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DOCTORAL THESIS
Paths of virtue? The development of fiction for young adult girls 1750-1890
Carrington, Bridget
Award date:2009
Awarding institution:University of Roehampton
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Appendix 2
Primary material relating to texts discussed
Sir Charles Grandison title page 1753
Hogarth: The Lady’s Last Stake 1758-59 287
Jane Austen ms Grandison c 1791
Circulating Library ticket post 1750 288
Evelina title page 1778
Gillray: Tales of Wonder 1802 289
Romance of the Forest title page 1791
Wright: Dovedale by Moonlight 1784-85 290
‘What Girls Read’ 1888
‘100 Best Novels’ 1899
East Lynne bookplate 1905 291-3
The Nation CCC 1886 294
The Literary World CCC 295
Notes on Books CCC 296
The Best Reading 1887 297-9
Books for Girls and Women… 300-304
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Samuel Richardson: Sir Charles Grandison, 1753 title page
Hogarth: The Lady’s Last Stake, 1758-9 (Albright-Knox Art Gallery, Buffalo)
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Manuscript of Jane Austen’s dramatization of Sir Charles Grandison, started c 1791, aged 16
(Chawton House Library)
A ticket for a Circulating Library post 1750
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Fanny Burney: Evelina title page to vol ii, 4th edition, 1779
James Gillray, Tales of Wonder, 1802 (Princeton University Library)
http://upload.wikimedia.org/wikipedia/commons/e/e1/Evelina_vol_II_1779.jpg�
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Title page of the first edition of The Romance of the Forest, 1791
Wright: Dovedale by Moonlight, 1784-5 (Allen Memorial Art Museum, Ohio)
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Salmon: ‘What Girls Read’, 1888. Daily Telegraph, 1899: 100 Best Novels (chosen by the editor, Sir Edwin Arnold, H.D. Traill and W.L. Courtney) W. H. Ainsworth
The Tower of London
Old St Paul's
Windsor Castle
Jane Austin
Pride & Prejudice
Sense & Sensibility
Honoré de Balzac
Pere Goriot
J. M. Barrie
A Window in Thrums
W. Besant and J . Rice
The Golden Butterfly
Rolf Boldrewood
Robbery Under Arms
James Grant
The Aide de Camp
The Romance of War
Bret Harte
Gabriel Conroy
N. Hawthorne
The Scarlet Letter
The House of the Seven Gables
O. W. Holmes
Elsie Venner
Anthony Hope
The Prisoner of Zenda
Thomas Hughes
Tom Brown's Schooldays
Victor Hugo
Capt Mayne Reid
The Headless Horseman
Amelie Rives
Virginia of Virginia
Olive Schreiner
The Story of an
African Farm
Michael Scott
Tom Cringle's Log
Cruise of the Midge
H. Sienkiewicz
Quo Vadis?
