A collection of essays that aim to consider broad questions of the role of religion in late eighteenth- and early nineteenth-century Britain by studying a single geographical area. Coalbrookdale in the parish of Madeley, Shropshire is seen as the "birthplace of the industrial revolution" while remaining one of the last examples of a Methodist parish in England. These works engage with a variety of areas of study: Methodism's roots and growth in relation to the Church of England, religion and gender in eighteenth century Britain, and religion and the emergence of an industrial society, and do so from a variety of different approaches: historical, theological, economic and sociological. The result is not only a through examination of a single parish but a consideration of its relation to larger themes in eighteenth-century Britain and the impact of English Methodism on nineteenth-century American Methodism.

The face of John Wesley (1703-91), the Methodist leader, became one of the most familiar images in the English-speaking and transatlantic worlds through the late eighteenth and nineteenth centuries. After the dozen or so painted portraits made during his lifetime came numbers of posthumous portraits and moralising 'scene paintings', and hundreds of variations of prints. It was calculated that six million copies were produced of one print alone - an 1827 portrait by John Jackson R.A. as frontispiece for a hymn book. Illustrated by nearly one hundred images, many in colour, with a comprehensive appendix listing known Wesley images, this book offers a much-needed comprehensive and critical survey of one of the most influential religious and public figures of eighteenth-century Britain. Besides chapters on portraits from the life and after, scene paintings and prints, it explores aspects of Wesley's (and Methodism's) attitudes to art, and the personality cult which gathered around Wesley as Methodism expanded globally. It will be of interest to art historians as a treatment of an individual sitter and subject, as well as to scholars engaged in Wesley and Methodist studies. It is also significant for the field of material studies, given the spread and use of the image, on artefacts as well as on paper.

The face of John Wesley (1703-91), the Methodist leader, became one of the most familiar images in the English-speaking and transatlantic worlds through the late eighteenth and nineteenth centuries. After the dozen or so painted portraits made during his lifetime came numbers of posthumous portraits and moralising 'scene paintings', and hundreds of variations of prints. It was calculated that six million copies were produced of one print alone - an 1827 portrait by John Jackson R.A. as frontispiece for a hymn book. Illustrated by nearly one hundred images, many in colour, with a comprehensive appendix listing known Wesley images, this book offers a much-needed comprehensive and critical survey of one of the most influential religious and public figures of eighteenth-century Britain. Besides chapters on portraits from the life and after, scene paintings and prints, it explores aspects of Wesley's (and Methodism's) attitudes to art, and the personality cult which gathered around Wesley as Methodism expanded globally. It will be of interest to art historians as a treatment of an individual sitter and subject, as well as to scholars engaged in Wesley and Methodist studies. It is also significant for the field of material studies, given the spread and use of the image, on artefacts as well as on paper.

Providing new insight into the Wesley family, the fundamental importance of music in the development of Methodism, and the history of art music in Britain, Music and the Wesleys examines more than 150 years of a rich music-making tradition in England. John Wesley and his brother Charles, founders of the Methodist movement, considered music to be a vital part of religion, while Charles's sons Charles and Samuel and grandson Samuel Sebastian were among the most important English composers of their time. This book explores the conflicts faced by the Wesleys but also celebrates their triumphs: John's determination to elevate the singing of his flock; the poetry of Charles's hymns and their musical treatment in both Britain and America; the controversial family concerts by which Charles launched his sons on their careers; the prolific output of Charles the younger; Samuel's range and rugged individuality as a composer; the oracular boldness of Sebastian's religious music and its reception around the English-speaking world. Exploring British concert life, sacred music forms, and hymnology, the contributors analyze the political, cultural, and social history of the Wesleys' enormous influence on English culture and religious practices. Contributors are Stephen Banfield, Jonathan Barry, Martin V. Clarke, Sally Drage, Peter S. Forsaith, Peter Holman, Peter Horton, Robin A. Leaver, Alyson McLamore, Geoffrey C. Moore, John Nightingale, Philip Olleson, Nicholas Temperley, J. R. Watson, Anne Bagnall Yardley, and Carlton R. Young.

