This title takes a fresh look at a familiar building type - the town house in 18th century London - and investigates the circumstances in which individuals made decisions about living in London, and particularly about their West End house.

For every great country house of the Georgian period, there was usually also a town house. Chatsworth, for example, the home of the Devonshires, has officially been recognised as one of the country's favourite national treasures - but most of its visitors know little of Devonshire House, which the family once owned in the capital. In part, this is because town houses were often leased, rather than being passed down through generations as country estates were. But, most crucially, many London town houses, including Devonshire House, no longer exist, having been demolished in the early twentieth century. This book seeks to place centre-stage the hugely important yet hitherto overlooked town houses of the eighteenth and early nineteenth centuries, exploring the prime position they once occupied in the lives of families and the nation as a whole. It explores the owners, how they furnished and used these properties, and how their houses were judged by the various types of visitor who gained access.

Beautifully illustrated history of the Georgian home.

First published as London: The Art of Georgian Building, this book has been widely acclaimed as a classic study of London's town houses built between 1700 and 1821 - the greatest period of British architecture. Dan Cruickshank's text, combined with numerous photographs and Peter Wyld's superbly executed measured drawings of facades and details, is a unique record of these buildings. Now, this book has been re-issued at £14.99.

The popularity of making and furnishing dolls' houses has never been greater, and the elegant and romantic Georgian and Regency architecture is a favourite among enthusiasts. The author of Making Tudor Dolls' Houses now turns his attention to this period and shows how to make a dolls' house using lightweight materials, with no special skills or tools required.

Imagine some obscure bar. Imagine light bulbs going back and forth above tables filled with empty glasses. Imagine men with perfect haircuts begging beautiful women for a long, sensuous dance, and end up with Room Eleven. Or, with as much ease, imagine that final holiday night in which seductive glances have their last shot and a lonely mosquito gets lost in the blazing campfire. The list of atmospheric sketches one can come up with is endless, but as long as they sway back and forth between melancholic, summery, seductive and fiery, they are accurate. So, imagine Room Eleven, a band that came into existence because of a simple note pinned on a notice board at the Conservatorium in Utrecht. With their 2006 debut album Six White Russians And A Pink Pussycat, they have managed to impress an increasingly bigger audience with a catchy mixture of jazz, pop, funk, blues and a touch of folk. Whether a strict jazz lover or a young pop fan, in the end you will be won over by the their incredible stage presence. Not only music fans have come to appreciate the band, Room Eleven has also managed to convince the press. Their debut album has received much critical acclaim. One magazine poetically described Janne Schra's voice as 'a juicy green meadow, just after sunset, covered in fresh dew.' As one radio DJ put it: 'She seduces you, moves you and makes you happy, all in one sentence.'