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Note: page numbers for illustrations are italicized.

Abrams, M. H., 151 n. 7 Arnold, Matthew, 211 Academy, 50, 77 Culture and Anarchy, 214 Adorno, Theodor, 180 n. 9 ‘Pagan and Mediaeval Religious Aeginean Marbles, 104, 110 Sentiment’, 218 n. 4 aesthetic art, see Aestheticism art, aesthetic criticism, 4, 28, 40, 187–8 aspiring towards itself, 59, 66 n. 40 ‘aesthetic historicism’, 115 n. 9, 163 dissemination of, 48, 50 Aestheticism, 34, 37, 38, 42, 62, 68, 69, 73, and form, 54, 68, 135, 149–50, 75, 80 n. 1, 165, 167–8, 180 n. 12, 151 n. 1 209–10 fusion of form and content in, 5, 41–2, and fascism, 186 45, 58–9, 136, 142–5, 152–3, 155–6, and politics, 202 n. 1 165 n. 2, 170–1, 208 and theatre, 170, 172–3, 175, 178 and incompleteness, 56–7, 102, 109, 110, see also decadence 111, 115, 201 aesthetics, 25 journalism and critics, 50, 55, 75, 122 and the aesthetic personality, 177–8, 181 (see also names of individual critics n. 23 and publications) appreciation of, 208 and politics, 187 and freedom, 206, 209–12 and self-fashioning, 206–17 and gender, 66 n. 34 social production of, 48 and morality, 212–17 unity in, 176–7 and music, 152 see also Aestheticism; Anders-streben; ﬁlm; and politics, 187–202 Greek art; interartistic discourse; and self-culture, 206–17 music; painting; photography; agency, 130–2 sculpture; theatre; names of allegory, 76–80 individual artists and movements All the Year Round, 133 n. 8 art criticism, 4, 28, 40 Anders-streben, 3, 8, 136, 137, 142, 143, 150, art journalism and critics, 50, 55, 75, 122 151 n. 1, 154–6, 157, 158–9, 179 n. 2 (see also names of individual critics and character, 178 and publications) and melodrama, 135, 146–50 and chauvinism, 55, 56 and music, 42–3, 45, 59, 136, 137, 142–5, and narrative, 68–9, 73 152, 155, 178 and subjectivity, 54, 69, 94, 132, 137, and painting, 136, 137, 142–5, 173–4 154–5 and theatre, 169–71, 173, 175, 178 see also aesthetic criticism see also interartistic discourse art for art’s sake, 48, 69, 74, 75 Andrews, Kit, 187, 189 Art Journal,50 Aphrodite, 18, 77 Arts and Crafts Movement, 100 n. 1 Apollo, 13, 16, 28, 90 Ash, Russell, 9 n. 1 Apollo Belvedere, 21, 21–3, 113 Ashmolean Museum, 20, 64 n. 11 Arachne, 90 askêsis, 151 n. 1 Aristotle, 13 Athenaeum, 50, 56, 75, 122, 222, 231 n. 5

249 250 Index

‘aural architecture’, 154, 156, 157–8, 165 Bourdieu, Pierre, 47, 64 n. 7, 231 n. 7 Austin, Alfred, 35 Boyle, Marjorie, 108 Bradley, F. H., 215 Bacchantes, 95, 97 Brake, Laurel, 9, 204 n. 17, 220–31 Bacchus (Solomon), 34, 41, 96, 101 n. 14 Brasenose College, 34, 35 Bakhtin, Mikhail, 163 British Museum, 18, 20, 23, 24, 25, 218 n. 3 Barker, Alexander, 70, 81 n. 4 British Photographic Journal, 122 Barthes, Roland, 151 n. 8 Brontë, Emily, 81 n. 9 Bartram, Michael, 118, 122 Brown, Ford Madox, 122 Batchen, Geoffrey, 145–6 Browne, Thomas, 26 Baudelaire, Charles, 9, 45 n. 5, 47, 48, 54, Urn Burial,26 55, 59, 60, 64 n. 8, 65 n. 26, 66 n. 36, Browning, Oscar, 35, 36 193 Browning, Robert, 35, 102 and Corot, 51, 54, 55, 56, 58, 66 n. 31 Men and Women,40 and Delacroix, 180 n. 19 Bruno, Giordano, 193, 194, 197, 198, 199, the ﬂâneur, 210 203 n. 9 and Millet, 64 n. 12 Buchanan, Robert, 35–6 and photography, 120 Bucknell, Brad, 153 and Swinburne, 35, 41 Bullen, J. B., 7, 33–46 Works by: ‘L’eau-forte est à la mode’, 66 Burne-Jones, Edward, 3, 5, 34, 35, 36, 37, n. 36; [review of] Exposition 38, 42, 44, 55, 57, 66 n. 37, 70 Universelle, 1855, 54; The Painter of Day, 38, 39,66n.37 Modern Life, 54, 203–4 n. 13; Richard Days of Creation,45 Wagner et Tannhäuser à Paris, 58; Le The Golden Stairs,1–3,2, 166 n. 9 Salon de 1846, 54, 56, 58, 66 n. 40, Laus Veneris,40 180 n. 19; ‘Salon de 1859’, 44 Burns, Sarah, 61 Bayeux Tapestry, 85–6 Becker-Leckrone, Megan, 147 Cameron, Julia Margaret, 121, 123, 125 Belgravia, 37, 45 n. 3 Canterbury Cathedral, 92 Bell Scott, William, 35 Carlyle, Thomas, 218 n. 3 Benjamin, Walter, 126, 186, 187–8, 189 ‘Life of