Synopsis: What part did religion play in late eighteenth- and early nineteenth-century Britain? How did the local situation differ from the national picture? What was the role of women in society and the church? And how did the emerging centers of industrial activity interact with the places in which they sprung up? These are wide questions, but they can be seen in microcosm in one small area of the English midlands: the parish of Madeley, Shropshire, in which was the "birthplace of the industrial revolution," Coalbrookdale. Here, the evangelical Methodist clergyman John Fletcher ministered between 1760 and 1785, among a population including Catholics and Quakers as well people indifferent to religion. Then, for nearly sixty years after his death, two women, Fletcher's widow and later her protege, had virtual charge of the parish, which became one of the last examples of Methodism remaining within the Church of England. Through examining this specific locality, these essays engage particularly with areas of broader significance, including: Methodism's roots and growth in relation to the Church of England, religion and gender in eighteenth-century Britain, and religion and emerging industrial society. The last decade has seen substantial growth in studies of John and Mary Fletcher, early Methodism, and its relationship to the Church of England. Religion, Gender, and Industry offers a contribution to this developing area of research. The groundbreaking essays in this volume are written by an international group of scholars and present the latest research in this field. The contributions in this volume, originally presented at a conference in Shropshire in 2009, address these themes from multidisciplinary perspectives, including history, theology, gender studies, and industry. In addition to furthering knowledge of Madeley parish and its relation to larger themes in eighteenth-century Britain, the impact of the Fletchers in nineteenth-century American Methodism is examined. Endorsements: "Local studies sometimes paint richly textured portraits of people and places that reveal the complex matrix of real life. This is one of those studies. A collection of essays on church and Methodism in the parish of Madeley in Shropshire, this book offers a model of interdisciplinary collaboration at its best. If you love to see how faith, work, and life connect for real people in an ever-changing world, this book is for you." -Paul W. Chilcote Professor of Historical Theology and Wesleyan Studies Ashland Theological Seminary "This valuable volume is to be welcomed for bringing the Fletchers further out from Wesley's shadow. It is instructive to see them expertly assessed from the perspective of recent historiography: John as model Evangelical pastor of an industrializing parish and as a theologian whose insights into holiness, mysticism, and charismatic piety continue to engage transatlantic attention; Mary as an enduring inspiration to women preachers and leaders." -John Walsh Emeritus Fellow Jesus College, Oxford Editor Biography: Geordan Hammond is Lecturer in Church History and Wesley Studies, Nazarene Theological College and Director of the Manchester Wesley Research Centre, UK. Peter S. Forsaith is Research Fellow at The Oxford Centre for Methodism and Church History, Oxford Brookes University, UK.

Providing new insight into the Wesley family, the fundamental importance of music in the development of Methodism, and the history of art music in Britain, Music and the Wesleys examines more than 150 years of a rich music-making tradition in England. John Wesley and his brother Charles, founders of the Methodist movement, considered music to be a vital part of religion, while Charles's sons Charles and Samuel and grandson Samuel Sebastian were among the most important English composers of their time. This book explores the conflicts faced by the Wesleys but also celebrates their triumphs: John's determination to elevate the singing of his flock; the poetry of Charles's hymns and their musical treatment in both Britain and America; the controversial family concerts by which Charles launched his sons on their careers; the prolific output of Charles the younger; Samuel's range and rugged individuality as a composer; the oracular boldness of Sebastian's religious music and its reception around the English-speaking world. Exploring British concert life, sacred music forms, and hymnology, the contributors analyze the political, cultural, and social history of the Wesleys' enormous influence on English culture and religious practices. Contributors are Stephen Banfield, Jonathan Barry, Martin V. Clarke, Sally Drage, Peter S. Forsaith, Peter Holman, Peter Horton, Robin A. Leaver, Alyson McLamore, Geoffrey C. Moore, John Nightingale, Philip Olleson, Nicholas Temperley, J. R. Watson, Anne Bagnall Yardley, and Carlton R. Young.