December 2014
he last month of the year began with your webmaster creating a web version of Richard Redgrave and Samuel Redgrave’s chapter on the Pre-Raphaelites. After meeting with the Director of the Brown University Libraries and the head of its digital scholarship group, he learned that only a single one of their projects relates to Victorian matters, but the enormous Anne S. K. Brown Military Collection includes, among many other things, hundreds of nineteenth-century images. Drawing upon this treasure trove of images, he began a sections in visual arts on the army in British India and the Boer War as well as adding to older material on the Crimean War. Turning to the Internet Archive again, GPL found the watercolors of the Boer War by Mortimer Menpes — an artist best known for his association with Whistler and the revival of etching and engraving — and from these he chose 47 to add to the site as well as the artist’s reminiscences people he encounted in Southern Africa, including Cecil Rhodes, Arthur Conan Doyle, Winston Churchill, and Lord Roberts, the Commander-in-Chief. (Thanks to both Jacqueline Banerjee and Tim Willasey-Wilsey for assistance deciphering text on some of the thirty-five watercolors and lithographs added to the site.
Landow also contributed two reviews, the first of a book, the second of an exhibition at the Metropolitan of Art in New York: first, “Radical skeptic, true believer,” a review of Larence Poston’s The Antagonist Principle: John Henry Newman and the Paradox of Personality, and second, “Death Becomes Her: A Century of Mourning Attire.”
The recent commemorations of well-remembered World War I demand that we also look back to the all-but-forgotten Boer War, which prepared for aspects of 1914 much as the Spanish Civil War did World War II. As a proof-of-concept project intended to show how the Victorian Web adds value to material available online, your webmaster has created an amplified, enriched web-version of Arthur Conan Doyle's a detailed history of the causes, events, and consequences of the South African conflict. Readers will encounter his text illustrated by (1) the watercolors of Mortimer Menpes, an artist usually remembered for his work in the Whistler circle, (2) British and German images of battles, and (3) many photographs of Boer leaders, army units, civilian life, and troops in action. Taken together, this Boer War project offers contrasting views of the events, though both sides agree about the gallantry of those they fought.
Philip V. Allingham continued his Dickens illustrators project, adding image scans, texts of passages illustrated, critical commentary, and images for comparison with other artists for twenty examples of James Mahoney’s visualizations of Oliver Twist, to which he added comparative works by Harry Furness, Sol Eytinge, and George Cruikshank.
Jacqueline Banerjee contributed “George Meredith: An Introduction,” after which she turned to things Parisian beginning with a lovely photo-essay on La Sainte-Chapelle, Paris and a new section on the great French Gothic revivalist, Eugène-Emmanuel Viollet-le-Duc, which includes his restoration of The Cathedral of Notre Dame, Paris. These pieces led to a brief study of Pugin's "French Connection", and an introduction to the architect Benjamin Ferrey, who accompanied the Pugins on their drawing tours to France. Ferrey's additions to St Nicholas' Church in Thames Ditton, Surrey, his vicarage there (though partly hidden by foliage) and St Paul's Cathedral on the island of St Helena, followed, as well as the series of Nathaniel Westlake's stained glass windows in St Nicholas, starting with The Three Maries at the Sepulchre. She also reviewed the exhibition of the Peréz Simón Collection at Leighton House Museum, which was entitled "A Victorian Obsession," and wrote a short piece on The Old Swan Inn at Thames Ditton.
Diane Greco Josefowicz contributed “Dark Margins: A Review of Lillian Craton's The Victorian Freak Show: The Significance of Disability and Physical Differences in 19th-Century Fiction.
Simon Cooke continues his survey of book design in the Victorian years with “Announcing the Laughter: Cloth Bindings Designed by Comic Illustrators,” to which he added his own photographs of book cover designs by Phiz, Charles Altamont Doyle, Ernest Griset, and George Cruikshank
Tim Willasey-Wilsey contributed four essays about Indian subjects illustrated with his own photographs: “The enigmatic Warren Hastings and his Calcutta properties,” “The relentless decline of Robert Clive’s house at Dum Dum,” “Blind Terror: The 1857 Rebellion in Pakistan,” and “The Asiatic Society of Bengal.” Then moving from South Asia to Africa, he wrote “Edmund Gabriel and the suppression of the Angolan slave trade.”
Antoine Capet contributed “A Visit to Red House: "The birthplace of the Arts & Crafts Movement".” Oliver Buckton, Professor of English at Florida Atlantic University, reviewed Peter Adam Nash’s The Life and Times of Moses Jacob Ezekiel: American Sculptor, Arcadian Knight. Liselot Quisquater contributed a brief note on the the illustrator “JM.”
On the twenty-ninth the site had 81,879 documents and images.
November 2014
ovember began with your webmaster's “Yet another Romance of the Archive: a review of Nigel Daly's The Lost Pre-Raphaelite: The Secret Life and Loves of Robert Bateman.” Landow then came across the Atlantic to give a brief talk at Google London, and since he was already there he attended five major exhibitions — those on Constable at the V&A, Moroni at the Royal Academy, Morris at the National Portrait Gallery, Rembrandt at the National Gallery, and Turner at Tate Britain). Upon his return he reviewed Kelsey L. Bennett’s Principle and Propensity: Experience and Religion in the Nineteenth-Century British and American Bildungsroman (2014).
Mining the Internet Archive’s web versions of The Magazine of Art continued to enrich our sections on the arts. New additions include a number of illustrated essays, including two by M. H. Spielman — “The Revival of Lithography. Its Rise and First Decline” and “Original Lithography. The Present Revival in England” — plus Gleeson White's “At the Sign of the Dial: Mr. Ricketts as a Book-Builder.” Conrad Dressler’s Crucifixion, Luke Fildes's Self-portrait, Edward Onslow Ford’s Dr. Dale, William Powell Frith's essay, “‘Realism’ versus ‘Sloppiness’” and his 1876 Self-portrait, and one by Mortimer Menpes, J. M. Swan’s Leopard playing with [a] tortoise, and Hamo Thornycroft’s Monument to the Hon. William Owen Stanley, and numerous works by Franz von Stuck and a portrait of him.