Sir Walter Scott
Rob Roy
The Bride of Lammermoor
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M. E. Braddon
Lady Audley's Secret
Charlotte Bronte
Jane Eyre
Shirley
Hall Caine
The Deemster
Henry Cockton
Valentine Vox
Wilkie Collins
The Woman in White
The Moonstone
J. Fenimore Cooper
The Last of the Mohicans
The Pathfinder
The Prairie
F. Marion Crawford
Mr Isaacs
Charles Dickens
Martin Chuzzlewit
Nicholas Nickleby
The Old Curiosity Shop
Dombey and Son
Oliver Twist
Conan Doyle
The Firm of Girdlestone
Alexandre Dumas
Les Misérables
Toilers of the Sea
Notre Dame
Charles Kingsley
Two Years Ago
Alton Locke
Hypatia
Henry Kingsley
The Recollections of Geoffrey Hamlyn
Rudyard Kipling
Soldiers Three
George Lawrence
Guy Livingstone
Charles Lever
Harry Lorrequer
Charles O'Malley
E. Lynn Linton
The Atonement of
Leam Dundas
Samuel Lover
Handy Andy
Rory O'More
Lord Lytton
Last of the Barons
Night and Morning
Rienzi
The Caxtons
Old Mortality
Kenilworth
Guy Mannering
Woodstock
The Talisman
Frank E. Smedley
Frank Fairlegh
Tobias Smollett
Roderick Random
Peregrine Pickle
Mrs F. A. Steel
On the Face of the Waters
Laurence Sterne
The Life and Opinions of
Tristram Shandy, Gentleman
H. B. Stowe
Uncle Tom's Cabin
R. S. Surtees
Soapey Sponge's Sporting Tour
Eugene Sue
The Wandering Jew
W. M. Thackeray
The History of Henry Esmond
The Newcomes
The Memoirs of Barry Lyndon
Count L. Tolstoy
Anna Karenina
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The Three Musketeers
Twenty Years After
The Count of Monte Cristo
George Eliot
Scenes of Clerical Life
Henry Fielding
Tom Jones
Joseph Andrews
Mrs Gaskell
Mary Barton
Captain Marryat
The King's Own
Peter Simple
Jacob Faithful
Midshipman Easy
George Meredith
Diana of the Crossways
D. M. Muloch
John Halifax, Gentleman
Ouida
Under Two Flags
Charles Reade
It is Never Too Late to Mend
Peg Woffington and Christie Johnstone
Hard Cash
Anthony Trollope
Orley Farm
Mrs H. Ward
Robert Elsmere
D. C. L. Warren S.
£10,000 a Year
E. Wetherell
The Wide, Wide World
G. J. Whyte-Melville
Market Harborough
Inside the Bar
Mrs Henry Wood
East Lynne
Ellen (Mrs Henry) Wood’s East Lynne remained popular for many decades after its first publication: bookplate in American edition of East Lynne (but presented in Birmingham UK) for Severn Street Class XIV: Afternoon Bible Class, ‘For the year ending 1905’ presented to H. Green.
The Nation. [Number 1096] July 1, 1886 Page 14
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RECENT NOVELS. Colonel Cheswick’s Campaign. By Flora L. Shaw. Boston: Roberts Bros. A novel by the author of ‘ Hector’ has been a pleasant anticipation, which is now pleasantly realized. ‘ Colonel Cheswick’s Campaign’ is not a great book, but it is a charming story. The mutual love of father and daughter forms the main theme, which is worked out through all the manifold incidents of the attractive life of an English country-house. A wider horizon bends round the whole, encircling with the English fens the Egyptian sands. It would have been too much to expect, on the larger scale, the simple perfection of ‘Hector.’ Neither introspection nor analysis is part of Miss Shaw’s method, and to fill her canvas she employs a number of minor figures which crowd each other, and which we could gladly have spared. Not of these, however, is the beautiful old pair, in their death not divided. The main figures stand out very clearly. It is no small power of characterization which, almost without a comment, makes us understand the complex nature of the Colonel and his wife. The latter, trivial, foolish, selfish, we can still see is lovable to the fond eyes of loyal daughter. In the Colonel is combined that reckless, happy-go-lucky spirit which justifies self-indulgence that is even cruel to wife and children ; and yet, in his place at the head of his regiment, he is the duteous, brave, ardent soldier. It was an early comment that the daughter, Ailsa, is only Zélie (from ‘ Hector’) or Phyllis Browne (from the story of that name) grown up. No one will admire or love her the less for that : it is very high praise. Review of Colonel Cheswick’s Campaign, The Nation, July 1st 1886
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The Literary World May 29th 1886 Colonel Cheswick's Campaign. By Flora L. Shaw. [Roberts Brothers. $1.00.]
