Victorian Material Culture

Victoria Mills is Lecturer in Victorian and Cultural Studies, Birkbeck, Univesity of London, UKKate Nichols is Birmingham Fellow in British Art at the Department of Art History, Curating, and Visual Studies, University of Birmingham, UK

• Part 1: Paintings1.1 Artist MaterialsHeadnote 1.11. ‘Varieties’, Art-Union, 1839-1848, 3:26 (March 1841), p. 49.2. Winsor and Newton’s Catalogue of Colours and Materials for Watercolour paintings, pencil, chalk, architectural drawing & c&c (London: Winsor and Newton, 1882), p. 20.3. William Holman Hunt, ‘The Present System of Obtaining Materials in use by Artist Painters, as Compared with that of the Old Masters’, Journal of the Society of Arts (23 April 1880), pp. 485; 492–3; 496; 497–8.4. V. Surtees (ed.), Diary of Ford Madox Brown (New Haven and London: Yale University Press, 1981) pp. 4–5; 21, 34; 44; 76.5. Image: William Holman Hunt, The Finding of the Saviour in the Temple (1854-60), Birmingham Museum and Art Gallery, Presented by Sir John T Middlemore Bt., 1896. 6. F. G. Stephens, William Holman Hunt and his Works: a memoir of the artist’s life, with description of his pictures (London: James Nisbet and Co., 1860), pp. 78–9.7. P.G. Hamerton, ‘Picture Framers’, Thoughts about art (London: Macmillan and Co., 1873), pp. 368–73.1.2 ColourHeadnote 1.28. ‘Notabilia of the International Exhibition: Artists Colours’, Art Journal, 1 July 1862, p. 162.9. George Field, Chromatography: or, a treatise on Colours and Pigments, and of their powers in painting, &c. (London: Charles Tilt, 1835), pp. ix–xiv; 4–7; 12; 19; 83; 104; 112; 155–9; 161–63.10. A. H. Church, The Chemistry of Paints and Painting (London: Seeley and Co., 1890), pp. 136–38, 192–4, 209.11. Dina Bandhu Mitra, introduction, author’s preface, and ‘Persons of the Drama’, in Nil Darpan, or the Indigo Planting Mirror, a Drama. Translated from the Bengali by A Native (Calcutta: C. H. Manuel, 1861), p. 39–41. 12. T. N. Mukharji, ‘Piuri, or Indian Yellow’, Journal of the Society of Arts (23 November 1883), pp. 16–17.1.3 MediumHeadnote 1.313. John Ruskin, ‘The Elements of Drawing’ in E.T. Cook and A. Wedderburn (eds), The Works of John Ruskin, vol.15 (Cambridge: Cambridge University Press, 2010), pp.157–159. 14. Image: Frontispiece to Theodore Henry Fielding, Ackermann’s Manual of Colours, used in the different branches of water-colour painting (London, 1844). The Bodleian Libraries, University of Oxford.15. Theodore Henry Fielding, ‘Introduction’, Ackermann’s Manual of Colours, used in the different branches of water-colour painting (London: R. Ackermann, 1844), pp. 3–6. 16. ‘Winsor and Newton’s Moist Water Colours in Porcelain Pans’, Winsor and Newton’s Catalogue of Colours and Materials for Watercolour paintings, pencil, chalk, architectural drawing &c &c (London: Winsor and Newton, 1882), p. 11.17. Image: Frances Anne Hopkins, Encampment of Voyageurs (1870), watercolour. Library and Archives Canada/Peter Winkworth Collection of Canadiana at the National Archives of Canada/e000835916. 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 (London: Charles Gilpin, 1846), pp. iii–iv; vi–vii.19. Alice Meynell, ‘Mrs Adrian Stokes,’ The Magazine of Art, March 1901, pp. 243–6.20. Image: Marianne Stokes, Candlemas Day, 1901, tempera on wood, 416 x 340 mm, Tate, Presented by the Trustees of the Chantrey Bequest, 1977.1.4 ConservationHeadnote 1.421. Henry Merritt, Art Criticism and Romance vol.1 (London: C Keegan Paul & Co, 1879), p. 80, 133-4.22. 