Reprint of the original, first published in 1881.

At the start of the Industrial Revolution, it appeared that most scientific instruments were made and sold in London, but by the time of the Great Exhibition in 1851, a number of provincial firms had the self-confidence to exhibit their products in London to an international audience. How had this change come about, and why? This book looks at the four main, and two lesser, English centres known for instrument production outside the capital: Birmingham, Liverpool, Manchester and Sheffield, along with the older population centres in Bristol and York. Making wide use of new sources, Dr Morrison-Low, curator of history of science at the National Museums of Scotland, charts the growth of these centres and provides a characterisation of their products. New information is provided on aspects of the trade, especially marketing techniques, sources of materials, tools and customer relationships. From contemporary evidence, she argues that the principal output of the provincial trade (with some notable exceptions) must have been into the London marketplace, anonymously, and at the cheaper end of the market. She also discusses the structure and organization of the provincial trade, and looks at the impact of new technology imported from other closely-allied trades. By virtue of its approach and subject matter the book considers aspects of economic and business history, gender and the family, the history of science and technology, material culture, and patterns of migration. It contains a myriad of stories of families and firms, of entrepreneurs and customers, and of organizations and arms of government. In bringing together this wide range of interests, Dr Morrison-Low enables us to appreciate how central the making, selling and distribution of scientific instruments was for the Industrial Revolution.

How a vast network of shadow credit financed European growth long before the advent of banking Prevailing wisdom dictates that, without banks, countries would be mired in poverty. Yet somehow much of Europe managed to grow rich long before the diffusion of banks. Dark Matter Credit draws on centuries of cleverly collected loan data from France to reveal how credit abounded well before banks opened their doors. This incisive book shows how a vast system of shadow credit enabled nearly a third of French families to borrow in 1740, and by 1840 funded as much mortgage debt as the American banking system of the 1950s. Dark Matter Credit traces how this extensive private network outcompeted banks and thrived prior to World War I—not just in France but in Britain, Germany, and the United States—until killed off by government intervention after 1918. Overturning common assumptions about banks and economic growth, the book paints a revealing picture of an until-now hidden market of thousands of peer-to-peer loans made possible by a network of brokers who matched lenders with borrowers and certified the borrowers’ creditworthiness. A major work of scholarship, Dark Matter Credit challenges widespread misperceptions about French economic history, such as the notion that banks proliferated slowly, and the idea that financial innovation was hobbled by French law. By documenting how intermediaries in the shadow credit market devised effective financial instruments, this compelling book provides new insights into how countries can develop and thrive today.

The step-dancing of the Scotch Gaels in Nova Scotia is the last living example of a form of dance that waned following the great emigrations to Canada that ended in 1845. The Scotch Gael has been reported as loving dance, but step-dancing in Scotland had all but disappeared by 1945. One must look to Gaelic Nova Scotia, Cape Breton, and Antigonish County, to find this tradition. Gaelic Cape Breton Step-Dancing, the first study of its kind, gives this art form and the people and culture associated with it the prominence they have long deserved. Gaelic Scotland’s cultural record is by and large pre-literate, and references to dance have had to be sought in Gaelic songs, many of which were transcribed on paper by those who knew their culture might be lost with the decline of their language. The improved Scottish culture depended proudly on the teaching of dancing and the literate learning and transmission of music in accompaniment. Relying on fieldwork in Nova Scotia, and on mentions of dance in Gaelic song and verse in Scotland and Nova Scotia, John Gibson traces the historical roots of step-dancing, particularly the older forms of dancing originating in the Gaelic–speaking Scottish Highlands. He also places the current tradition as a development and part of the much larger British and European percussive dance tradition. With insight collected through written sources, tales, songs, manuscripts, book references, interviews, and conversations, Gaelic Cape Breton Step-Dancing brings an important aspect of Gaelic history to the forefront of cultural debate.