Schiller’, 218 n. 3 Benson, Stephen, 163 Sartor Resartus, 218 n. 3 Berners Street Gallery, 49 Carr, J. Comyns, 55, 64 n. 12, 66 n. 33 Besant, Walter, Carrier, David, 33, 45 n. 5, 64 n. 2 The Art of Fiction, 220 Carte, Richard D’Oyly, 62, 67 n. 46 Bethnal Green Museum, 49 Cathedral of Saint-Étienne, 92–3, 98 Bible, 74, 81 n. 9, 82 n. 13, 189 Cecilia, St, 156–7, 165 n. 5, 166 n. 6 Bildung, The Century Guild Hobbyhorse,34 see ‘self-culture’ Chesnau, Ernest, Blackwood’s, 50, 131 The English School of Painting, 45, 45 n. 2 Blake, William, 6 Christianity, 27–9, 30, 156–7, 158, 160–2 Blesser, Barry, 154 and classicism, 13, 16, 17, 31, 76, 78, 88, Borkowska, Eva, 153 92 Botticelli, Sandro, 7, 38, 40, 68–74, 77, 81 feast of Pentecost, 194–5, 196–8, 201 n. 5, 110, 214 and paganism, 15–16, 17, 27, 30, 31, nineteenth-century reception of, 70, 81 88, 92 n. 3 Protestant Reformation, 30, 31, 185, 188 Works by: The Birth of Venus, 69, 81 n. 5; cinema, Madonna with the Pomegranate, 69; see ﬁlm Mars and Venus, 73; Primavera,72 Clark, Kenneth, 144–5 Index 251 class, 125, 132 n. 4 italien, 52; La Solitude; Souvenir de classicism, 6, 18, 24, 25, 27, Vigen (Limousin), 52; Souvenir de and Christianity, 13, 16, 17, 31, 76, 78, Mortefontaine, 49, 52, 53, 65 n. 25, 65 88, 92 n. 30; Souvenir des environs du lac de in painting, 16, 48, 53 Nemi, 52; VuedeportdeLaRochelle, see also Greece, ancient; Greek art; 52; Vue prise dans la forêt de paganism; Rome, ancient Fontainebleau, 54; Vue prise des jardins Clements, Elicia, 1–10, 152–66, 179 n. 8 Farnèse (le midi),51 Clements, Patricia, 45 n. 5, 64 n. 5, De corporis humani fabrica (Vesalius), 191, 193 detail from frontispiece, 105, 106 Columbus, Christopher, 105 detail from title page, 105, 107 Colvin, Sidney, 34, 35, 55, 62, 63, 66 n. 33, Le Coup de vent (Legros), 43 66 n. 38, 75 criticism The Concert (Titian), 158–60, 159, 166 n. 7 see art criticism and n. 9, 173–4, 176, 180 n. 13 Cruise, Colin, 7, 41, 68–82, 203 n. 5 Conlon, John, 63, 66 n. 36 Crystal Palace, 20 Connor, Steven, 92, 100–1 n. 11 Cunningham, Valentine, 98 Constable, John, 55 Contemporary Review, 179 n. 6, 230 n. 2 Daguerre, Louis-Jacques-Mandé, 146 Corot, Jean-Baptiste-Camille, 5, 7, 33, 37, Daily Telegraph,50 44, 47–63, 64 n. 4, n. 9, n. 11, and n. Daley, Kenneth, 7, 85–101, 110, 203 n. 10 12, 65 n. 19, n. 21, n. 23, n. 25, n. 26, dandyism, 179 n. 27, and n. 30, 66 n. 31 Dark Blue, 36, 42, 75 and Baudelaire, 51, 54, 55, 56, 58, Darwin, Charles, 66 n. 31 The Expression of Emotions in Man and and classicism, 53 Animals, 122–3 and display of works, 49 and photography, 122–3, 133 n. 9 and incompleteness, 56 Daubigny, Charles-François, 37 and innovation, 48 da Vinci, Leonardo, 40, 99, 110, 132 and landscape painting, 52–3 La Gioconda (Mona Lisa), 132 Works by: Chemin de Sèvres, 52; Le Davis, Michael, 101 n. 12 Concert, 58; Daphnis and Chloe, 51; Day (Burne-Jones), 38, 39,66n.37 Diane surprise au bain, 53; Environs de decadence, 179, 180 n. 12, 193–4, 223 Beauvais, du côté de Voisinlieu, 52; The Degas, Edgar, 33 Evening Star, 52; Figures with Delacroix, Eugène, 41, 180 n. 19 Landscape, 49; Le Forum vu des jardins Deleuze, Gilles, 151 n. 8 Farnèse (le soir), 52; Homère et les della Robbia, Luca, 7 bergers; paysage, 51, 54; L’Île heureuse, Cantoria, 110 52; Macbeth, 49; Un Matin à Demeter, 53–4, 110, 111 Ville-d’Avray, 52; Une Matinée (or La see also Pater, Walter: ‘The Myth of Danse des nymphes) 50, 51, 52, 53, 65 Demeter and Persephone’ n. 23; Les Nymphes, 49; Orphée series, de Rossi, Giovanni Battista, 166 n. 6 53, 65 n. 27; Pastorale, 51; Paysage au desire, 97–8 clair de lune, 52; Paysage; soleil in Solomon’s art, 71–2, 82 n. 10 couchant (or Le Petit Berger), 58; see also homoeroticism Premières feuilles près de Mantes, 52; de Staël, Anne Louise Germaine, 9–10 n. 4 Une Route aux environs d’Arras (or Les Dickens, Charles, 133 n. 10 Chaumières), 52; La Route de Our Mutual Friend, 123–4 Sin-le-Noble, près de Douai, 52; The Pickwick Papers, 147 Silène, 53; Soliel couchant, site du Tyrol Dickinson, Anna Elizabeth, 125 252 Index