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 (London: Smith, Elder and Co., 1866), vol. 2, selections from 588-609.23. Instructions from John Herbert for Unpacking and Displaying the painting The Descent of Moses, Letter, 1878, Public Records Office of Victoria, 4363/p/unit 9.24. Image: 1878, Instructions from John Herbert for Unpacking and Displaying the painting The Descent of Moses, Letter, 1878, Public Records Office of Victoria, 4363/p/unit 9.25. ‘Shipping. Hobson’s Bay’, Age, 16 February 1878, p.4.Part 2. Sculpture2.1 Materials and MakingHeadnote 2.126. Anna Jameson, A Handbook to the Courts of Modern Sculpture (London: Bradbury and Evans, 1854), pp. 3–5. 27. Edmund Gosse, ‘Sculpture at the Royal Academy’, Saturday review of politics, literature, science and art, 69:1809 (28 June 1890), p. 794.28. Fred Miller, ‘George Frampton, A. R. A., Art Worker’, Art Journal (November 1897), p. 321, 323–4.29. Edwin Roscoe Mullins, A Primer of Sculpture (London: Cassell and Co., 1890) pp. 62–4; 70–2; 74–5.30. Marion Spielmann, British Sculpture and Sculptors of Today (London: Cassell and Co., 1901), pp.5–6.31. ‘The International Exhibition’, Birmingham Daily Post, 20 June 1862, p. 2.32. ‘Large Bronze Castings’, Illustrated London News, 16 April 1881, p. 374.33. Image: ‘Melting the Metal for the Bronze Sphinx to be placed on the Thames Embankment’, Illustrated London News, 16 April 1881, p. 373. 34. Harriet Hosmer, ‘The Process of Sculpture’, Atlantic Monthly (December 1864), pp. 734–7.35. Image: Harriet Hosmer and her assistants, c.1861. Harriet Goodhue Hosmer Papers, Folder: HGH, [c. 1860], Schlesinger Library, Radcliffe Institute, Harvard University. 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 (London: Macmillan and Co., 1870), pp. 180–2.2.2 Social MeaningsHeadnote 2.237. Image: Alinari Brothers, Photograph of marble quarry at Carrara, Italy, c.1860s, Hiram Powers papers, 1819-1953, Box 11, Folder 9, Archives of American Art, Smithsonian Institution.38. Nathaniel Hawthorne, The Marble Faun (1860), ed. Susan Manning (Oxford: Oxford University Press, 2002), selections from Chapter 15, An Aesthetic Company, pp.104–6.39. ‘Notabilia of the International Exhibition: Tinted Sculpture’, Art Journal, 1 July 1862, pp. 161–2.40. ‘Art and Artists: Mr Cordier’s Ethnographical Sculpture’, Critic, 9 February 1861, p. 190.41. ‘Ancient and Modern Sculpture’, London Review and Weekly Journal of Politics, Literature, Art, and Society, 4:103 (1862), p. 567.42. ‘The Art-Show at the Great Exhibition’, Dublin University Magazine, 60:356 (1862), pp.141–2.43. Henry Weekes, Lectures on Art Delivered at the Royal Academy London (London: Bickers and Son, 1880), pp. 171–2.44. Image: George Frampton, R.A., Lamia, 1899-1900, Ivory, bronze, opals, glass, 61 x 55.3 cm, ©Royal Academy of Arts, London; photographer: Paul Highnam. 45. Marion Spielmann, British Sculpture and Sculptors of Today (London: Cassell and Co., 1901), pp.11–12.46. Alfred Maskell, Ivories (London: Methuen and Co., 1905), pp. 498–9; 504, 515–7; 521–2.2.3 ReplicationHeadnote 2.347. Harriet Martineau, ‘The Magic Troughs at Birmingham’, Household Words, 4:83 (25 October 1851) 113–117.48. Image: Centennial Photographic Company, Elkington & Co.'s exhibit, Main Building, Philadelphia Centennial Exhibition, 1876, silver albumen print; 33 x 41 cm, Image Courtesy of the Free Library of Philadelphia, Print and Picture Collection.49. Image: Centennial Photographic Company, Interior view of Elkington & Co.'s exhibit, Main Building, Philadelpia Centennial Exhibition, 1876, silver albumen print; 21 x 26 cm, Image Courtesy of the Free Library of Philadelphia, Print and Picture Collection.50. David