Jackie Banerjee wrote photo-essays about the interior and exterior of St Bartholomew's, Brighton and formatted, linked, and illustrated Antoine Capet's review of a Darwin Exhibition at the Natural History Museum, and also his review of the new William Morris exhibition at the National Portrait Gallery. She also reviewed the new paperback reissue of John Holmes's Darwin's Bards: British and American Poetry in the Age of Evolution. After that came accounts of three more stained glass windows in St James', Weybridge: Lavers and Barraud's Annunciation window, Nathaniel Westlake's Visitation window and the firm of Heaton, Butler and Bayne's lovely Palm Sunday window. On quite a different tack, she looked at St Mary's Lighthouse, Whitley Bay. She also wrote a short piece about St Cybi's Church, Holyhead, N. Wales, restored by Sir George Gilbert Scott, and reviewed Katherine Wheeler's Victorian Perceptions of Renaissance Architecture.
Andrzej Diniejko contributed “Charles Bradlaugh: A Victorian Apostle of Freethought and Atheism” to which Jackie Banerjee added a portrait and GPL three essays against theism and Christianity.
Simon Cooke continued his series of essays on Victorian book designers with an essay on Albert Warren accompanied by more than a dozen photographs and descriptions of book covers warren designed.
Antoine Capet contributed an essay on Emery Walker, the pioneering designer of fonts and a close associate of William Morris.
Joe Pilling contributed another fine book review, this time on A. N. Wilson's new life of Queen Victoria.
Stephen Sangirardi sent in “The Mariners Answer Ulysses,’ a dramatic monologue that responds to the speaker in Tennyson's famous poem.
Thanks to Andrew Marienberg for pointing out a repeated paragraph in one of the scanned texts of the Bridgewater Treatises.
The site had 80,733 documents and images on the seventeenth.
October 2014
ctober began with your webmaster adding material on the four “Lighthouse Stevensons” — Robert Stevenson and his sons Alan, David, and Thomas — and Thomas's famous son, Robert Louis Stevenson, which led, among other things, to photographs and paintings of the writer, his family, and homes in different parts of the world, including the watercolors of W. Brown Macdougall. Once again mining the rich ore in the Internet Archive produced images and information about various works of art, including Thomas Jackson's Grand Piano, four new paintings by Frank Dicksee, Frank Holl's Leaving Home, Paul Falconer Poole's Going out for the Night, Sir Edward Poynter's When the World Was Young and Diadumene, Solomon J. Solomon's A Reverie (and Arthur Garratt's chalk drawing of him painting at the Royal Exchange), and J. W. Waterhouse's The Oracle. GPL also added G. A. Storey's 1897 illustrated essay on Philip Hermogenes Calderon and a series of painted and sculpted portraits: Sir Joseph Edgar Boehm's bust, Benjamin Disraeli, John Jackson's Portrait of Sir David Wilkie, a photograph of J. D. Harding, and George Frampton's Leigh Hunt Memorial. In addition, the Internet Archive provided late Victorian photographs of the interior of Buckingham Palace, cartoons for Sir William Blake Richmond's mosaics in St. Paul's Cathedral, drawings of museums in Birmingham and Reading, a detail of Indian architecture.
GPL transcribed three essays about individual artists from issues of The Magazine of Art: “Our Rising Artists: Mr. W. Reynolds-Stephens,” “Philip Hermogenes Calderon, R.A.,” and Cosmo Monkhouse's “The Watts Exhibiton,” adding ten of the artist's works, and also reviewed an exhibition — Making Pottery Art: The Robert A. Ellison Jr Collection of French Ceramics (c. 1880-1910) at Metropolitan Museum of Art, New York — and several books, including John Paul M. Kanwit's Victorian Art Criticism and the Woman Writer and James Hamilton’s A Strange Business: Making Art and Money in Nineteenth-Century Great Britain.
A visit to Switzerland in September produced Jacqueline Banerjee's two-part photo-essay on Sir Leslie Stephen as a mountaineer, and a biography of him and and several photo-essays relating to Sir Arthur Conan Doyle: “The Reichenbach Falls near Meiringen, Switzerland” (where the battle-to-the-death of Holmes and Moriarty takes place), “Author and "Sportesmann": Sir Arthur Conan Doyle in Switzerland” (which tells in passing that Doyle introduced skiing to Switzerland), and “The English Church, Meiringen.”
After that came some more work on Sir Thomas Telford's Menai Bridge in N. Wales, and Robert Stephenson's Britannia Bridge over the Menai, nearby — two of the age's great engineering feats. The latter was guarded by sculptor John Thomas's four monumental Egyptian-style lions. Then off again to India, with an essay on the history of Delhi's oldest church, St James', with its memories of an older Imperial India and the Sepoy Rebellion, and the bizarre case of the East India Company's Delhi agent, Sir Thomas Metcalfe, who turned an early seventeenth-century tomb into his country house — "Dilkusha" (or Heart's Delight).
Andrzej Diniejko's biography of Annie Besant traces the fascinating arcs of this important woman's life — her movement through evangelical and tractarian belief to freethinking, atheism, and theosophy on the one hand, and through social activitism, campaigns for women's rights and birth control, to socialism, and freemasonary, and Indian independence on the other.
Simon Cooke contributed “William Makepeace Thackeray and Book Illustration,” “Thackeray and Book Illustration: Style and Purpose,” and “Illustration and Irony — Thackeray's Christmas Books plus a dozen of his illustrations.
Tim Willasey-Wilsey, a former Director of the British Foreign Service, joins us this month as our Assistant Editor for Military and Colonial History. He contributed “The Place of Slaughter. Umbeyla 1863” and “In Search of Gopal Drooge and the Murder of Captain William Richardson.”
Jay Rosenthal formatted Mia Chen's review of Ross G. Forman's China and the Victorian Imagination: Empires Entwined from Review19.Natalie Saudo-Welby's review of Laura Rotunno's Postal Plots in British Fiction, 1840-1898: Readdressing Correspondence in Victorian Culture appears this month by kind permission of the Cercles reviews editor, Antoine Capet. Patrick O'Sullivan, Visiting Scholar, New York University, has shared two reviews of books concerning the Irish Famine: Christopher Morash's Writing the Irish Famine and The Hungry Stream: Essays on Emigration and Famine edited by E. Margaret Crawford.
Antoine Capet, FRHists, Professor Emeritus of British Studies at the University of Rouen has reviewed Rosalind Blakesley's The Arts and Crafts Movement and Elizabeth Cumming's: Hand, Heart and Soul: The Arts and Crafts Movement in Scotland.