Diderot, Denis, 135, 139-41, 151 n. 3 femininity, 96, 97, 98 ‘Conversations on The Natural Son’, 141 and artistic reception, 94 Salons, 139, 141 and colour, 66 n. 34 Dionysus, 41, 89, 90, 94–6, 97, 100–1 n. 11, and Dionysian myth, 95 101 n. 14 and ekphrasis,90 as symbol of theatre, 101 n. 13, 171–2, and embroidery, 86 175, 178 see also gender; masculinity see also Pater, Walter: ‘A Study of Ficino, Marsilio, 108, 115 n. 4 Dionysus’ ﬁlm, 135–6, 145–7, 150, 151 n. 8 Discobolus (Myron), 22, 23, 24, Fine Art Society, 49, 65 n. 18 32 n. 7, 112 Flaubert, Gustave, 47 Disdéri, André, 119 form, 165 n. 1 Disputa (Disputation of the Sacrament) in art, 54, 68, 135, 149–50, (Raphael), 13, 14, 16, 30, 31 151 n. 1 Dowling, Linda, 8, 35, 186, 191, 202 n. 1, fused with content in art, 5, 41–2, 45, 209, 218 n. 11 58–9, 136, 142–5, 152–3, 155–6, 165 drama, n. 2, 170–1, 208 see theatre Fortnightly Review, 29, 34, 35, 41, 50, 70, Dublin University Magazine,38 75, 82 n. 11, 86, 137, 221, 222, Dudley Gallery, 34, 49, 75, 78, 225, 229 101 n. 14 François, Louis, 50 Dupré, Jules, 37 Frazer, James, 97 Durand-Ruel, Paul, 50, 65 n. 19 Freer Gallery, Washington, DC, 49 Free Society of Artists, 49 French Revolution, 189, 192, 203 n. 3 Eastham, Andrew, 8, 165 n. 4, 166 n. 6, Fried, Michael, 140, 168, 179 n. 3, 167–81 180 n. 13 Eastlake, Elizabeth, 121 Fry, Roger, 123 ekphrasis, 7, 21, 69, 85–100, 100–1 n. 11, Fun,50 119, 132 n. 2, 171, 174 see also ‘notional’ ekphrasis Gadamer, Hans-Georg, 181 n. 21 ekphrastic poetry, 89 Gautier, Théophile, 47, 55, 58, Elgin Marbles, 18, 104, 113 66 n. 39, 93 Eliot, George, 121 gender, Romola, 40, 228 and aesthetics, 66 n. 34 Eliot, T. S., 148 and artistic receptivity, 94 Ellmann, Richard, 127 and artistic representation, 77, 79–80 Elsner, Jas,´ 91 and ekphrasis, 89–90 epiphanic moment, 135–6, 142, 147–50, see also femininity; masculinity 151 n. 7, 158 genius (artistic), 208 Euripedes, German Idealism, 168 The Bacchae (also The Bacchanals), see also Hegel; Kant 110, 172 Giorgione [Giorgio da Castelfranco], 41, 53, see also Pater, Walter: ‘The Bacchanals of 137, 140 Euripedes’ Fête Champêtre, 41, 63 n.1 Examiner,50 Giotto [Giotto di Bondone], 6 Exposition Universelle, 1855,54 The Globe, 36, 66 n. 33 Goethe, Johann Wolfgang von, 104, 105, Fantin-Latour, Henri, 44, 66 n. 36 151 n. 1, 205, 211, 218 n. 1, n. 3 Farmer, Albert, 179 n. 1 Elective Afﬁnities, 228 Index 253

Faust, 218 n. 1 homoeroticism, 7, 34, 41, 72–3, 78, 94–6, Aus meinem Leben: Dichtung und Wahrheit, 105, 109, 126–7, 129, 131, 210 218 n. 1 in Oxford, 35–6 The Golden Stairs (Burne-Jones), 1–3, 2, 166 see also homophobia; homosexuality n. 9 homophobia, 35–7, 186, 227 Gosse, Edmund, 33, 115 n. 1 homosexuality, 86, 89–90, 94, 95–6, 98, 230 Gray, John Miller, 42, 59 and gay subculture, 203 n. 6 Great Exhibition, 20 and sexual dissidence, 186 Greece, ancient, 76, 80 see also homoeroticism; homophobia; ethics of, 213 homosociality see also Greek art homosociality, 98 Greek art, 110 Hopkins, Gerard Manley, 34, 45, 141, 148 polychromy, 25, 32 n. 9 Hough, Graham, 58 sculpture, 21–6, 103, 105, 106, 110, Household Words, 133 n. 8 111–13, 172 Howard, George, 45 Grieve, Alistair, 63 n. 1 Hugo, Victor, 47, 64 n. 8, 179 n. 5, 211 Grosvenor Gallery, 3, 37–8, 40, 42, 45, 49, Humm, Maggie, 120 58, 59, 65 n. 17, 66 n. 33, n. 36, 102 Hunt, William Holman, 122 Guasti, Cesare, 107 Hunterian Gallery, University of Gutch, John W., 122 Glasgow, 49

