This gallery accompanies an omnibus edition of Christina Rossetti's "In an Artist's Studio," a sonnet about Dante Gabriel Rossetti's relationship with Elizabeth Siddal. Siddal was DGR's wife, Christina his sister. As Christina Rossetti writes of the image of Elizabeth Siddal in DGR's paintings, "One face looks out from all his canvasses,/ One selfsame figure sits or walks or leans." Although Siddal appears in different guises ("A queen in opal or in ruby dress,/ A nameless girl in freshest summer greens,/ A saint, an angel"), it is always the same face that appears, according to Christina Rossetti in the poem. The first set of images in this gallery are paintings by DGR of Siddal; the last set, starting with The Girlhood of Mary Virgin, have Christina Rossetti as model. Both sets are arranged in chronological order.
This gallery is designed to accompany an omnibus edition of Elizabeth Barrett Browning's (EBB's) "On a Portrait of Wordsworth, by B. R. Haydon," a poem that functions as an ekphrasis of a portrait by Haydon of William Wordsworth. That portrait in turn alludes to previous portraits by Haydon of Napoleon Bonaparte and of Arthur Wellesley, 1st Duke of Wellington. Further discussions of these allusions can be found in the annotated edition of EBB's sonnet authored by Dino Franco Felluga, Joshua King, Christopher Rovee, and Marjorie Stone:
James Malcolm Rymer's penny dreadful A Mystery in Scarlet was published in the London Miscellany (1866). It was the leading serial, or serial published on the front page of consecutive numbers. Each of the eighteen installments of A Mystery in Scarlet includes a header and three chapters. Seventeen of these installments (all but the ninth) begin with an illustration by the celebrated artist "Phiz" (Hablot K. Browne) and are executed in the medium of wood engraving. The illustrations of the first and final installment (plates no. 1 and 18) derive from the unbound copies of those installments in the collection of the Lilly Library, Indiana University, Bloomington, Indiana. All other illustrations derive from the bound copy of The London Miscellany, no. 1-18, in the collection of the same institution's Wells Library. All images are published here courtesy of the Lilly Library, where the photographs were created. Please click on any installment to...
This gallery has been created to accompany a critical edition of Dante Gabriel Rossetti's "The Sonnet," the first poem of DGR's House of Life. The following images illustrate DGR's "double works," which are associated texts and images; they are discussed in the critical introductions to the critical edition.
Image: portrait of Dante Gabriel Rossetti: albumen print. This photograph, from 7 October 1863, was reproduced as the frontispiece of: Rossetti, William Michael, Dante Gabriel Rossetti as Designer and Writer (London: Cassell and Company, 1898). Courtesy of Wikimedia Commons: http://en.wikipedia.org/wiki/File:Dante_Gabriel_Rossetti_001.jpg
The following exhibit includes reformatted content from The Rossetti Archive, now made available for reassembly through the the COVE database. The content is open access but you need to subscribe to reassemble material into new collections at COVE. We have created exhibits based on thematic elements to illustrate how Rossetti Archive content can be reassembled in interesting ways. This particular exhibit, one of several on Femine Archetypes, concentrates on The Lover.
The following exhibit includes reformatted content from The Rossetti Archive, now made available for reassembly through the the COVE database. The content is open access but you need to subscribe to reassemble material into new collections at COVE. We have created exhibits based thematic elements to illustrate how Rossetti Archive content can be reassembled in interesting ways. This particular exhibit, one of three on Femine Archetypes, concentrates on The Maiden.
The following exhibit includes reformatted content from The Rossetti Archive, now made available for reassembly through the the COVE database. The content is open access but you need to subscribe to reassemble material into new collections at COVE. We have created exhibits based thematic elements to illustrate how Rossetti Archive content can be reassembled in interesting ways. This particular exhibit, one of three on Femine Archetypes, concentrates on The Mother.
Birmingham School of Art, the first municipal art school in the country, opened in 1885. Birmingham played an important part in the development of education for both children and adults in the 19th century, and at this time a number of Birmingham institutions were expanding education beyond the walls of universities. The School of Art contributed by instructing students—notably women—in book binding and metalwork in addition to the more conventional subjects of painting and illustration.
The School of Art’s signature style, which became known as the ‘Birmingham School’, was built on the foundations of the Pre-Raphaelite movement. It embraced the Arts and Crafts ethos, which favoured hand-crafts and traditional techniques. In book illustrations, Arts and Crafts features included flattened perspective, mediaeval imagery, and the heavy outlines of woodcuts. Promoting the ‘unity of the arts’, Birmingham School artists often combined text and image. At a time when the education...
These four elaborate color prints, executed by Robert Prowse (1826-86) were distributed "Gratis" with the first number (10 February, 1866) of The London Miscellany. This periodical was edited by James Malcolm Rymer and carried his penny dreadful A Mystery in Scarlet as its first "leading serial," or serial printed on the front page of consecutive issues. The prominent positioning of the leading serial made it imperative that it be both visually attractive and dramatically effective. They are included here in the Exhibits section of this edition because they are not a part of the Wells Library copy of The London Miscellany provided in facsimile in the Appendices.
Prowse's four prints preview Rymer's miniature serial Rich and Poor (London Miscellany no. 3 and 4). Like other pull-out prints disseminated with penny periodicals, these were evidently designed to be displayed as wall art in the homes of the target readers, working-...
This gallery of images will support the Purdue Honors College study-abroad program, da Vinci and the Renaissance, in Paderno del Grappa, Florence and Venice Italy (May 2019).
