This article looks at two domestic novels of the 1860s, The Young Step-Mother by Charlotte Yonge and Christian’s Mistake by Dinah Craik, alongside Victorian vital statistics and family structure in order to argue that fictional stepmothers of the period — even very young stepmothers — are better understood as a portrayal of female middle age. One of the strongest conventions of the nineteenth-century novel is that its protagonist be young, especially if that protagonist is female. This youth convention prevented novelists from putting many aspects of women’s lives at the centre of their work; one such aspect was mothering a child past the age of infancy. When critics write about the stepmother in Victorian literature, they usually portray her either as a stereotype (the wicked stepmother of fairy tale) or as a representation of a common nineteenth-century reality. This article shows that a young stepmother-protagonist offered Victorian writers a way to respect the novel’s youth convention at the same time as exploring emotions and experiences not typically available to biological mothers until their thirties, forties or even fifties: dealing with the competing demands of infant and adolescent children, for example, or with a daughter’s unhappy marriage or son’s professional difficulties. Through showing how Yonge’s and Craik’s novels give mature experience to young women, this article offers a model for finding Victorian representations of age in unexpected places and unexpected bodies.
{"title":"‘How differently it came upon her’: The Ageing Young Stepmother in Charlotte Yonge’s The Young Step-Mother and Dinah Craik’s Christian’s Mistake","authors":"Hannah Rosefield","doi":"10.16995/NTN.3480","DOIUrl":"https://doi.org/10.16995/NTN.3480","url":null,"abstract":"This article looks at two domestic novels of the 1860s, The Young Step-Mother by Charlotte Yonge and Christian’s Mistake by Dinah Craik, alongside Victorian vital statistics and family structure in order to argue that fictional stepmothers of the period — even very young stepmothers — are better understood as a portrayal of female middle age. One of the strongest conventions of the nineteenth-century novel is that its protagonist be young, especially if that protagonist is female. This youth convention prevented novelists from putting many aspects of women’s lives at the centre of their work; one such aspect was mothering a child past the age of infancy. When critics write about the stepmother in Victorian literature, they usually portray her either as a stereotype (the wicked stepmother of fairy tale) or as a representation of a common nineteenth-century reality. This article shows that a young stepmother-protagonist offered Victorian writers a way to respect the novel’s youth convention at the same time as exploring emotions and experiences not typically available to biological mothers until their thirties, forties or even fifties: dealing with the competing demands of infant and adolescent children, for example, or with a daughter’s unhappy marriage or son’s professional difficulties. Through showing how Yonge’s and Craik’s novels give mature experience to young women, this article offers a model for finding Victorian representations of age in unexpected places and unexpected bodies.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86472918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article argues that Tennyson’s ‘Tithonus’ (1860) draws together ageing and decay through the poem’s formal wrinkling: moments where metrical disruption, folding, slackness, or concealment correspond to the insights derived from the perspective of great age — chiming the poet’s keynotes of disappointment, mourning, and loss. I turn to ‘Ulysses’ (1842) and ‘The Lotos-Eaters’ (1832) — poems with a similar, though differently stressed, investment in age and decay — to demonstrate the political stakes of this thesis. While for Ulysses old age presents the triumphant opportunity to live ‘Life to the lees’, this arises from a sense of masculine anxiety about imminent decay. ‘The Lotos-Eaters’ positions ageing and decay against the imperative to work as a means of decentring the monolithic temporality of capitalist utility. These poems theorize the poetics of rot as a senescent challenge to the masculine and capitalist assumptions about the inherent value of mastery, productivity, and vigour.