http://books.google.co.uk/books?id=PUsDAAAAYAAJ&dq=Colonel+Cheswick%27s+Campaign&lr=
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Review of Colonel Cheswick’s Campaign, from Notes on Books, February 27th 1886
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The Best Reading in 1892 included Shaw’s novels under juvenile and general fiction
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Shaw’s Juvenile novels listed in The Best Reading
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Colonel Cheswick’s Campaign identified as ‘the best reading’
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Title page of Books for Girls and Women and their Clubs, 1895
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Forward to Books for Girls and Women and their Clubs
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Preface to Books for Girls and Women and their Clubs
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Continuation of the Preface to Books for Girls and Women and their Clubs
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Flora Shaw entry in Books for Girls and Women and their Clubs
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Appendix 3 Art referenced within each chapter
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Chapters 4 & 5: Eighteenth-century Young Adult girl readers 308 Paul and Virginia 309 Baudouin: The Reader 310 The Night 310 Chapter 6: Fuseli: The Nightmare 311 Chapter 7: Egg: Past and Present 312 Hunt: The Awakening Conscience 313
Watts: Jane Nassau 313 Millais: Sophie Gray 314 Burne-Jones: Sidonia von Bork 314 Rossetti: Lucrezia Borgia 315 Fazio’s Mistress 315 Helen of Troy 315 Bocca Baciata 316 Chapter 8: Sophie Gengembre Anderson: Young Girl Fixing her Hair 316 Portrait of a Young Girl 316 Millais: The Black Brunswicker 317 Love 317 A Young Woman Reading 317 Mariana 318 Yes 318
Frank Bernard Dicksee: Chivalry 319 Romeo and Juliet 319 John William Waterhouse: Lamia 319 Marianne Stokes: Aucassin and Nicolette 320 Edmund Blair Leighton: God Speed 320
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Lord Leighton: The Maid with the Golden Hair 320 Artur Grottger: Farewell 321 Wladyslaw Bakalowicz: Farewell 321 John Horsley: The Soldier’s Farewell 321 Magazine illustration for Lady Audley’s Secret 322
George Elgar Hicks: Woman’s Mission: 322 Companion to Man Cope: Hope Deferred, And Hopes And Fears That Kindle Hope 322 Nineteenth-century Young Adult girl readers 323
http://www.1st-art-gallery.com/Charles-West-Cope/Charles-West-Cope/Hope-Deferred,-And-Hopes-And-Fears-That-Kindle-Hope.html
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Eighteenth century Young Adult girl readers
Fragonard: A Young Girl Reading, c. 1776 (National Gallery of Art, Washington)
Betsey Wynne 1778-1857 (Dukes of Buckingham and Chandos)
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The Reading of Paul and Virginia from Francois Pierre Guillaume Guizot: A Popular History of France From The
Earliest Times (1876)
Schall/Descourtis illustration for 1797 edition of Paul et Virginie
Julia Margaret Cameron
Paul and Virginia 1864 (V&A Museum, London)
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Pierre-Antoine Baudouin: The Night 1767 (Metropolitan Museum of Art, New York)
Pierre-Antoine Baudouin: The Reader 1760 (Metropolitan Museum of Art, New York)
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(Detroit Institute of the Arts) Fuseli: The Nightmare 1780-1781.
The subject proved so popular that Fuseli produced a number of different versions.
1790-91
(Goethe Museum, Frankfurt)
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Augustus Leopold Egg: Past and Present (1), 1858 (Tate Gallery, London)
(2) above (3) below
http://www.tate.org.uk/servlet/ViewWork?workid=4093&searchid=9198&roomid=3451&tabview=image�
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William Holman Hunt: The Awakening Conscience 1853 (Tate Gallery, London)
Watts: Mrs Nassau Senior, Jane Elizabeth Hughes1828-77, 1856 (National Trust, Wightwick Manor)
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Millais: Portrait of a Girl (Sophie Gray) 1857 (private collection)
Burne-Jones: Sidonia von Bork 1860 (Tate Gallery, London)
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Rossetti: Lucrezia Borgia, 1860-1, reworked 1868 (Fogg Museum of Art, Harvard)
Rossetti: Aurelia (Fazio’s Mistress), 1863-1873 (Tate Gallery, London)
Rossetti: Helen of Troy, 1863 (Kunsthalle, Hamburg)
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Rossetti: Bocca Baciata, 1859 (Museum Of Fine Arts, Boston)
Sophie Gengembre Anderson: Young Girl Fixing Her Hair, post 1860 (private collection)
Sophie Gengembre Anderson: Portrait of a Young Girl, post 1860 (private collection)
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Millais: The Black Brunswicker, 1860 (Lady Lever Art Gallery, Liverpool)
Millais: Love, 1862 (V&A Museum, London)
Millais: Young Woman Reading (The North-West Passage), 1874 (Tate Gallery, London)
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Millais: Mariana, 1851 (Tate Gallery, London)
Millais’ illustration for Moxon’s edition of Tennyson’s poem, 1857
Millais: ‘Yes’, 1877 (private collection)
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Dicksee: Romeo and Juliet, 1884 (City Art Gallery, Southampton)
Dicksee: Chivalry, 1885 (private collection)
Waterhouse: Lamia, 1905 (private collection)
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Stokes: Aucassin and Nicolette, c.1875 (private collection)
Blair Leighton: God Speed, 1900 (private collection)
Lord Leighton: The Maid with the Golden Hair, 1895 (private collection)
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Horsley: The Soldier’s Farewell, 1853 (private collection)
Grottger: Farewell, 1866 (National Museum, Cracow)
Bakalowitz: Farewell, 1867 (private collection)
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Lady Audley's Secret, illustration in the London Journal, 1863 (Wolff Collection, University of Texas)
Hicks: Woman’s Mission: Companion to Man, 1863 (Tate Gallery, London)
Cope: Hope Deferred, And Hopes And Fears That Kindle Hope, c.1888 (Rochdale Art Gallery)
http://www.rishabh.com/art.htm##http://www.1st-art-gallery.com/Charles-West-Cope/Charles-West-Cope/Hope-Deferred,-And-Hopes-And-Fears-That-Kindle-Hope.html
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Renoir 1877 (private collection)
Perugini 1878 (Boston Harbor Museum)
Stott 1884 (private collection)
Burne-Jones c. 1884 (private collection)
Nineteenth-century Young Adult girls absorbed in their reading
http://jssgallery.org/Other_Artists/Burne-Jones/Katie_Lewis.htmlhttp://jssgallery.org/Other_Artists/Burne-Jones/Katie_Lewis.htmlhttp://jssgallery.org/Other_Artists/Burne-Jones/Katie_Lewis.html
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Appendix 3 Notes
Victorian Narrative Art.
