Introduction - reading Victorian popular prints; "The London Corresponding Society" 1790 - the people become a subject, James Gillray; "Conflagration" 1791 - the burning of Albion Mills and popular protest, Samuel Collings; (print to be decided) - physiognomy and traditions in representing common people; (print to be decided) - Pererloo as icon; "The March of Literature" 1832 - popular progress derided, J. Doyle and R. Seymour; "Halesowen Nailers" from the "Illuminated Magazine" 1844 - pastoral, heroic and realist possibilities, R.J. Hamerton; engraved capitals for W.J. Linton's Bob Thin, 1845 - engraving and radicalism, T. Sibson; "The Drunkard's Children", plate VIII, 1848 - the suicide - melodrama or social realism?, George Cruikshank; anonymous title page to "The Family Economist" 1850 - domestic and industrial ideology; pages from "The British Workman" 1855 - type as a visual medium; anonymous "Gravesend Mission" from "The Penny Post" 1866 - photography, engraving and the representation of ordinary people; "Penny Plain and Friend", "The Sunday Magazine" 1874 - the urban poor as subject, W. Watson; ideology and representation - the popular print as social discourse; a note on techniques; sources for Victorian popular prints.
