December 2018
ritish India occupied the closing days of last month and the first ones of December as your webmaster realized that Blackie’s Imperial Gazetteer’s material on South Asia provided a valuable means of enriching and organizing our already abundant collection of photographs, paintings, Victorian essays, and modern commentaries. Thus far Landow had created sections with sitemaps (homepages) for individual cities, including, Agra, Benares, Bombay, Calcutta, Jeypore, Lucknow, Madras, Mysore, and Trevandrum. Before adding some obviously missing cities, such as Delhi, your webmaster next adapted the long Imperial Gazetteer entries on both India and Hindustan. All this material, which comes from volumes whose title-pages bear the date of 1856, has particular importance because it immediately precedes the 1857 Mutiny!
After formatting The Imperial Gazetteer’s brief mentions of South Asian architecture and religion, your webmaster realized that material available both online and on his own bookshelves would enable an efficient means of organizing our already abundant materials on these subjects. His out-of-copyright 1905 edition of Bannister Fletcher’s History of Architecture on the Comparative Method provided definitions, discussions, and illustrations of the subcontinent's architectural styles, including the Buddhist, Jaina, The Northern Hindu (or Brahman) style as well as the Hindu Chalukyan and Dravidian modes, and the Muslim Saracenic and Mogul styles. This new information, photographs and detailed drawings permitted the creation of sitemaps (or homepages) for these subjects that functioned as centers for both Victorian materials and modern photographs.
After visiting the the Peabody Essex Museum in Salem, Massachusetts, Landow wrote “Questions Hidden in Plain Sight, a review of ‘Empresses of China’s Forbidden City.’”
Jackie Banerjee opened the month by reviewing the new exhibition at the Guildhall Art Gallery, "Seen & Heard: Victorian Children in the Frame", and made a new entry for the genre painter, Thomas Webster, including his biography and such well-known paintings as The Smile and The Frown. She also wrote about two great paintings by Turner: War. The Exile and and the Rock Limpet and Peace: Burial at Sea. Then (inspired by last month's holiday reading of Martin Chuzzlewit), she wrote an essay entitled "Seth Pecksniff, Architect." This was followed by a new section for the Royal Mint engraver, William Wyon, with his silver one-rupee coin for India; and a new section for the Lancaster architects, Paley and Austin, with their work on Lancaster Cathedral, including some lovely stained glass there, like Hardman's west window, Christ in Glory. All the Lancaster pictures were kindly supplied by our skilful contributing photographer, Colin Price. At the end of the month, JB wrote a short piece about Falmouth Art Gallery in Cornwall, and opened a new section for the water-colourist Edith Martineau. It includes a striking view of Hampstead Heath in December and her deservedly popular Touching the Strings.
Many thanks to reviews editor Professor Antoine Capet and his authors at the online journal Cercles for sharing with us: Antoinette Burton's review of Miles Taylor's Empress: Queen Victoria and India; Iain Hampsher-Monk's review of Edmund Burke and the Invention of Modern Conservatism, 1830-1914: An Intellectual History; and Gilbert Bonifas's particularly detailed review of William Morris's Utopianism: Propaganda, Politics and Prefiguration.
Andrzej Diniejko contributed a detailed chronology for the slum novelist and social reformer Margaret Haskell.
Thanks to Aline Gay, Fanny Guilbaud, and Damien Lenoir from Université Bordeaux-Montaigne, France, for contributing “Britannia as the embodiment of Great Britain.” Thanks also to Maynard Brandt for sending along information about the artist Sophie Anderson.
As December and 2018 came to a close the site had 102,644jj documents and images.
November 2018
s the month began, your webmaster continued working with Robert Freidus’s contributions on the twenty-fifth (!) DVD he has sent across the Atlantic, formatting three memorials in Salisbury Cathedral — John Flaxman’s for William Long, Thomas Nicholl’s for Bishop Moberly, and Sir George Frampton’s for John Wordsworth (the Bishop of Salisbury). Correcting the perspective and color on photographs of works by Frampton, prompted Landow to finally get around to formatting scans of other works by the last sculptor featured in The Studio, including, Industry, Maternity, Recumbent effigy of Lady Isobel Wilson, Tablet at the Glasgow School of Art in Honour of Sir James Fleming, Truth and Beauty , and three monuments (for a Lieutenant McClaren, for R. J. Seddon, Prime Minister of New Zealand, and for Sir. E. J. Reed). Working away on a backlog of material about sculpture, led to the creation of a new section on Ada Freeman Gell.
Intrigued by the riches of the four-volume Blackie Imperial Gazetteer, which is essentially an encyclopedia with entries not only for Great Britain and its colonies as of 1850 but also cities and countries throughout the world, Landow began to transcribe, format, and link material on Cawnpoor, India, and the following English cities: Birmingham, Bristol, Leeds, and Liverpool.
At the beginning of the month, Jackie Banerjee reviewed the brilliant Burne-Jones exhibition at Tate Britain, and added some of the works there that came from British galleries, including the Tate itself: Ladies and Death, the Annunciation and the Adoration of the Magi, Love and the Pilgrim, The Wine of Circe, the stained glass panels The Good Shepherd, The Calling of St Peter, and Ezekiel, and the wonderful tapestry, Adoration of the Magi. Then, with the arrival of the first Bewick's Swan, heralding winter, she added Victorian ornithologist F. O. Morris's entry on it in his six-volume history of British birds.
On returning from a late holiday in the warmer climes of the Mediterranean, she added a discussion of Burne-Jones's anti-Semitic caricatures, and balanced it out a bit by including Oscar Wilde's glowing tribute to the young Anglo-Jewish writer Amy Levy. She also wrote a short biography and assessment of the late Victorian/early modern architect, Aston Webb. Thanks to photographer Philip Pankhurst, she could add some lovely recent images of cottages designed by Ernest Newton in Worcester, Dormay Cottages and Park Lodge.
Mark Stocker, Curator Historical International Art, Museum of New Zealand Te Papa Tongarewa, Wellington, contributed “Educating Jonathan Jones: Seven things you need to know about Burne-Jones.”
Many thanks to Simon Cooke for providing new, and much improved, scans of John Franklin’s illustrations and to Maynard Brandt for correcting the birthdate of Henry Syacey Marks in a several documents.
Thanks to Anthony Bernbaum, who obtained permission from the owner of photographs of Florence Harriet Steele and her fellow women sculptors to share it with readers of the Victorian Web. If you can identify any of Steele’s fellow students, please contact the webmaster.
On the twenty-sixth the site had 102,195 documents and images.