Brewster, ‘Application of the Stereoscope to Sculpture, Architeture and Engineereing’, in The Stereoscope; its History, Theory, and Construction, with its Application to the Fine and Useful Arts and to Education (London: John Murray, 1856), pp.183–5.51. Image: C. Bierstadt, Publisher, 1043 Una and the Lion, date unknown (1882-1903), stereograph card; 17.5 x 8.5 cm, Author’s Collection.52. ‘The corridor of statuary-porcelain at Alderman Copeland's, New Bond St’, Art Journal, 1 November 1859, pp. 347–348.53. ‘Ghosts at South Kensington’ Saturday Review of Politics, Literature, Science and Art, 29 March 1879, pp. 391–2.54. Image: 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, published 1872. Image used according to the V&A’s terms and conditions © Victoria and Albert Museum, London55. H. H. Cole, The Architecture of Ancient Delhi. Especially the Buildings Around the Kutb Minar (London: Arundel Society, 1872), pp. 5–7.56. ‘Small Bronzes’, Saturday Review of Politics, Literature, Science and Art, 31 May 1890, p. 672.Part 3. Stained Glass3.1 Materials and TechniquesHeadnote 3.157. C. Winston, An Inquiry into the Difference of Style Observable in Ancient Glass Paintings, Especially in England; with Hints on Glass Painting Vol. I (Oxford and London, 1847), pp. 2-7.58. ‘Opaline Glass’, The Magazine of Art (January 1897), pp. 334-336.3.2 Architectural ContextsHeadnote 3.259. G. E. Street, 'On Glass Painting', The Ecclesiologist 10 (1852), 237-47. [selected extracts from a Paper read at 13th Anniversary of the Ecclesiological Society, 9 June 1852]60. ‘Stained glass as an accessory to Domestic Architecture’, Chamber’s Journal (1884, June 7), pp. 359-361.61. J. W. Mackail, Life of William Morris (London, New York and Bombay: Longmans, Green & Co., 1899) vol. 2, pp. 37-403.3 Style and TasteHeadnote 3.362. Image: ‘A Card’, Punch 8 (1845), p. 238.63. ‘Stained Glass Windows’, London Journal (20 March 1858), p.40.64. Thomas Hardy, ‘The Young Glass Stainer’ (1893)3.4 Tools and Artistic LabourHeadnote 3.465. H. A. Kennedy, 'An Art Not Generally Understood', Contemporary Review 55 (1889, March), 427-42. [selected extracts from: esp. pp.430-6, 438-9, and 441-2]66. J. W. Mackail, Life of William Morris (London, New York and Bombay: Longmans, Green & Co., 1899) vol. 2, pp. 41-42. 67. C. Whall, ‘Of Colour’, The Artistic Crafts Series of Technical Handbooks: Stained Glass Work (London: John Hogg, 1905), pp. 205-207, 209-11.68. E. F. Suffling, ‘The colours and brushes used in glass painting’, A Treatise on the Art of Glass Painting (London: Scott, Greenwood & Co., 1902), pp. 81-93.Part 4. Art of the Book4.1 Book illustration: opinion pieces and debatesHeadnote 4.169. Charles Lamb, ‘To Samuel Rogers, Esq.,’, The Times 13th December 183370. Letter from Charles Lamb to Samuel Rogers, Sir Thomas Noun Talford The Complete Works of Charles Lamb containing his letters, essays, poems, etc. with a sketch of his life (Philadelphia, William T. Amies, 1879), pp. 291-2.71. John Murray, ‘Illustrated Books’, Quarterly Review, June 1844, pp. 168-172. 72. William Wordsworth, ‘Illustrated Books and Newspapers’, The Poetical Works of William Wordsworth D.C.L Volume VI (London: Edward Moxon, 1846), p. 212.73. ‘Book Illustrations’, (anon) All the Year Round, Aug 10th 1867, pp. 151-152. 74. George Du Maurier ‘The Illustrating of books’, Magazine of Art, January 1890 pp. 349-50.75. William Morris – ‘The woodcuts of gothic books’ address to the applied art section of the Society of Arts in London published in Journal of the Society of Arts, (40) 12th February 1892, pp. 254-257.76. Walter Crane, ‘The Decoration and Illustration of Books’, The Journal of the Society of Arts (Vol. 37), November 1, 1889), pp. 895. 