Highlights of this volume are a full account of the Georgian marvels of Bath, and a separate section on the port of Bristol, whose sumptuous Victorian commercial buildings are among the best of their date in England.

Inspired by a box of wooden toy soldiers given as a present to her elder brother Branwell in 1826, Charlotte Bronte created, together with her siblings, a series of tales set in the imaginary realm of Glass Town. In 'The Green Dwarf', against the backdrop of war, the arrogant aristocrat Colonel Percy and the enigmatic Mr Leslie are vying for the affections of the beautiful Lady Emily. Soon, with the rivals both on the front line, and with the scheming Percy hatching a plot that involves the mysterious Green Dwarf, Leslie finds himself facing danger on all sides...Full of tragedy and passion, love and rivalry, the five sweeping tales contained in this volume display the precocious talent, lively imagination and flair for storytelling of the young Charlotte Bronte.Contains: 'The Green Dwarf and Other Early Fiction', 'The Green Dwarf', 'The Foundling', 'The Secret', 'Lily Hart', 'The Spell' and 'Tales of the Islanders'.

Before the foundation of academies of art in London in 1758 and Philadelphia in 1805, most individuals who were to emerge as artists trained in workshops of varying degrees of relevance. Easel painters began their careers apprenticed to carriage, house, sign or ship painters, whilst a few were placed with those who made pictures. Sculptors emerged from a training as ornamental plasterers or carvers. Of the many other trades in a position to offer an appropriate background were ‘limning’, staining, engraving, surveying, chasing and die-sinking. In addition, plumbers gained the right to use oil painting and, for plasterers, the application of distemper was an extension of their trade. Central to the theme of this book is the notion that, for those who were to become either painters or sculptor, a training in a trade met their practical needs. This ‘training’ was of an altogether different nature to an ‘education’ in an art school. In the past, prospective artists were offered, by means of apprenticeships, an empirical rather than a theoretical understanding of their ultimate vocation. James Ayres provides a lively account of the inter-relationship between art and trade in the late seventeenth to early nineteenth centuries, in both Britain and North America. He demonstrates with numerous, illustrated examples, the many cross-overs in the ‘art and mystery’ of artistic training, and, to modern eyes, the sometimes incongruous relationships between the various trades that contributed to the blossoming of many artistic careers, including some of the most illustrious names of the ‘long’ eighteenth century.