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employed by nineteenth-century engineers into their residential buildings,<br />
the <strong>Modern</strong>ists also brought commerce into the home.<br />
In the second half of the nineteenth century the public face of the<br />
modern interior determined many people’s experiences of the modern<br />
world as well as playing a key role in the dramatic transformations of<br />
many urban spaces. 4 Most accounts of the late nineteenth-century<br />
metropolis, and of modernity, have ignored those new public interior<br />
spaces, choosing instead to emphasize the outside, visual spectacle of the<br />
urban streets which was experienced by men for the most part. 5 Walter<br />
Benjamin’s famous flâneur, for example, first observed by the nineteenthcentury<br />
French poet Charles Baudelaire, defined modernity as an essentially<br />
outside, masculine experience. Free to wander the streets of the<br />
modern metropolis, he looked in shop windows, but had no intention of<br />
purchasing goods. His was an undirected wandering of the city streets. 6<br />
Benjamin wrote extensively about the making of the modern metropolis,<br />
focusing on the roles played by commodification and display and highlighting<br />
features like the shift from gas to electrical street illumination. In<br />
his work on the Parisian arcades, however, he captured an in-between<br />
world which was half inside and half outside.<br />
Created between the eighteenth and the mid-nineteenth centuries,<br />
and building on the idea of covered markets, Benjamin’s Parisian arcades<br />
were covered rows of shops, constructed in the gaps between other buildings,<br />
created to accommodate the increased production of goods,<br />
especially textiles, and to make shopping a more pleasant experience in a<br />
city which, at that time, had no sewers or pavements. In the Passage de<br />
l’Opera, what had been the exterior walls of buildings were suddenly<br />
transformed, through the addition of an iron and glass roof, into inter -<br />
ior walls. <strong>The</strong> Journal des Artistes of 1827 described the arcades as a solution<br />
to the ‘ingenious need to increase the number of shops in order to<br />
increase capitalists’ profits’. 7 Those pedestrian-focused alleyways allowed<br />
flâneurs, and later flâneuses as well, to wander without the discomforts<br />
that had hitherto been created by horse-drawn carriages, crowds, dust<br />
and mud. Dining and drinking, bathing in public baths, playing billiards,<br />
attending the theatre and prostitution were also undertaken in those new<br />
inside/outside spaces. <strong>The</strong> early arcades had had timber roofs with skylights<br />
inserted into them. Iron- and glass-domed structures were built<br />
over the later ones, however, allowing more light to penetrate their inter -<br />
ior spaces, thereby reinforcing the sense, for the shoppers and crowds<br />
within them, of being both outside and inside at the same time. Walter