¹ Morgan, Mary S. and Morrison, Margaret, eds., Models as Mediators: Perspectives on Natural and Social Science (Cambridge: Cambridge University Press, 1999), 38–65CrossRefGoogle Scholar.

² Max Black, a philosopher, contributed a great deal to model thinking, but he specifically excludes a consideration of scale models. Black, Max, “Models and Archetypes,” in Black, Models and Metaphors: Studies in Language and Philosophy (Ithaca: Cornell University Press, 1962), 219–44Google Scholar. For exceptions to this rule see Eisenman, Peter, Pommer, Richard, and Hubert, Christian, Idea as Model (New York: Rizzoli, 1981)Google Scholar; and Abruzzo, Emily, Ellingsen, Eric, and Solomon, Robert, eds., Models (New York: 306090, 2007)Google Scholar.

³ For a review of the literature on object agency from Heidegger and Brown to Gell and Latour, and for an argument about how buildings (and models) contribute to its understanding, see Wharton, Annabel Jane, “Buildings/Things, Body/Texts, History/Theory,” in Wharton, Architectural Agents: The Delusional, Abusive, Addictive Lives of Buildings (Minneapolis: University of Minnesota Press, 2015), 185–219CrossRefGoogle Scholar.

⁴ Carrére and Hastings designed several cottages for Frederick Jones in 1893. André Brook, synecdochically named for its location, may have been one of them. Lemon, Kate, Morrison, William, Warren, Charles D., and Hewitt, Mark A., Carrére and Hastings, Architects, Volume II (New York: Acanthus Press, 2006), 270Google Scholar.

⁵ The rooms include an elevator foyer and upstairs hall, library, salon, dining room, ballroom/gallery with a musicians gallery, kitchen, linen room, nursery, three bedrooms, two bathrooms, a back staircase, a pressing room, and a lower and upper terrace.

⁶ Rare Books Room, Columbia University Library, Stettheimer Papers: Photographs of the Stettheimer's Alwyn Apartment and Florine Stettheimer's Studio/Apartment in the Beaux-Arts Building at Bryant Park, n.d., Flat Box 211.

⁷ Alpern, Andrew, Luxury Apartment Houses of Manhattan: An Illustrated History (New York: Dover, 1990), 94–97Google Scholar.

⁸ The Society of Independent Artists, First Annual Exhibition of the Society of Independent Artists at Grand Central Palace (Lexington Ave. and 46th St.) from April 10th to May 6th. No Jury; No Prizes; Exhibits Hung in Alphabetical Order (New York: William Edwin Rudge, 1917)Google Scholar.

⁹ The indenture is on display at the Museum of Childhood, the Victoria and Albert's branch in Bethnal Green. Thomas Massa Alsager, “Dolls’ House Indenture,” Victoria and Albert Museum, at www.vam.ac.uk/moc/article/dolls-house-indenture.

¹⁰ One of these, the doll's house of Petronella Oortman, now in the Rijksmuseum in Amsterdam, is powerfully brought back to life in the best-selling novel by Burton, Jessie, The Miniaturist (New York: HarperCollins, 2014)Google Scholar. For the canonical study of early modern Dutch doll's houses see Pijzel-Dommisse, Jet, Het Hollandse Pronkpoppenhuis: Interieur en huishouden in de 17de en 18de eeuw (Zwolle: Waanders, 2000)Google Scholar.

¹¹ Broomhall, Susan, “Imagined Domesticities in Early Modern Dutch Dollhouses,” Parergon, 24, 2 (2007), 46–67, 50Google Scholar. The didactic function of these early modern dollhouses in also argued by Moseley-Christian, Michelle, “Seventeenth-Century Pronk Poppenhuisen: Domestic Space and Ritual Function of Dutch Dollhouses for Women,” Home Cultures: The Journal of Architecture, Design and Domestic Space, 7, 3 (2010), 341–63CrossRefGoogle Scholar.

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¹³ Persuasively rendered by Burton.

¹⁴ On the sexual dimension of the Stettheimer's edginess see Whiting, Cecile, “Decorating with Stettheimer and the Boys,” American Art, 14, 1 (2000), 24–50CrossRefGoogle Scholar. On the less persuasive but thoroughly argued social critique to be found in Florine's paintings see Linda Nochlin, “Florine Stettheimer: Rococo Subversive,” Art in America, Sept. 1980, 64–83.

¹⁵ Jean Nathan, “Doll House Party,” New York Times Magazine, 16 July 1995, Literature Resource Center, at go.galegroup.com/ps/i.do?p=LitRC&sw=w&u=duke_perkins&v=2.1&id=GALE%7CA150679646&it=r&asid=a65af22a5b06eeb2271304a8a8dacb95, accessed 26 May 2017.

¹⁶ For a very useful review of the literature on Camp and additions to it see Bryant, Marsha and Mao, Douglas, “Camp Modernism: Introduction,” Modernism/Modernity, 23, 1 (2016), 1–4CrossRefGoogle Scholar.