Illustrated London News, 50, 78 Haden, Seymour, 44 ‘imaginary portraits’, as genre, 4, 226 Hallé,Charles,66n.33 imagination, 207–8, 209, 210–11, 212, Hanslick, Eduard, 152 213–14, 218 n. 7 On the Musically Beautiful, 165 n. 1 and moral sense, 213 Hardinge, William Money, 37 Impressionism, 47, 65 n. 19 Hardy, Thomas, 136 incompleteness, 217 Desperate Remedies, 124 in art, 56–7, 102, 109, 110, 111, Harvey, Michael, 121 115, 201 Hayes, John, 123 inﬂuence, 99–100 Heffernan, James, 87, 90, 91, 113 Ingres, Jean-Auguste-Dominique, 33 Hegel, Georg Wilhelm Friedrich, 104, 109, Inman, Billie Andrew, 38, 42, 205, 115 n. 2, 165 n. 2, 168, 180 n. 11, 211 218 n. 3 Aesthetics, 104, 172, 179 n. 4 interartistic discourse, 3, 6, 8, 41, 152, 156, Heine, Heinrich, 93 159, 164 Hellenism, 106, 168–9, 177–8, 180 n. 10, between sculpture and writing, 114 n. 11 and ekphrastic poetry, 89 Heraclitus, 144 and theatre, 168 Herzog, Patricia, 152 see also Anders-streben Hext, Kate, 8, 203 n. 7, 205–19 International Exhibition of 1862, 123 Higgins, Lesley, 1–10, 10 n. 5, 45 n. 2 and 7, internationalism, 48 47–67, 80–1 n. 1, 110, 130, 180–1 n. 19 intertextuality, 64 n. 3, 74, 80, 81 n. 9, 82 Hill, Donald, 9 n. 3 n. 13 historical continuity, 17, 26, 28, 110 Ionides, Constantine Alexander, 45, 102 in The Renaissance, 38–40, 42 Iser, Wolfgang, 193 Hogarth, William, The Rake’s Progress, 149 James, Henry, 102, 118 Hollander, John, 85 on art, 38 Homer, 74, 77, 81 n. 9, 104, 110, 112–13 and photography, 133 n. 11 254 Index

James, Henry – continued Leyland, Frederick, 57, 82 n. 12 Works by: ‘The Art of Fiction’, 9, 220, liberalism, 209 228–9; Partial Portraits, 117, 229; The Lindley, David, 180 n. 15 Portrait of a Lady, 117, 227; ‘The Real Lindsay, Sir Coutts, 66 n. 33 Thing’, 124, 133 n. 11 see also Grosvenor Gallery Jankélévitch, Vladimir, 159–60, 161 Lippincott’s, 230 Japonisme, 59, 67 n. 41 Lloyd, E. M., 75 journalism, 231 n. 7 Longman’s Magazine, 220 and art criticism, 50, 55, 75, 122 see also names of individual periodicals Louvre, 49, 64 n. 11 Jowett, Benjamin, 36 Joyce, James, 136, 148 Macdonald, Gus, 119 Kahn, Douglas, 152 Macmillan, Alexander, 222, 223, 230 n. 3 Kant, Immanuel, 209, 211, 212, 218 n. Macmillan Publishers, 221, 223, 224–5, 230 5, n. 7 n. 1 Critique of Judgment, 205, 209, 213, 218 Macmillan’s Magazine, 50, 51, 126, 221, n. 6 222–7, 230, 230 n. 2, n. 3, n. 4, 231 n. 5 Critique of Pure Reason, 218 n. 6 Madonna, as art icon, 16, 17, 214 Keats, John, 88 Maeterlinck, Maurice, 181 n. 24 Kelvin, Norman, 7–8, 117–34 Les Aveugles, 179 Kirchner, Ernst Ludwig, Pélleas et Mélisande, 179 Girl Under a Japanese Umbrella,67n.41 Mallock, William, Klein, Julie Thompson, 3 New Republic, 37, 45 n. 3 Kompridis, Nikolas, 211 Maltz, Diana, 186 Mantz, Paul, 58 Laird, Andrew, 86 Marsyas, 90 Landor, Walter Savage, Marucci, Franco, 228 Imaginary Conversations, 132 n. 1 Marx, Karl, 211 Lang,CecilY.,81n.9 Laocoön, 113 masculinity, 95–6, 186 L’Art,66n.33 and aesthetics, 66 n. 34 Lasey, Richard, 51 and artistic reception, 94 Layard, Sir Austen Henry, 20 and ekphrasis,90 Discoveries in the Ruins of Nineveh and see also femininity; gender Babylon,20 Mason, George, 33 Nineveh and its Remains,20 Evening Hymn,33 Leek Embroidery Society, 86, 100 n. 2 Masque de l’homme au nez cassé (Rodin), Legros, Alphonse, 5, 35, 37, 42–5, 55, 66 n. 102, 103 36, 143 Mater dolorosa,54 Angelus,44 McGann,Jerome,63n.1 Le Coup de vent, 43 McGrath, F. C., 205 Leighton, Angela, 153 medieval culture, 168, 169, 181 n. 23, 189 Leighton, Frederick, 35, 102 Lessing, Gotthold Ephraim, 141, 145, 151 medievalism, 6 n. 3 and Pre-Raphaelite art, 40 Laocoön, 141 Meisel, Martin, 136, 149, 150 Levine, George, 149 Mérimée, Prosper, 47 Lewes, George Henry, 1572: Chronique du règne de Charles Life of Goethe, 218 n. 3 IX, 193 Index 255

Michelangelo [di Lodovico Buonarroti as fusion of form and matter, 42, 45, 58, Simoni], 7, 13, 40, 57, 107–10, 111, 152–4 112, 115, 115 n. 8 and melodrama, 142 Creation of Man, 108, 109 and painting, 135, 136, 142–5, 156, Dawn, 108 158–60, 164, 174 Day, 108 Myron [of Eleutherae], 24 Night, 108 Discobolus, 22, 23, 24, 32 n. 7, 112 Twilight, 108 The Mystery of Faith (Solomon), 71, 75, 81 Millais, Sir John Everett, 70, 122 n. 6 Millet, Jean-François, 33, 37, 64 n. 12 mythology, mimesis, 58, 180 n. 12 see paganism; and names of individual Mino da Fiesole, 110 mythological ﬁgures Mitchell, W. J. T., 88–9, 93, 100–1 n. 11 modernism, 