{"title":"Tennyson’s Wrinkled Feet: Ageing and the Poetics of Decay","authors":"Jacob Jewusiak","doi":"10.16995/NTN.3466","DOIUrl":"https://doi.org/10.16995/NTN.3466","url":null,"abstract":"This article argues that Tennyson’s ‘Tithonus’ (1860) draws together ageing and decay through the poem’s formal wrinkling: moments where metrical disruption, folding, slackness, or concealment correspond to the insights derived from the perspective of great age — chiming the poet’s keynotes of disappointment, mourning, and loss. I turn to ‘Ulysses’ (1842) and ‘The Lotos-Eaters’ (1832) — poems with a similar, though differently stressed, investment in age and decay — to demonstrate the political stakes of this thesis. While for Ulysses old age presents the triumphant opportunity to live ‘Life to the lees’, this arises from a sense of masculine anxiety about imminent decay. ‘The Lotos-Eaters’ positions ageing and decay against the imperative to work as a means of decentring the monolithic temporality of capitalist utility. These poems theorize the poetics of rot as a senescent challenge to the masculine and capitalist assumptions about the inherent value of mastery, productivity, and vigour.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"296 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77320475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores ageing in the short, comic fiction of the Anglo-Jewish New Humourist writer Israel Zangwill. In a range of short stories, which reflect on the ways in which fin-de-siècle culture tends to align later life with decline and diminishment, Zangwill reveals the paradoxes of ageing by playing with such assumptions. These texts subvert conventional views on ageing, challenge the binary opposition of youth and old age, and critique the physiology of ageing through intergenerational difference and familial relations. The article argues that Zangwill’s texts emphasize the capacity for ageing — as a subjective experience, social identity, and means of elucidating the variable self through time — to be understood as a site of resistance or mode of subversion. In particular, his story ‘An Odd Life’ establishes creative ways to conceptualize age, as ageing is experienced by the protagonist outside the constraints of temporal realism. Willy Streetside’s anachronistic ageing — as he can be seen as simultaneously a child, in midlife, and an elderly man — manifests through a queerly asynchronous temporality, which operates beyond the expectations of reproductive futurism. Through this protagonist in particular, Zangwill establishes an alternative, non-normative model of age.
{"title":"Odd Age, Old Age, and Doubled Lives: Asynchronicity and Ageing Queerly in Israel Zangwill’s Short Stories","authors":"Alice Crossley","doi":"10.16995/NTN.3478","DOIUrl":"https://doi.org/10.16995/NTN.3478","url":null,"abstract":"This article explores ageing in the short, comic fiction of the Anglo-Jewish New Humourist writer Israel Zangwill. In a range of short stories, which reflect on the ways in which fin-de-siècle culture tends to align later life with decline and diminishment, Zangwill reveals the paradoxes of ageing by playing with such assumptions. These texts subvert conventional views on ageing, challenge the binary opposition of youth and old age, and critique the physiology of ageing through intergenerational difference and familial relations. The article argues that Zangwill’s texts emphasize the capacity for ageing — as a subjective experience, social identity, and means of elucidating the variable self through time — to be understood as a site of resistance or mode of subversion. In particular, his story ‘An Odd Life’ establishes creative ways to conceptualize age, as ageing is experienced by the protagonist outside the constraints of temporal realism. Willy Streetside’s anachronistic ageing — as he can be seen as simultaneously a child, in midlife, and an elderly man — manifests through a queerly asynchronous temporality, which operates beyond the expectations of reproductive futurism. Through this protagonist in particular, Zangwill establishes an alternative, non-normative model of age.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"79 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79305158","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
By looking at the figure of the painted older woman in nineteenth-century novels, this article examines how changing attitudes to cosmetics punished ageing women who clung to the make-up of their youth. As a warning against such continued practices, Catherine Gore’s ageing Lady Ormington demonstrates how devotion to make-up cannot hold back the signs of ageing. In a similar manner, Dickens’s Mrs Skewton shows how Georgian make-up, her ageing features, and her corrupt personality are equally contaminative. Finally, Percy Fitzgerald’s ‘Terrible Old Lady’ shows how heavy make-up is a literary motif that better delineates the ravages of female ageing than biological change alone. I conclude that in nineteenth-century novels, cosmetics do not function as a worrying disguise or serve as a medical warning, but rather act to depict the ageing woman as extraneous, purposeless, and aesthetically irrelevant.
