The first volume of this work, covering the period from 1741-1850, was issued in 1931 by another publisher, and is reissued now without change, under our imprint. The second volume covers the period from 1850 to 1865; the third volume, the period from 1865 to 1885. For each chronological period, Mr. Mott has provided a running history which notes the occurrence of the chief general magazines and the developments in the field of class periodicals, as well as publishing conditions during that period, the development of circulations, advertising, payments to contributors, reader attitudes, changing formats, styles and processes of illustration, and the like. Then in a supplement to that running history, he offers historical sketches of the chief magazines which flourished in the period. These sketches extend far beyond the chronological limitations of the period. The second and third volumes present, altogether, separate sketches of seventy-six magazines, including The North American Review, The Youth's Companion, The Liberator, The Independent, Harper's Monthly, Leslie's Weekly, Harper's Weekly, The Atlantic Monthly, St. Nicholas, and Puck. The whole is an unusual mirror of American civilization.

"John Sullivan Dwight (1813-93) was for much of the nineteenth century America's leading music critic. Born into a musical family and educated at several premiere Boston schools, he fell under the spell of New England Transcendentalism during which time he befriended Ralph Waldo Emerson, Elizabeth Palmer Peabody, Margaret Fuller, George Ripley, and others of a similarly progressive mindset. Dwight resided at the socialist/utopian community of Brook Farm where he learned the art of journalism and the business of publishing while writing for The Harbinger. He wrote on many topics-Transcendentalism, of course, but especially on music and musical performance. Dwight was a skilled communicator, and he conveyed ideas powerfully, persuasively, and constantly in language that had recently been given verve by German Romanticism and Emersonian Transcendentalism. When Brook Farm collapsed, Dwight's professional prospects ran desperately low. After several years as a journeyman writer, he launched in 1852 his own Dwight's Journal of Music: A Paper of Art and Literature, a newspaper that firmly established him as a serious music critic. The Journal was published regularly until 1881. It was and remains an important periodical. In its own time, it spoke to America's growing appetite for art music; today it is indispensable for research into nineteenth-century American classical music, especially in Boston. This biography follows Dwight's fascinating life as he meets and writes about some of the era's most crucial intellectuals and musicians. His enormous body of essays, reviews, and translations, much of it illuminated here, leads to the conclusion that Dwight the Music Critic and Dwight the Transcendentalist are inseparable"--