8, 148, 151 n. 7, 165, 168, 179 Nancy, Jean-Luc, 196, 202 modernity, 15, 17, 23, 27, 29, 55, 77, 206, National Gallery, London, 19, 20, 49, 64 n. 207, 217 10, 64 n. 11, 123 Moi, Toril, 141 National Portrait Gallery, London, 123 Monet, Claude, 33 naturalism, 73, 74, 77 La Japonaise (Camille Monet in Japanese Neoplatonism, 108, 114 Costume), 67 n. 41 New English Art Club, 49 Monsman, Gerald, 132, 166 n. 6, 193, 204 New Review, 221, 223 n. 16 and n. 17, 222 New Water-Colour Society (later, The Royal Montaigne, Michel de, 194, 197, 198, 199, Institute), 49 203 n. 9 Newman,JohnHenry,47 Moore, Albert, 63, 69 Nietzsche, Friedrich, 215, 216, 218 n. 2 Moore, George, 33 Beyond Good and Evil, 218 n. 9 ‘Literature at Nurse’, 221 The Genealogy of Morals, 218 n. 9 Modern Painting,33 Nineteenth Century,50 Moran, Maureen, 91, 93 non ﬁnito, Morely, John, 34 see incompleteness in art Morgan, Thaïs, 35, 36 Northcote, Revd J. Spencer, 166 n. 6 Morris, Mowbray, 223 Notes and Queries,9n.1 Morris, William, 34, 47, 100 n. 1, 169, 186 ‘notional’ ekphrasis, 85, 92, 113, 154 Mürger, Henri, 55 novel, as genre, 220–2, 225–30 museums, 7, 13–32, 203 n. 2 Victorian cultural connotations, 222 history of, 18–19, 32 n. 6 Victorian publication practices, 221 and organization of knowledge, 18–20 see also names of individual museums Museums Act (1845), 20 Ohi, Kevin, 197 music, 31, 142–7, 148, 149–50, 152–65, 165 Old Water-Colour Society, 49 n. 1, n. 2 Orr, Mary, 10 n. 6 aesthetics of, 152 Østermark-Johansen, Lene, 7, 102–16 as artistic subject matter, 41, 72, 87, Ovid, 86, 90, 97, 98, 100 142–3, 159 Metamorphoses, 90, 98 as condition to which art aspires, 42–3, Oxford, 19, 38, 60, 62, 212 45, 59, 136, 137, 142–5, 152, 155, culture of male-male desire, 35–6 178 Oxford Chronicle & Berks & Bucks Gazette, as fusion of artistic disciplines (see also 62, 63 interartistic discourse), 41 Oxford Times, 62, 63 256 Index paganism, 93 and Hopkins, 34, 45 and Christianity, 15–16, 17, 27, 30, 31, lectureship at Brasenose 88, 92 College, 34 see also names of individual deities and Legros, 42–5, 143 painting, 7–8, 16, 25, 33–46, 48, 103, 110, and Macmillan’s Magazine, 221–5, 226–7, 112, 135–49, 190 230 academy-controlled systems of display, and modernism, 7, 8, 165 49 and novel-writing, 4, 220–30 and Anders-streben, 136, 137, 142–5, as outsider, 212 173–4 in Oxford, 35–6, 212 British painting, 78, 92 and politics, 185–202 colour in, 54, 55, 59, 62, 66 n. 34, 69 and Pre-Raphaelitism, 34 French landscape painting, 37, 42 and Rossetti, 34, 41, 63 n. 1, French painting, 53, 55, 56 144, 149 genre painting, 48, 135, 137–8, 139–40, and Royal Academy, 34 142, 143, 163–4, 168, 173 and Ruskin, 15, 16–18, 26, 27–9, 30–1, and music, 135, 136, 142–5, 156, 158–60, 59, 70, 81 n. 3, 186 164, 174 and self-fashioning, 4, 205–17 portrait painting, 118, 125, 126 and sexual freedom, 210 societies and associations, 49 and social engagement, 8, 185–202 and tableaux, 135–42 and Solomon, 7, 34–5, 36–7, 41, 45, 63 n. and theatre, 171, 173–4, 176, 179 n. 2 1, 70–80, 95, 227 Venetian style, 40–1, 42, 112, 137, 156, and Swinburne, 34, 35, 36, 38, 40, 42, 55, 168, 171, 176 60, 64 n. 6, 78 Victorian reproductions of, 50–1 and Whistler, 5, 7, 9, 35, 42, 44, 45, see also art; and names of individual 47–63, 64 n. 9, 66 n. 36 and n. 37, 67 artists, associations, galleries, n. 44 and n. 47 movements, and works and Wilde, 38, 40, 120, 121, 125–32, 180 Pall Mall Gazette, 66 n. 33, 75, 225 n. 12, 208, 230 Parnassus (Raphael), 13, 15, 16, 29, 30 Worksby:‘TheAestheticLife’,3,4,5,10 pastiche, 72, 73, 74 n. 5, 10 n. 7, 42, 55, 59, 66 n. 35; Pater, Clara Ann, 8 ‘Aesthetic Poetry’, 169; Appreciations, Pater, Walter, 26, 64 n. 8, 179 n. 1, 221, 227–8, 230 and Aestheticism, 34, 38, 80 n. 1, 153, n. 1; ‘Aucassin and Nicolette’, 40; 163, 165, 167 ‘The Bacchanals of Euripedes’, 95, and Baudelaire, 47, 54–5, 56, 57, 65 n. 26 171–2, 175, 180 n. 10; ‘The and Burne-Jones, 38, 44, 66 n. 37 Beginnings of Greek Sculpture’, 