Browse all Reviews
You may think you know the story of the Tudor dynasty and the steps they took in securing their power and legacy, but what most grand narratives of the Tudor monarchs do not describe is their intimate relationship with the built environment around them.
In the 200 years before the invention of steam power and the advent of the Industrial Revolution, early modern London was a coal-fired metropolis. The dirty fuel was burnt in both the hearths of individual households and in the furnaces of breweries, bakers, and glassmakers.
In contemporary understanding, a kitchen is a space which houses a heat source and appropriate utensils for preparing meals. How and why this kind of kitchen emerged in England between the 17th and mid-19th century is the story that Pennell set out to uncover.
This formidable and scholarly volume, a major contribution to urban, social and cultural history, is first and foremost a tribute to one of its co-authors, Charles McKean, the distinguished architectural historian, who sadly died when the book was being written.
The Times in its editorial of 11 February 1857 opined 'It is a terrible incident of our social existence that the resources for gaining a livelihood left open to women are so few. ...
When historians of the future come to write about the historiographical preoccupations of 21st-century Britons, they surely will observe our growing obsession with consumer behaviour and material culture.
In the introduction to her long-awaited and extremely interesting study of the popular literature of Victorian interior decoration, Judith Neiswander prepares her readers – and perhaps to a certain extent herself – for their predicted negative reactions to the décor of the late 19th-century middle class home.
For various reasons housing is important to everyone and thus it has rarely been far from the centre of political debate in Britain. As the main urban land use, housing is a valuable and scarce resource, and if politics are about command over resources then housing is inescapably a political issue.
The homes of the British middle class in the third quarter of the 19th century, as depicted in contemporary photographs, were cluttered with furniture, soft furnishings and objects. Walking across a room required careful negotiation of lightweight tables that might easily topple over and spill the numerous items that decorated their surface.
Every picture tells a story. The story told by posed portraits of the family is one of change over time; family groups look different at different times. Thus the Victorian middle-class family is typically photographed in an indoor ‘domestic’ setting, its members unsmiling, connected to each other by the touch of a hand on a shoulder.