This gallery is part of ENGL 202's build assignment. Research some aspect of Romanticism and then contribute what you have learned to our shared class resource. As the assignment states, "Add one timeline element, one map element and one gallery image about the Romantic period to our collective resources in COVE Editions. Provide sufficient detail to explain the historical or cultural detail that you are presenting. Interlink the three objects. I have provided one image as an example of what is required.
Curated in partnership with the George Eliot Archive, the "George Eliot Portrait Gallery" features portraits of the writer Mary Ann Evans, known to the world as George Eliot. This collection is remarkable in the number and scope of rare portraits that it presents. And as the editorial introduction discusses, the collection remains in an exciting state of flux, as a newly discovered painting of Eliot was authenticated as recently as 2017, and we anticipate a previously unpublished sketch of her being made public soon. It is our hope that making these scholarly resources available will promote well-informed, scholarly engagement with the visual texts that can reflect and even influence how the writing—and the writer—are read.
This gallery of images will support the Purdue Honors College course, da Vinci and the Renaissance, as well as its connected study-abroad program in Venice and Florence, Italy (March 2020).
The Victorian era witnessed the rise of animal protection, zoos, pet keeping, natural history, cattle and sheep breeding, vegetarianism, antivivisection, and dog and cat shows. But it also beheld big game hunting, blood sports, animal abuse, a burgeoning fashion industry that threatened animal populations, and widespread fears of our animal ancestry, sparked by Darwinian evolution. Animal artists drew exotic specimens and animals of all species observed from life and on location. In addition, artists and authors humanized animals or dressed them in Victorian clothes to point out social vices as well as rampant inequalities across the social classes in regard to wealth, education, and quality of life in general.
This exhibition, based in part on the digitized Norman M. Fox Collection at Skidmore College, illustrates the ways the Victorians treat animals, anthropomorphize animals, put animals on display, and make animals an indelible part of...
This gallery shows something of the range of art featured in the little magazines of the fin de siècle. The most famous magazine art was Aubrey Beardsley's pen-and-ink work, which he designed specifically for reproduction by line-block engraving, a photomechanical process. These art-nouveau designs, featuring the bold use of line and negative/positive space, gave their signature to the period, along with the posters and commercial art that they inspired and were inspired by. Some magazine artwork took the form of limited edition original prints--that is, etchings, lithographs, and wood engravings designed and produced by manual means over which the artist had control. Most, but by no means all, of these were reproduced in black and white. Some magazine artwork was reproduced in halftone (grayscale) using photomechanical processes to resize and recolour large original paintings. The principal reproductions firms serving little magazines include C. Hare, Hentschel, Naumann, Swan,...
This exhibition explores the co-productive relationship between technology and culture in the 19th century. With a focus on the cultural processes and products of invention, it highlights the contributions of women and their navigation of the patent system; examines the cutlery industry as a prime example of how technological innovation, mass-production, international trade and advertising aligned with class-led social aspirations and growing consumerism; and considers how new media technologies affected ideas about the dead and the ways Victorians sought connection with deceased loved ones.
Curated in collaboration with the George Eliot Archive, this gallery provides access to a selection of rare illustrations accompanying some of the major novels and poems by George Eliot. The original publication date is included in each title to provide context, but most of these illustrators' artwork was featured in editions that were published much later.
Romola was the only George Eliot novel illustrated in its first edition, and this gallery, curated in collaboration with the George Eliot Archive, features the original illustrations by Sir Frederic Leighton. Eliot had requested that a talented artist illustrate the novel, and Leighton was known for his historical genre paintings, especially his Florentine Renaissance scenes. He seemed an ideal illustrator for a novel set in fifteenth-century Florence. While Eliot was pleased with his work overall, there were some conflicts. At one point, she wrote to Leighton, "I am quite convinced that illustrations can only form a sort of overture to the text" (Barrington 1906, 4: 55-56). We invite you to consider the relationship between text and image-- as well as the relationship between an author and an artist corresponding throughout the installments of a serial...
This gallery is part of ENGL 202's build assignment. Research something having to do with race, gender, class and/or sex in the nineteenth century, and then contribute what you have learned to our shared class resource. As the assignment states, "Add one timeline element, one map element and one gallery image about race, class or gender/sex in the 19th century to our collective resources in COVE. Provide sufficient detail to explain the historical or cultural detail that you are presenting. Consider interlinking the three objects if they are related." I have provided one image as an example of what is required.
Letter by Charlotte to Ellen Nussey, April 21, 1844
In The Brontë Cabinet, (2015), Deborah Lutz investigates material objects owned by the sisters—e.g. souvenirs, mementos, books, writing desks—to illuminate the sisters’ lives. Material objects that the sisters created, touched, lived with, and incorporated into their writing help us to set the Brontës’ writing in their cultural moment and to understand each sister better. In our final classes, we will construct our own Brontë cabinet by choosing either an artifact Lutz mentions from the sisters’ lives—writing desks, letters, paintings, etc.—or objects in the sisters’ novels. The object you choose might best be illuminated in context of related objects; for example, the contents of a writing desk might accompany a...
This gallery has been created to accompany a critical edition of Dante Gabriel Rossetti's "The Sonnet," the first poem of DGR's House of Life. The following images illustrate DGR's "double works," which are associated texts and images; they are discussed in the critical introductions to the critical edition.
The following exhibit includes reformatted content from 
This gallery is part of ENGL 202's build assignment. Research some aspect of Romanticism and then contribute what you have learned to our shared class resource. As the assignment states, "Add one timeline element, one map element and one gallery image about the Romantic period to our collective resources in COVE Editions. Provide sufficient detail to explain the historical or cultural detail that you are presenting. Interlink the three objects. I have provided one image as an example of what is required.