October 2018
fter editing and formatting Lionel Gossman’s monograph on Scottish and English publishers and the effect that their publishing inexpensive editions of both major literary works and reference books, your webmaster found some wonderful material by them that began to fill important gaps in the Victorian Web. Drawing upon the Chambers Gazetteer of Scotland, Landow first created a section on Glasgow, which included “The Geography and Situation of Glasgow,” a chart of its population 1500-1838,the history of the city “Roman Times to the Reformation,” “From the Reformation to the Restoration,” and “From the Restoration to the Accession of Victoria.” In addition, Gazetteer provided information on Glasgow’s “government,” “manufacturing and commerce,” “educational institutions ,” and churches.” Next, the Gazetteer of Scotland and other references works available on the Internet Archive and the Hathitrust Digital Library permitted Landow to create a similar, much-needed section on Edinburgh, which included the city’s history from the middle ages to the accession of Victoria plus its “institutions,” “educational institutions ,” and creation of the New Town.” Continuing to explore various online archives for material to add to our growing section on Scotland, Landow drew upon the beautiful drawings of Robert William Billings to create a section on Scottish castles.
Another collaboration with Michael Williams led to the discovery of J. Hassell’s dozen engravings of the Grand Junction Canal and the country through which it flowed. Williams then wrote “John Hassell on Leisure, Work, and the Grand Junction Canal.” After a private collector contributed nine photographs of Thomas Thornycroft’s equestrian statue of the young Queen Victoria, Landow color-corrected, sized, and formatted the material. Additional contributions included two bas reliefs by Conrad Dressler (Portrait of a Young Man and Isota di Rimini), and A. Bertram Pegram’s untitled bronze of a laborer and his family.
Landow reviewed Reeve, Richard. The Sexual Imperative in the Novels of Sir Henry Rider Haggard.
Philip Allingham completed work on more than 65 Victorian illustrations to Laurence Sterne’s A Sentimental Journey by Tony Johannot that complements his essays on Sterne.
New work online from Jackie Banerjee includes a review of Victorian Poets: A Critical Reader, edited by Valentine Cunningham, and a new section on the popular Victorian animal painter, Briton Riviere, with six of his paintings, such as his dramatic The Miracle of the Gaderene Swine. She also put online a contemporary article about Queen Victoria's Hindustani Journal, with some sample entries in the diary; and examples of the ceramics on view at the Sandringham Museum, such as Edith Hoad's circular plaque of Girl reading a book. Still at Sandringham, she looked at Sir Noel Paton's triptych in the museum there, including his famous Man of Sorrows, and the lovely little church of St Mary Magdalene on the Sandringham estate, the interior of which also turned out to be full of treasures. This prompted a new section on the silversmiths, Barkentin & Krall. It also offered another version of Alfred Gilbert's celebrated sculpture of St George. In general, Norfolk has much to offer, including the impressive railway station at Norwich, and other smaller stations like the one at Sheringham now being restored or even rebuilt to meet the growing demand for heritage train trips.
Simon Cooke contributed “Gleeson White as a Book Cover Designer” — the twenty-third in his series of essays on book design!
Robert Freidus continued his series of photographs of British architecture and architectural sculpture with images of an anonymous portrait of Lord Derby, William Reid Dick’s figures on what is now the Burberry’s store on London’s Regent Street, Frederick William Pomeroy’s four panels on making gin for the Booth Gin Co., plus his plaque for Thomas Gray and H. A. Peto and Sir E. George’s 52 Cadogan Square. and three bas reliefs of nude swimmers on the façade of the Westminster public baths by then eighteenth-year-old Henry Poole. He also contributed the following free-standing works of sculpture: three bas reliefs by Gilbert Bayes (The Woman and the Genii, Woman Bathing, and The Goal) plus Hebe and Aesculapius on the Royal Masonic Hospital in Hammersmith, Sir Francis Chantrey’s James Northcote Monument, Alfred Drury’s Richard Hooker Monument in the Exeter Cathedral Close and his Sleeping Child, Henry Alfred Pegram’s memorial for George Wyndham Hamilton Knight Bruce, Thomas Thornycroft’s equestrian statue of Queen Victoria, and two works by Arthur George Walker: Louise Aldrich-Blake and Madonna and Child.
On the twenty-ninth the site had 101,882 documents and images.
September 2018
eptember began with your webmaster entering his 79th year. After birthday celebrations (always important in his family) he wrote “Poetry, Public Monuments, and Postcards — a review of Tom Mole’s What the Victorians Made of Romanticism” to which he linked several excerpts and commentaries, including “The Victorian Invention of Modernity,” “Timothy Mole on Victorian Attempts to Create a National Pantheon,” ““Bite-sized chunks of culture”: How Anthologies reshaped Victorian ideas of Romantic poetry,” “Secularization and Victorian Religion,” and “Changes in the Technology of Book production, 1770-1910.”
Discovering the Hathi Trust’s online version of The Railway Times, Landow created a new section for this periodical and added a variety of documents from 1842, including a long debate about the superiority of four- vs, six-wheeled Engines and “Mr. Robert Stephenson’s New Locomotive,” plus various articles on miscellaneous subjects, including announcement of fund-raising for a testimonial to Brunel, Esq., “Railway Offences and Offenders,” an advertisement for A Manual of the Steam Engine,” and the advertised schedule for the Northern and Eastern Railway. Continuing the search through this magazine, Landow found and added examples of advertisements for stock and bond offerings as well as photographs of half a dozen immediately post-Victorian locomotives, including the The London and North Western 1911 Coronation Engine.
Mike Williams and Landow collaborated on another essay, “William “Strata” Smith (1769-1839): Geology and Coal” and this led to Landow adding “The History of the Idea of Geological Strata before William Smith’s Formulation and Map” from John Philip’s 1841 memoir of his uncle, after which he created a section for English counties as they were delimited in Victorian days to Smith’s which he added “A County-by-County Geological Description of England’s Landscapes” drawn from Smith’s Memoir, after which he created a separate document for each county containing links to Smith’s description and to the site’s images of cities, towns, landscapes, and relevant essays. Returning from Skidmore College, where Landow delivered the annual Fox-Adler Lecture (“What Does It Mean ‘to Illustrate a Book’?”), he added “Death Becomes Her — A notice of an exhibition at Saratoga Springs History Museum.”