Thanks to “SilverTiger” for pointing out with remarkable graciousness a twice-repeated paragraph in the essay on Waterhouse's Lloyds Bank. Thanks, too, to Greg Bird for pointing out a typo.
As of the twenty-seventh the site has 80,276 documents and images.
September 2014
s the month began, your webmaster added materials from the British Museum, including two sets of tiles by J. P. Seddon — a set of nine forming a quatrefoil and another of four forming a stylized fleurs-de-lys and an ivory medallion portrait of Admiral Thomas Maitland, 11th Earl of Lauderdale (1803-1878) by Benjamin Cheverton, who invented a reducing machine for copying marble portrait busts on small scale. He also added “The 2014 Discovery of one of the ships from the Franklin expedition.” GPL reviewed Sculpture Victorious: Art in the Age of Invention, 1837-1901, the exhibition of sculpture that opened at the Yale Center for British Art on the 12th and next year will be at the Tate Gallery in London.
Next, created Victorian Web versions of the 100 chapters of Trollope's The Way We Live Now and its 40 illustrations. The plan is to integrate it with VW commentaries on specific passages the novel and James Kincaid's book on Trollope.
Philip Allingham has recently edited a special issue of The Dickens Magazine that contains sixteen essays, three by him and one by Jackie Banerjee. He also continued working on his Oliver Twist illustrations project, part of which included adding his scans of 28 plates by James Mahoney and a similar number by Harry Furniss.
Jacqueline Banerjee, having completed her series of photo essays on the architecture of Strawberry Hill, began work on the building's stained glass, creating seven essays containing three dozen photographs. Next, she provided essays on George Stephenson's Kilsby Tunnel, his life and birthplace at Wylam, Northumberland, and probably the oldest surviving train station in the world -- at Wylam. Another wonderful old Victorian station came next, Tynemouth, also in Northumberland, and two bridges: more work on Baron Armstrong's Swing Bridge on the Tyne, and a new piece on Robert Stevenson's High Level Bridge there, both great engineering feats for their times, and part of the sensational vista of central Tyne crossings at Newcastle.
Simon Cooke added a new artist to our illustration section, contributing “Mary Ellen Edwards and Illustration of the 1860s,” “Mary Ellen Edwards as an Illustrator of Fiction,” “Mary Ellen Edwards— Her Style and Influence” plus examples of her illustrations to which GPL added six illustrations of William Gilbert's Ruth Thornbury; or the Old Maid's Story.
Katherine Miller Weber completed her web version of Robert Hewison's John Ruskin: The Argument of the Eye, and GPL added the book's fifty plates. Weber next formatted the first three chapters of James Kincaid’s The Novels of Anthony Trollope, which the Clarendon Press published in 1977.
Tim Willasey-Wilsey, Senior Visiting Research Fellow at the Centre for Defence Studies, Kings College, London, contributed “The Memorial to the Queen’s Own Corps of Guides at Mardan, Pakistan,” “The “Sanguinary” Battle of Chillianwala and the “Lost Graves” of the 24th Foot,” and “Of Intelligence, an Assassination, East Indiamen and the Great Hurricane of 1808,” after which he sent in “Ten Churches of British India,” illustrated by his own photographs, and “Sudden Death in a Burmese Paradise.”
Patrick DePaolo contributed “Sir William Watson Cheyne (1852-1932): Bacteriologist and Surgeon.” Susan Guralnik reviewed Joy Spanabel Emery's A History of the Paper Pattern Industry: The home Dressmaking Fashion Revolution.
Mia Ridge, doctoral student in digital humanities at the Open University, sent along new information about Margaret Giles's Boy on a Tortoise. Thanks to Simon Montgomery for correcting the names of the painter and engraver of a portrait of Sir Walter Scott, and thanks to Casey Ward for spotting a spelling error. Graham Dry writes from Munich to correct information about a Leighton binding.
On the twenty-ninth the site had 79,794 documents and images.
August 2014
he month began with your webmaster creating icons, homepage, and subject lists for Mrs. Humphrey Ward plus various essays, including “Unitarianism and Robert Elsmere's new religion,” ““Well, if she was inconsequent, she was dear!” — The diminishing of Eugénie in Fenwick's Career,” “The Swindle and the double life in Fenwick's Career,” “Social class in Fenwick's Career,” “Passages discussing painting in Fenwick's Career,” “The tale of George Romney in Fenwick's Career,” and “Examples of Ward's word-painting” plus four illustrations of her work by Albert Sterner. In addition GPL added material on Emily Faithfull, and the English Women's Journal and on the divide in Victorian feminism between women's public rights and their private ones. Next, he created a section on W. S. Gilbert's book illustrations and added an image of the cover his “Bab” Ballads to our section on book design and two reviews — the first, “Charles LaPorte and Timothy Larsen on Victorian religion and Victorian literature” and the second on Charlotte Brontë’s Atypical Typology by Keith A. Jenkins. He also added a delightful example of Art Nouveau in illustration — Oskar Zwintscher's train with Art Nouveau smoke that looks eerily like the work of Maurice Sendak — and an interesting French version of the kind of work that appeared in Punch, Henri de Montaut's cartoon of a member of the minor nobility placing an enormous seal on a letter. Returning to British work, GPL added a drawing by Charles West Cope.
While vacationing in Nova Scotia, GPL came upon two interesting examples of Gothic Revival churches, the tiny wood Community Church in North Grand Pré and L'Église Sainte-Marie at Church Point, perhaps the largest wooden church in America. A visit to the Acadian Village in West Pubnico, Nova Scotia — Le Village historique acadien de la Nouvelle-Écosse — produced a series of photographs that you can find in “The blacksmith at work: making nails by hand” — one of the documents in the section on human-powered technology.
Philip V. Allingham added R. Knight's illustrations for Thomas Hardy's Under the Greenwood Tree, a project which involved reconfiguring the Hardy main page and adding photographs associated with places in the novel. He next began a project involving visual material related to Oliver Twist, contributing images and in-depth commentaries thirty plates by Felix Darley, including thirteen from Scenes and Characters from Dickens (1888). Next, he began to write commentaries for the original 24 Cruikshank illustrations.