77. Henry Blackburn, ‘The Art of Book and Newspaper Illustration: The Illustrator of Today’, The Journal of the Society of Arts (Vol. 42), December 29, 1893, pp. 93-94. 78. Gleeson White, English Illustration, ‘The sixties, 1855-70’ (London, Archibald Constable and Co. Ltd., 1897), pp.1-4.4.2 Author/ Illustrator/ Engraver RelationsHeadnote 4.279. Correspondence between George Eliot and Frederick Leighton. From Mrs Russell Barrington, The Life, Letters and Work of Frederic Baron Leighton vol 2, pp. 96-99.80. George Birkbeck Hill (ed.) Letters of Dante Gabriel Rossetti to Willingham Allingham (London: Fisher and Unwin, 1897). Saturday March 18th 1855 (pp. 108-9).81. ‘Book Illustration’ Art journal, October 1902, pp. 315 –316 82. Joseph Pennell, Modern Illustration (London: George Bell &Sons, 1895), pp. xvii- xxi83. Henry Blackburn ‘The Art of Book and Newspaper Illustration’ lecture 3 (Dec 11 1893), Journal of the Society of Arts, vol xl11 January 12 1894 pp. 121-23.84. ‘Book Illustration’, P. G. Hamerton, The Portfolio : an artistic periodical; Jan 1888, pp. 17-21.4.3 EngravingHeadnote 4.385. Thomas Bewick, A memoir of Thomas Bewick, Written by Himself (London: Longman, Green, Longman and Roberts, 1862, pp. 237-341.86. Henry Cole, ‘Modern Wood Engraving’, London and Westminster Review, 31:2 August 1838, pp. 268-9.87. John Ruskin, ‘Definition of the art of engraving’, Ariadne Florentina: six lectures on wood and metal engraving: given before the University of Oxford in Michaelmas term, 1872 (Orpington: George Allen, 1873) pp. 7-11.88. M.R. James, ‘The Mezzotint’, in The Ghost Stories of an Antiquary (London: Edward Arnold, 1905) Second impression, pp. 57-65.89. ‘Wood Engraving’ in Elisha Noyce, The Boys Book Of Industrial Information (London: Ward and Lock, 1863), p. 134. 90. International Exhibition 1862: Official Catalogue of the Fine Art Department (London, Truscott, Son, & Simmons, 1862), p. 103. 91. Charles Dickens ‘Engraved on Steel’, All the Year Round October 27 1866, pp. 372-37692. Charles Booth, Life and Labour of the People in London (Second series: Industry) (London: Macmillan and Co., 1903), pp. 109-113. 4. 4 Book BindingHeadnote 4.493. ‘A day at a bookbinders’ The Penny Magazine for the diffusion of useful knowledge September supplement, 1842 pp. 377-78). 94. Oscar Wilde, ‘Beauties of Bookbinding.’ Pall Mall Gazette,November 23, 1888, p.3 95. ‘Bookbinding as a decorative art’ The British Bookmaker January 1892 (vol.5), p. 15896. Advertisement for Lindner’s rollers from The Bookbinder 188-89 (vol. 2), p. iv 97. ‘Xylonite for book binding’, The British Bookmaker, March 1891 (vol 4), p. 1998. ‘Zaehnsdorf’s New Bindery’, The British Bookmaker, November 1890 (vol. 4), pp.14-154.5 Book Art as a Profession for WomenHeadnote 4.599. E. P Burton ‘A few hints to women adopting wood engraving as a profession’, Englishwomans Review: A Journal of Woman’s Work, October 15th 1881, pp. 440-444.100. Charlotte Yonge, The Clever Woman of the Family’ (London and Cambridge: MacMillan and Co., 1865), pp. 45-8101.‘The Victoria Press’, Illustrated London News, June 15 1861, p. 555102. Jean Ingelow, Off the Skelligs (Boston: Roberts Brothers, 1872), pp. 469-476103. ‘Wood engraving for women’, Englishwoman’s Review October 15th 1879 pp. 451-453104. Richard Taylor, ‘Wood-Engraving as an Employment for Girls’, The Girl's Own Paper Saturday, September 25, 1886, p. 823.105. ‘What to do with Our Daughters’, Hearth and Home (London, England), Thursday, June 18, 1891; pg. 146106. ‘Bookbinding by women’, The Bookbinder volume 1 (1887-88), p. 171107. ‘On female labour in the central districts’, The Bookbinder volume 1 (1887-88), p.167.108. Emily Hill, ‘Artistic book binding’, The Woman’s Signal, March 17 1898, pp. 166-7. 