112; conservatism of, 210 ‘Charles Lamb’, 167, 176; ‘The Child and contemporary visual art, 33–45 in the House’, 54, 126; ‘Conclusion’ and Corot, 33, 44, 47–63, 64 n. 9 and n. to The Renaissance, 60, 81 n. 2, 110, 12, 65 n. 21 139, 144, 163, 167, 186, 195, 228; and Dudley Gallery, 34 ‘Corot’, 65 n. 21 and n. 29; ‘Deny and the epiphanic moment, 135, 136, L‘Auxerrois’, 7, 85–100, 110, 189; 148, 150 ‘Diaphanietè’, 31, 189, 206, 212, and Gautier, 55 216–17; ‘Emerald Uthwart’, 203 n. 3; and gay subculture, 203 n. 6 [Review of] The English School of and Grosvenor Gallery, 60 Painting, 45; ‘A Fragment on and homoeroticism, 78 Botticelli’, 70; Gaston de Latour,45n. and homophobia in Victorian culture, 5, 53, 65 n. 26, 188, 191–202, 203 n. 35–6 10, n. 11, and n.13, 204 n. 15, 220, Index 257

Pater, Walter – continued Pattison, Emilia (later, Lady Dilke), 33, 179 221–3, 224–7, 228, 230, 230 n. 4, 231 n. 6 n. 5; Greek Studies, 20, 23–5, 30, 103, performance arts, 112, 113; ‘Hippolytus Veiled’, 221, see ﬁlm; theatre 225; Imaginary Portraits, 117, 118, Performance Studies, 159, 166 n. 8, 168, 126, 226; ‘Leonardo da Vinci’, 35, 179 n. 2 132; ‘Love’s Labour’s Lost’, 176; Persephone, 110, 111 ‘Luca della Robbia’, 103, 109, 111, see also Pater, Walter: ‘The Myth of 115 n. 7; Marius the Epicurean,8, Demeter and Persephone’ 26–8, 30, 54, 59, 148, 149, 152, Phelan, Peggy, 168, 179 n. 2 156–8, 160–2, 164–5, 166 n. 6, 220, Philomela, 86, 90, 91, 97, 98, 100 223–4, 225–7, 228, 230 n. 3; Philostratus the Elder, 91 ‘Measure for Measure’, 170–1; Photographic Journal, 122 Miscellaneous Studies, 29, 30, 31; Photographic News, 122 [Review of] Modern Painting, 33, 42, photography, 7–8, 119–28, 132 n. 5, 55; ‘Mr George Moore as an Art 133 n. 8, n. 9, n. 10, n. 11, n. 13, Critic’, 50; ‘The Myth of Demeter and n. 14, 136, 145 and Persephone’, 37, 53, 64 n. 12, 66 Phryne, 67 n. 44 n. 37; ‘Pico della Mirandola’, 76, Pico della Mirandola, Giovanni, 74, 76, 77 108; Plato and Platonism, 4, 180 n. Song of Divine Love,74 12, 191, 217, 230 n. 2; ‘The Poetry of Plato, 4, 13, 81 n. 9, 142, 147 Michelangelo’, 103, 107, 109, 110, Republic, 217 168; Preface to The Renaissance, 54, see also Pater, Walter: Plato and Platonism 155, 163; ‘A Prince of Court Painters’, play, 159, 166 n. 8, 174–5, 176–7, 181 54, 118, 126, 128–32, 133 n. 15, n. 21 189–90; ‘Prosper Mérimée’, 193; The ‘free play’, 207–8, 214 Renaissance, 3, 4, 20, 33, 34, 36, 37, poetry, 208 38, 40, 47, 54, 62, 66 n. 38, 75, 78, see also names of individual poets 81 n. 2, 103, 110, 118, 169, 206, 207, Portfolio, 50, 75 209, 211, 226, 227–8; ‘Romanticism’, portraiture, ‘imaginary’, 48, 55, 228; ‘Sandro Botticelli’, 68, see ‘imaginary portraits’ 75, 111; ‘The School of Giorgione’, 3, Potolsky, Matthew, 8, 185–204 5, 8, 9 n. 3, 36, 40, 41, 42, 44, 45, 54, Potts, Alex, 23 59, 63 n. 1, 66 n. 36, 111, 135–9, Poynter, Edward, 44 140, 141, 142–5, 147, 148, 149, 151 A Prelude by Bach (Solomon), 72, 72–3, 81 n. 3, 152–6, 158–60, 163–5, 169–71, n. 7 173–6, 177, 178, 179, 208; The Pre-Raphaelites, 80 School of Giorgione, and Other Studies, and Botticelli, 70 171; ‘Sebastian van Storck’, 190; see also Pre-Raphaelitism; and names of ‘Shakespeare’s English Kings’, 178, individual artists 203 n. 4; ‘Sir Thomas Browne’, 185; Pre-Raphaelitism, 34, 36, 40, 74 Studies in the History of the and photography, 121 Renaissance, 33, 36, 169, 227–8 Preston, Carrie, 141 (see also Pater, Walter: The Prettejohn, Elizabeth, 38–40, 63 n. 1, 64 Renaissance); ‘A Study of Dionysus’, n. 3, 66 n. 36 34, 41, 82 n. 11, 90, 94, 95, Prins, Yopie, 94 171, 172, 173, 179 n. 7; ‘Style’, 9, Procne, 97 104, 113–14, 115, 221, 222, 225, Punch,50 226, 229; ‘Winckelmann’, 9 n. 4, 17, Puvis de Chavannes, Pierre, 33 23, 31, 34, 47, 102, 104, 105, 109, 110, 111, 113, 171, 179 n. 5, 208 Quilter, Harry, 38, 64 n. 6 258 Index

