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Middle class families, like their upper-class peers, took the interior of their houses very seriously. It was the primary means with which they could put their financial and social status on display for the world to see. As such, interior design was arguably the quickest developing part of the house which continually morphed into different styles.

The floor plans of Late Victorian and Edwardian houses began to reflect the continually increasing standards of living and the rise of new domestic technologies throughout the periods. Whilst working-class houses and the homes of the wealthy did not change much in terms of style or size, houses targeted at the middle class generally became larger.

As part of my efforts to reinvent History Rhymes, I would like to not only publish articles about various topics in nineteenth-century American and European history, but also write about the latest news and research in the field. If you have any news tips, they would be much appreciated.

Façades in Fin-de-Siècle Britain changed quite significantly. Early in the period they were very similar to their High Victorian counterparts, but through the designs of architects such as Morris, Webb and Shaw, they began to transform. By the Edwardian era, however, they had become enough different that they could easily be identified as specifically belonging to the period.

Early in the twentieth century, a new and unique system of government emerged in Europe which would replace most of the age-old monarchies and eventually lead the continent into the modern era of democracy. Fascism, a form of extreme right-wing, nationalistic government controlled by a powerful dictator, rose in Europe from the ashes of the First World War. Germany and Spain were two of the predominant countries where fascism was nurtured and bought to life.

As in all time periods, certain trends defined houses in Late Victorian and Edwardian Britain. These were not only visual, but also in terms of how the houses were laid out as well as certain features which were new to the period. Early in the Fin-de-Siècle, the features of a house were not much different than they had been during the High Victorian era.

I stumbled upon an online archive today with digitized historic documents and books that ended up costing me about two hours of my time just browsing.

It can be said that a nation’s architecture and national identity can be defined by the way it builds its own houses. Whilst this may be true to some degree, it is very difficult to judge in the case of Fin-die Siècle Britain.

The story of Prince Luitpold and how he came to power is a rather tragic one. Although Prince Luitpold was never actually king of Bavaria, he reigned in place of his nephew, King Otto I, who was declared insane and unfit to rule even before inheriting the throne after the death of his older brother, King Ludwig II. Luitpold was proclaimed prince regent after Ludwig was deposed and remained so until his death in 1912.

The end of the nineteenth century and the beginning of twentieth century saw the end of an era of house architecture, whose presence still dominates the British landscape, and the beginning of a new style of building which would simplify the æsthetics of houses into something much more practical and what would today be recognised more as ‘modern’.