Following our webmaster's lead (as ever!), Jackie Banerjee added several paintings to his new section on Richard Ansdell, including The Drover's Halt, especially interesting for the light it throws on the lives of cattle drovers in the Highlands. She also added to the newly enlarged Dublin section, picking up among others Barnardo Furriers on Grafton Street with its connection to Dr Barnardo, who established the well-known children's charity. A look at Ireland's fine late-Victorian National Library followed. With a new batch of pictures from contributing photographer John Salmon, she then wrote about St Jude and St Paul's, Islington, N. London. Catriona Blaker had kindly sent in a scan of the original fund-raiser for this church, a concert of psalms — fascinating! This church provided a second window by Charles Gibbs, who turned out to be a more important stained glass supplier than previously thought, so she opened a new section on him.
Later in the month she opened another new section, this time for paintings and studies by the first ever Jewish Royal Academician, Solomon Alexander Hart; added two works by Alexander Munro (busts of a the young Mary Isabella Matheson and her brother James); and wrote about Turner's house in Twickenham, which only recently opened to the public. Thanks to Colin and Eleanor Price for our first photo of the stained glass at Chichester Cathedral: St Nicholas and St Richard of Chichester. At the end of the month, she added Solomon Hart's anecdotal accounts of Turner, Daniel Maclise and William Etty, and reviewed Anita Anand's Sophia: Princess, Suffragette, Revolutionary.
Simon Cooke reviewed “Beyond Ophelia: A Celebration of Lizzie Siddal, Artist and Poet,” an exhibition at Wightwick Manor, Wolverhampton.
Elena Navarro contributed translations of the following material about Charlotte Brontë into Spanish, which Xiana Sotelo revised and edited: “The Brontë Pseudonyms: A Woman's Image — The Writer and Her Public,” “Charlotte Brontë: A Modern Woman,” and “The Book of Common Prayer and Jane Eyre.” Elena Navarro contributed a translation of Mary Elizabeth Braddon’s biography edited by Anna Abril, who also edited and revised Kiara Zelada’s Spanish translations of Jackie Banerjee’s essay, “The Wheels of Chance, H. G. Wells's Cycling Romance” and material about his portrait. (Links take you to the Spanish translations.)
Thanks to Jim Spates for once again sharing one of his wonderful essays from his Ruskin Today blog, this one “A Boy’s View of Warwick Castle.”
Lionel Gossman, the M. Taylor Pyne Professor Emeritus of Romance Languages at Princeton, contributed another book-length project: Scottish Publishers and English Literature, which includes “Scottish Publishers, London Booksellers, and Copyright Law” plus essays on fifteen publishers ranging from William Strahan, whose firm dates from 1738, to major firms that are still extant, such as Macmillan, which begin in Victorian days (1843). The project also includes a bibliography of eighteenth- and nineteenth-century British Copyright Law. Landow formatted the project, adding page images from the Internet Archive.
Thanks to Louise Hope for reporting a problem with fonts in one of the documents in the Trollope section. Special thanks also to Andrew Deuchar for pointing out a mistake in talking about the monument to Dean (not Bishop) Close in Carlisle Cathedral. We're always grateful when people take the trouble to e-mail us about mistakes!
On the twenty-fourth the site had 101,261 documents and images.
August 2018
ugust began with your webmaster pulling his copy of Hilary Beck’s wonderful 1973 Victorian Engraving off his library shelves and using it as the basis of a series of documents on nineteenth-century uses of engraving, mezzotint, and lithographs to reproduce and popularize paintings, including a list of graphic artists and a sample of the works they reproduced plus discussions of “Economic Factors in Engraving” and of the way steel and mixed mezzotint drove out line engraving. The material in Beck then led to creating a new section on the painter, Richard Ansdell.
After coming upon “The Great Disaster on the Thames: Collision between the Princess Alice and the Bywell Castle, near Woolwich” in the 1878 Illustrated London News, Landow created a homepage for it in our section in shipwrecks. This disaster in which 600 people, many of them children, lost their lives provides an example of the ways newspapers and magazines covered important events, events to which cartoons in Punch and Fun also alluded. Searching through one of the few issues of The Graphic available online, Landow came upon a long illustrated article about Dublin, which provided many images of the city plus descriptions and histories of its buildings and people. The material in The Graphic prompted Landow to include photographs of Dublin’s St. Patrick’s Cathedral, its military monuments, and tributes to Swift, and Trinity College Library taken during a 2016 trip.
Collaborating with Mike Williams on “Anna Seward and Erasmus Darwin: Two Poets Confront the Industrial Revolution” prompted Landow to create a section on Seward, which thus far includes 18 of her sonnets, a discussion of her relationship with Darwin’s grandfather, and her contribution to The Botanic Garden.
Philip V. Allingham created a Laurence Sterne chronology and another for Fanny Burney as well as a discussion of Evelina.
Jackie Banerjee added two new paintings by Henry Moore: Cattle Fording a Stream and Near Harlech, and revised and updated one of our older entries, an introduction to Punch. After that she looked at two philanthropists who advanced the cause of women while working among the poor in South London. One was the housing reformer Octavia Hill, whose housing projects like the Red Cross Cottages can still be found in Southwark. The other was Deaconess Isabella Gilmore, whose brother, William Morris, helped her decorate the deaconess houses in Clapham. Both helped pave the way for new (paid) careers for women. Gilmore's memorial by A. G. Walker and Ninian Comper is in Southwark Cathedral. JB also opened a new section on James Silvester Sparrow's stained glass, which includes the much-admired crucifixion window, which he made to Frank Brangwyn's design in St Mary the Virgin, Bucklebury, Berks. Many thanks to Octavia Housing and Holy Well Glass for their help.
Later in the month, she reviewed Geoffrey Finch's novel about Dr Johnson and his manservant, Francis Barber: Sam's Boy is highly recommended, not only for the central relationship but also for its glimpses into the lives of the many slaves and ex-slaves in late eighteenth-century England. A visit to Southwark Cathedral brought much more material on it, such as angel tapestries thought to be by G. F. Bodley, and the wonderful west (Creation) window by Henry Holiday (that one required Colin Price's photographic contribution!). A visit to Bradford on Avon also brought new material, so far, on its rare "Brunel-type" railway station and Holy Trinity Church's lovely east window by Michael O'Connor.
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Mike Williams contributed “The Industrial Revolution Celebrated — Sir Andrew Baines and Andrew Ure.”
Thanks to Gabriel Lombard, Professeur de piano à Pantin et Paris, for writing to point out broken links in some of material about Ruskin in French.
The site had 100,811 documents and images on the twenty-seventh.
July 2018
s July arrived, bringing fearsome heat, our robot document counter e-mailed your webmaster that the site had reached a milestone — 100,000 documents and images (100,013 to be exact).
