In "Paris: Capital of the Nineteenth Century," theorist Walter Benjamin refers to Edgar Allan Рое as a "physiognomist," of both the private interior and the public urban crowd, within a discussion of the flaneur —the strolling observer of the nineteenth-century city. Benjamin alludes in his essay to Charles Baudelaire's "The Painter of Modern Life," which also links Рое to the flaneur. A full examination of what these two seminal writers and thinkers meant by connecting Рое with the flaneur has not been attempted to date, and is the aim of the present study.