Jacqueline Banerjee contributed a main page or sitemap for the stained glass designer Charles Hardgrave and his east window of St James' Church, Weybridge plus the sitemap for James Powell & Sons, Whitefriars. She then added a third stained glass designer new to the site — William Wailes — plus three of his windows, and his remarkable home, Saltwell Towers in Saltwell Park. In addition, she has identified several memorials in St. Paul's Cathedral by major sculptors, including Onslow Ford's Memorial to Sir George Grey, Sir Alfred Gilbert's Edward Bulwer-Lytton Memorial, Hamo Thornycroft's Sir John Goss, Knt., Francis Derwent Wood's Major-General Sir John Eardley Wilmot Inglis, and Farmer & Brindley's Memorial to Lt. Col Sir William Hutt Curzon Wyllie. Three monuments were by Marochetti, and this prompted a new collaboration with Caroline Hedengren-Dillon, who sent in photographs for a short essay on Marochetti's monument there to the Viscounts Melbourne, with its two lovely angels. Another collaboration was with Penelope Harris, who provided the text for pictures of Henry John Hansom's St Joseph's R.C. Church, East Greenwich. Many thanks to both. JB's last major project this month took the form of a series of eight photo essays containing more than 40 images on Horace Walpole's Strawberry Hill.
Katherine Miller Weber, who is creating a web version of Robert Hewison’s Ruskin: The Argument of the Eye, has completed the first seven chapters and also formatted dozens of reviews that Review 19 has shared with the Victorian Web, and GPL has created seventeen separate lists of reviews, such as those for architecture, decorative arts and design, gender matters, genre, history, literature, religion, and science.
Zack Rearick, M.A., a graduate student at Georgia State University, contributed a database of the meter in Christina Rossetti's “Goblin Market” plus How to Read the Database of the Scansion of Christina Rossetti's ‘Goblin Market’”
Thanks to Albert Hickson, who wrote identifying the open doorway in one of our photographs of Venice as the entrance to the convent of San Stefano.
As of the twenty-fifth the site had 78,896 documents and images.
July 2014
As the month began, your webmaster added Sally Mitchell's discussion of Francis Power Cobbe and workhouse visitation and her discussion of the Echo plus three interesting late-Victorian essays on women novelists from Project Gutenberg to the site — Edna Lyall's “Mrs. Gaskell,” Eliza Lynn Linton's “George Eliot,” and Mrs Parr's “Diane Mulock Craik. Next, GPL added materials Mrs Humphry Ward (Mathew Arnold's niece) including “Robert Elsemere's deathbed,” ““‘It is hard, it is bitter’ — Robert Elsemere's loss of belief,” and “To reconceive the Christ! — Robert Elsmere's New Brotherhood of Christ,” “There are drawbacks to having a St. Elizabeth for a sister” — Catherine Leyburn,” and selected passages from her works, such as “The living conditions of the rural poor in Robert Elsmere.
Philip V. Allingham began the month by completing the section containing sixteen plates for R. Knight's illustrations of Thomas Hardy's “Under the Greenwood Tree.”
After returning on a trip to Newcastle that produced hundreds of photographs, Jacqueline Banerjee sent in Sir Edward Coley Burne-Jones's drawing King's Daughters, which she added to the review by Joe Pilling, who has become a regular contributor, of Judith Flanders's A Circle of Sisters: Alice Kipling, Georgiana Burne-Jones, Agnes Poynter and Louisa Baldwin. She also reviewed Catriona Blaker's book on E. W. Pugin in Kent. Next, came a half dozen documents with stained glass by Clayton & Bell for St Peter's Church, Hersham, Surrey. She then added photos of sculpture by John Graham Lough, a difficult procedure that required removing distracting backgrounds from the images, which included his The Infant Lyrist Taming Cerberus, Cupid and Psyche, Boy Giving Water to a Dolphin, and Sabrina.
The trip north also produced an essay on Ewan Christian's restoration of Carlisle Cathedral, a biography of Christian, and more sculptural works: memorials to Bishops Harvey Goodwin by Hamo Thornycrof, and Francis Close by H H Armstead; and one to George Moore by John Acton-Adams. From Hexham came John Tweed's fine memorial to Colonel Benson, and, from Tynemouth, Alfred Turner's pensive Queen Victoria.
JB's other work this month included a new essay on Marochetti's first great equestrian statue, of Emmanuele Filiberto in Turin. She was helped here by Caroline Hedengren-Dillon, who herself contributed Marochetti's medallion portrait of his daughter Giovanna. Many thanks for that. Then JB sent in Vital Dubray's similarly iconic equestrian statue of Napoleon, in Rouen. Closer to home was Christ Church, East Greenwich by two architects of interest, John Brown and Robert Kerr. Finally, we opened a new section to bring together work on that quintessential Victorian, Samuel Smiles.
Diane Greco Josefowicz contributed “The Polyglot Darwin,” a review of Marwa Elshakry's Reading Darwin in Arabic, 1860-1950 (2013). She and GPL created a sitemap, “Reviews of books about science, medicine, and literature.”
Katherine Miller Weber, who's importing and formatting documents and images into the Victorian Web, has completed her first two documents — Jonathan Smith's review of George Levine's Darwin the Writer and Patrick C. Fleming's review of Juliet John's Dickens and Mass Culture. In the following days she added two dozen more.
Valeria Aleksandrova writes that she has translated one of our docs on early locomotives into Swedish, and Kate Bondareva e-mails from Germany that she's translated into French our directions for contributors.
Thanks to a reader who wishes to remain anonymous for sending us the correct full name of the sister of the architect Walter Granville, editor of his autobiography — Paulina Katinka Eliza Bozzi Granville, and thanks also to Gerry Newby for pointing out an incorrect image and to Joanna Penglase of Australia for letting us know that one of our off-site links no longer works.
On the twenty-eighth the site had 78,573 documents and images.
June 2014
n the first day of the new month, your webmaster completed the web-version of the third chapter of Marjorie Stone's book on Elizabeth Barrett Browning and a week or so later completed the entire book, after which he reviewed of Stephen J. May's Voyage of the Slave Ship: J. M. W. Turner's Masterpiece in Historical Context (2014). Creating web versions of parts of the Fine Art Society catalogue, Architects for a New Age, added to sections on the architect William Wilkins, Charles Barry, and Philip Hardwick and also created a new one for E. W. Godwin. After photographing Joseph Durham's The Rowers in a private collection, Landow added to the materials on the sculptor. Using new software — 3DRT Setup Utility Lisboa v.1.4.8.— he created a qtvr images of several sculptures whose rotation readers can control. These include the Durham, Thomas Brock's Frederick, Lord Leighton, and Frederick James Halnon's Peace.
