Explores how art, design, and performance registered the changes in the Edwardian period (1901-1910) and helped to precipitate them. Acknowledging familiar divisions between the neo-Baroque magnificence of central London and the slums of the East End, this title discusses the middlebrow culture that characterizes the anonymous edge of the city.

"A handsome volume . . . in which a group of scholars and experts sift through a remarkable array of evidence . . . [in] many fine essays." -Honoria St. Cyr, Open Letters Monthly -- Honoria St. Cyr * Open Letters Monthly *"The major cultural touchstones of the period are present here, interpreted in a manner that usefully acknowledges their significance while questioning their grip on people's, until now, limited perception of the period."-K. Rhodes, CHOICE -- K. Rhodes * CHOICE *"The attraction of The Edwardian Sense . . . reaches beyond an audience with interests in early twentieth-century Britain, speaking more broadly to scholars of visual studies, film history, music history, history of design, and urban studies."-Amy M. Von Lintel, Journal of British Studies -- Amy M. Von Lintel * Journal of British Studies *

Morna O'Neill is the Mellon Assistant Professor of 19th-Century European Art in the History of Art Department at Vanderbilt University. Michael Hatt is Professor of History of Art at the University of Warwick.