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Introduction: the Nine Living Muses of Great Britain

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Introduction: the Nine Living Muses of Great Britain Notes Introduction: The Nine Living Muses of Great Britain 1. See, for example Germaine Greer, TheObstacle Race: the Fortunes of Women Painters and their Work (London: Secker and Warburg, 1979); Olwen Hufton, The Prospect Before Her: a History of Women in Western Europe,Vol. I: 1500–1800 (London: Harper Collins, 1995); Janet Todd, The Sign of Angellica, Women, Writing and Fiction, 1660–1800 (London: Virago, 1989); AmandaVickery, The Gentle- man’s Daughter. Women’s Lives in Georgian England (New Haven and London: Yale University Press, 1998). 2. Maria Edgeworth, Letters for Literary Ladies, ed.Claire Connolly (London: Every- man, 1993), p.7. 3. TheLadies New and Polite Pocket Memorandum-Bookfor 1778 (London: Joseph Johnson, 1777), pp. iv–v. 4. As Kate Davies has recently argued, ‘part of The Nine Living Muses’ force and function comes from the absorption of women’s singular achievements into the celebratory collective identity with which the imageendows them’. See Kate Davies, Catharine Macaulay and Mercy Otis Warren: the Revolutionary Atlantic and thePolitics of Gender (Oxford: Oxford University Press, 2006), p. 78. See Chapter 2, ‘Out-Cornelia-izing Cornelia: Portraits, Profession and the Gendered Character of Learning’, for a fascinating discussion of Macaulay’s visual iconography. 5. See Angela Rosenthal, Angelica Kauffman: Art and Sensibility (New Haven and London: Paul Mellon Centre for Studies in British Art and Yale University Press, 2006). See also the entry on Kauffman by Wendy Wassyng Roworth in Dictionary of Women Artists, ed.Delia Gaze, 2 vols (London and Chicago: Fitzroy Dearborn Publishers, 1997),I,pp. 764–70. 6. For the history of the Royal of Academy of Arts, see Holger Hoock, The King’s Artists: theRoyal Academy of Arts and thePolitics of British Culture 1760–1840 (Oxford: Clarendon Press, 2003). For a discussion of the Academy’s two female founders, Angelica Kauffman and Mary Moser, see Rozsika Parker and Griselda Pollock, Old Mistresses: Women, Art and Ideology (London: Routledgeand Kegan Paul, 1981),p.90. 7. Wendy Wassyng Roworth, ed., Angelica Kauffman: a Continental Artist in Georgian England (Brighton and London: Reaktion Books, 1992), pp. 70–1. 8. See Alice Gaussen, A Woman of Wit and Wisdom. A Memoir of Elizabeth Carter, one of the ‘Bas Bleu’ Society (1717–1806) (London: Smith, Elder & Co., 1906). See also Judith Hawley, ed., The Works of Elizabeth Carterr, Bluestocking Feminism, 6 vols, vol. 2, general editor Gary Kelly (London: Pickering and Chatto, 1999) and E.J. Clery, The Feminization Debate in Eighteenth-Century England: Literature, Commerce and Luxury (Basingstoke: Palgrave Macmillan, 2004). 9. Lady Victoria Manners, ‘Catherine Read: “The English Rosalba” ’, Connoisseurr, December (1931): 376–86. See also thechapter on Read in Mildred Archer, Indiaand British Portraiture 1770–1825 (London: Philip Wilson Publishers for 211 212 Notes Sotheby Parke Bernet Publications, 1979).She quotes Fanny Burney’sobservation that Read was ‘a very clever woman, and in her profession has certainly great merit’. 10. Harriet Guest, ‘Bluestocking Feminism’,in Reconsidering theBluestockings, eds Nicole Pohl and Betty A. Schellenberg (San Marino, California: Huntington Library), pp. 59–80; here, p.72. 11. A Series of Letters between Mrs. Elizabeth Carter and Miss Catherine Talbot, from the year 1741 to 1770: to which are added, Letters from Mrs. Elizabeth Carter to Mrs. Vesey, between the Years 1763 and 1787, 2vols, ed. Montagu Pennington (London: Printed for F.C. and J. Rivington, 1808). 12. Anna Barbauld, TheWorksof Anna Laetitia Barbauld with a memoir by Lucy Aikin, 2vols (London: Longman, Hurst, Rees, Orme, Brown, and Green, 1825), II, pp. 183–95. 13. For the best modern edition of Barbauld’s poetry, see William McCarthy and Elizabeth Kraft, The Poems of Anna Laetitia Barbauld (Athens and London: Uni- versity of Georgia Press, 1994). There has been a recent flourishing in scholarship surrounding Barbauld’s poetry. See, for example, Lucy Newlyn, Reading, Writing and Romanticism: the Anxiety of Reception (Oxford: Oxford University Press, 2000); Anne Janowitz, Romantic Women Poets: Anna Barbauld and Mary Robinson (London: Northcote House Publishers Ltd, 2005); Daniel White, Early Romanticism and Reli- gious Dissent (Cambridge: Cambridge University Press, 2006). It is my great regret that William McCarthy’s Anna Barbauld, Voice of theEnlightenment (Baltimore: Johns Hopkins University Press, 2009) appeared too late for me to consult it in relation to writing this book. For a fuller discussion of Barbauld’s poetry and its criticism, see Chapter 4. 14. William Woodfall, review of ‘Poems’, Monthly Review, vol.48(1773): 54–9 and 133–37. 