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Could Britons in India commit murder? More precisely, could they be prosecuted and sentenced for doing so? As these epigraphs suggest, the Raj was deeply preoccupied with elaborating minute taxonomies of violence and death. In a variety of ways, British violence toward indigenes was made an object of policy initiatives by the Government of India. Defining violence, both indigenous and foreign, was one key task of the Raj, along with clarifying the boundary between legitimate and illegitimate violence. But this boundary shifted constantly over the colonial period, and indeed, it has continued to do so ever since. Given the extensive legal violence of colonial conquest, when and why were specific acts of white violence defined as murder?

This article explores the historical relationship between scientific research and labor management by investigating the state supervision of color perception in British workers (1870s-1920s). Whereas eighteenth-century scientific writers had described color blindness as an individual idiosyncrasy, color blindness was interpreted in the late nineteenth century as a social contaminant. As multiple sites of labor and industry were saturated with color—for example, through the deployment of flashing red and green lights on ships and railways—the color vision of workers became an increasingly significant medical and legal concern. Starting in the 1890s, the Board of Trade developed new efforts to legislate the admittedly subjective realm of color perception. But British workers also publicly opposed the Board's efforts to regulate their perception and objected to the "modernist" palette that was commonly used in color vision tests. I trace the emergence of color blindness as a class-specific pathology and consider both the denigration and the valorization of workers' perceptions in modern British industrial society.

Responding to recent scholarly and activist discussions of the public museum as a site of anti‐feminism, this article examines the historical development of 'feminist museology' in Britain. Focusing on the mystery and controversies surrounding an anonymous woman's gift of Hans Holbein's Christina of Denmark to the National Gallery in 1909, this study investigates the dynamic of art, gender, and citizenship during the prewar Liberal crisis. The Holbein debates marked an important shift in the institutional status of feminism and the gendered parameters of cultural property, and offer a new perspective on our own practices of heritage and patrimony.

Frontmatter -- Contents -- Illustrations -- Reprint Acknowledgments -- Acknowledgments -- Introduction: The Work of Vision in the Age of European Empires -- Section I: The Imperial Optic -- Introduction -- PART 1: EMPIRES OF THE PALETTE -- CHAPTER 1. The Walls of Images -- CHAPTER 2. Painting as Exploration: Visualizing Nature in Eighteenth-Century Colonial Science -- CHAPTER 3. Indian Yellow: Making and Breaking the Imperial Palette -- CHAPTER 4. Colonial Panaromania -- PART 2: THE MASS-PRINTED IMPERIUM -- CHAPTER 5. Objects of Knowledge: Oceanic Artifacts in European Engravings -- CHAPTER 6. Excess in the City? The Consumption of Imported Prints in Colonial Calcutta, c. 1780-c. 1795 -- CHAPTER 7. Advertising and the Optics of Colonial Power at the Fin de Siècle -- PART 3: MAPPING, CLAIMING, RECLAIMING -- CHAPTER 8. Mapping Plus Ultra: Cartography, Space, and Hispanic Modernity -- CHAPTER 9. Mapping an Exotic World: The Global Project of Dutch Cartography, circa 1700 -- CHAPTER 10. Visual Regimes of Colonization: European and Aboriginal Seeing in Australia -- PART 4: THE IMPERIAL LENS -- CHAPTER 11. The Photography Complex: Exposing Boxer-Era China (1900-1901), Making Civilization -- CHAPTER 12. Colonial Theaters of Proof: Representation and Laughter in 1930s Rockefeller Foundation Hygiene Cinema in Java -- CHAPTER 13. Colonialism and the Built Space of Cinema -- Section II: Postcolonial Looking -- Introduction -- PART 5: SUBALTERN SEEING: AN OVERLAP OF COMPLEXITIES -- CHAPTER 14. Speaking Back to Orientalist Discourse -- CHAPTER 15. Maps, Mother/Goddesses, and Martyrdom in Modern India -- CHAPTER 16. Notes from the Surface of the Image: Photography, Postcolonialism, and Vernacular Modernism -- CHAPTER 17. "I Am Rendered Speechless by Your Idea of Beauty": The Picturesque in History and Art in the Postcolony -- CHAPTER 18. Fanon, Algeria, and the Cinema: The Politics of Identification -- PART 6: REGARDING AND RECONSTITUTING EUROPE -- CHAPTER 19. Creole Europe: The Reflection of a Reflection -- CHAPTER 20. Picasso, Africa, and the Schemata of Difference -- CHAPTER 21. Double Dutch and the Culture Game -- Conclusion: A Parting Glance: Empire and Visuality -- Contributors -- Index