Landow contributed a review of Heavenly Bodies: Fashion and the Catholic Imagination at the Metropolitan Museum of Art, New York, and a long essay, “Hogarth and the Victorians.” Now that Tate Britain generously shares images of works in its collection, we has the opportunity to add interesting material to VW and include details of paintings one discusses, such as John Everett Millais’s The North-West Passage and Christ in the House of His Parents.
While traveling to Vancouver, Canada, and then to Alaska and the Yukon Territories, Landow prepared a series of 18 excerpts from Thomas Babbington Macaulay’s The History of England from the Accession of James II and various essays interlinking them to one another and to materials in the Victorian Web. Some, such as “Improvements in Agriculture” and “The Development in British Cities since the Restoration” appear as simple excerpts, whereas others have added subtitles. Thus, “The Terrible Condition of Britain’s Navy in the Late Seventeenth Century” divides into sections on “Everything in disorder and in miserable condition,” “Poor, Inexperienced Naval Commanders,” and “Lack of Discipline,” and “Changes in the Landed Classes since the Restoration” divides into “The Country Gentleman of the Seventeenth Century Compared to His Victorian Counterpart,” “Isolation and Provincialism of the Seventeenth-Century Country Gentleman,” and “Political Attitudes and Allegiances.”
Philip Allingham and Landow have been working together on sections of works by Frederick Walker in painting, graphics, and illustration, perhaps the most interesting parts of which compare illustrations and the oil paintings derived from them, such as The Lost Path and The Vagrants. This last work has particular interest because it first appeared as an wood-engraving illustration in Good Words, after which Walker removed and added figures, changing emphasis upon the surrounding landscape in the oil painting, which then was reproduced in a steel engraving!
Allingham wrote extensive commentaries about twenty of William Harrison Ainsworth’s Guy Fawkes and its illustrations.
Despite the prolonged energy-sapping heatwave here, Jackie Banerjee has put some new items online, as well as doing some updating and making some corrections. The new ones are: a six-part essay on "Becoming Heroines: Protest and Paradigm in Victorian Fiction," looking at female characters and their development in a range of novels; a biography of the late-Victorian/Edwardian artist, Sigismund Goetze, with a few of his works, such as his huge The Crown offered to Richard III at Baynard's Castle at the Royal Exchange; a famous watercolour from the Tate, Turner's Tintern Abbey; and another from the Tate, Solomon J. Solomon's affectionate painting of A Family Group: The Artist's Wife and Children ("Papa Painting").
Amitav Banerjee contributed a review of Margaret Macmillan's Women of the Raj, which brought in an evocative new sketch, Goodbye to England by Leonard Raven-Hill, of a woman on board a ship bound for India.
Simon Cooke contribute “Charles Ricketts as a Book Cover Designer,” his twenty-third essay on book designers.
David Wilson, who contributed a biography of Hall Caine back in 1999, when your webmaster was on leave from Brown University to head a new honors program in Singapore, just wrote with changes to one of his paragraphs. — that’s almost two decades between contact!
Thanks to Linda Thorsen for sending along Padraig Lawlor’s review of Joshua King’s Imagined Spiritual Communities in Britain’s Age of Print, which HNet has shared with a Creative Commons permission.
Thanks to Arthur Bond for notifying us about typos in the Sydney Paget section.
On the fifteenth the site had 100,365 documents and images.
June 2018
une began with your webmaster continuing to work on a series of London scenes from the late-nineteenth-century humor magazine Fun. These include cartoons with long commentaries by naive fictional visitors to the Cremone pleasure garden, the British Museum, and the National Gallery (which the character believes is called the Natural Gallery). Another set of commentaries by fictional speakers include rather bitterly satirical ones about miseries of the working poor and working at the stock exchange. Others satirize American visitors and survivors of Regency England.
Reading G.M. Young’s brilliant Portrait of an Age inspired Landow to add “G. M. Young on the creation of the Board of Health,” “G. M. Young on the Factory Act of ’47, as the turning-point of the age,” and “Too Rich and Too Poor” — G. M. Young on the Economic and Social Status of Anglican Minsters.” Continuing to reread classics of Victorian scholarship from the beginning of his academic career, he added Owen Chadwick on the Earl of Shaftsbury, “The Political Effects of Kingsley’s Sermon on the Church and the Working Classes,” “Politics for the People, the Christian Socialist Paper,” “Owen Chadwick on Pusey’s Inability to Lead the Oxford Movement,” Chadwick on the Founding of the Working Men’s College, and Goldwin Smith’s 1881 review of a Keble biography. Turning to Cardinal Newman, he wrote “John Henry Newman's attitude toward religious conversions” and drawing upon Project Gutenberg texts, he added three of his sermons: “The Unity of the Church,” “ The Duty of Self-Denial,” and “Sudden Conversions” and an essay, “The Narrator’s Sympathetic Understanding of Pagan Characters in Newman’s Callista.” Project Gutenberg also provided material inspiration for a set of essays about Charles Kingsley and excerpts from his work, including “Against Centralization — the Example of Pre- and Post-Revolutionary France ,” “Byron and Shelley,” “A Feminist Critique of Fenlon’s Télémaque,” ““That purifying fire was needed”,” “Anglo-American shopkeepers & farmers compared to those living under the Bureaucratic Regimes of the Continent,” “Frederick Denison Maurice: In Memoriam,” “Kingsley’s Defence of Rousseau and the Philosophes,” “‘Very unpicturesque, no doubt, is wealth and progress,’” “The Eighteenth Century Was the Source of Nineteenth-Century Progress,” and “Why England never had an Ancien Régime.” Next, again drawing upon Project Gutenberg, Landow added George MacDonald’s “The Fantastic Imagination” and “The Imagination: Its Functions and Its Culture” and linked them to sitemaps for literary relations and themes.
Philip Allingham added George Cruishank’s four illustrations of Smollett’s Humphrey Clinker plus a Smollett timeline and brief discussion of the novelists Victorian reputation. Next, he began a series of Cruikshank’s illustrations to William Harrison Ainsworth’s The Miser for which he wrote a series of brief essays on eighteenth-century architecture that appears in the novel, including “The Eigheenth-Century Taste for Architectural Follies” and “William Harrison Ainsworth on the Pleasure Gardens at Ranelagh, Chelsea.”
Jackie Banerjee started the month by putting up a pair of heartbreaking paintings by Frank Holl, Hush! and Hushed, as well as one on a similar theme by H. H. La Thangue: The Man with the Scythe. She then opened a new section on the paintings of Arthur Boyd Houghton, already well represented as an illustrator, with works like Mother and Child Reading, and the touching watercolour, Head of a Woman and Child. Next came another new section, this time on the Jewish architect, David Mocatta, for whom she wrote a short biography. After rewriting some earlier work, she added his first big commission, the Montefiore Synagogue in Ramsgate, and his collaboration on the splendid Ouse Valley Viaduct on the Brighton-London railway line. Many thanks to contributing photographer Colin Price for his inspiring photographs of the viaduct!