After a trip to Ottawa for the opening of the Gustave Doré: Master of Imagination at the National Gallery of Canada, Landow reviewed this eye-opening exhibition and its excellent catalogue. As the month ended, he reviewed Terry Deary's Dangerous Days on the Victorian Railways: A history of the terrors and the torments, the dirt, diseases and deaths suffered by our ancestors.
Philip V. Allingham contributed an essay on Arthur Jules Goodman's illustrations for Hardy's "An Imaginative Woman" (1894) and another —his first published article — “The Naming of Names in Charles Dickens's A Christmas Carol.” In the second half of the month he created a section for an artist new to this site — R. Knight, who illustrated Thomas Hardy's Under the Greenwood Tree.
Jacqueline Banerjee finished her work on Pugin at the very end of last month with two of the preparatory drawings for the Houses of Parliament, went on to format Joe Pilling's review (see below) with two sets of selected passages about Archbishop Benson's extraordinary wife Mary Benson and her "unequal marriage" (these last with help from GPL!), and next turned to R. R. Goulden's touching memorial for the social reformer and feminist Margaret MacDonald in Lincoln's Inn Fields. She also added pictures of the original interiors of Leighton House to modern photographs of it, giving some contemporary views of the artist's home.
Some collaborations followed: with John Kemp over Old Place in Lindfield, Sussex, home of his great-great-granduncle, the stained glass artist Charles Eamer Kempe; and with Clodagh Brown over the work of her greatgrandfather Ralph Hedley in St Nicholas, Newcastle (this was a rewrite of an earlier entry). Many thanks to both. She then looked at J. L. Pearson's St James' Church, Weybridge. This involved opening sections for two new stained glass artists, George Hedgeland and Michael O'Connor, as well as adding works by familiar names such as Sir Edward Burne-Jones, and Francis Chantrey.
Simon Cooke contributed an introduction to periodical Belgravia “ and Visualizing the Sensational: George du Maurier’s Illustrations for The Notting Hill Mystery in Once a Week,” after which he created a section on an illustrator new to the Victorian Web, Paolo Priolo
Joe Pilling reviewed Rodney Bolt's As Good as God, as Clever as the Devil: The Impossible Life of Mary Benson.
Thanks to James Heffernan, founder and editor-in-chief of Review 19 for generously sharing the reviews on his site with readers of the Victorian Web. The first one on our site is Laurence Davies's brilliant review of Jonathan H. Grossman's Charles Dickens's Networks: Public Transportation and the Novel. Over the next few days, Landow put up six reviews of books about Dickens, three about Trollope, two on Tennyson, and two dozen on more general subjects plus several each in other sections of the site, such as Genre, Gender Matters, Technology, and Social and Political History.
Penelope Harris, a new contributor, sent in a biography of the architect-inventor Joseph Hansom and the church he and his son designed: Church of the Holy Name of Jesus (R.C.) in Chorlton-on-Medlock, Manchester; Jackie Banerjee provided the photographs. Thanks to Dr Trudi Tate, Clare Hall, Cambridge University, for sending in her transcription of “Alma,” a Crimean War poem by R. C. Trench and Hollie Mantle for send in Luke Rees's “Blood, Betting and Baiting: The Dark History of London’s Pubs.”
On the thirtieth the site had 78,227 documents and images.
May 2014
he Fine Art Society, whose contributions fifteen years ago essentially began our sections on visual arts, has just shared a half dozen catalogues with us, and your webmaster created a web version of Gordon Cooke's Whistler on the Thames, which contains detailed discussions of fourteen of the artist's etchings and lithographs, and the same editor's Samuel Palmer, His Friends, and Followers allowed the addition of work by three artists to the site: a dozen etchings by Samuel Palmer, three paintings and six engravings and lithographs by Edward Calvert, and two paintings by George Richmond. In addition, the Victorian and Edwardian items in Masterpieces from the John Scott Collection provided essays on the following works of decorative art: William Burges's Wheel of Fortune table, William de Morgan's Fishing Lesson charger, yellow glazed four-handled vase with grotesque masks, Thomas Jeckyll's sunflower andirons, Minton & Company's vase decorated in the pseudo-cloisonné, and Harry Clarke's “Mr Gilhooley” by Liam O’Flaherty from the Geneva window.
After a collector who wishes to remain anonymous contributed photographs of Victorian and Edwardian medals and information about them, your webmaster spent the first few days in April creating html documents for them. This collection includes multiple new works by three artists — (1) Frank Bowcher (Col. J.F. Lewis R.E., Comitatus Vigorniæ , Edward Allen Baron Brotherington of Wakefield, Montague John Rendall, Tower Bridge opening medal, 1894, David Lloyd George , Franco-British Medal, 1908, and the Queen Victoria Diamond Jubilee Badge); (2) Emil Fuchs (Aerial Crossing of the English Channel medal, South African Campaign Peace Medal , George V Coronation Medal, and Queen Victoria household medal); and (3) Benjamin Wyon (Sir Christopher Wren, Sir John Vanbrugh, Sir William Chambers (after Richard Westmacott)). In addition, this contribution contained single works by other medallists, many new to the site. We have, for example, Charles John Allen's 700th Anniversary of Liverpool; Gilbert Bayes's Railway Centenary Medal; Charles Bell Birch's Edward, Prince of Wales; George William De Saulles' Edward VII Board of Education Medal; Charles Doman's Unveiling of Cenotaph; Conrad Dressler's M.B. Lucas; Alfred Drury's Lest We Forget (World War I medal); Sir George Frampton's City of London Imperial Volunteers medal; Walter Gilbert's Liverpool Cathedral Ernest George Gillick's 1926 General Strike Service medal; Ethel Alice Chivers Harris's Edward Gascoigne Bulwer; William Goscombe John's Thomas Edward Ellis Edouard Lanteri's R. Phene Spiers ; Alphonse Legros's Sinclair Compton VIII – Duke of Devonshire; Erik Lindberg, Stockholm Summer Olympics Medal 1912 (obverse); Sir Edgar Bertram Mackennal's Stockholm Summer Olympics Medal (reverse); Alfred Bertram Pegram's Jutland Victory Medal; Edward Carter Preston's 1919 Peace Medal (Bethnal Green); Theodore Spicer Simson's Aerial Crossing of the English Channel medal; Harold Stabler's Merchantile Marine Medal; Alfred Joseph Stothard's Reynolds; Sir W. Hamo Thornycroft's James T. Chance Leonard Charles Wyon's Hogarth; William Wyon's Sir Francis Leggatt Chantrey . In addition to these medals the following sculptural works have been added: Conrad Dressler's untitled portrait disk, Albert Toft's untitled head of a bearded man, perhaps a prophet, Ellen Mary Rope's letterbox, Alfred Drury's Innocence, Mary Seton Watts's St. Cecilia, Elsie March'Portrait bust, and a copper tazza by an unknown artist.
