Britain was rapidly emerging as the most powerful European nation, a position France long believed to be her own. Yet with France still commanding the largest continental army, Britain saw its best opportunities for expansion lay in the East. Yet, as Britain's influence increased through its official trading arm, the East India Company, the ruler of Bengal, Nawab Siraj-ud-daulah, sought to drive the British out of the sub-continent and turned to France for help. The ensuing conflict saw intimate campaigns fought by captains and occasionally colonels and by small companies rather than big battalions. They were campaigns fought by individuals rather than anonymous masses; some were heroes, some were cowards and most of them were rogues on the make. The story is not only about Robert Clive, a clerk from Shropshire who became to all intents and purposes an emperor, but also about Eyre Coote an Irishman who fought with everyone he met, about Alexander Grant a Jacobite who first escaped from Culloden and then, Flashman-like was literally the last man into the last boat to escape Calcutta and the infamous Black Hole. The fighting culminated in Robert Clive's astonishing victory at Plassey where just 3,000 British and sepoy troops defeated Siraj-ud-Daulah's Franco-Bengali army of 18,000 in the space of only forty minutes. The victory at Plassey in 1757 established Britain as the dominant force in India, the whole of which gradually come under British control and became the most prized possession in its empire. Few battles in history have ever had such profound consequences.

The first campaign medal awarded to British soldiers is reckoned to be that given to those men who fought at Waterloo in 1815, but a decade and a half earlier a group of regiments were awarded a unique badge - a figure of a Sphinx - to mark their service in Egypt in 1801. It was a fitting distinction, for the successful campaign was a remarkable one, fought far from home by a British army which had so far not distinguished itself in battle against Revolutionary France, and one moreover which had the most profound consequences in the Napoleonic wars to come. In 1798 a quixotic French expedition led by a certain General Bonaparte not only to seize Egypt and consolidate French influence in the Mediterranean, but also to open up a direct route to Indian and provide an opportunity to destroy the East India Company and fatally weaken Great Britain. In the event, General Bonaparte returned to France to mount a coup which would eventually see him installed as Emperor of the French, but behind him he abandoned his army, which remained in control of Egypt, still posing a possible threat to the East India Company, until in 1801 a large but rather heterogeneous British Army led by Sir Ralph Abercrombie landed and in a series of hard-fought battles utterly defeated the French. Not only did this campaign establish the hitherto rather doubtful reputation of the British Army, and help secure India, but its capture en route of the islands of Malta gained Britain a base which would enable it to dominate the Mediterranean for the next century and a half. This little understood, but profoundly important campaign at last receives the treatment it deserves in the hands of renowned historian Stuart Reid.

Glass as an art form has an ancient tradition; the archaeological record suggests that artisans in Egypt and Mesopotamia were fabricating glass vessels and ornaments during the fourth millennium BCE. Its durable nature, range of colours, malleability, and most of all, its optical transparency are qualities that have made glass a premiere art medium. Over a lifetime, Frederick Birkhill has explored the unique qualities of glass and the numerous techniques and intricacies of working with it. The result of these decades of study is a body of work that is extraordinary in scope, technical expertise, and sheer virtuosity. This book, from The Artist Book Foundation honours this gifted artist. From his time in England at Burleighfield House, the studio of stained-glass artist Patrick Reyntiens, to his unprecedented visit to Lauscha, the village in East Germany famous for both its art and scientific glass production, and his subsequent career as an explorer, teacher, and master of the glass arts, Birkhill has devoted himself to furthering the appreciation of the medium and sharing his vast experience with colleagues, collectors, and students. His works appear in numerous museum collections, including those of The Corning Museum of Glass, the Museum of Arts and Design, the Mint Museum, the Detroit Institute of Arts, and the Smithsonian. Complementing the scholarly contributions by authors with significant backgrounds in the glass arts, the book features in its extensive plate section the lavish photography of Henry Leutwyler, which offers readers an opportunity to examine the complex details and artistic mastery of Birkhill's oeuvre. In addition, the monograph offers a glossary of glass-art terms, a detailed chronology of the artist's life, his extensive exhibition history, and a list of the numerous awards he has received. For those who are passionate about the glass arts, this monograph will be a feast for the eyes.

Though pressed many times to write about his battles and campaigns, the Duke of Wellington always replied that people should refer to his published despatches, and he refused to add further to his official correspondence, famously remarking that: The history of a battle, is not unlike the history of a ball. Some individuals may recollect all the little events of which the great result is the battle won or lost, but no individual can recollect the order in which, or the exact moment at which, they occurred, which makes all the difference as to their value or importance.' Yet Wellington did, in effect, write a history of the Peninsular War in the form of four lengthy memoranda, summarising the conduct of the war in 1809, 1810 and 1811 respectively. These lengthy accounts demonstrate Wellington's unmatched appreciation of the nature of the war in Spain and Portugal, and relate to the operations of the French and Spanish forces as well as the Anglo-Portuguese army under his command. Unlike personal diaries or journals written by individual soldiers, with their inevitably limited knowledge, Wellington was in an unparalleled position to provide a comprehensive overview of the war. Equally, the memoranda were written as the war unfolded, not tainted with the knowledge of hindsight, providing a unique contemporaneous commentary. Brought together by renowned historian Stuart Reid with reports and key despatches from the other years of the campaign, the result is the story of the Peninsular War told through the writings of the man who knew and understood the conflict in Iberia better than any other. These memoranda and despatches have never been published before in a single connected narrative. Therefore, Wellington's History of the Peninsular War 1808-1814 offers a uniquely accessible perspective on the conflict in the own words of Britain's greatest general.

This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone

This book describes and illustrates the organization and uniforms of the Allied contingents during the Seven Years' War. At the outbreak of the war King George II's dual role as King of England and Elector of Hanover led to Britain creating and funding an alliance with Frederick's Prussia. This colorful multi-national arm of British, Brunswick, Hanoverian, and Hessian troops, with other smaller contingents, played an essential part by guarding Prussia's western front against French armies, and in the process the British contingent won some remarkable victories, such as the redcoats' legendary attack at Minden and Granby's cavalry triumph at Warburg. This disparate group of soldiers is brought to vivid life by the illustrations of Gerry and Sam Embleton and by the unrivalled detail of Stuart Reid's analysis.

The flintlock or firelock musket is one of the most iconic weapons in history: used on the battlefields of the English Civil War, it was then carried by both sides at Blenheim, Bunker Hill, Waterloo and the Alamo, and dominated warfare for more than 150 years, with military service as late as the American Civil War in the 1860s. Featuring specially commissioned full-colour artwork, this engaging study examines the role that the flintlock played in close-order combat on European and other battlefields around the world. Employing first-hand accounts to show how tactical doctrines were successfully developed to overcome the weapon's inherent limitations, Stuart Reid offers a comprehensive analysis of the flintlock's lasting impact as the first truly universal soldier's weapon.