At the end of the month, JB completed a series about G. F. Bodley's important early church, All Saints, Selsley, Gloucestershire. Many thanks to Philip Pankhurst for the photographs of the church itself, and to Jim Cheshire for a batch of lovely photographs of the stained glass scheme by Morris & Co. Personal favourites among these are Morris's own The Annunciation, and Ford Madox Brown's The Nativity. She also added Baron Marochetti's Angel of the Last Judgement on the church of Saint Germain l'Auxerrois, Paris, and, with photographs from contributing photographer Colin Price, another viaduct, the Loughor Viaduct near Swansea, with its preserved section of Brunel's original structure. Finally, at the very end of the month, she reviewed an unusual and moving exhibition at the Watts Gallery, Compton, about James Henry Pullen: Inmate — Inventor — Genius.
Thanks also to Caroline Hedengren-Dillon, who sent in a marvellous four-part essay, fully illustrated with some hard-to-acquire photographs, on "Polychromy in the work of Baron Carlo Marochetti." This covers some of his most controversial works, which provoked keen debate in the Victorian period, and influenced the New Sculpture.
Andrzej Diniejko and Landow collaborated on “Benjamin Disraeli’s Sibyl, or How to Reconnect the Two Nations.”
Jessye Bloomfield, Assistant Curator at Tate Modern, Assistant Curator at Tate Modern, contributed a video introduction to Elizabeth Siddal. Frederick Roden contributed four essays that greatly enrich our section on Victorian religion: “British Liberal Judaism: Montefiore, Montagu, and Reforming Reform,” “The Mission of Judaism: Proselytism and Conversion at the Turn of the Century,” “Reuben Sachs and the crisis of Jewish assimilation,” and “Israel Zangwill’s Ambivalent Jewishness.” Stephen Foster completed his series of essays on the man who claimed to have anticipated Darwin with “Was Patrick Matthew Obscure?” and Michael Williams continued his series of essays about reactions to the Industrial Revolution with “Pillars of Flame and Smoke at Ironbridge.”
Thanks to Sarah Colegrave Fine Art for sharing images and information for the following works: Henry Barlow Carter’s View of New London Bridge in June 1827. John Rennie, Esq., Engineer , Sir Hubert von Herkomer’s Spring, Summer, Autumn, and Winter, George Elgar Hicks’s Portrait of a Young Gentleman, Alfred William Hunt’s A Rocky Shore, Alfred William Hunt’s Windsor Castle — Morning, Benjamin Leader’s On the Llugwy near Bettwys-y-Coed, Summer, John Roderick Demster Mackenzie’s Afghan Soldier in the Karakoram Mountains, Hindu Kush, 1901, Arthur Severn’s Ice on the Thames, Chelsea in Winter — by Cheyne Walk, Henry Scott Tuke’s At Anchor,
Thanks to Paul Kelly from Local News in Dublin for pointing out an egregious typo.
On the twenty-fifth the site had 99,960 documents and images.
May 2018
ay began with your webmaster working on political cartoons from the humor magazines Fun and Punch, including a set on the Prime Minsters Lord John Russell, Lord Salisbury, and others. The site now has 60 cartoons with commentary on the Irish Question. Drawing upon biographies of William Gladstone and Benjamin Disraeli, your webmaster added commentaries to cartoons alluding to the Reform Bill of 1867, such as Punch’s Mistaken Kindness and works of class-based humor, such as Fun’s A Shaving Shop Sketch. He also created a set of cartoons on the controversial adding “Empress” to Queen Victoria’s titles. In addition, he added links to cartoons and other documents to older documents about political and social history, such as David Cody’s “Child Labor” (which dates from 1988), thus turning them into mini-homepages for specific subjects.
Jackie Banerjee and Landow collaborated on the Punch cartoon Capital and Labour, and after she came upon Owen Jones’s Gray’s Elegy, an example of the influence of medieval book illumination and imitation of it in print, Landow added a selection of its pages to the section on book design.
Stimulated by a contributor’s proposed series of essays on reactions to the Industrial Revolution, Landow added “J. Kitson Clark on the Industrial Revolution,” “What kind of life did the Industrial Revolution offer to contemporary men and women?,” “Raphael Samuel on the many forms of industrialized labor,” ““Extraordinarily Lop-sided in its effects” — Mechanization & Victorian Work,” “Girls and Women at Work in Victorian Mines, Quarries, and Brickworks,” “Victorian Brickworks,” and “Merfyn Jones on Work in the Slate Quarries of North Wales.” He also added a series of cartoons from the Victorian magazine, Fun, about workers and class-based humor, including A Shaving Shop Sketch, Labour’s Wrongs, and A Broad Hint for a Broad-Head plus a poem, “The Daily Governess’s Trials.”
Philip Allingham has completed his massive “illustrations of Robinson Crusoe” project with Wal Paget’s 118 plates. He next added images and commentaries for all 25 plates for George Cruikshank’s The Bachelor’s Own Book; Or, The Progress Of Mr. Lambkin, In The Pursuit Of Pleasure And Amusement.
At the end of April/beginning of this month, Jacqueline Banerjee reviewed Paul Dobraszczyk's very enjoyable book on Art, Ornament and Architecture in Victorian Britain, and (inspired by that) added some material to much earlier pieces on Brighton Palace Pier and West Pier, and added some new work, including Brighton seafront structures, the pioneering Volks Electric Railway, and Brighton Aquarium. She also added G. F. Watts's portrait of Lord Shaftesbury, Lutyens's war memorial in Hove, and "Little Ben," the cast-iron scale model of Big Ben close to Victoria Station. Later in the month she added a short essay on the Imperial Federation League; Owen Jones's Crystal Palace Bazaar; and St James's Hall in London's West End, and a four-part essay on Anne Brontë's Agnes Grey and Henry James's The Turn of the Screw (revised from an earlier version published in the journal English Studies). Having started a new section for South and Mid-Wales, she also added a short piece on Cardiff's Roath Park. A recent visit to the Guildhall Art Gallery then inspired a new look at the Scottish artist, Thomas Faed, with a biography and several new paintings, including one of his best-loved works, Highland Mary. This was followed by a review of Sublime Symmetry, an exhibition at the Guildhall of William De Morgan's ceramics, focusing most revealingly on the mathematical side of his designs.
