in Company service increasingly shifted their activities from trade to military expansion and political administration, a new population of civil servants, army officers, surveyors and surgeons journeyed to India to make their fortunes. These Company men and their families acquired wealth, tastes and identities in India, which travelled home with them to Britain. Their stories, the biographies of their Indian possessions and the narratives of the stately homes in Britain that came to house them, frame our explorations of imperial culture and its British legacies.

An authoritative history of art history from its medieval origins to its modern predicaments In this wide-ranging and authoritative book, the first of its kind in English, Christopher Wood tracks the evolution of the historical study of art from the late middle ages through the rise of the modern scholarly discipline of art history. Synthesizing and assessing a vast array of writings, episodes, and personalities, this original account of the development of art-historical thinking will appeal to readers both inside and outside the discipline. The book shows that the pioneering chroniclers of the Italian Renaissance—Lorenzo Ghiberti and Giorgio Vasari—measured every epoch against fixed standards of quality. Only in the Romantic era did art historians discover the virtues of medieval art, anticipating the relativism of the later nineteenth century, when art history learned to admire the art of all societies and to value every work as an index of its times. The major art historians of the modern era, however—Jacob Burckhardt, Aby Warburg, Heinrich Wölfflin, Erwin Panofsky, Meyer Schapiro, and Ernst Gombrich—struggled to adapt their work to the rupture of artistic modernism, leading to the current predicaments of the discipline. Combining erudition with clarity, this book makes a landmark contribution to the understanding of art history.

On Stendhal: "The study of human nature, 'the observation of the human heart and its passions, ' was his constant preoccupation. But where could he study the passions better than in himself? Though he lived exuberantly, submitting himself to experience... he went on incessantly writing down everything that happened to him just as it happened. he even led to perform some remarkable experiments upon himself.He laid claim to having been a soldier, a man of fortune, a great lover, a society wit, a diplomat, a traveler, and even, sometimes, a revolutionary conspirator. "Fifty years after his death he becomes one of the demigods of the world's letters, taking his place in the ranks of the great social writers who appeared toward the end of the last century. his manner of life itself has fascinated whole regiments of literary scholars in France, Italy and Germany in the last forty years." -Matthew Josephson, From the Introduction (1946) "Like Josephson's Victor Hugo, it is the best and most comprehensive English study of its subject, a careful collection of material, skillfully assembled and organized...When Freud read Stendhal's memoirs of his childhood and adolescence he called them 'a manifestation of psychological genius.' Stendhal, he saw, had been a Freudian some 70 years before Freud himself."-TIME Magazine (1946)

Invest your time in reading the true masterpieces of world literature, the great works of the greatest masters of their craft, the revolutionary works, the timeless classics and the eternally moving poetry of words and storylines every person should experience in their lifetime: Strange Case of Dr Jekyll and Mr Hyde (Robert Louis Stevenson) A Doll's House (Henrik Ibsen) A Tale of Two Cities (Charles Dickens) Dubliners (James Joyce) A Portrait of the Artist as a Young Man (James Joyce) War and Peace (Leo Tolstoy) Howards End (E. M. Forster) Le Père Goriot (Honoré de Balzac) Sense and Sensibility (Jane Austen) Anne of Green Gables Series (L. M. Montgomery) The Wind in the Willows (Kenneth Grahame) Gitanjali (Rabindranath Tagore) Diary of a Nobody (Grossmith) The Beautiful and Damned (F. Scott Fitzgerald) Moll Flanders (Daniel Defoe) 20,000 Leagues Under the Sea (Jules Verne) Gulliver's Travels (Jonathan Swift) The Last of the Mohicans (James Fenimore Cooper) Peter and Wendy (J. M. Barrie) The Three Musketeers (Alexandre Dumas) Iliad & Odyssey (Homer) Kama Sutra Dona Perfecta (Benito Pérez Galdós) The Divine Comedy (Dante) The Rise of Silas Lapham (William Dean Howells) The Book of Tea (Kakuzo Okakura) Madame Bovary (Gustave Flaubert) The Hunchback of Notre Dame (Victor Hugo) Red and the Black (Stendhal) Rob Roy (Walter Scott) Barchester Towers (Anthony Trollope) Uncle Tom's Cabin (Harriet Beecher Stowe) Three Men in a Boat (Jerome K. Jerome) Tristram Shandy (Laurence Sterne) Tess of the d'Urbervilles (Thomas Hardy) My Antonia (Willa Cather) The Age of Innocence (Edith Wharton) The Awakening (Kate Chopin) Babbitt (Sinclair Lewis) The Four Just Men (Edgar Wallace) Of Human Bondage (W. Somerset Maugham) The Portrait of a Lady (Henry James) Fathers and Sons (Ivan Turgenev) The Voyage Out (Virginia Woolf) Life is a Dream (Pedro Calderon de la Barca) Faust (Goethe) Thus Spoke Zarathustra (Friedrich Nietzsche) Autobiography (Benjamin Franklin) The Yellow Wallpaper (Charlotte Perkins Gilman)