Faking it

In place of linear historicism, this book offers a new approach to architecture by examining the matter of the miracle in relation to baroque architecture through an interrogation of the relationship between architecture and the sacred in the economy of the relic. It considers the Treasury Chapel as the interaction of movement and sanctity in relation to matter and affect, particularly the transport of salvation. The rituals of the Treasury Chapel made visible the new cartographies and choreographies of spiritual authority that fed it and that it espoused and generated. The book focuses on the miracle of San Gennaro, the blood that courses through the chapel and its telling. It focuses on the Renaissance Succorpo chapel below the main altar of Naples Cathedral as the principal precursor to the Treasury Chapel. The book explores how the enclosed aristocratic convent of Santa Patrizia used its relics of St Patricia to vault its enclosure walls and to intervene in the Treasury Chapel, quite beyond its own confines, to secure and extend its own spiritual authority in Naples. It investigates the relationships between silver and salvation activated and opened by the Treasury Chapel's many splendid reliquaries. The book examines the implications of the wider politics of silver from its mining to its sustenance of Spanish monarchy and Spanish rule in Naples to its surfacing in those reliquaries. It addresses the question of how and why silver affords a peculiarly Neapolitan bridge between the brutality of the mines and the saints' whispers in heaven.

In postwar Britain, journalists and politicians prophesised that the class system would not survive a consumer culture where everyone had TVs and washing machines, and where more and more people owned their own homes. They were to be proved wrong: the class system did survive but was also significantly transformed. Lifestyle revolution charts how class culture, rather than being destroyed by mass consumption, was remade using flat-pack furniture, Mediterranean cuisine, and lifestyle magazines. Novelists, cartoonists, and playwrights satirised the tastes of the emerging middle classes, and sociologists claimed that an entire population was suffering from status anxiety. But underneath it all, a world was being constructed out of duvets, quiches and mayonnaise, easy chairs from Habitat, white emulsion paint and ubiquitous well-scrubbed, second-hand pine kitchen tables. This was less a world of symbolic goods and more an intimate environment alive with new feelings and attitudes. Using a large variety of sources, this book focuses on the 1960s and 1970s to show how new tastes and new levels of affluence changed pre-war class identities. The modernising of class was often confused and never amounted to a new, agreed language of class (phrases such as ‘technician class’ were never fully adopted), but this confusion was itself a sign that the old certainties of class were giving way. The new tastes sought to escape rigid class identities by embracing a more cosmopolitan and informal world of culture, a world where ‘controlled casualness’ named both an interior style and a way of living.

Marie Duval: Maverick Victorian cartoonist offers the first critical appraisal of the work of Marie Duval (Isabelle Émilie de Tessier [1847–90]), one of the most unusual, pioneering and visionary cartoonists of the later nineteenth century.

Taking a critical theory approach, the book discusses key themes and practices of Duval’s vision and production, relative to the wider historic social, cultural and economic environments in which her work was made, distributed and read. It identifies Duval as an exemplary radical practitioner in an urban media environment, in which new professional definitions were being created, and in which new congruence between performance, illustration, narrative drawing and novels emerged. The book divides into two sections: Work and Depicting and Performing, interrogating the relationships between the developing practices and the developing forms of the visual cultures of print, story-telling, drawing and stage performance. On one hand, the book focuses on the creation of new types of work by women and gendered questions of authorship in the attribution of work, and on the other, the book highlights the style of Duval’s drawings relative to both the visual conventions of theatre production and the significance of the visualisation of amateurism and vulgarity. The book pays critical attention to Duval the practitioner and to her work, establishing her as a unique but exemplary figure in the foundational development of a culture of print, visualisation and narrative drawing in English, in a transformational period of the nineteenth century.