15. Mary Scott, The FemaleAdvocate; a Poem (London: Joseph Johnson, 1774), p. 35. 16. Son of the novelist and playwright Frances Sheridan, author of Memoirs of Miss Sidney Bidulph (1761) and The History of Nourjahad (1769), an Oriental tale. 17. See Exhibition Catalogue, A Nest of Nightingales: Gainsborough’s ‘The Linley Sisters’: Paintingsintheir Context II (Dulwich Picture Gallery, 1988), pp. 67–9. 18. See Bridget Hill, The Republican Virago: theLifeand Times of Catharine Macaulay, Historian (Clarendon Press: Oxford, 1992) 99–102; Susan Wiseman, ‘Catharine Macaulay as Republican and Historian’,in Women and thePublic Sphere, 1700– 1830, eds Elizabeth Eger, Charlotte Grant, Clíona Ó Gallchoir and Penny Warburton (Cambridge: Cambridge University Press, 2001), pp. 181–99; and Kate Davies, Catharine Macaulay and Mercy Otis Warren. 19. ‘Mrs Macaulay, Guiccardini, and Caesar’(1764),in Memoirs of theLifeof Mrs. Elizabeth Carter, with a new edition of her poems ...To which are added, some miscellaneous essays in prose, together with her notes on the Bible, and answers to objec- tions concerning theChristian religion,bythe Rev. Montagu Pennington ...Second edition. [With a portrait.] 2 vols (London: Rivington, 1808), II, p. 172. 20. Mary Wollstonecraft, A Vindication of the Rights of Woman, ed. Sylvana Tomaselli (Cambridge: Cambridge University Press, 1995), p. 188. 21. Report cited in Hill, The Republican Virago, p. 99; and see Susan Wiseman, ‘Catharine Macaulay as Republican and Historian’, in Women and the Public Sphere, 1700–1830, eds Eger et al., pp. 181–99; and Kate Davies, Catharine Macaulay and Mercy Otis Warren. Notes 213 22. White silk hose was the mark of the gentry,orof a successful London tradesman; blue knitted wool was the dress of the working man. See Anne Buck, Dress in Eighteenth-Century England (New York: Homes & Meier, 1979), p. 31. 23. See EmilyJ.Climenson, Elizabeth Montagu ‘The Queen of theBluestockings’: Her Cor- respondence from 1720 to 1761, 2 vols (London: John Murray, 1906) and Reginald Blunt, ed., Mrs Montagu, ‘Queen of theBlues’, Her Letters and Friendships from 1762– 1800, 2 vols (London: Constable and Company, 1923). See also Elizabeth Eger, Elizabeth Montagu: Essay on Shakespeare and other Writings, vol. 1 of Bluestocking Feminism, general editor Gary Kelly. For a pioneering modern overview of the bluestockings, see Sylvia Harcstarck Myers, TheBluestocking Circle: Women, Friend- ship, and theLifeof the Mind in Eighteenth Century England (Oxford: Clarendon Press, 1990). For the best collection of recent bluestocking scholarship, see Nicole Pohl and Betty Schellenberg,eds, Reconsidering theBluestockings (San Marino, California: Huntington Library, 2003). 24. See Susannah Riordan, ‘Bluestocking Philosophy:Aspects of Aristocratic Thought in Eighteenth Century England’, dissertation, University of Cambridge, 1995. 25. Elizabeth Montagu, An Essay on the writings and Genius of Shakespear, compared with theGreek and French Dramatic Poets. With Some Remarks Upon the Misrepresentations of Mons. deVoltaire (London: Printed for J. Dodsley et al., 1769). 26. Harriet Guest, ‘Bluestocking Feminism’,inReconsidering theBluestockings, pp. 59–80, here p. 72. 27. Letters of Henry and Frances (Dublin, 1757). Griffith and her husband adopted fictional names in order to disguise their identities and transform their letters into a novel. 28. Elizabeth Griffith, The Morality of Shakespeare’s Drama Illustrated (London, 1775), p. ix. 29. See Elizabeth Griffith The History of Lady Barton. A novel,inletters, 3vols (London, 1771) and ACollection of Novels, selected and revisedbyMrs Griffith,3vols (London 1777). 30. For the most recent and authorative account of Lennox’s origins, see Susan Carlile, ‘Charlotte Lennox’s Birth Date and Place’, Note and Queries, 51(4) (December 2004): 390–2. 31. Frances Reynolds painted Elizabeth Montagu’s portrait. An engraving of her por- trait by Charles Townley is used as frontispiece to Volume II of Emily Climenson’s Elizabeth Montagu, ‘The Queen of theBluestockings’: Her Correspondence from 1720 to 1761. 32. See Anne Stott, Hannah More: the First Victorian (Oxford: Oxford University Press, 2003), Anne Mellor, Mothers of the Nation: Women’s Political Writing in England, 1780–1830 (Bloomington and Indianapolis: Indiana University Press, 2000) and Kevin Gilmartin, Literary Conservatism inBritain, 1790–1832 (Cambridge: Cambridge University Press, 2007). 33. Robert Hole, ed., Selected Writings of Hannah More (London: Pickering and Chatto, 1996), p.32. 34. Moira Ferguson, ‘Women in Literature’, in The Blackwell Companion to the Enlight- enment, ed. John W. Yolton (Oxford: Blackwell, 1995), pp. 294–5. See also J. Phillips Stanton, ‘Statistical Profile of Women Writing in English from 1660– 1800’, in Eighteenth Century Women and the Arts, eds F.M. Keener and S.E. Lorsch
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