Visits to the National Science Museum produced images of three pioneering locomotives, Puffing Billy — “the oldest surviving locomotive in the world,” Robert Stephenson's Rocket — “the first modern steam locomotive,” and Stephenson and Joseph Locke's Columbine.
Philip V. Allingham began or continued several major projects, the first of which concerns Edward Dalziel's illustrations of Dickens's Christmas stories. Second, he began a section of reactions to the Crimean War in periodicals ranging from The Illustrated London News to Punch. In addition, he added two of John Leech's important political cartoons with extensive commentary — Substance and Shadow and Capital and Labour.
Jacqueline Banerjee created a new section in architecture on the remarkable Sarah Losh (1785-1853), which includes a biography and photo-essay on St Mary's Church, Wreay. Thanks to Bob Morgan for sharing his photographs with us. Since then she has been working on the sculpture of Baron Marochetti, adding his effigies of Prince Albert and Queen Victoria at Frogmore Mausoleum, a drawing of the missing angel for Bellini's tomb in Paris, a medallion of his wife Camille, and a bas-relief portrait of his sons. Many thanks to Caroline Hedengren-Dillon for her photographs of these last three. JB has also translated from the French a fascinating article by Caroline Hedengren-Dillon on Baron Marochetti's insertion of portraits of his family his bas relief, "The Meal at Simon's House" in the Church of the Madeleine"
But then back to the visual arts — Perkin's bust by Pomeroy, and commentaries on some more of Robert Freidus's photographs of important monuments in Highgate Cemetery: of the travelling menagerist George Wombwell; the founder of the famous furniture store, John Maple; the sculptor Alfred George Stevens; the pugilist Tom Sayers; and the physician Joseph Hodgson. To these she added her own pictures of the Lendy Memorial in Sunbury-on-Thames, and Freidus's haunting picture of the Chothia monument in Brookwood Cemetery. Then, much more slowly than your webmaster, she has been formatting and adding commentaries to some of Pugin's secular and domestic designs, in one of the catalogues kindly given by the Fine Arts Society — from door grills for the Palace of Westminster, to bookcases and an incense boat. She also formatted a wide-ranging new article on Men on the Town: Writing Late-Victorian London by Amy Milne-Smith, a fine contribution to our "Gender Studies" section.
Andrzej Diniejko reviewed Chris R. Vanden Bossche 's Reform Acts: Chartism, Social Agency, and the Victorian Novel, 1832-1867. Later in the month attended a conference in Warsaw titled: Wiktorianie nad Tamizą i nad Wisłą (Victorians on the Thames and Vistula) and enjoyed it immensely. The two-day conference, which attracted both Polish Studies and British Studies scholars, was devoted to reflection on various forms of presence of the works of Victorian writers and Victorianism as a model of culture in Polish cultural awareness and in the Polish literature of the second half of the nineteenth century and later periods.
Simon Cooke formatted and added links to Paul Goldman's introduction to the life and works of the illustrator Matthew James Lawless. In addition, he greatly expanded our section on the illustrator Charles Keene, adding several dozen plates and several essays including Once a Week, Keene, and Samuel Lucas, Keene and social comedy: George Meredith’s Evan Harrington, Creating a late medieval world: Illustrating Charles Reade's A Good Fight, Keene and Sensationalism: Ellen Wood's Verner’s Pride, and A note on Keene and the technical processes of transferring the image on to the wood-block.
Joe Pilling reviewed of Amy Milne-Smith's London Clubland: A Cultural History of Gender and Class in Late-Victorian Britain.
Rupert Maas and the Maas Gallery have kindly shared the following images and information with Victorian Web: William Etty's The Pastoral Concert, after Titian plus Seated Nude and Nude from behind plus single works by William A. Breakspeare, Charles Altamont Doyle, Evelyn de Morgan, William Edward Frost, and William Mulready.
David Trestini asks an interesting question about a decade-old undergraduate commentary about a poem by Christina Rossetti. Here's my response.
A bit of fluff: Drama TV sends us their survey of "The most haunting characters in adaptations of Victorian Fiction in Drama, Cinema, and Television" in which Miss Havisham tops the list.
Many thanks to Albert Hickson of Peterborough for sending in multiple suggestions and corrections of materials in the sculpture section. Thanks, too, to Ashley Faulkner for correcting a real howler — a misattribution of Tract 80. Later in the month Kathleen Diana Ravenhill Schoch pointed out some mistranscriptions of the signatures of her great-great-grandfather, Leonard Raven Hill.
On the twenty-sixth the site had 77,539 documents and images.
April 2014
he month began with your webmaster putting online two paintings relating to Henry Wallis discovered in the Hathi Trust's e-versions of the Art-Journal: Wallis's own Found at Naxos and W. B. Morris's Chatterton's Half-holiday — an obvious work to compare to Wallis's most famous painting. The Art-Journal of different dates also provided images and information about five paintings by John Melhuish Strudwick with commentary by George Bernard Shaw, and works by John Burr, Frederick Goodall, James Noel Paton, Rebecca Solomon, and Marcus Stone.
Prompted by Jacqueline Banerjee's formatting and illustrating Antoine Capet's "Orientalism Revisited: Art and the Politics of Representation." Report of a Symposium at Tate Britain, he transplanted a section on Edward Said's Orientalism from his old Postcolonial Literature and Culture site to the Victorian Web. Searching various issues of the Art-Journal produced A. Johnson's The Sabbath Eve, a selection of illuminated initial letters, Thanks once again to AD Antiques for sharing with us images and information from their collections of Victorian and Edwardian ceramics by Della Robbia, Doulton, and De Morgan. Shortly before leaving for London, he reviewed the Metropolitan Museum of Art's exhibition, “The Passions of Jean-Baptiste Carpeaux.”Since arriving in London, your webmaster has photographed the remains of the exterior and interior of St Saviour's Church, Walton Place in Kightbridge, most of which has been converted to a theatre and other uses. Many thanks to Ms. Janine Gillion, who generously explained the history and recent conversion of the church. Visits to the Victoria & Albert, which included enjoying its major exhibition of post-WWII Italian fashion and the wonderful new architecture and glass galleries, produced photographs of J. E. Boehm's Eurydice and John Graham Lough's Puck.
