Tussaud's catered for the public's fascination with monarchy, whether Henry VIII and his wives or Queen Victoria, as well as for their love of history, acting as an accessible and enjoyable museum. This work looks at Madame Tussaud herself and her exhibition as part of the wider history of wax modelling and of popular entertainment.

London, 1896. Madame Tussauds opens to find one of its nightwatchmen decapitated and his colleague nowhere to be found. To the police, the case seems simple: one killed the other and fled, but workers at the museum aren't convinced. Although forbidden contact by his superior officer, Scotland Yard detective John Feather secretly enlists 'The Museum Detectives' Daniel Wilson and Abigail Fenton to aid the police investigation. When the body of the missing nightwatchman is discovered encased within a wax figure, the case suddenly becomes more complex. With questions over rival museums, the dead men's pasts and a series of bank raids plaguing the city, Wilson and Fenton face their most intriguing and dangerous case yet.

From Strawberry Hill to The Dungeons, Alnwick Castle to Barnageddon, Gothic tourism is a fascinating, and sometimes controversial, area. This lively study considers Gothic tourism's aesthetics and origins, as well as its relationship with literature, film, folklore, heritage management, arts programming and the 'edutainment' business.

A “meticulously researched and deftly written biography” of the woman behind the famed wax museums, and their origins in the era of the French Revolution (Midwest Book Review). Madame Marie Tussaud is known worldwide for the chain of wax museums she started over two hundred years ago. Less known is that her original wax models were often of the famous and infamous people she personally knew during and after the French Revolution. These were people like Voltaire, Robespierre, and Napoleon—people who changed the world. Even more, the wax figures were depicted in scenes drawn from the horrors she experienced during the reign of terror in Paris during her early adult years. This book shows how the traumatic and cataclysmic experiences of Madame Tussaud’s early life became part of her legacy. She created a succession of scenes in wax, telling events as she personally experienced them. Her wax sculptures were visceral. She made them herself, at times from the living person’s head and at other times from the recently guillotined head of a former houseguest. As a result, people were drawn to her wax displays because they were the most intense way of experiencing those events themselves. This is the story not only of a unique artist, but of how one of history’s bloodiest events influenced her life and work.

Kate Berridge’s Madame Tussaud: A Life in Wax “celebrates a great pioneer of mass-market illusion, whose illusions eventually included herself.”* Millions have visited the museums that bear her name, yet few know much about Madame Tussaud. A celebrated artist, she had both a ringside seat at and a cameo role in the French Revolution. A victim and survivor of one of the most tumultuous times in history, this intelligent, pragmatic businesswoman has also had an indelible impact on contemporary culture, planting the seed of our obsession with celebrity. Kate Berridge tells this fascinating woman’s complete story for the first time, drawing upon a wealth of sources, including Tussaud’s memoirs and historical archives. It is a grand-scale success story, revealing how with sheer graft and grit a woman born in 1761 to an eighteen-year-old cook overcame extraordinary reversals of fortune to build the first and most enduring worldwide brand identified simply by reference to its founder’s name: Madame Tussaud’s. “A good story, like Berridge’s biography, is a blessing.” —Miami Herald “A rousing good read . . . [Berridge] presents us with a thorough understanding of the beginnings of popular culture.” —Vancouver Sun “Fascinating. . . . A vividly recreated history of an extreme time and the unusually determined woman who capitalized so effectively on it.” —Globe and Mail “Spectacular and spellbinding. . . . Thoughtful, original, never condescending, erudite, and packed with vivid and sometimes horrifying detail, it is a model of how cultural history should be written.” —*Sunday Times (London)