architecture

Sandy Isenstadt examines how architects, interior designers, and landscape designers worked to enhance spatial perception in middle class houses visually. The desire for spaciousness reached its highest pitch where it was most lacking, in the small, single-family houses that came to be the cornerstone of middle class life in the nineteenth century. In direct conflict with actual dimensions, spaciousness was linked to a tension unique to the middle class - between spatial aspirations and financial limitations. Although rarely addressed in a sustained fashion by theorists, practitioners, or the inhabitants of houses themselves, Isenstadt argues that spaciousness was central to the development of modern American domestic architecture, with explicit strategies for perceiving space being pivotal to modern house design. Through professional endorsement, concern for visual space found its way into discussion of real estate and law.

Erich Mendelsohn's buildings, erected throughout Germany between 1920 and 1932, epitomised architectural modernity for his countrymen. This study examines his department stores, office buildings, and cinemas, counterparts to the famous housing projects built during the same years in Frankfurt and Berlin. Demonstrating the degree to which their dynamic presence stemmed from Mendelsohn's attention to their consumer-oriented functions, James shows Mendelsohn to be more than an Expressionist, as he is usually characterised. James recounts how his architecture closely reflects the controversies over modernity, including relativity, consumerism, and urban planning, that raged during the years of the Weimar Republic. She also illustrates how much Mendelsohn's thriving practice depended on the patronage of fellow German Jews, many of whom shared his commitment to creating alternatives to the nationalistic historicism of the late Wilhelmine period.

The most accomplished female painter of her age, Élisabeth Vigée-Lebrun (1755–1842) is best remembered for her many portraits of Queen Marie Antoinette of France. Her two-volume autobiography was published in France in 1835–7, and this English version (of which the translator is unknown) in 1879. It begins with a series of ten letters to a Russian friend, Princess Kourakin, describing her family and early life, her artistic training, and her rise to the position of portraitist to the queen. The letters end with the Revolution and Vigée-Lebrun's flight abroad: the 'souvenirs' which follow describe her years of exile and her eventual return to France. Volume 1 ends with her staying in Vienna, and Volume 2 covers an extended period in Russia, and a visit to England, before she finally settled again in Paris in about 1810. Throughout her life, she supported herself and her family by her painting.

The literary scholar Samuel Weller Singer (1783–1858) was largely self-taught, but his enthusiasm for reading caused him to open a bookshop, and he developed a wide circle of bibliomaniac friends, including Francis Douce (who later left him enough money to retire from writing for a living). He was an editor of many early modern poets, and his editions of John Selden's Table-Talk and Joseph Spence's Anecdotes, Observations, and Characters, of Books and Men are also reissued in this series. This highly illustrated 1816 work, originally published in a run of only 250 copies, was praised for its quality by Thomas Frognall Dibdin. In it, Singer argues that the increasing sophistication sought by the buyers of playing cards led to increasing improvements in the art of wood engraving, and that the study of these humble and rarely surviving artefacts can give insights into the achievements of the greatest Renaissance carvers.