¹⁷ Sontag, Susan, “Notes on ‘Camp’,” Partisan Review, 31, 4 (1964), 515–30, 517Google Scholar.

¹⁸ Ibid., 524, 26.

¹⁹ Ibid., 517.

²⁰ Camp has also been commandeered for specifically politically purposes by gay intellectuals. See Meyer, Moe, “Introduction: Reclaiming the Discourse of Camp,” in Meyer, ed., The Politics and Poetics of Camp (London: Routledge, 1994), 1–19Google Scholar; and, more recently, several of the articles in the special issue devoted to Camp of Modernism/Modernity, 23, 1 (2016).

²¹ Arthur Danto, “Florine Stettheimer,” The Nation, 30 Oct. 1995, 514.

²² For an illustrated inventory of the gifts see Clark, Sheila W., The Stettheimer Dollhouse (San Francisco: Pomegranate, 2009), 46–62Google Scholar.

²³ Ettie Stettheimer, letter of 13 March 1918, in Florine and Ettie Stettheimer Papers, Yale University, Beinecke Rare Book and Manuscript Library, 1916–24, Box 7, Folder 129.

²⁴ Seigworth, Gregory J. and Gregg, Melissa, “An Inventory of Shimmers,” in Seigworth and Gregg, eds., The Affect Theory Reader (Durham, NC: Duke University Press, 2010), 1–25Google Scholar.

²⁵ Quinn Darlington, “Space and Gender in the Stettheimer Dollhouse and Duchamp's Boîte-en-Valise” (master's thesis, Notre Dame, 2012); Mileaf, Janine, “The House That Carrie Built: The Stettheimer Doll's House of the 1920s,” Art & Design, 11, 11–12 (1996), 76–81, 79Google Scholar.

²⁶ “Died,” New York Herald, 11 March 1889. His brokerage in the oil business fell into a shambles after his death. “Abraham Levy's New Charge against Firm of Stettheimer and Bettman,” New York Times, 19 Oct. 1899; “Business Troubles,” New York Times, June 4, 1898. Rossetta's son and eldest daughter married and moved West.

²⁷ “Florence Stettheimer, who wields a vigorous brush, has good color sense and a supreme disregard for local truth, is showing in the upper gallery at M. Knoedler & Co.’s 556 Fifth Ave., to Oct. 28, a dozen oils in which flowers, young and elderly women and a country mansion figure. A somewhat effective allegorical canvas is called ‘Spring.’ The figures, in the other works, are agreeably handled, but curiously colored, notably a young woman called ‘Morning,’ who has red hair and eyes, and a chalky skin. ‘Aphrodite’ is a statuette surrounded by flowers.” “Miss Stettheimer's Oils,” American Art News, 16 Oct. 1916, 3.

²⁸ Florine Stettheimer, “Florine and Ettie Stettheimer Papers,” Yale University, Beinecke Rare Book and Manuscript Library, 1871–1944, Box 6, Folder 109.

²⁹ Stettheimer, Ettie, Philosophy: An Autobiographical Fragment (New York: Longmans, Green and Company, 1917)Google Scholar.

³⁰ Ibid., 10.

³¹ Ibid., 102.

³² Ibid., 198.

³³ Identified convincingly as a self-portrait by Bloemink, Barbara J., The Life and Art of Florine Stettheimer (New Haven: Yale University Press, 1995), 66–68Google Scholar.

³⁴ Stettheimer, Ettie, Love Days [Susanna Moore's], in Stettheimer, ed., Memorial Volume of and by Ettie Stettheimer (New York: A. A. Knopf, 1951; first published 1923), 85–86Google Scholar.

³⁵ Sontag, “Notes on ‘Camp’,” 518–19.

³⁶ Van Vechten's Peter Whiffle, a book that is obsessed with rooms, appeared the year before Love Days. Vechten, Carl Van, Peter Whiffle (New York: The Modern Library, 1929; first published 1922)Google Scholar.

³⁷ An excellently illustrated survey of Florine's work is now available. Mühling, Matthias, Althaus, Karin, and Böller, Susanne, Florine Stettheimer (Munich: Städtische Galerie im Lenbachhaus und Kunstbau, 2014)Google Scholar.

³⁸ This figure is identified by Bloemink as the “Hindu poet Sankar” on the basis of a conversation with Donald Gallup in February 1991. I have not been able to identify such a poet, even with the generous assistance of Dr. Satendra Khanna of the Department of Asian and Middle Eastern Studies, Duke University.

³⁹ Stettheimer, Florine, Crystal Flowers: Poems and a Libretto (Toronto: Book Thug, 2010), 133–34Google Scholar.

⁴⁰ Stettheimer, Love Days, 200.

⁴¹ Strömqvist, Sven, Make-Believe through Words: A Linguistic Study of Children's Play with a Doll's House (Göteborg: Department of Linguistics, University of Göteborg, 1984)Google Scholar.