Images referenced below appear in Appendix 3:312-313.
In the second half of the nineteenth-century artists became obsessed with story-telling.
They chose subjects which illustrated popular stories and anecdotes. They are all very
precisely detailed to make their subjects appear more credible. Many of them look
bewildering today but they were understood by Victorian audiences who worked out
their plots from the characters’ expressions and body language, and the titles of the
pictures. Symbolic details were the biggest clue – a dropped glove could mean
betrayal and a snuffed out candle the end of hope. Victorians read their pictures as
closely as their books. Paintings which refer particularly to the subjects of sensation
novels such as East Lynne are:
Augustus Leopold Egg: Past and Present 1858 (Tate).
A series of three paintings which depict the consequences of adultery. In the first a
woman lies at her husband’s feet. He holds a letter, evidence of her unfaithfulness,
and stamps on a portrait miniature of her lover. On the left, the girls’ house of cards
collapses, signifying the breakdown of the family. The cards were supported by a
novel by the French writer Balzac, famous for his tales of adultery. And an apple has
been cut in two. One half, representing the wife, has fallen to the floor. The other,
representing the husband, has been stabbed to the core.
The second shows the girls, now young adults, reflecting on their mother’s fate.
When this triptych was first exhibited the drawing-room scene was hung between this
painting and the final scene. John Ruskin wrote: ‘the husband discovers his wife’s
infidelity; he dies five years afterwards. The two lateral pictures represent the same
moment of night a fortnight after his death. The same little cloud is under the moon.
The two children see it from the chamber in which they are praying for their lost
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mother, and their mother, from behind a boat under the vault of the river shore.’
Ruskin’s comments show that audiences were expected to ‘read’ pictures like novels.
The final image is set under the Adelphi arches, by the River Thames. The Art
Journal described them as ‘the lowest of all the profound deeps of human
abandonment in this metropolis’. The woman shelters a young child, the result of her
affair. The posters behind her advertise two plays – Victims and The Cure for Love –
and ‘Pleasure excursions to Paris’. These are ironic comments on her situation. This is
a social moralist series of paintings but it is left to the viewer to decide whether the
woman is to be pitied or condemned. (From the Tate display captions, July 2007).
William Holman Hunt: The Awakening Conscience 1853 (Tate).
Hunt’s approach to art was often highly moralistic. Here he shows a kept woman in a
modern setting, in order to explore contemporary issues of sin, guilt and prostitution.
The young woman rises suddenly from her lover’s lap. Inspired by the light pouring
through the window from the garden, she realises the error of her ways. Hunt captures
this fleeting moment of consciousness with characteristic exactitude. The complex
composition is loaded with symbolism. Many of the intricate details, such as the bird
trying to escape from a cat, emphasise the picture’s underlying message of possible
redemption. Ruskin wrote of this image, 'There is not a single object in that room ...
but it becomes tragical, if rightly read'. (From the Tate display caption July 2007)
John Millais: The Black Brunswicker 1860 (Lady Lever Art Gallery, Liverpool).
Studies for the work exist both in the Lady Lever Art Gallery, Liverpool, archives as
well as in Tate Britain. Millais used Charles Dickens’s daughter Kate as the model for
the girl and a private in the Life Guards for the soldier.