Raffalovich, André, 63 Architecture of the Valley of the Somme, The Rambler, 166 n. 6 92; Fors Clavigera, 50; Praeterita, 148; Raphael [Raffaello Sanzio], 13, 16, 29, 30, ‘Pre-Raphaelitism’, 32 n. 2; Stones of 31, 48, 189, 212 Venice, 15–16, 214 Disputa (Disputation of the Sacrament), 13, 14, 16, 30, 31 Sacramentum Amoris (Solomon), 78, 79,82 frescoes in Stanza della Segnatura, n. 12 Vatican, 13–17, 28, 29–30, 32 n. 2 Said,Edward,59 Parnassus, 13, 15, 16, 29, 30 Saint-Beuve, Charles-Augustine, 47, 117, The School of Athens, 13, 14, 29, 30, 31 132 n. 1 realism, 47, 54, 55, 58, 66 n. 40, 102 Portraits contemporains, 117 Reformation, Protestant, 30, 31, 185, 188 Portraits littéraires, 117 relativism, 215 Salon, Paris, 49, 54, 64 n. 16 Renaissance, 13, 16, 30, 31, 40–1, 74, 98, same-sex desire, 105, 110, 135, 137, 143, 188 see homoeroticism; homosexuality Ricketts, Charles, 131, 132 Sargent, John Singer, 33, 63 Rodin, Auguste, 110, 115 n. 8 Sarony, Napoleon, 125, 126, 127 Masque de l’homme au nez cassé, 102, Saturday Review,34 103 Savile Club (formerly The New Club), 35 Romanticism, 47, 48, 51, 54, Schechner, Richard, 159 180 n. 22, 205 Schiller, Friedrich, 8–9, 114, 218 n. 1, n. 3, Rome, ancient, 26–8, 157, 165 n. 5, 166 n. 6 n. 5, n. 7, and n. 11 Ronsard, Pierre de, 193, 194, 196–7, 199 and ‘self-culture’, 205–17 Franciade, 201 Works by: Aesthetic Education of Man,8–9, Rossetti, Dante Gabriel, 34, 35, 36, 37, 40, 205, 206, 214; Das Ideal und Das 41, 42, 44, 47, 59, 60, 63 n. 1, 70, 128, Leben, 180 n. 11 149 Schlegel, Friedrich, 181 n. 22 and photography, 122 Schoenberg, Arnold, 153 Works by: Bocca Baciata, 40–1; The House The School of Athens (Raphael), 13, 14, 29, of Life, 149; Poems, 35; ‘A Venetian 30, 31 Pastoral, by Giorgione’, 144 Scribner’s Magazine, 178 Rousseau, Jean-Jacques, 141 sculpture, 7, 57, 102–15, 168, 171, 179 n. 4 Pygmalion, 141–2 classical, 21–6, 103, 105, 106, 111–12, Rousseau, Théodore, 37 172 Royal Academy, 19, 34, 37, 41, 44, 49, 64 n. relief, 110, 111, 112–14 16, 75, 95, 101 n. 14 and writing, 103, 106, 112–15 Royal Institute (formerly The New ‘self-culture’, 178, 205–17 Water-Colour Society), 49 selfhood, 206 Ruskin, John, 37, 62, 63 n. 1, 70, 81 n. 3, see also ‘self-culture’; subjectivity 136, 186 Shadwell, Charles, 103, 113 and the gothic, 179 n. 5 Shakespeare, William, 177, 181 n. 22 and museum culture, 6–7, 15–19, 26, 27, Measure for Measure, 170 28–9, 30, 31 Romeo and Juliet, 177 and Neoplatonism, 108 Sherman, Cindy, 150 and photography, 120–1, 132 n. 6 Shrimpton, Nicholas, 34, 45 n. 2 and realism, 54, 59 Siegel, Jonah, 6–7, 13–32, 99, 111, 203 n. 2 Whistler controversy, 42, 57, 60, 110 Sisley, Alfred, 33 Works by: ‘The Art of Engraving’, 121; Slater, Linda-Ruth, 154 ‘Editor’s Preface to the Economist of Society of Artists, 49 Xenophon’, 32 n. 10; The Flamboyant Society of British Artists, 49, 59 Index 259

Solomon, Simeon, 7, 34–7, 40–2, 44, 45, 63 Academy Exhibition, 1868, 60; Notes n. 1, 70–80, 82 n. 13, 203 n. 5, 227 on Some Pictures of 1868, 66 n. 36; and Aestheticism, 73 Poems and Ballads, 35, 81 n. 9; and allegory, 76–80 [review of] A Vision of Love Revealed and Botticelli, 70–3, 81 n. 5 in Sleep, 35, 36, 41–2, 75–6 and desire, 71–2, 82 n. 10 Symbolism, 178 and homoeroticism, 72–3, 74, 78, 95 Symonds, J. A., 77 narrative in work of, 73, 74 Symons, Arthur, 102, 110, 115, 178, Works by: Bacchus, 34, 41, 96, 101 n. 14; 216, 222 The Bride, the Bridegroom and the Symphony in White, No. 2: The Little White Friend of the Bridegroom, 34, 73, 81 n. Girl (Whistler), 60, 61 7; The Chanting of the Gospels, 34, 41; The Child Jeremiah, 41; A Greek tableau, 135–42, 145–6, 147, 149, 150, 151 Acolyte (formerly known as ASaintof n. 2 and n. 8 the Eastern Church), 75; Love Bound Taine, Hippolyte, 36 and Wounded, 75; Love in Autumn, 75, Tannhäuser myth, 40 81 n. 5; The Mystery of Faith, 71, 75, tapestry, 85–100, 110 81 n. 6; A Prelude by Bach, 72, 72–3, 81 n. 7; Sacramentum Amoris, 78, 79, taste, 82 n. 12; Sappho and Erinna in a see aesthetics Garden at Mytilene, 73; A Vision of Tate Gallery of British Art, 19 Love Revealed in Sleep, 7, 35, 