通过观察19世纪小说中年长女性的形象，本文探讨了人们对化妆品态度的变化是如何惩罚那些坚持年轻时化妆的老年女性的。作为对这种持续行为的警告，凯瑟琳·戈尔(Catherine Gore)笔下日渐衰老的奥明顿夫人(Lady Ormington)表明，对化妆的热爱并不能阻止衰老的迹象。狄更斯笔下的斯丘顿夫人也以类似的方式展现了格鲁吉亚人的妆容、她日渐衰老的面容和她堕落的个性是如何同样具有污染性。最后，珀西·菲茨杰拉德(Percy Fitzgerald)的《可怕的老妇人》(Terrible Old Lady)表明，浓妆浓妆是一个文学主题，它比单纯的生理变化更能描绘女性衰老带来的破坏。我的结论是，在19世纪的小说中，化妆品的作用不是令人担忧的伪装，也不是作为一种医学警告，而是把老年妇女描绘成无关紧要的、没有目的的、与审美无关的。
{"title":"Of Cosmetic Value Only: Make-Up and Terrible Old Ladies in Victorian Literature","authors":"Sara Eileen Zadrozny","doi":"10.16995/NTN.3476","DOIUrl":"https://doi.org/10.16995/NTN.3476","url":null,"abstract":"By looking at the figure of the painted older woman in nineteenth-century novels, this article examines how changing attitudes to cosmetics punished ageing women who clung to the make-up of their youth. As a warning against such continued practices, Catherine Gore’s ageing Lady Ormington demonstrates how devotion to make-up cannot hold back the signs of ageing. In a similar manner, Dickens’s Mrs Skewton shows how Georgian make-up, her ageing features, and her corrupt personality are equally contaminative. Finally, Percy Fitzgerald’s ‘Terrible Old Lady’ shows how heavy make-up is a literary motif that better delineates the ravages of female ageing than biological change alone. I conclude that in nineteenth-century novels, cosmetics do not function as a worrying disguise or serve as a medical warning, but rather act to depict the ageing woman as extraneous, purposeless, and aesthetically irrelevant.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86501369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article takes as its starting point Jacob George Strutt’s description, in his Sylva Britannica (1826) of the Cowthorpe Oak, an ancient oak tree, as being ‘like some aged peasant, whose toil-worn limbs still give evidence of the strength which enabled him to acquit himself of the labors of his youth’. Strutt’s etching of the tree may be compared with Thomas Barker of Bath’s painting, Man Holding a Staff. Both works compare the life cycle of a tree to that of a human being, and specifically a male peasant, who has spent his working life in the open air, battered by the weather. Symbols of British history and greatness, from the rites of the Druids to the naval victories of the Napoleonic Wars, ancient oaks could stand for stoicism, steadfastness, independence, and peaceful reform. Depictions of aged peasants, in art and literature, served a similar purpose. They appealed to those who felt nostalgic for the idea of a more settled, rural past, and emotionally attached to paternalistic values.
本文以雅各布·乔治·斯特拉特在他的《大英百科全书》(1826)中对考索普橡树的描述为起点，这是一棵古老的橡树，“就像一个年老的农民，他的辛劳的四肢仍然显示出他的力量，使他能够免除自己年轻时的劳动”。斯特拉特对这棵树的蚀刻可以与巴斯的托马斯·巴克(Thomas Barker)的画作《拿着棍子的人》(Man Holding a Staff)相提并论。这两部作品都把一棵树的生命周期比作一个人的生命周期，特别是一个男性农民的生命周期，他一生都在户外工作，受天气的折磨。从德鲁伊教的仪式到拿破仑战争的海军胜利，古老的橡树都是英国历史和伟大的象征，它们代表着坚忍、坚定、独立和和平改革。在艺术和文学中，对老年农民的描绘也起到了类似的作用。他们吸引了那些对更稳定的乡村过去感到怀旧，并在情感上依附于家长式价值观的人。
{"title":"Ancient Trees and Aged Peasants","authors":"Christiana Payne","doi":"10.16995/NTN.3481","DOIUrl":"https://doi.org/10.16995/NTN.3481","url":null,"abstract":"This article takes as its starting point Jacob George Strutt’s description, in his Sylva Britannica (1826) of the Cowthorpe Oak, an ancient oak tree, as being ‘like some aged peasant, whose toil-worn limbs still give evidence of the strength which enabled him to acquit himself of the labors of his youth’. Strutt’s etching of the tree may be compared with Thomas Barker of Bath’s painting, Man Holding a Staff. Both works compare the life cycle of a tree to that of a human being, and specifically a male peasant, who has spent his working life in the open air, battered by the weather. Symbols of British history and greatness, from the rites of the Druids to the naval victories of the Napoleonic Wars, ancient oaks could stand for stoicism, steadfastness, independence, and peaceful reform. Depictions of aged peasants, in art and literature, served a similar purpose. They appealed to those who felt nostalgic for the idea of a more settled, rural past, and emotionally attached to paternalistic values.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84481535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Beyond the Bowes Museum: The Social and Material Worlds of Alphonsine Bowes de Saint-Amand","authors":"Lindsay Hannah Macnaughton","doi":"10.16995/NTN.3348","DOIUrl":"https://doi.org/10.16995/NTN.3348","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"81 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89664365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