Philip V. Allingham, who is off again lecturing on Dickens in Poland, created a series of a dozen illustrated essays on Sol Eytinge's illustrations for Dickens's Uncommercial Traveller and Additional Christmas Stories. He and Andrzej Diniejko together reviewed Joseph P. Jordan's Dickens Novels as Verse.
Following her essay on St John's Church, Kolkata, and some of its monuments, Jacqueline Banerjee's main work this month has been a two-part piece on the Prince of Wales's tour of India in 1875-76, which brought out many good qualities in the future king. She then spent some time formatting and illustrating very welcome reviews: another by Antoine Capet, of a Millais exhibition at the Tate, and one by Ellen Moody of Simon Heffer's High Minds. Many thanks to both contributors. The next review was her own, of the splendid catalogue of the William Burges exhibition in Cork, Searching for the New Jerusalem. Then she put up and wrote about some lovely photographs of North Wales contributed by Bob Morgan, for which we opened a new section in our "Places" section. These started with Llandudno Pier, the longest pier in Wales. She added an essay to these pieces on Dinorwic Quarry and the Quarrymen's Lives.
Simon Cooke added illustrations by Hugh Thomson to his new section on the artist-designer.
Joe Pilling wrote a detailed review of Jane Ridley's Bertie: A Life of Edward VII that JB formatted, adding links and images.
The French-language magazine, Cycles, asked for and received permission to use one of our images.
Thanks to Jonathan Miller for correcting a typo and also pointing out that one refers to the famous residences near Piccadilly as “Albany” and not “the Albany.”
As of the twenty-eighth the site had 76,785 documents and images.
March 2014
fter reviewing the Ottawa Ruskin show and its catalogue last month, your webmaster received permission from the Ashmolean Museum, the University of Oxford, and the Ruskin Foundation at Lancaster University to add images in the catalogue of that show and another at the Watts Gallery to our site. As a result, we have been able to replace some older monochrome reproductions of Ruskin's drawings and watercolors with excellent color images and also to add several dozen new works. In addition, the site now has seventeen daguerreotypes either by Ruskin or in his collection. Continuing with things Ruskinian, Landow reviewed Robert Brownell's Marriage of Inconvenience: John Ruskin, Effie Gray, John Everett Millais and the surprising truth about the most notorious marriage of the nineteenth century.
He also created a section on Byzantine architecture drawing upon Bannister Fletcher and Ruskin, and later in the month he created a similar section on Romanesque architecture and the Romanesque revival. Next, turning to illustrations, Landow drew upon the Hathi Trust digital library to add 79 of Sir Edwin Landseer's drawings and watercolors reproduced in a twelve-part article in the 1875 Art-Journal, after which, drawing upon his personal library, he added thirty-four of David and William Bell Scott's illustrations for Bunyan's The Pilgrim's Progress.
After John Rowe send along photographs of what might be a study for Holman Hunt's The Finding of the Saviour in the Temple. Landow put them online with a discussion of the pros and cons of the case. On the way to Susquehanna University, where your webmaster gave two talks, he drove an hour out of the way to the superb Railway Museum of Pennsylvania, which has replicas of two early locomotives — John Steven's Steam Wagon and Stephenson's John Bull.
Philip V. Allingham completed his work on E. W. Haslehust's watercolors of Dickens-land, adding 15 of the artist's paintings to that artist's section, after which he added a dozen of F. O. C. Darley's illustrations to Dickens that included his usual combination of the text illustrated, detailed commentary, and comparative images by other artists. Next he added more than a dozen illustrations of Dickens works by A. A. Dixon, beginning with a depiction of Miss Havisham tell Pip, "It's a bride cake. Mine!" and the title-page for Great Expectations.
Continuing her work on British India, Jacqueline Banerjee has contributed photo essays on several major projects by E. L. Lutyens in New Delhi, whose subjects include The Viceroy's House (Rashtrapati Bhavan) in New Delhi; its forecourt, gardens and walls, and the All-India War Memorial Arch. She has also begun a new section on railways in British India, which already comprises an introduction, history of the narrow gauge Kalka-Shimla Line, and several locomotives, including the Rajputana Malwa Railway (RMR) no. F734 — the first built entirely in India. Churches and memorials in India also provided material as Banrejee contributed Monument to Major-General William Nairn Forbes in St Paul's Cathedral, Kolkata. In addition she had time and energy to edit and format Sarah Sullivan's essay on Richard Norman Shaw's Hitherbury House, Guildford.
Simon Cooke created a section on the illustrator and book designer Charles Henry Bennett (1828–67), which includes a biography plus essays on Bennett as a satirist and comic artist, his relation to the emblem tradition, his illustration of The Pilgrim’s Progress and twenty sample illustrations.
Ian Cawood, Head of History at Newman University, Birmingham, U.K., has contributed a review of By-Elections in British Politics, 1832-1914, which originally appeared in Cercles.
Thanks to the following: (1) Dickie Felton, Communications Manager, National Museums Liverpool, for sharing with us posters for late-Victorian shipping lines that will appear in a forthcoming exhibition. (2) AD Antiques for sharing images of two more works by the Martin Brothers — a tobacco jar in the shape of a comical grotesque bird and a long slender jug portraying an eskimo. (3) Sarah Colegrave for permitting us to include a number of her gallery's holdings, including three works by Walter Greaves that depict Chelsea — Second Hand Furniture Shop, Duke Street, Milk Shop, Lawrence Street, and Stokes Bootmaker, Lombard Street — plus Francis Derwent Wood's Nude Torso, James Havard Thomas's Portrait of Almina Wertheimer and George Howard's Cottage at Barford, Churt, Surrey. (4) James Graham-Stewart for sharing a photograph of Sir Richard Westmacott's Paolo and Francesca.
Thanks to John Hodges for pointing out that a link in our essay on Tower Bridge went to the wrong Brunel and to Albert Hickson for pointing out an incorrect date of Burne-Jones's Laus Veneris in a old student essay.
As of the thirtieth, the site has 76,379 documents and images.
