Born near the Tuscan province of Lucca in 1815, Domenico Brucciani became the most important and prolific maker of plaster casts in nineteenth-century Britain. This first substantive study shows how he and his business used public exhibitions, emerging museum culture and the nationalisation of art education to monopolise the market for reproductions of classical and contemporary sculpture. Based in Covent Garden in London, Brucciani built a network of fellow Italian émigré formatori and collaborated with other makers of facsimiles-including Elkington the electrotype manufacturers, Copeland the makers of Parian ware and Benjamin Cheverton with his sculpture reducing machine-to bring sculpture into the spaces of learning and leisure for as broad a public as possible. Brucciani's plaster casts survive in collections from North America to New Zealand, but the extraordinary breadth of his practice-making death masks of the famous and infamous, producing pioneering casts of anatomical, botanical and fossil specimens and decorating dance halls and theatres across Britain-is revealed here for the first time. By making unprecedented use of the nineteenth-century periodical press and dispersed archival sources, Domenico Brucciani and the Formatori of Nineteenth-Century Britain establishes the significance of Brucciani's sculptural practice to the visual and material cultures of Victorian Britain and beyond.

"A marvelous, organ-by-organ journey through the body eclectic…Irresistible [and] impressive." —John J. Ross, Wall Street Journal The human body is the most fraught and fascinating, talked-about and taboo, unique yet universal fact of our lives. It is the inspiration for art, the subject of science, and the source of some of the greatest stories ever told. In Anatomies, acclaimed author of Periodic Tales Hugh Aldersey-Williams brings his entertaining blend of science, history, and culture to bear on this richest of subjects. In an engaging narrative that ranges from ancient body art to plastic surgery today and from head to toe, Aldersey-Williams explores the corporeal mysteries that make us human: Why are some people left-handed and some blue-eyed? What is the funny bone, anyway? Why do some cultures think of the heart as the seat of our souls and passions, while others place it in the liver? A journalist with a knack for telling a story, Aldersey-Williams takes part in a drawing class, attends the dissection of a human body, and visits the doctor’s office and the morgue. But Anatomies draws not just on medical science and Aldersey-Williams’s reporting. It draws also on the works of philosophers, writers, and artists from throughout history. Aldersey-Williams delves into our shared cultural heritage—Shakespeare to Frankenstein, Rembrandt to 2001: A Space Odyssey—to reveal how attitudes toward the human body are as varied as human history, as he explains the origins and legacy of tattooing, shrunken heads, bloodletting, fingerprinting, X-rays, and more. From Adam’s rib to van Gogh’s ear to Einstein’s brain, Anatomies is a treasure trove of surprising facts and stories and a wonderful embodiment of what Aristotle wrote more than two millennia ago: "The human body is more than the sum of its parts."

'Robert Chambers's Vestiges of the Natural History of Creation was the most important pre-Darwinian work of evolutionary thought published in Victorian Britain. It caused huge controversy and was undoubtedly a major factor in preparing the way, both positively and negatively, for On the Origin of Species. To this point, essential documents surrounding the work - the reviews, the commentaries, the expositions, and more - have been incredibly difficult to obtain and truly available only to the most privileged scholar. Now with the publication of the Thoemmes Press collection on Vestiges, essential material will be readily available to all. The editor, John M. Lynch, and the Press are to be congratulated and thanked for making this possible.' - Michael Ruse Vestiges and the Debate Before Darwin centres on Robert Chambers's Vestiges of the Natural History of Creation and reprints all the key documents in the controversy that surrounded its publication. Vestiges was first published in 1844. Chambers, one of the most successful publishers in Britain, managed to keep his authorship a secret throughout the ten editions published in his lifetime. The work reached a huge popular audience and was widely read by the social and intellectual elite. Despite initially favourable reviews, its publication sent shockwaves through the world of British science. Chambers suggested that the whole of nature, including mankind, could be explained by the action of a single universal evolutionary law--a law that suggested that not only did change happen in the past, but that it would continue into the future. Such a statement enflamed both religious conservatives (Sedgwick referred to the 'inner deformity and foulness' of the work and its 'gross and filthy views of physiology') and scientists (T. H. Huxley said that the author was 'one of those who--indulge in science at second-hand and dispense totally with logic', and physicist Sir David Brewster warned that Vestiges 'stood a fair chance of poisoning the fountains of religion'). Understanding the upheaval that Vestiges caused in 'polite' British society is key to understanding Darwin's later argument and the reaction to his work by the same public. Reprinted here is the rare tenth edition of Vestiges (1853), written in response to this widespread criticism, plus Chambers's 'sequel', Explanations, written largely as a reply to Sedgwick's highly critical review of Vestiges. Periodical reviews and other important book-length refutations are also incorporated, including rare editions of works by Adam Sedgwick, William Whewell and Hugh Miller. With introductory essays by John M. Lynch of Arizona State University's Institute of Human Origins, this important set will appeal to both historians of evolutionary thought and philosophers of science alike. -collection of rare primary sources on the evolution debate before Darwin -selects the best editions, added to which are extensive introductory essays -gathers numerous critical reviews tracing the debate over ten years -intriguing case study of Victorian scientific controversy