BLOOD WILL TELL Seventeen years have passed since Yim, an ex-slave blessed by the benevolent goddess Karm, sacrificed her body—and perhaps her very soul—to Lord Bahl, avatar of the evil Devourer. In that selfless act, Yim stripped Lord Bahl of his power but became pregnant with his son. Now that son, Froan, is a young man. And though Yim has raised him in the remote Grey Fens and kept him ignorant of his past, the taint of the Devourer is in his blood. Even now an eldritch call goes out—and the slumbering shadow stirs in Froan’s blood, calling to him in a voice that cannot be denied. Armed with a dark magic he barely understands, Froan sets out to claim his destiny. When Yim seeks to stop him, her sole hope is that Honus—the love she abandoned—will take up the sword again for Karm’s sake and hers. Only then can she hope to face the impregnable bastion of unspeakable evil: the Iron Palace.

Vilified by leading architectural modernists and Victorian critics alike, mass-produced architectural ornament in iron has received little sustained study since the 1960s; yet it proliferated in Britain in the half century after the building of the Crystal Palace in 1851 - a time when some architects, engineers, manufacturers, and theorists believed that the fusion of iron and ornament would reconcile art and technology and create a new, modern architectural language. Comprehensively illustrated and richly researched, Iron, Ornament and Architecture in Victorian Britain presents the most sustained study to date of the development of mechanised architectural ornament in iron in nineteenth-century architecture, its reception and theorisation by architects, critics and engineers, and the contexts in which it flourished, including industrial buildings, retail and seaside architecture, railway stations, buildings for export and exhibition, and street furniture. Appealing to architects, conservationists, historians and students of nineteenth-century visual culture and the built environment, this book offers new ways of understanding the notion of modernity in Victorian architecture by questioning and re-evaluating both Victorian and modernist understandings of the ideological split between historicism and functionalism, and ornament and structure.

In the late nineteenth century, the urban department store arose as a built artifact and as a social institution in the United States. While the physical building type is the foundation of this comprehensive architectural study, Louisa Iarocci reaches beyond the analysis of the bricks and mortar to reconsider how the ?spaces of selling? were culturally-produced spaces, as well as the product of interrelated economic, social, technological and aesthetic forces. The agenda of the book is three-fold; to address the lack of a comprehensive architectural study of the nineteenth century department store in the United States; to expand the analysis of the commercial city as a built and represented entity; and to continue recent scholarly efforts that seek to understand commercial space as a historically specific and a conceptually perceived construct. The Urban Department Store in America, 1850-1930 acts as a corrective to a current imbalance in the historiography of this retailing institution that tends to privilege its role as an autonomous ?modern? building type. Instead, Iarocci documents the development of the department store as an urban institution that grew out of the built space of the city and the lived spaces of its occupants.