Derek Scott contributed two essays — “British Musical Comedy in the 1890s: Modernity without Modernism” and “Music Hall: Regulations and Behaviour in a British Cultural Institution” as well as two performances of Victorian parlor songs — Shells of Ocean and In the Gloaming.
Simon Cooke contributed “‘Metaphysical Medicine’: de Boismont, Le Fanu and a Source for ‘Green Tea’.”
Thank you to Amitav Banerjee, whose review of Helen Smith's The Uncommon Reader: A Life of Edward Garnett brings out Garnett's role as "enabler" to some major authors in the late-Victorian and Edwardian periods.
As the month ended, Inés Cardoso Albarracin translated all eight chapters of Sally Mitchell’s Dinah Mulock Craik, which Asun López-Varela Azcárate edited and revised after which Landow did the final formatting and linking. Elena Sevilla Alonso also contributed “La Novela Sensacionalista Victoriana, 1860-1880 — ‘predicando el descaro en lugar del juicio,’” her translation of Allingham’s introduction to the sensation novel, and “Ferrocarriles y literatura victoriana: una introducción,” her translation of Landow’s discussion of railways and Victorian literature.
Thanks to the Fine Art Society for sharing images and information about works in the gallery, including William Joseph J.C. Bond’s Cattle Grazing with Sefton Church Beyond, John William Inchbold’s Trait, Montreux, Lake Geneva, Cecil Gordon Lawson’s Shepherd and his Flock, in a River Meadow and Barden Towers, Wharfedale, Yorkshire, and James McBey’s Dunkirk, Pas de Calais plus George Bernard O'Neill’s two etchings, The Barber and The Welcome.
Thanks also to the Maas Gallery for sharing images and information about works in the gallery, including Barbara Bodichon’s Ventnor, Isle of Wight, Alfred William Hunt’s Snowdon after an April Hailstorm/span>, three paintings by Edwin Longsden Long (An Egyptian Girl with a Sistrum, Nouzhatoul-aouadat - A Study, and The Mandolin Player), two by Henry Moore (Across Shipload Bay to Lundy Island, North Devon. and Sunset on the Coast), two by Sir Edward John Poynter (The Knot and Reading). and Sir Hubert Herkomer’s drawing, Hagar and Alexander Munro’s bas relief portrait, Pauline, Lady Trevelyan.
Thanks also to a private collector who shared images and information about the following works of sculpture: Robert Anning Bell’s Sleeping Child Flanked by Angels, Robert Cooper’s Britannia, and Henry Weigall’s John Flaxman.
As of the twenty-eight the site had 99,617 documents and images.
April 2018
pril began with your webmaster in London, where he met four of our editors and regular contributors in the first few days. While trying to get over jetlag, Landow transcribed one of the most important sermons of Henry Melville, the favorite preacher of Ruskin, Gladstone, and Burne-Jones — “The First Prophecy.” Next, Landow examined arguments against Judaism in “Henry Melvill on the “Infidelity of the Jews”.” He also added photographs of furniture Pugin designed for the House of Lords as well as a cabinet for his own use. In addition, a photograph of E. H. Godwin's beautiful display cabinet in the Victoria & Albert Museum complemented another version of this furniture added to the Victorian Web seventeen years ago. During one of several visits to Trafalgar Square, he photographed and wrote “Another Bullgod Arrives in London — Michael Rakowitz’s Trafalgar Square Sculpture,” comparing Rakowitz’s tin-can recreation of Lamassu, a winged deity that guarded the entrance to the ancient Assyrian city of Nineveh to Rossetti’s poem about a similar one.
After Bill Henry lent GPL a copy of Roy Jenkins’s biography of Gladstone, he added a few brief essays (“What was at stake and what was reformed in the 1867 Reform Act?” and “That “sad farce” — the Ecclesiastical Titles Act”) and a brief excerpt from Jenkins (“Robert Peel as Gladstone’s Mentor”).
Philip Allingham has created the first sixty (!) Cassell illustrations of Robinson Crusoe with substantial commentaries, and as part of his project to create material on Victorian illustrations of canonical works, he has just created sections on Henry Fielding and Oliver Goldsmith.
Thanks to Adrian Powter, a new contributor who sent in about two hundred photographs of G. F. Bodley's All Saints, Jesus Lane, Cambridge, Jacqueline Banerjee was able to put online new work by Bodley, who designed the church and many of its fittings, and William Morris and Charles Eamer Kempe, who were responsible for much of the interior decoration. The east window alone was a project, with figures by Edward Burne-Jones and Ford Madox Brown (including his St Peter, which looks rather like him), as well as Morris himself. Then there were Kempe's windows, such as one featuring a splendid dragon, and Ward and Hughes's windows, including some Good Shepherd lights, and Douglas Strachan's later Womanhood window. Among much else is a magnificent chancel-arch mural by Wyndham Hope Hughes, and last but not least came the eye-catching sanctuary tiles by the Godwin firm in Herefordshire.
Later, JB added three more paintings by John Callcott Horsley, including his portrait of Richard Norman Shaw, and wrote about Norman Shaw's first important domestic commission, to remodel Horsley's house in Cranbrook, Kent — Willesley. In the sculpture section, she wrote a short piece about a typical piece of street furniture, a cattle trough and drinking fountain, now a raised flower-bed! She also put online two new reviews: many thanks to Cercles and its reviewers for sharing with us Laurent Bury's review of Jenny Uglow's biography of Edward Lear (complementing Simon Cooke's on the same book); and Elizabeth Helsinger's review of Wendy Graham's Critics, Coteries, and Pre-Raphaelite Celebrity.
Simon Cooke has contributed an essay, 'This Queer Corner of the World': Tourism, Colonialism, and Le Fanu’s Writing of Wales and a biography of Thomas Robert Macquoidb and essays on his work as an illustrator and book cover Designer. In addition he photographed Caerphilly Castle, South Glamorgan, Wales.
Tim Willasey-Wilsey contributed three pieces — one on the grave of Jane Austin’s brother in what is now Sri Lanka, another an 1843 memorial for victims of cholera in Sri Lanka, and an official list of the dead civilians and members of the military.
Robert Freidus, one of our Contributing Photographers, sent in a fine set of photographs of Newbury Abbot Trent’s memorial in Bath for King Edward VII, which is also known as The Peacekeeper, for which Landow created an HTML document and made perspective and color corrections.
Catherine Layton sent in an essay on the relation of a scandal involving the Duchess of Sutherland to Wilde’s plays and a second entitled “When Divorce was Out of the Question: the Case of the 3rd Duke of Sutherland and His Lover,” after which she and GPL team dup to write “The Origins of Victorian Divorce Law.” Thanks also to Lucy Paquette for her new piece on a topic of great interest: "French Painter James Tissot's British Clients: Rising Industrialists." Heidi Renée Aijala contributed “Sentimentalism in Victorian Reform Literature.” Robert H. Ellison shared with us “A Rhetorical Comparison of Spurgeon, Newman, and MacDonald.”