109. George Elliot Anstruther, The Bindings of Tomorrow: A Record of the Work of the Guild of Women Binders and the Hampstead Bindery (London: Printed for the Guild of Women Binders, 1902), pp. vii-viii, x.Part 5. Photography5.1 Inventions and techniques Headnote 5.1 110. Report of Henry Fox Talbot’s ‘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’. Read January 31st 1839 in Abstracts of the Papers Printed in the Philosophical Transactions of the Royal Society of London, pp. 120-121111. Henry Fox Talbot, ‘Introductory Remarks’, and image of the bust of Patroculus (plate 17), from The Pencil of Nature (London: Longman, Brown, Green and Longmans, 1844), pp.1-2.112. Elizabeth Sheridan Carey, ‘Lines Written on seeing a daguerreotype portrait of a lady’, Illustrated London News, August 19 1843, p. 125.113. George Cruikshank, ‘Photographic phenomena, or the new school of portrait painting’ from George Cruikshank’s Omnibus (London: Tilt and Bogue), 1842.114. Frederick Scott Archer, ‘On the use of collodion in photography, The Chemist, March 1851 pp. 257-8115. ‘Dreadful collodion explosion in Paris’, Pall Mall Gazette, September 12 1892, p. 5.116. W.W. Rouch and Co. Advertisement from The Photographic News Almanac or The Yearbook of Photography for 1863, p. x. 117. The Imperial Dry Plate Co., ‘We are all imperialists now-a-days’ (June 1901).118. The Imperial Dry Plate Co., ‘Imperial Plates pilot the way’, Photography, June 5th 1909, p.19. 119. ‘The Genesis of the Word Imperial’, The Imperial Handbook, (London,1916), p. 21.120. ‘Optical wonder of the age’, Peter Parley's Annual: a Christmas and New Year's present for young people, n.d., p. 12.121. ‘The Birmingham Mutoscope Company, Ltd.’, The Birmingham Pictorial and Dart, March 11, 1898, p. 5.122. ‘Suggestion for the R.A.’, Punch or the London Charivari, May 10th 1899, p.225. 123. Cuthbert Bede, ‘Photography processes’ Photographic Pleasures: popularly portrayed with pen and pencil, (London: Thomas McLean, 1855), p. 29. 5.2 Photography: Materials and EquipmentHeadnote 5.2124. Cuthbert Bede, ‘Photographic Fancies’, ‘Applying the Black Varnish’, Photographic Pleasures: popularly portrayed with pen and pencil, (London: Thomas McLean, 1855), p. 37. 125. ‘India-Rubber and its Degree of Solubility’ in ‘Photography - in and out of the studio’, Photographic News April 6 1877, p. 167126. ‘Travellers and dry plate photography’ in ‘Photography - in and out of the studio’, Photographic News March 15 1879 p.121.127. ‘Photography and warfare’ in ‘Photography - in and out of the studio’ Photographic News September 12 1879, p.433 128. ‘The Poisonous properties of Bichromate of Potash’, in ‘Photography - in and out of the studio’ Photographic News, January 10 1879, p. 13.129. Advert for Thomas’s Collodion from The Photographic News, January 3rd 1879 p. v 130. Advert for Marion and Co., The Photographic News, November 14th, 1879, p. ix;5.3 Photography in relation to the other artsHeadnote 5.3131. John Ruskin letters to his father from Venice (7th October 1845) and to William Henry Harrison from Vevay (August 12th 1846). Modern Painters in The Works of John Ruskin eds. E.T Cook and Alexander Wedderburn (London: George Allen, 1903), p.210.132. ‘The Art of Photography’, Photographic Art Journal (vol 1) January 1851, pp.1-3133. Cuthbert Bede, ‘Photography in an artistic light’ Photographic Pleasures: popularly portrayed with pen and pencil, (London: Thomas McLean, 1855), pp. 32-34134. ‘Photography as a Fine Art’, The Illustrated Magazine of Art, Vol. 3, No. 13 (1854), p. 1. 