At the Barber Institute of Fine Arts, one of the finest university art m useums in the country, signs of its founding matriarch are few. As an anniversary publication makes clear, Lady Barber — née Martha Constance Hattie Onions (1869–1933) — was ‘no great intellectual force or major collector of fine art’.1 What she bequeathed to the University of Birmingham in 1932 was not a corpus of masterpieces but rather the funds to enable the construction of a building and a major purchasing spree. While subsequent male curators — like Thomas Bodkin — deserve the credit for the astonishing old masters assembled for the institute, Lady Barber’s own creative interests during her lifetime were centred on the home. At Culham Court, near Henley-on-Thames, where she lived with her property developer husband from 1893, Lady Barber introduced neo-Georgian decorations and dramatic alpine gardens. Furniture and especially textiles formed the most substantial part of her collecting, whether historic lace — sourced from the Midlands and Europe — or sixteenthand seventeenth-century Flemish tapestries and cushion covers. These rich fabrics formed the backdrops in several of the twenty-five portraits that Lady Barber commissioned from the Belgian artist Nestor Cambier between 1914 and 1923. These range from highly theatrical full-length portraits in fancy dress, through to evocative sketches of the drawing room at Culham Court, depicting Lady Barber among her cherished possessions (Fig. 1). It appears Lady Barber was determined for the ensemble of portraits to be kept together after her death, since she arranged them into a privately printed book and lobbied (unsuccessfully) for their exhibition in London. Their presence at the Barber Institute remains jarring, even embarrassing, for those who query the aesthetic merits of Cambier’s work or the ‘social climbing’ of his favourite sitter.2
在巴伯美术学院(Barber Institute of Fine Arts)，这个国家最好的大学艺术博物馆之一，很少有创始人的迹象。一份周年纪念刊物明确指出，巴伯夫人——即玛莎·康斯坦斯·哈蒂·洋葱(1869-1933)——“既不是伟大的知识分子，也不是重要的艺术品收藏家”1932年，她给伯明翰大学(University of Birmingham)留下的不是一堆杰作，而是一笔资金，用于建造一栋大楼和一场大规模的购买狂潮。虽然后来的男性策展人——比如托马斯·博德金(Thomas Bodkin)——为该研究所收集了令人惊叹的古代大师作品，值得称赞，但巴伯夫人一生的创作兴趣主要集中在家里。巴伯夫人和她的房地产开发商丈夫从1893年起就住在泰晤士河畔亨利(Henley-on-Thames)附近的Culham Court。在那里，巴伯夫人引进了新乔治亚风格的装饰和引人注目的高山花园。家具，尤其是纺织品是她收藏的最重要的部分，无论是来自中部和欧洲的历史花边，还是十六、十七世纪的佛兰德挂毯和垫子套。这些丰富的织物构成了巴伯夫人在1914年至1923年间委托比利时艺术家内斯托·坎比耶(Nestor Cambier)创作的25幅肖像中的几幅的背景。这些肖像画的范围从穿着奇装奇服的高度戏剧性的全身肖像画，到在Culham Court的客厅里令人难忘的素描，描绘了Barber夫人在她珍爱的财产中(图1)。似乎Barber夫人决定在她死后将这些肖像集合在一起，因为她将它们整理成一本私人印刷的书，并游说(未成功)将它们在伦敦展出。对于那些质疑坎比尔作品的美学价值或他最喜欢的模特的“社会攀登”的人来说，他们在理发学院的存在仍然是不和谐的，甚至是尴尬的
{"title":"Women Collectors and Cultural Philanthropy, c. 1850–1920","authors":"Tom Stammers","doi":"10.16995/NTN.3347","DOIUrl":"https://doi.org/10.16995/NTN.3347","url":null,"abstract":"At the Barber Institute of Fine Arts, one of the finest university art m useums in the country, signs of its founding matriarch are few. As an anniversary publication makes clear, Lady Barber — née Martha Constance Hattie Onions (1869–1933) — was ‘no great intellectual force or major collector of fine art’.1 What she bequeathed to the University of Birmingham in 1932 was not a corpus of masterpieces but rather the funds to enable the construction of a building and a major purchasing spree. While subsequent male curators — like Thomas Bodkin — deserve the credit for the astonishing old masters assembled for the institute, Lady Barber’s own creative interests during her lifetime were centred on the home. At Culham Court, near Henley-on-Thames, where she lived with her property developer husband from 1893, Lady Barber introduced neo-Georgian decorations and dramatic alpine gardens. Furniture and especially textiles formed the most substantial part of her collecting, whether historic lace — sourced from the Midlands and Europe — or sixteenthand seventeenth-century Flemish tapestries and cushion covers. These rich fabrics formed the backdrops in several of the twenty-five portraits that Lady Barber commissioned from the Belgian artist Nestor Cambier between 1914 and 1923. These range from highly theatrical full-length portraits in fancy dress, through to evocative sketches of the drawing room at Culham Court, depicting Lady Barber among her cherished possessions (Fig. 1). It appears Lady Barber was determined for the ensemble of portraits to be kept together after her death, since she arranged them into a privately printed book and lobbied (unsuccessfully) for their exhibition in London. Their presence at the Barber Institute remains jarring, even embarrassing, for those who query the aesthetic merits of Cambier’s work or the ‘social climbing’ of his favourite sitter.2","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"29 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84370036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Writing a grief-stricken epitaph to Lady Dorothy Nevill née Walpole in 1913, the English poet and then librarian of the House of Lords, Edmund Gosse observed, ‘life was a spectacle for her and society a congress of little guignols.’1 Gosse