February 2014
our webmaster began the month with a review of Laura Euler's The Glasgow Style, the work for which prompting creating a sitemap (homepage) for that movement in the design section as well as others for Archie Campbell, Ethel Larcombe, Jesse M. King, and Talwin Morris. He next created a new section for leather bookbinding, adding material by late-Victorian and Edwardian book binders.
Last month Landow reviewed Claire Tomalin's The Invisible Woman, which Sony Pictures Classics had sent our editors in advance of the forthcoming movie of the same name. The film finally reached Providence, Rhode Island, at mid-month, and Landow wrote a review that examines the different ways scholarly books and cinema tell their tales. Landow attended the opening in Ottawa at the National Gallery of Canada of Christopher Newall's important exhibition, John Ruskin Artist and Observer, and he reviewed both show and massive catalogue. Prompted by an exhibition on Gustave Doré this coming June in Ottawa, he greatly enlarged our section on the artist and illustrator.
Philip V. Allingham, having completed the enormous comparative project involving Harry Furniss's illustrations of Dickens, is now working on two projects: E. W. Haslehust's watercolors of Dickens-land and F. O. C. Darley's illustrations of Dickens fiction.
Jaqueline Banerjee's magnum opus this month took the form of creating a new section about Byzantine Revival architecture, which includes a long essay on the revival plus photo-essays about John Oldrid Scott's Santa Sophia (Greek Orthodox Cathedral of Aghia Sophia), London, and Sidney Barnsley's The Church of Jesus Christ and the Wisdom of God, Lower Kingswood, Surrey. JB's work this month also included "Maggie Tulliver and Girls' Education in The Mill on the Floss," and two new entries for the Welsh architect Edwin Seward: the former Cardiff Coal and Shipping Exchange, and the former Harbour Trust Building, Swansea.
Andrzej Diniejko, who created the section on Victorian socialism last month, has added “Christian Socialism in Victorian England.”
Diane Greco Josefowicz has written a substantial essay entitled “Recent Studies of Victorian Psychology and its Relation to Victorian Literature” that discusses among other things cognitive cultural studies, cognitive literary historicism, and the more general problem of understanding Victorian theories of psychology and mind and then determining to what extent they help us better understand Victorian literature.
Simon Cooke has contributed illustrated essays on the book-cover designs of A. A. Turbayne and Laurence Housman.
Antoine Capet of the University of Rouen has very kindly shared with us some more of his informative reviews, of: Tim Barringer's Pre-Raphaelites: Victorian Avant-Garde; Judith Neiswander's The Cosmopolitan Interior: Liberalism and the British Home, 1870-1914; Catherine Arscott's William Morris and Burne-Jones: Interlacings; and Allen Staley's The New Painting of the 1860s: Between the Pre-Raphaelites and the Aesthetic Movement.
George Robinson contributed “ The Edinburgh Fire Brigade, 1837-72” and promises to send some photos to accompany his brief essay.
Thanks to a reader who identifies himself as Silver Tiger for pointing to a broken offsite link.
As of the twenty-fourth the site had 75,481 documents and images.
January 2014
our webmaster continues work on the twenty-fifth-anniversary web-edition of Alice H. R. H. Victorian Bibliomania: The Illuminated Book in Nineteenth-Century Britain. In addition, he reviewed a book on Steampunk and Michael Forres's Art Bronzes and made some observations on Claire Tomalin's The Invisible Woman, which Sony Pictures Classics had sent our editors in advance of the forthcoming movie of the same name. He and John Pankhurst worked together to format and put online more than 50 photographs and captions for Bell & Beckham's stained glass plus one of their painted tiles and other church decorations.
Phillip V. Allingham has completed his Harry Furniss project, having written more than 100 comparative essays on the illustrator's work on Dickens's fiction.
Jacqueline Banerjee has contributed “Cultural Imperialism or Rescue? The British and Suttee.” Her work on the visual arts includes Edward Lears The Cedars of Lebanon, Richard Reginald Goulden's War Memorial in the Royal Borough of Kingston-upon-Thames, London, the The Rossetti family grave in Highgate Cemetery, and that for Welsh-born sculptor Joseph Edwards plus various sculpture on Vauxhall Bridge, including Pomeroy's Architecture and Engineering and Drury's Science and Education.
Simon Cooke created a new sections for three illustrators who were also book designers — George Heywood Sumner, Arthur Gaskin, and Hugh Thomson. Each section contains a biographical essay and introduction and several plates.
Diane Greco Josefowicz has reviewed Jennifer Esmail's Reading Victorian Deafness: Signs and Sounds in Victorian Literature and Culture (2013)
Annie Creswick-Dawson contributed “The Creswick sculptures on the Bloomsbury Library, Birmingham,” which originally appeared in The Friends of Brantwood. Mike Hickox contributed an essay on Henry Wallis's Back from Marston Moor.
Antoine Capet, reviews editor of the inter-disciplinary journal Cercles, has kindly shared seven reviews with us. His own are of Elizabeth Prettejohn's The Art of the Pre-Raphaelites and Laura MacCulloch's Pre-Raphaelite Treasures at National Museums Liverpool. Four others are by Laurent Bury: J. B. Bullen's Rossetti, Painter and Poet; Margaret F. McDonald and Patricia de Montfort's An American in London: Whistler and the Thames; Spike Bucklow and Sally Woodcock's Sir John Gilbert: Art and Imagination in the Victorian Age; and Nicholas Tromans' Richard Dadd: The Artist and the Asylum. Another review, by Hugh Clout, is of Drew Gray's London's Shadows: The Dark Side of the Victorian City. Thanks to Jackie Banerjee, who illustrated and formatted these welcome essays.
Emma Coleman writes from the de Morgan Centre to announce an exhibition that includes a rarely-seen portrait of Pre-Raphaelite artists’ model Jane Morris.
Alexander Mirgorodskiy of Taganrog, Russia, asked for and received permission to use one of our images in his book on the attacks of the British and French on Taganrog and Azov Sea coast in the summer of 1855. Courtney Quigley, Exhibitions and Programs Production Manager of the Chicago Botanic Garden asked for and received permission to use one of our images “for an informational panel about Orchid History.” Piret Põldver, Editor of Maurus Publishing House in Tallinn, Estonia, has received permission to translate our web version of Carlyle's “Signs of the Times.”
Thanks to Alane Lim for pointing out broken links caused by reformatting some documents, and thanks to Carl Eichenlaub for pointing out a missing document in the In Memoriam project.
As of the twenty-seventh the site had 74,801 documents and images.
Last modified 5 January 2024