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| Acknowledgements |
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xv | |
| Bibliography |
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xvi | |
| Introduction to Volume VI: Victorian Arts |
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1 | (16) |
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17 | (94) |
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19 | (6) |
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25 | (1) |
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2 Winsor and Newton's Catalogue of Colours and Materials for Watercolour painting, pencil, chalk, architectural drawing |
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26 | (1) |
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3 William Holman Hunt, `The Present System of Obtaining Materials in use by Artist Painters, as Compared with that of the Old Masters' |
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27 | (6) |
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4 V. Surtees (ed.), Diary of Ford Madox Brown |
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33 | (2) |
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5 William Holman Hunt, The Finding of the Saviour in the Temple |
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35 | (1) |
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6 F. G. Stephens, William Holman Hunt and his Works: a memoir of the artist's life, with description of his pictures |
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36 | (1) |
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7 P.G. Hamerton, `Picture Frames' |
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37 | (10) |
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41 | (6) |
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8 Anon., `Notabilia of the International Exhibition: Artists' Colours' |
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47 | (3) |
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9 George Field, Chromatography: or, a treatise on Colours and Pigments, and of their powers in painting, &c. |
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50 | (13) |
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10 A. H. Church, The Chemistry of Paints and Painting |
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63 | (3) |
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11 Dinabandhu Mitra, Nil Darpan, or the Indigo Planting Mirror, a Drama |
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66 | (4) |
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12 T. N. Mukharji, `Piuri, or Indian Yellow' |
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70 | (9) |
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73 | (6) |
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13 John Ruskin, The Elements of Drawing' |
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79 | (2) |
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14 Frontispiece to Theodore Henry Fielding, Ackermann's Manual of Colours, used in the different branches of water-colour painting |
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81 | (1) |
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15 Theodore Henry Fielding, `Introduction', Ackermann's Manual of Colours, used in the different branches of water-colour painting |
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82 | (2) |
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16 Anon., `Winsor and Newton's Moist Water Colours in Porcelain Pans' |
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84 | (1) |
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17 Frances Anne Hopkins, Encampment of Voyageurs |
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85 | (1) |
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18 Mary Merrifield, The Art of Fresco Painting as practised by the Old Italian and Spanish Masters with a Preliminary Enquiry into the Nature of the Colours Used in Fresco Painting with Observations and Notes |
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86 | (2) |
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19 Alice Meynell, `Mrs Adrian Stokes' |
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88 | (3) |
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20 Marianne Stokes, Candlemas Day |
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91 | (6) |
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93 | (4) |
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21 Henry Merritt, Art Criticism and Romance |
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97 | (2) |
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22 Richard Redgrave and Samuel Redgrave, A Century of Painters of the English School; with Critical Notices of their Works, and an Account of the Progress of Art in England |
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99 | (7) |
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23 Instructions from John Herbert for Unpacking and Displaying the painting The Descent of Moses |
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106 | (2) |
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24 Illustrated Instructions from John Herbert for Unpacking and Displaying the painting The Descent of Moses |
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108 | (1) |
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25 Anon., `Shipping. Hobson's Bay' |
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109 | (2) |
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111 | (86) |
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113 | (6) |
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26 Anna Jameson, A Handbook to the Courts of Modern Sculpture |
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119 | (3) |
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27 Edmund Gosse, `Sculpture at the Royal Academy' |
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122 | (1) |
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28 Fred Miller, `George Frampton, A. R. A., Art Worker' |
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123 | (1) |
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29 Edwin Roscoe Mullins, A Primer of Sculpture |
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124 | (3) |
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30 Marion Spielmann, British Sculpture and Sculptors of Today |
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127 | (2) |
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31 Anon., `The International Exhibition' |
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129 | (1) |
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32 Anon., `Large Bronze Castings' |
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130 | (2) |
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33 Anon., `Melting the Metal for the Bronze Sphinx to be placed on the Thames Embankment' |
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132 | (1) |
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34 Harriet Hosmer, `The Process of Sculpture' |
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133 | (4) |
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35 Anon., Harriet Hosmer and her assistants |
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137 | (1) |
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36 M. D. Wyatt, Fine Art. A Sketch of its History, Theory, Practice, and application to Industry. Being a Course of Lectures Delivered at Cambridge in 1870 |
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138 | (9) |
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141 | (6) |
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37 Alinari Brothers, Photograph of marble quarry at Carrara, Italy |
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147 | (1) |
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38 Nathaniel Hawthorne, The Marble Faun |
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148 | (2) |
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39 Anon., `Notabilia of the International Exhibition: Tinted Sculpture' |