conjures up an image of Lady Dorothy as a master manipulator, pulling the strings of her many puppets over the years, thus suggesting the influential position this aristocratic woman held in society throughout her long life. Born into the historical dynasty of the Walpole family, Lady Dorothy (1826–1913) was the daughter of the 3rd Earl of Orford (1783–1858). She grew up at Wolterton Hall reading the correspondence of Lord Horatio Walpole, the one-time ambassador to Louis XV, and stated proudly that ‘like my kinsman Horace Walpole I am fond of collecting’.2 Lady Dorothy gained acclaim as a botanist, a political hostess, one of the founding members of the Conservative Primrose League, an art collector, and a supporter of writers, scholars, and artists, many of whom she patronized. In 1888 she was painted in the company of a who’s who of the Victorian art world including John Charles Robinson (1824–1913), John Ruskin (1819–1900), and the art dealer William Agnew (1825–1910), attending the private view of the old masters exhibition at the Royal Academy (Fig. 1). As historian Jonathan Schneer has observed, ‘the range of her contacts and the extent of her political knowledge were unsurpassed.’3 A keen letter writer, who kept a journal throughout her life, she immortalized herself in a variety of publications: The Reminiscences of Lady Dorothy Nevill (1906), Leaves from the Note-Books of Lady Dorothy Nevill (1907), Under Five Reigns (1910), and My Own Times (1912).4 Although at times anecdotal, these writings contain diary entries, letters, newspaper clippings, and thoughts on politics, museums, and the significant changes experienced by Victorian society.
{"title":"‘Life was a spectacle for her’: Lady Dorothy Nevill as Art Collector, Political Hostess, and Cultural Philanthropist","authors":"Caroline McCaffrey-Howarth","doi":"10.16995/NTN.3344","DOIUrl":"https://doi.org/10.16995/NTN.3344","url":null,"abstract":"Writing a grief-stricken epitaph to Lady Dorothy Nevill née Walpole in 1913, the English poet and then librarian of the House of Lords, Edmund Gosse observed, ‘life was a spectacle for her and society a congress of little guignols.’1 Gosse conjures up an image of Lady Dorothy as a master manipulator, pulling the strings of her many puppets over the years, thus suggesting the influential position this aristocratic woman held in society throughout her long life. Born into the historical dynasty of the Walpole family, Lady Dorothy (1826–1913) was the daughter of the 3rd Earl of Orford (1783–1858). She grew up at Wolterton Hall reading the correspondence of Lord Horatio Walpole, the one-time ambassador to Louis XV, and stated proudly that ‘like my kinsman Horace Walpole I am fond of collecting’.2 Lady Dorothy gained acclaim as a botanist, a political hostess, one of the founding members of the Conservative Primrose League, an art collector, and a supporter of writers, scholars, and artists, many of whom she patronized. In 1888 she was painted in the company of a who’s who of the Victorian art world including John Charles Robinson (1824–1913), John Ruskin (1819–1900), and the art dealer William Agnew (1825–1910), attending the private view of the old masters exhibition at the Royal Academy (Fig. 1). As historian Jonathan Schneer has observed, ‘the range of her contacts and the extent of her political knowledge were unsurpassed.’3 A keen letter writer, who kept a journal throughout her life, she immortalized herself in a variety of publications: The Reminiscences of Lady Dorothy Nevill (1906), Leaves from the Note-Books of Lady Dorothy Nevill (1907), Under Five Reigns (1910), and My Own Times (1912).4 Although at times anecdotal, these writings contain diary entries, letters, newspaper clippings, and thoughts on politics, museums, and the significant changes experienced by Victorian society.","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"4 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79005575","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Artistic Patronage and Transatlantic Connections of Florence Blumenthal","authors":"R. Tilles","doi":"10.16995/NTN.3349","DOIUrl":"https://doi.org/10.16995/NTN.3349","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84189797","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Joséphine Bowes and Alphonsine Bowes: life in France, legacies, and the elephant in the room","authors":"Lindsay Hannah Macnaughton","doi":"10.16995/NTN.3022","DOIUrl":"https://doi.org/10.16995/NTN.3022","url":null,"abstract":"","PeriodicalId":90082,"journal":{"name":"19 : interdisciplinary studies in the long nineteenth century","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-09-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81661668","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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