Edward Burne-Jones was one of several Pre-Raphaelite artists who were particularly
drawn to creating images of chivalry and courtly love, often based on literary
originals from the Middle Ages, or nineteenth-century reinterpretations. According to
Burne-Jones himself in these images they sought to portray ‘a beautiful romantic
dream of something that never was, never will be - in a light better than any light that
ever shone - in a land no one can define or remember, only desire - and the forms
divinely beautiful’.
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The Victorian narrative art already discussed may be further examined for its
messages on the perceived responsibilities of ideal wives. Additional images are
those by George Elgar Hicks: Woman’s Mission (1863), Companion of Manhood: a
triptych comprising Guide of Childhood, Companion of Manhood, Comfort of Old
Age, of which the first and third painting are now lost. These showed the woman
tending her son and ministering to her father in old age.
Companion of Manhood shows the same woman comforting her husband, who has
just received bad news. The Times newspaper described the works as representing
‘woman in three phases of her duties as ministering angel’. These images may be
found in Appendix 3:322.
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Pre-Raphaelite Art
Images referenced below appear in Appendix 3:313-314.
A comparison of G.F. Watts’ Jane (‘Jeanie’) Elizabeth Nassau Senior (1857-58) or
Millais Sophie Gray (1857), with Burne-Jones Sidonia von Bork (1860) or Rossetti
Lucrezia Borgia (1860-61) reveals the difference in the depiction of women, from
earlier realistic portrayals to the strong, sexualized images of Pre-Raphaelite
seductresses. In Rossetti’s Fazio’s Mistress (1863) we even see the process by which
the loose, sensuous, luxuriant, waving hair was obtained. Rossetti’s Helen of Troy
(1863) shows us an image very like that in Lady Audley’s portrait: ‘these feathery
masses of ringlets with every glimmer of gold, and every shadow of pale
brown…strange sinister light to the deep blue eyes. No one but a Pre-Raphaelite
could have given to that pretty pouting mouth the hard and almost wicked look it had
in the portrait…a beautiful fiend’ (107).
Images referenced below appear in Appendix 3:314-6.
Bocca Baciata is a reference to the seventh tale on the second from Boccaccio’s
Decameron in which the heroine makes love to eight men before marrying the ninth, a
virgin. The parallel with Lady Audley, though not exact, is apt.
Sidonia von Bork is the central character in Wilhelm Meinhold's Gothic romance
'Sidonia the Sorceress'. The novel is set in sixteenth-century Pomerania and chronicles
the crimes of the evil Sidonia, whose beauty captivates all who see her. She is shown
here at the court of the dowager Duchess of Wolgast, one of the early intrigues in a
career that leads to her execution as a witch. (From the Tate caption).
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Images referenced below may be found in Appendix 3:319.
Frank Bernard Dicksee’s Chivalry (1885), and John William Waterhouse’s later
paintings Lamia (1905) and Tristan and Isolde (1916), feature images of knights
which are typical of the Pre-Raphaelite technique of illumination.
Images referenced below may be found in Appendix 3:319-320
In addition to the Pre-Raphaelite and narrative art works referenced earlier in this
appendix can be added Marianne Stokes’ Aucassin and Nicolette (undated, post 1884,
pre 1900), many works by Edmund Blair Leighton (as distinct from Frederic, Lord
Leighton), and mid- to late Victorian images of Shakespeare’s young lovers Romeo
and Juliet. This was a popular subject, with noted images by Ford Maddox Brown
(1870) and Dicksee (1884). Young lovers in romantic moonlit settings were also the
subject of magazine and book illustration, commercial art, postcards and greetings
cards. Images by Stokes, Blair Leighton and Dicksee may be found in Appendix
3:319-320.
Numerous images can be compared with Shaw’s depiction of Ailsa’s parting from
Jack, including Millais’ Mariana (1851), Marie Spartalli Stillman’s Mariana (1868),
Artur Grottger’s Farewell (1866),Wladyslaw Bakalowicz’s Farewell (1867), John
Horsley’s The Soldier’s Farewell (1853), and Dante Gabriel Rossetti and others’
images of models such as Elizabeth Siddal (1850s), which are characterized by the
subject’s halo of illuminated hair. These images may be found in Appendix 3: 317,
320 and 321.
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Works Cited
The Literary World May 29th 1886Sophie Gengembre Anderson: Young Girl Fixing Her Hair,post 1860 (private collection)Sophie Gengembre Anderson: Portrait of a Young Girl,post 1860 (private collection)