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150 | (1) |
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40 Anon., `Art and Artists: Mr Cordier's Ethnographical Sculpture' |
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151 | (3) |
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41 Anon., `Ancient and Modern Sculpture' |
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154 | (1) |
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42 Anon., `The Art-Show at the Great Exhibition' |
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155 | (1) |
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43 Henry Weekes, Lectures on Art Delivered at the Royal Academy London |
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156 | (2) |
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44 George Frampton, R.A., Lamia |
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158 | (1) |
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45 Marion Spielmann, British Sculpture and Sculptors of Today |
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159 | (2) |
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46 Alfred Maskell, Ivories |
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161 | (10) |
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165 | (6) |
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47 Harriet Martineau, `The Magic Troughs at Birmingham' |
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171 | (7) |
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48 Centennial Photographic Company, Elkington & Co's exhibit |
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178 | (1) |
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49 Centennial Photographic Company, Interior view of Elkington & Co.'s exhibit |
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179 | (1) |
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50 David Brewster, `Application of the Stereoscope to Sculpture, Architeture and Engineereing' |
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180 | (2) |
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51 C. Bierstadt, Publisher, 1043 Una and the Lion |
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182 | (1) |
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52 Anon., `The corridor of statuary-porcelain at Alderman Copeland's, New Bond St' |
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183 | (5) |
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53 Anon., `Ghosts at South Kensington' |
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188 | (4) |
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54 Charles Shepherd, View of molders working in the courtyard of the Quwwat al-Islam [ Might of Islam] Mosque with the colonnade in the background, Quwwat al-Islam Mosque Complex, Delhi, India |
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192 | (1) |
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55 H. H. Cole, The Architecture of Ancient Delhi. Especially the Buildings Around the Kutb Minor |
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193 | (2) |
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56 Anon., `Small Bronzes' |
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195 | (2) |
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197 | (80) |
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3.1 Materials and techniques |
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199 | (4) |
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57 C. Winston, An Inquiry into the Difference of Style Observable in Ancient Glass Paintings, Especially in England; with Hints on Glass Painting |
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203 | (4) |
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58 Anon., `Opaline Glass' |
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207 | (8) |
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3.2 Architectural contexts |
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211 | (4) |
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59 G. E. Street, `On Glass Painting' |
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215 | (10) |
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60 Anon., `Stained glass as an accessory to Domestic Architecture' |
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225 | (5) |
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61 J. W. Mackail, Life of William Morris |
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230 | (7) |
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233 | (4) |
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237 | (2) |
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63 Anon., `Stained Glass Windows' |
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239 | (4) |
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64 Thomas Hardy, `The Young Glass Stainer' |
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243 | (6) |
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3.4 Tools and artistic labour |
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245 | (4) |
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65 H. A. Kennedy, `An Art Not Generally Understood' [ selected extracts] |
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249 | (14) |
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66 J. W. Mackail, Life of William Morris |
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263 | (2) |
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67 C. Whall, `Of Colour', The Artistic Crafts Series of Technical Handbooks: Stained Glass Work |
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265 | (3) |
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68 E. F. Suffling, `The colours and brushes used in glass painting' |
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268 | (9) |
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277 | (142) |
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4.1 Book illustration: opinion pieces and debates |
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279 | (6) |
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69 Charles Lamb, `To Samuel Rogers, Esq' |
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285 | (1) |
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70 Letter from Charles Lamb to Samuel Rogers |
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286 | (2) |
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71 John Murray, `Illustrated Books' |
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288 | (3) |
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72 William Wordsworth, `Illustrated Books and Newspapers' |
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291 | (1) |
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73 Anon., `Book Illustrations' |
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292 | (2) |
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74 George Du Maurier `The Illustrating of Books' |
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294 | (2) |
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75 William Morris, `The Woodcuts of Gothic Books', address to the applied art section of the Society of Arts in London |
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296 | (4) |
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76 Walter Crane, `The Decoration and Illustration of Books' |
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300 | (1) |
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77 Henry Blackburn, `The Art of Book and Newspaper Illustration: The Illustrator of Today' |
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301 | (3) |
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78 Gleeson White, English Illustration, `The sixties, 1855-70' |
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304 | (7) |
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4.2 Author-illustrator-engraver relations |
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307 | (4) |
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79 Correspondence between George Eliot and Frederick Leighton |
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311 | (4) |