36, 41, Taylor, Tom, 45, 56 70, 74–5, 77, 78, 80; AYoung Teukolsky, Rachel, 163, 164 Musician in the Temple,41 theatre, 135–6, 138–9, 140, 141–2, 145, South Kensington Museum (later, Victoria 146–7, 149–50, 151 n. 2, 159, 167–79, & Albert), 20, 86 180 n. 10, n. 12, and Souvenir de Mortefontaine (Corot), 49, 52, 53, n. 14 65 n. 25, n. 30 and aestheticism, 170, 172–3, 175, 178 Spark, Muriel, 8 and Anders-streben, 169–71, 173, 175, 178 The Prime of Miss Jean Brodie, 186 and Dionysus, 101 n. 13, 171–2, 175, 178 Spectator,50 masque, 175, 180 n. 10, n. 14, n. 15, and Stauder, Ellen Keck, 165 n. 2 n. 18 Stein, Richard, 92 The Times, 45, 50, 56, 62 Stendhal, Titian [Tiziano Vecellio], Racine and Shakspeare,48 The Concert, 158–60, 159, 166 n. 7 and n. Stevens, Alfred, 63 9, 173–4, 176, 180 n. 13 subjectivity, 8, 48, 153, 155, 165 n. 2 Fête champêtre, 173, 174–5, 180 n. 13 and the aesthetic personality, 177–8 Townley Marbles, 18 in art criticism, 54, 69, 94, 132, 137, Turner, Joseph Mallord William, 37, 154–5 55, 92 see also ‘self-culture’; selfhood Turner, Victor, 155 Summers,David,66n.34 Sunday Times,63 unity, 180 n. 19, 202, 206–9, 213 Swinburne, Algernon Charles, 34, 35, 36, in art, 176–7 37, 38, 40, 45, 47, 55, 58, 66 n. 36, 67 n. 44, 74, 78 and Baudelaire, 35, 41 Vanity Fair, 38, 50 and Whistler, 60 Venus, 72, 77, 81 n. 5, 210 Works by: ‘Before the Mirror’, 60; ‘Laus ‘verbal portraits’, 118, 119, 125–32 Veneris’, 40; Notes on the Royal Verrocchio, Andrea del, 110 260 Index

Vesalius, Andreas, The Gentle Art of Making Enemies, 68; frontispiece of De corporis humani fabrica, Harmony in Grey and Gold, 68; Milly 105, 106 Finch, 67 n. 41; Nocturne in Black and title page of De corporis humani fabrica, Gold, 45; Phryne the Superb!, 67 n. 44; 105, 107 The Six Projects, 60; Symphony in Viola, Bill, 150 White, No. 1: The White Girl, 56, 64 A Vision of Love Revealed in Sleep (Solomon), n. 16; Symphony in White, No. 2: The 7 Little White Girl, 60, 61; Symphony in visual art, White, No. 3: Three Girls, 58; The see ﬁlm; painting; sculpture Woman in White,58 Wilde, Oscar, 38, 40, 120, 121, 125, 126–32, Waagen, Friedrich, 32 n. 5 133 n. 13, 172–3, 180 n. 12, 208, 230 Wagner, Richard, 165 n. 1 ‘The Canterville Ghost’, 127 ‘Lettre sur la musique’, 41 ‘Decay of Lying’, 180 n. 12 Walker, Frederick, 33 [review of] Grosvenor Gallery opening, The Plough, 34, 45 n. 1 38, 44, 60 Wallace Collection, 49 Intentions, 128 Wallace, Richard, 49 The Picture of Dorian Gray, 118, 119, Ward,J.P.,208 126–7, 128, 180 n. 12 Ward, Mary Arnold, 223–4 ‘The Portrait of Mr W. H.’, 118, 119, 126, Robert Elsmere, 224 128–32, 133 n. 14, n. 16, and n. 17, Wardle, Elizabeth, 86, 100 n. 1 134 n. 18, 180 n. 12 Warner, Michael, 195 ‘The Soul of Man Under Socialism’, 128, Watteau, Jean-Antoine, 54, 126, 128, 216 132, 189 ‘The Sphinx Without a Secret’, 127 Watts, George Frederic, 44 Wildman, Steven, 121 Weliver, Phyllis, 149 William of Sens, 92 Westminster Review,34 Williams, Carolyn, 8, 129, 135–51, 163, 165 Whistler, James Abbott McNeill, 5, 7, 33, n. 4, 176, 179 n. 8, 180 n. 17 35, 37, 42, 44, 47–63, 64 n. 9 and n. 15, Williams, Raymond, 8, 186 65 n. 18, 66 n. 36, n. 37, and n. 40, 67 Winckelmann, Johann, n. 41, n. 43, n. 44, and n. 47 History of Ancient Art, 21, 22–3, 24, 30 and Aestheticism, 62, 68, 80 n. 1 Woolf, Virginia, 148 Eastern and Western elements in the To the Lighthouse, 148 work of, 59 Wordsworth, William, 47, 114, 136, 147–8, ‘harmony’ in art, 58, 62, 71, 73 208 incompleteness in the work of, 56 The Prelude, 144, 148, 149 innovation in the work of, 48 Worth, George, 222 Ruskin controversy, 57, 61, 110 Wright, Samuel, 165 n. 5 Ten O’Clock Lecture, 58, 59, 62, 66 n. 33, Wright, Thomas, 66–7 n. 40 TheLifeofWalterPater, 165 n. 5 Works by: Arrangement in Grey and Black, No. 1: The Artist’s Mother, 51, 64 n. Yeats, W. B., 186 14; Arrangement in Grey and Black, Young, George Malcolm, No. 2: Portrait of Thomas Carlyle, 49; Victorian England: Portrait of an Age, 117