A collector who wishes to remain anonymous has contributed photographs of medals and sculpture. Thus far your webmaster has formatted and put online the following works: The Bromsgrove Guild ’s Joan of Arc, Edward Onslow Ford’s Folly, Emmeline Halse’s Can't You Talk?, Violet Harris’s Pan, William Goscombe John’s Bernhard Steinhart, Edouard Lanteri’s Sleeping Mother & Child, Sir W. Hamo Thornycroft’s A Soldier of the 129th Baluchis, George Tinworth’s The Queen of Sheba’s Visit to Solomon, and Albert Toft’s terracotta untitled bas relief male portrait. The same collector shared photographs of six medals by Frank Bowcher plus C. J. Allen’s Felicia Dorothea Hemans medal for Lyrical Poetry and the Mary Kingsley medal for the Liverpool School of Tropical Medicine, E. Ortner's Thomas Gainsborough, Edward W. Wyon’s May Morning. In addition he contributed photographs of Katie Harris’s art nouveau mirror.
On the thirtieth the site had 98,963 documents and images.
March 2018
review of Stewart Dippel and Jeffrey F. Champlin’s Redeemed at Countless Cost": The Recovery of Iconographic Theology and Religious Experience from 1850 to 2000 — a book which ranges from seventeenth-century theology to Norman Rockwell, Russian icons, Quo Vadis, and Tolstoy — occupied the first days of the month along with editing Stephen Foster’s multiple essays on Patrick Matthew, a fascinating Scottish anticipator of Darwin’s theory of natural selection.
This month, Jacqueline Banerjee added a short biography of artist William Holman Hunt, and some works by George Wittet, one of the last architects of the Raj in India — whose most famous work is the Gateway of India in Mumbai. She then wrote about Charles Barry's remodelling of Kingston Lacy, with its listed stable and coach house block by Thomas Henry Wyatt. The house has a loggia displaying some of Baron Carlo Marochetti's major works: King Charles I, Sir John Bankes and his heroic wife Lady Mary Bankes. These were the expiatory monuments which preceded the one discussed at length by Caroline Hedengren-Dillon (see below). Amusingly, there are also images of the bronze tortoises that Marochetti modelled for the terrace at Kingston Lacy! At the end of the month, JB added two previously published reviews, both now illustrated and slightly extended. One is of Lucinda Hawksley's Bitten by Witch-Fever: Wallpaper & Arsenic in the Victorian Home, and the other is of William Hughes's That Devil's Trick: Hypnotism and the Victorian Imagination.
Andrzej Diniejko contributed “From an Age of Ruins to an Age of Hope in Benjamin Disraeli’s Coningsby” and a brief introductions to parodies of Disraeli’s novels plus material on his Pro-Semitism.
Caroline Hedengren-Dillon, one of our contributors from France, has contributed a fascinating photo essay on a Victorian queen’s commission of a monument for a seventeenth-century Stuart princess that includes the search for a beautiful model for the monument. See Baron Marochetti’s Monument to Princess Elizabeth.
Penelope Harris reviewed of Liz Davenport's Woodchester: A Gothic Vision: The Story of William Leigh, Benjamin Bucknall and the Building of Woodchester Mansion. Felix Henry Santos e-mailed from Spain with an engraving of an English naval officer leading an army regiment in battle in what seems to be India. Tim Willasey-Wilsey, Assistant Editor for Military and Colonial History, immediately identified the naval commander as William Peel, the son of the Prime Minister..
Thanks to Ruth Richardson for sharing a delightful Victorian parody of sensation fiction and to Dr. J. F. Derry of Edinburgh for correcting some typos.
On the twenty-sixth the site has 98,221 documents and images.
February 2018
ebruary began with your webmaster collaborating with Philip Allingham on a project involving illustrations to Defoe’s Robinson Crusoe, a book about which he wrote a chapter in Images of Crisis published way back in 1982 and is available on the site. Landow created a section for Thomas Stothard’s paintings as a companion to the one in illustration created in 2004 and to which Allingham added four illustrations to Defoe’s novel. Together they cobbled together a brief biography of Stothard and a section on Defoe, emphasizing the eighteenth- and nineteenth-century editions and illustrations of his famous novel. Landow then added ten of his illustrations to Samuel Roger’s Italy and created a section on Robinson Crusoe in the illustration section.
Landow also reviewed Marilyn Palmer and Ian West’s “Technology in the Country House” and also created a home page for Victorian spiritualism to which he added Punch’s satirical commentary on the subject. This is a good place to mention a few items omitted from last month’s “What’s New,” such as Walter Crane’s two-part essay “Needlework as a Mode of Artistic Expression.”
Philip Allingham completed work on another mammoth illustration project, scanning all 91 of William Alfred Delamotte’s images of Windsor Castle, identifying and adding the texts they illustrate, and providing commentaries. Continuing with the Crusoe project, Allingham then added a dozen images from adaptations of the novel for children plus seven illustrations of the novel by Phiz and nine by Sir John Gilbert.
Before setting off for a short trip to India, Jacqueline Banerjee reviewed the EY Exhibition: Impressionists in London, at Tate Britain, and added several commentaries on Whistler to the paintings section, including one on his Nocturne: Blue and Silver — Chelsea; also one on Gustave Doré's powerful Sister of Charity Saving a Child, Episode in the Siege of Paris. (Both of these were in the exhibition.) On her return, she opened a new section on Eyre Crowe, the artist who accompanied Thackeray on his tour of America. This includes some of his paintings, such as his A Slave Market, Richmond, Va, and several of his sketches, including one of Thackeray lecturing in New York. Another new painting for the website was William Dyce's David in the Wilderness. Lastly, she put online the Watts Gallery's press release about an upcoming (exciting!) Pre-Raphaelite exhibition.
Andrzej Diniejko has contributed two essays on Disraeli — “Endymion — Benjamin Disraeli’s Nostalgic Dream of Bygone Years” and “Race and the Jewish Question in Endymion.”
Simon Cooke contributed “Randolph Caldecott and Kate Greenaway as Book Cover Designers” plus half a dozen images to accompany his essay.
Thanks to the Fine Art Society for sharing paintings in their collection and information about them — William Ewart Lockhart’s Portrait of Alice Mary Robson, Lady Rowallan in White, Frank Miles’s Brown Study [Eveleen Myers (née Tennant)] , and Frederic Sandy’s Marie Meredith (the novelist’s daughter).