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80 George Birkbeck Hill (ed.) Letters of Dante Gabriel Rossetti to Willingham Allingham |
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315 | (2) |
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81 Anon., `Book Illustration' |
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317 | (5) |
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82 Joseph Pennell, Modern Illustration |
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322 | (2) |
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83 Henry Blackburn `The Art of Book and Newspaper Illustration' |
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324 | (3) |
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84 P. G. Hamerton, `Book Illustration' |
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327 | (16) |
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337 | (6) |
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85 Thomas Bewick, A Memoir of Thomas Bewick Written by Himself |
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343 | (3) |
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86 Henry Cole, `Modern Wood Engraving' |
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346 | (2) |
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87 John Ruskin, `Definition of the art of engraving' |
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348 | (2) |
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88 M.R. James, `The Mezzotint' |
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350 | (3) |
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353 | (1) |
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90 International Exhibition 1862: Official Catalogue of the Fine Art Department |
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354 | (1) |
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91 Charles Dickens, `Engraved on Steel' |
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355 | (9) |
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92 Charles Booth, Life and Labour of the People in London |
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364 | (9) |
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367 | (6) |
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93 Anon., `A day at a bookbinders' |
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373 | (4) |
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94 Oscar Wilde, `Beauties of Bookbinding' |
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377 | (2) |
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95 Anon., `Bookbinding as a decorative art' |
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379 | (2) |
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96 Advertisement for Lindner's rollers |
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381 | (1) |
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97 Anon., `Xylonite for book binding' |
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382 | (2) |
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98 Anon., `Zaehnsdort's New Bindery' |
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384 | (9) |
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4.5 Book art as a profession for women |
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387 | (6) |
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99 E. P. Burton `A few hints to women adopting wood engraving as a profession' |
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393 | (4) |
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100 Charlotte Yonge, The Clever Woman of the Family |
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397 | (3) |
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101 Anon., `The Victoria Press' |
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400 | (2) |
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102 Jean Ingelow, Off the Skelligs |
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402 | (3) |
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103 Anon., `Wood engraving for women' |
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405 | (2) |
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104 Richard Taylor, `Wood-Engraving as an Employment for Girls' |
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407 | (2) |
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105 Anon., `What to do with Our Daughters' |
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409 | (3) |
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106 Anon., `Bookbinding by women' |
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412 | (1) |
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107 Anon., `On female labour in the central districts' |
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413 | (1) |
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108 Emily Hill, `Artistic book binding' |
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414 | (3) |
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109 George Elliot Anstruther, The Bindings of Tomorrow: A Record of the Work of the Guild of Women Binders and the Hampstead Bindery |
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417 | (2) |
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419 | (157) |
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5.1 Inventions and techniques |
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421 | (8) |
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110 Report of Henry Fox Talbot's lecture `Some account of the art of photogenic drawing or the process by which natural objects may be made to delineate themselves without the aid of the artist's pencil' |
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429 | (2) |
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111 Henry Fox Talbot, `Introductory Remarks' from The Pencil of Nature |
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431 | (2) |
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112 Henry Fox Talbot, bust of Patroculus (plate 17) |
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433 | (2) |
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113 Elizabeth Sheridan Carey, `Lines Written On Seeing a Daguerreotype Portrait of a Lady' |
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435 | (5) |
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114 George Cruikshank, `Photographic phenomena, or the new school of portrait painting' |
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440 | (5) |
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115 Frederick Scott Archer, `On the use of collodion in photography' |
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445 | (3) |
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116 `Dreadful collodion explosion in Paris' |
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448 | (1) |
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117 Advertisement for W.W. Rouch and Co. from The Photographic News Almanac or The Yearbook of Photography for 1863 |
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449 | (1) |
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118 The Imperial Dry Plate Co., `We are all imperialists now-a-days' |
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450 | (1) |
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119 The Imperial Dry Plate Co., `Imperial Plates pilot the way' |
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451 | (1) |
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120 `The Genesis of the Word Imperial' |
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452 | (2) |
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121 `Optical wonder of the age' |
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454 | (1) |
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122 `The Birmingham Mutoscope Company, Ltd' |
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455 | (3) |
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123 Anon., `Suggestion for the R.A. |
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458 | (1) |
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124 Cuthbert Bede, `Photography processes' |