135. ‘Photography’, The Crayon, Vol. 1, No. 11 (Mar. 14, 1855), p. 170.136. International Exhibition 1862, Official Catalogue of the Industrial Department (third edn.) (London: Truscott, Son and Simmons, 1862,) p. viii. 137. The Photographic Journal, (Journal of the Photographic Society of London) April 15 1861, pp. 149-50.138. The Photographic Journal, (Journal of the Photographic Society of London) May 15 1861, pp. 171-174139. Peter Henry Emerson ‘Photography, Not Art’, Naturalistic Photography for Students of the Art (London : Dawbarn & Ward, 1899), pp.53-63.5.4 Women and photographyHeadnote 5.4140. ‘Photography as an Employment for Women’ The Englishwoman's Review July 01, 1867, pp. 219-223 141. ‘Photography at Home’, ‘The Experiences of a Lady Amateur – no.1’ Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, March 28, 1885, p. 99. 142.‘Photography at Home’, ‘The Experiences of a Lady Amateur – no.2’ Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, April 4 1885, p. 107. 143. ‘Photography at Home’, ‘The Experiences of a Lady Amateur – no.3’ Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, April 18, 1885, p. 123.144. ‘Photography at Home’, ‘The Experiences of a Lady Amateur – no.4’ Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories April 25, 1885, p. 131. 145. ‘Social fads of the day’ ‘The Lady Amateur’, Funny Folks: A Weekly Budget of Funny Notes, Funny Pictures and Funny Stories, 6th Feb 1892 p. 41.146. Adeline Anning, ‘A Profession for Women: Photography’, The Woman's Signal, March 07, 1895, p.149.147. Ruth Young, ‘Photography as a profession for women’, Atalanta April 1, 1898, p.407. 148. Amy Levy’s The Romance of a Shop (London 1888). Extract taken from the first American edition (Boston: Cupples and Herd), 1889), pp. 2-13.149. Anon, ‘Mrs Julia Margaret Cameron’ Womans Herald, April 4 1891, pp. 369-70. 5.5 Photography as a HobbyHeadnote 5.5150. Alfred C. Harmsworth, ‘How to take a photograph’,Young Folks Paper, May 01, 1886, p. 278.151. Advertisement for the Meritoire camera, The Dart, July 22nd 1887, p. 5 152. Advertisement for Marion's Amateur Photography, The County Gentleman: A Sporting Gazette and Agricultural Journal January 29, 1887, p. 154. 153. Advertisement, ‘Free lessons in Photography’, The County Gentleman: A Sporting Gazette and Agricultural Journal, December 19, 1885, p. 1626.154‘Cyclo-photography’, Cycling, May 13, 1899; p. 370. 155. Horace Eckert, ‘Some Hobbies’, Pick-Me-Up, October 20, 1900; p. 36. 5.6 The New PhotographyHeadnote 5.6156. ‘The New Photography: Will it Stop Vivisection?’, The Woman's Signal, February 13, 1896, pp. 97-98.157. ‘The New Photography’, Hearth and Home, February 20 1896, p. 552.158. ‘The New Photography’, Judy, or the London Serio-Comic Journal, 26 Feb. 1896, p. 410 159. ‘The New Photography and the lost Missionary who went on a visit into the Interior’, Judy: or the London Serio-Comic Journal, March 25 1896, p. 462.160. ‘The March of Science’ Punch, or the London Charivari, March 7 1896, p.117161. ‘Awful possibilities of the new photography’, Illustrated Chips, 25 Apr. 1896, p. 4.162. ‘The New Photography’, Illustrated Chips, 25 July 1896, p. 1.163. The New Photography’, Illustrated Chips, 4 Apr. 1896, p.1164. ‘The New Photography’, Illustrated Chips, 19 Dec. 1896, p. 7. 165. ‘The New Light and the New Photography’, Nature, August 20 1896, p. cxxviii.Index