Thanks once again also to the Maas Gallery for sharing images and information about individual Victorian paintings, including John Brett’s Study for Chagford (a Moorland Scene) and Longships, George H. Broughton’s The Leaf and The Flower, William Etty’s Bathing Nude, Thomas Faed’s Sir Luke Fildes’s Norah and The Green Shawl, Thomas Faed’s West Highland Cottage Interior, Edward Reginald Frampton’s A Meadow beneath Mountains, Thomas Cooper Gotch’s Little Boo, Keeley Halswelle’s Gibraltar, from the Spanish Shore, East Anglian Marsh, and Skye, James Thomas Linnell’s Mother Meldrum's Cave, Benjamin Williams Leader’s Moel Siabod — in the Valley of the Lledr, Study of a Cottage Interior, and A View of Frog Lane, Henry Moore’s Glen Orchy, Storm coming on and Near Margate — Evening, Dante Gabriel Rossetti’s The Hummingbird, James Smetham’s Dante and Virgil in Vallombrosa, and William Cave Thomas’s Hope Cherishing the Drooping.
Colette Keaveny contributed a biography and bibliography for Talwin Morris, the Glasgow School designer. Graham Lupp sent in another of his “Postcards from Oz,” this latest taking the form of an excerpt from his recent book on Australian architecture — “The Mount Pleasant Estate, Ophir Road, Bathurst.” Jim Spates added “The Ruskin Compendia,” a bibliographical list of selections from Ruskin’s works.
Priti Agarwal translated Credits: Who Created The Victorian Web? into Hindi.
Susanna Plummer write to share the news that the Watts Gallery’s latest exhibition, “A Pre-Raphaelite Collection Unveiled: The Cecil French Bequest,” will open on 6 March 2018 and run to 3 June 2018.
Thanks to Philip Bentley, who e-mailed from Sussex to point out a bad link and to Nick Hide from the Clan David Association, who wrote to correct an error in the statue of Flora Macdonald by Andrew Davidson.
On the twenty-sixth the site had 97,871 documents and images.
January 2018
he new year began with your webmaster adding more than two dozen of the Martin Brothers ceramic works shared with us by AD Antiques to the various galleries for birds and grotesques, people (and faces), and both tall vases and wide objects. A typical bit of teamwork between Landow and Jackie Banerjee started when she created detailed photo essays on sgraffito work by Heywood Sumner: while paging through the Hathi Trust Digital Library’s online version of a copy of International Studio in the University of Minnesota Library, Landow came upon an article on Sumner that credited Francis Wollaston Thomas Moody with both reviving the technique and using it to decorate what is now the Victoria & Albert Museum. Your webmaster had in fact photographed a series of such panels but had not known who designed them. With this information in hand he created a homepage for Moody that contains links to both the photographs and Moody’s drawings found in an article in the Magazine of Art suggested by Banerjee, who also pointed out that the mosaics on the Museum of Childhood that Landow had photographed some years ago were also Moody’s.
Philip Allingham brought to a close another of his large projects — a set of commentaries on the complete set of George Cruikshank’s illustrations for Windsor Castle by William Harrison Ainsworth. As the month ended, he began to add the work of the Sandhurst drawing-master Alfred Delamotte, who provided almost 100 line-drawings of the castle and grounds as they appeared 170 years ago.
Still up in the Highlands (so to speak) Jacqueline Banerjee wrote about some more buildings designed by Alexander Ross, including one of his many Free Church of Scotland churches, the parish church at Invergordon, his Rose Street Iron Foundry, Inverness, and Lerwick Town Hall in the Shetlands. The partnerships entered into by James Matthews also produced some striking works, like the former Caledonian Bank in Inverness. William Burn was another important architect, who designed the Sheriff Court in Inverness, part of the castle there. She then looked at Highland Railway and Aviemore Station, and the Strathspey Railway that runs from there. Turning to something very different, she enjoyed looking at John Frederick Lewis's famous painting of A Frank Encampment in the Desert of Mount Sinai.
Later in the month she added Colin Price's lovely photographs of nearly all the John Hardman & Co. stained glass windows in Inverness Cathedral, added a six-part article on Pain in Charlotte Brontë's Novels, and Its Critical Reception updated from one she had previously published in the Victorian Newsletter, and added several paintings by James Tissot, including his well-known The Ball on Shipboard.
Andrzej Diniejko continued his studies of Disraeli’s works with “Romance, Religion and Politics in Benjamin Disraeli’s Lothair.”
Simon Cooke wrote an “An Introduction to the Guild of Women Binders” with numerous examples of its members’ leather book bindings. He next contributed “Walter Crane as a Book Cover Designer,” an authoritative study of its subject to which he added, at month’s end, a dozen color plates.
After Jackie Banerjee sent the URL for the special issue of the 1898 Art Journal devoted to Crane, Landow added several dozen images to the sections containing that artist’s ceramics, illustrations, paintings, sculpture, stained glass, and textiles, and wallpaper. Mining the 1898 Art Journal, Landow also added Crane’s own autobiographical remarks on his childhood and early influences, history of his work with ceramics and textiles as well as his early painting. Two wonderful online resources, the Hathi Trust Digital Library and the Internet Archive, provided the material for all this material on Crane, the Internet Archive in this case providing superior images and the Hathi Digital Library Trust providing more accurate text that became the basis of Landow’s transcriptions. This same source provided additional material for Frank Bowcher (The Cope and Nichol School of Painting medal, Royal College of Music Medal), and Medal Struck by the Rajah Supendo Mohum Tagore in Honour of the Duke of York’s Wedding) and Alfred Drury (James Isham, Esq. and The Sacrifice of Isaac).
Giedrius Sadauskas translated “Auguste Comte, Positivism, and the Religion of Humanity” into Lithuanian as “Auguste Comte, Pozityvizmas ir Žmonijos Religija.”
Dr. Oindrila Ghosh, Associate Professor & Head of the Department of English at Diamond Harbour Women's University in West Bengal, India, contributed “Bollywood’s Long Love Affair with Thomas Hardy’s Novels: Adaptations and Cultural Appropriations.” Colette Keaveny, MA, a new contributor, wrote “The Glasgow Style: A Brief Introduction,” “Ann Macbeth,” and “Margaret Gilmour.” Landow added a dozen images of Macbeth’s works from the 1902 Studio.
Thanks to Bob McEachern for pointing out an error in the caption of one of John Collier’s illustrations.
On the twenty-ninth the site had 97,222 documents and images.
Last modified 5 January 2024