The issue of ingenuity that Neil De Marchi and Hans Van Miegroet (this volume) identify as a major element in arguments about economic and aesthetic effect is here examined as part of a microhistory of a particular Sweetie Bracelet, and short-lived, manifestation of the arts in London at the moment of publication of Smith’s most celebrated work. It is important perhaps to state at the outset that although “heritage” implies permanence, visual culture then as now is largely ephemeral links of london sweetie bracelet. I suggest that the museum Cox established in the 1770s illuminates an eighteenth-century arts industry located in London, the nature of which needs to be better understood if we are adequately to understand the concept of an alliance between heritage and commerce for the benefit of the nation in which much current economic and cultural discourse is grounded links of london. I therefore initially propose a geneology for the notion of heritage industry and then examine how an entrepreneurial craftsman working in the 1760s-80s situated his own product at the interstices of commerce and the arts links of london charms.