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459 | (8) |
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5.2 Materials and equipment |
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461 | (6) |
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125 Cuthbert Bede, `Photographic Fancies', `Applying the Black Varnish' |
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467 | (1) |
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126 Anon., `India-Rubber and its Degree of Solubility' in `Photography - in and out of the studio' |
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468 | (2) |
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127 Anon., `Travellers and dry plate photography', in `Photography - in and out of the studio' |
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470 | (2) |
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128 Anon., `Photography and warfare', in `Photography - in and out of the studio' |
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472 | (3) |
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129 Anon., `The Poisonous properties of Bichromate of Potash', in `Photography - in and out of the studio' |
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475 | (2) |
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130 Advertisement for Thomas's Collodion |
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477 | (1) |
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131 Advertisement for Marion and Co. |
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478 | (7) |
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5.3 Photography in relation to the other arts |
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479 | (6) |
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132 John Ruskin, Letters to his father from Venice (7th October 1845) and to William Henry Harrison from Vevay (August 12th 1846) |
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485 | (1) |
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133 `The Art of Photography' |
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486 | (4) |
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134 Cuthbert Bede, `Photography in an artistic light' |
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490 | (2) |
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135 Anon., `Photography as a Fine Art' |
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492 | (4) |
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496 | (2) |
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137 International Exhibition 1862, Official Catalogue of the Industrial Department |
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498 | (1) |
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138 Anon., The Photographic Journal, April 15, 1861 |
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499 | (2) |
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139 Anon., The Photographic Journal, May 15, 1861 |
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501 | (7) |
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140 Peter Henry Emerson `Photography, Not Art' |
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508 | (9) |
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5.4 Women and photography |
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513 | (4) |
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141 Anon., `Photography as an Employment for Women' |
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517 | (4) |
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142 `Photography at Home', `The Experiences of a Lady Amateur - no. 1' |
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521 | (1) |
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143 `Photography at Home', `The Experiences of a Lady Amateur - no.2' |
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522 | (1) |
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144 `Photography at Home', `The Experiences of a Lady Amateur - no.3' |
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523 | (1) |
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145 `Photography at Home', `The Experiences of a Lady Amateur - no.4' |
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524 | (1) |
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146 `Social fads of the day', `The Lady Amateur' |
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525 | (1) |
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147 Adeline Anning, `A Profession for Women: Photography' |
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526 | (3) |
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148 Vuth Young, `Photography as a profession for women' |
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529 | (3) |
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149 Amy Levy, The Romance of a Shop |
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532 | (5) |
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150 Anon., `Mrs Julia Margaret Cameron' |
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537 | (8) |
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5.5 Photography as a hobby |
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541 | (4) |
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151 Alfred C. Harmsworth, `How to take a photograph' |
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545 | (3) |
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152 Advertisement for the Meritoire camera |
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548 | (1) |
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153 Advertisement for Marion's Amateur Photography |
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549 | (1) |
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154 Advertisement, `Free lessons in Photography' |
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550 | (1) |
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155 Anon., `Cyclo-photography' |
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551 | (2) |
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156 Horace Eckert, `Some Hobbies' |
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553 | (6) |
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555 | (4) |
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157 Anon., `The New Photography: Will it Stop Vivisection?' |
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559 | (4) |
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158 Anon., `The New Photography', Hearth and Home |
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563 | (2) |
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159 Anon., `The New Photography', Judy, or the London Serio-Comic Journal |
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565 | (1) |
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160 `The New Photography and the lost Missionary who went on a visit into the Interior' |
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566 | (1) |
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161 `The March of Science' |
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567 | (1) |
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162 `Awful possibilities of the new photography' |
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568 | (1) |
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163 `The New Photography', Illustrated Chips, 25 July 1896, p. 1 |
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569 | (1) |
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164 `The New Photography', Illustrated Chips, 4 Apr. 1896, p. 1 |
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570 | (1) |
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165 `The New Photography', Illustrated Chips, 19, Dec. 1896, p. 7 |
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571 | (4) |
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166 Anon., `The New Light and the New Photography' |
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575 | (1) |
| Index |
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576 | |
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