⁴² Florine and Ettie Stettheimer Papers, Box 6, Folder 114.

⁴³ Carrie Stettheimer, letter to Gaston Lachaise, in Florine and Ettie Stettheimer Papers, Yale University, Beinecke Rare Book and Manuscript Library, 1931, Series 1, Correspondence, Box 2, Folder 39.

⁴⁴ Ettie Stettheimer, Yale University, Beinecke Rare Book and Manuscript Library, 1916–24, Box 3, Folder 58.

⁴⁵ Kaitlin Vaughan, “The Stettheimer Dollhouse: A Biography, Part II,” Dolls' Houses Past & Present, 2009, at www.dollshousespastandpresent.com/issue25june2015p8.htm, accessed 3 Nov. 2015.

⁴⁶ For an emphasis on uncertainly about the alien as grounds for the uncanny see Jentsch, Ernest, “On the Psychology of the Uncanny” (1906), trans. Sellars, Roy, Angelaki, 2, 1 (1995), 7–16CrossRefGoogle Scholar.

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⁴⁸ Stoker, Bram, Dracula (Gutenberg Project, 2013; first published 1897)CrossRefGoogle Scholar; Hitchcock, Alfred, Psycho (Universal Studios, 1960)Google Scholar.

⁴⁹ Hoffmann, E. T. A., The Nutcracker and the Mouse King, trans. Mrs. Simon, St. (New York: D. Appleton and Co., 1853; first published 1816), 38–39Google Scholar.

⁵⁰ Milne, Alan Alexander, Winnie-the-Pooh (London: Methuen, 1926)Google Scholar.

⁵¹ In the original Italian tale of Pinocchio, the marionette is not so loveable. Collodi, Carlo, Pinocchio: The Adventures of a Marionette, trans. Cramp, Walter S. (Boston: Athenaeum Press, 1904; first published 1883)Google Scholar; Disney, Walt, Pinocchio (RKO Radio Pictures, 1940); MilneGoogle Scholar.

⁵² For a psychoanalytical treatment of dolls through the medium of literature see Carriker, Kitti, Created in Our Images: The Miniature Body of the Doll as Subject and Object (Bethlehem, PA: Lehigh University Press, 1998)Google Scholar.

⁵³ Bellmer, Hans, The Doll, trans. Green, Malcolm (London: Atlas Press, 2005; first published 1962)Google Scholar.

⁵⁴ Stettheimer, Love Days, 85–86.

⁵⁵ Spielberg, Steven, Poltergeist (Metro-Goldwyn-Mayer, 1982)Google Scholar.

⁵⁶ Noble, John, A Fabulous Dollhouse of the Twenties: The Famous Stettheimer Dollhouse at the Museum of the City of New York (New York: Dover, 1976), 6Google Scholar, claims that documents suggest that dolls were planned for Carrie's house. The documents are, however, not cited. More critically, Carrie never introduced dolls into her house.

⁵⁷ “Christmas is celebrated year round in the Stettheimer doll house.” Rita Reif, “Tiny Windows on the Past, with Playful Vistas,” New York Times, 22 Dec. 1996. The Stettheimer doll's house was not the only one to which Noble added figures. “As curator, Noble attracted attention in 1977 with an exhibit of historic dollhouses from the museum's permanent collection. One of the houses, dated 1863, included a number of black servants. In an interview with the New York Times, Noble said the house had long been displayed without the dolls, for fear of offending museum-goers. He returned them to the house. ‘Now we show them taking their true place in history,’ Noble said.” Mary Rourke, “Obituary: John D. Noble, 80,” Los Angeles Times, 14 Oct. 2003.

⁵⁸ Jennifer Dunning, “An Endless Christmas Party for 5-Inch Guests,” New York Times, 25 Dec. 1976.

⁵⁹ Ettie Stettheimer, Florine and Ettie Stettheimer Papers, 7 April 1906, Box 6, Folder 109.

⁶⁰ Mansfield, Katherine, “The Doll's House,” New Zealand Stories (Aukland: Oxford University Press, 1997), 258–66, 259Google Scholar.

⁶¹ Levinthal, David and Trudeau, Garry, Hitler Moves East: A Graphic Chronicle, 1941–1943 (New York and Albuquerque: Laurence Miller Gallery and the University of New Mexico Press, 1989)Google Scholar; Levinthal, David, History (Heidelberg: Kehrer Verlag, 2015)Google Scholar.

⁶² Maureen Howard and Laurie Simmons, “The Stettheimer Dollhouse,” Nest: A Magazine of Interiors, 1999–2000, 151–63. The conservation of the house in 2001 was funded by the Mary C. Harriman Foundation, the Lachaise Foundation, and the Beinecke Foundation under the auspices of the Museum of the City of New York.

⁶³ The Oortmann doll's house in the Rijksmuseum Museum in Amsterdam fares better. The comparison is, of course, unfair.