Through repeated quotations and allusions over the course of her novel Middlemarch, George Eliot suggests a relationship between that work and John Milton's epic poem, Paradise Lost. While this connection has received some critical attention during the past two decades, I contend that it runs deeper, and carries greater significance, than has yet been recognized. Through an analysis of the major epistemic course of each plot, I argue that Middlemarch is an attempt to carry Milton's account of faith and reason into the nineteenth century.

A century ago chemistry was the pre‐eminent academic and science‐based industrial pursuit, mainly as a result of the introduction of synthetic dyestuffs. The German dye‐making industry had just introduced synthetic indigo, following the longest and most expensive academic–technological campaign ever known and, as a follow up, novel fast vat dyes. The relevant coal tar, or aromatic, chemistry also heralded major breakthroughs in pharmaceuticals. The economic ramifications were enormous. It seemed appropriate then to celebrate the jubilee of the foundation of the dye industry by William Henry Perkin in 1856 with a major international event in London. Here the background to the jubilee is described and, by entangling key personalities in its organisation and their perspectives and opinions, I demonstrate how success in Germany and decline in England became one of the most compelling reasons for exploring issues related to the early debate over technical education in England. [ABSTRACT FROM AUTHOR]