‘Writing Consciously for a Small Audience’: An Exploration of the Relationship between American Magazine Culture and Henry James’ Italian Fiction 1870-1875 ! ! ! ! ! ! ! Louis Laurence Leslie ! UCL ! ! PhD P2 ! ! I, Louis Laurence Leslie, conSirm that the work presented in this thesis is my own. Where information has been deriVed from other sources, I can conSirm that this has !been indicated in the thesis. P3 ! Thesis Abstract ! This thesis explores Henry James’ engagement in his relatiVely neglected early Siction about Italy with material from contemporary magazine culture. By bridging the gap between critics who focus on James’ relationship with Italian culture, and those who examine James’ relationship with his publishers and audience, it aims to explore how he uses interest in Italy manifested in literary magazines to deVelop his writing and build his reputation. The Sirst part of the thesis explores how James writes about Italian culture in his Sirst tales in ways with which his audience would be familiar, in order to cultiVate his readership. The Sirst three chapters deal with ‘TraVelling Companions’ (1870), ‘At Isella’ (1871), and ‘The Madonna of the Future’ (1873) respectiVely. Looking at how magazines represent contemporary debates about the Italian artists and works of art that James depicts, I study the way James draws on this context to !emphasise the relationship between culture and character in his Siction. The second half examines his Siction after 1873 in the light of James’ sense of his emerging literary reputation. Aware of his growing fame, James began to write tales incorporating material from his own serialised traVel writing, thus reinforcing his reputation as a writer about Italy. The penultimate chapter explores this aspect of ‘The Last of the Valerii’ (1874) and ‘Adina’ (1874). In the last, discussing his irst noVel, Roderick Hudson (1875), I examine how James draws together material from his earlier tales to construct this longer narratiVe, and presents the oVerlapping themes in a way that allows his informed readership an enhanced appreciation of some elements of the plot. The conclusion brieSly explores how James’ later Siction engages with his readership in a !similar way, depending on the magazine he is writing for. ! P4 ! ! ! Acknowledgments ! I would Sirst like to thank my superVisor, Philip Horne, who has been amazingly supportiVe throughout the PhD process, proViding insightful comments on both the overall direction of the thesis, and the details of my work. He has been a Very nurturing superVisor, especially at times when I haVe been struggling, for which I am incredibly grateful. Hugh SteVens, my secondary superVisor, has proVided a lot of inValuable feedback, and his input throughout the past three years has been instrumental to the deVelopment of my work. He also Very kindly read a full draft, !offering useful comments on it as a whole. Neil Rennie, John Mullan, and Michael Sayeu all read sections of the thesis at Various stages of the upgrade and end-of-course panel reView; their comments helped giVe me a sense of the thesis as a whole and areas to improVe, for which I am Very grateful. The staff at the London Library, British Library, and National Library of Scotland haVe all been inValuable in helping me track down Various !texts. My mentor at UCL, Alicia Rix, has also been a great support, giVing lots of useful adVice and guidance both with the thesis and at conferences. Similarly, my peers at UCL, including Hazel Wilkinson, Mercedes Aguirre, Lucy Powell, Mary Wellesley, Kumiko Toda, Hannah Crummé and Zoe Hawkins haVe all either read or commented on my work in its Various stages, and haVe been inValuable in !encouraging me through tough times. I would also like to thank Hazel Hutchison and Catherine Jones, two of my tutors at the UniVersity of Aberdeen, who were instrumental in helping me shape the ideas for my thesis in their early stages as an undergraduate. Other people who haVe read, discussed or commented on my work include Hari Brooker, Matthew EVans, !Tom Holland, Andrew Lane, and Stephanie Saint. My father, William Leslie, has proVided lots of adVice and encouragement, and I am Very grateful to him for reading so many drafts of my work, as well as putting up !with long phone calls discussing various aspects of the project. Finally, I would like to dedicate this thesis to my mother, Pamela Broady Leslie !(1951 - 2003). P5 ! Abbreviations ! Full details of all works cited can be found in the bibliography. I haVe selected editions of the Siction that reproduce the original magazine text. The following abbreViations are used throughout the thesis: ! Adina Henry James, ‘Adina’, in The Complete Tales of Henry James: 1872-1875, ed. by Leon Edel (London: Rupert Hart-DaVis, 1962), ! 211-257. CL[Years]:[Vol.] Henry James, The Complete Letters of Henry James, (6 Vols.), ed. by Pierre A. Walker & Greg W. Zacharias (Lincoln & London: ! UniVersity of Nebraska Press, 2007-2013). Isella Henry James, ‘At Isella’, in The Complete Tales of Henry James: 1868-1872, ed. by Leon Edel (London: Rupert Hart-DaVis, 1962), ! 316-340. LV Henry James, ‘The Last of the Valerii’, in The Complete Tales of Henry James: 1872-1875, ed. by Leon Edel (London: Rupert Hart- ! DaVis, 1962), 89-122. MF Henry James, ‘The Madonna of the Future’, in The Complete Tales of Henry James: 1872-1875, ed. by Leon Edel (London: Rupert ! Hart-DaVis, 1962), 11-52. RH Henry James, Roderick Hudson, in Novels 1871-1880 (New York: ! Library of America: 1983), 167-511. TC Henry James, ‘TraVelling Companions’, in The Complete Tales of Henry James: 1868-1872, ed. by Leon Edel (London: Rupert Hart- ! DaVis, 1962), 171-225. P6 ! Contents ! Introduction: 9! Chapter One. The View from America: Imagination and Observation on the Grand Tour: 30! Chapter Two. “The Travelled Reader”: Visual and Literary Perspectives in ‘Travelling Companions’ (1870): 58! Chapter Three. “The Lady is a Fib”: Real and Imagined Encounters in ‘At Isella’ (1871): 90! Chapter Four. The Ideal and the Real: American Art and the Renaissance Past in ‘The Madonna of the Future’ (1873): 119! Chapter Five. A Woman’s Worth: American Commerce and the Classical Roman Past in ‘The Last of the Valerii’ (1874) and ‘Adina’ (1874): 156! Chapter Six. Roderick Hudson: 200! Appendix: 258! Bibliography: 261 ! ! P7 ! List of Illustrations: ! All images reproduced in this copy of the thesis are in the public domain. Images that are not within the public domain (Sigs 8, 19, 20, 21, 22, 23, 24, 29, 30, 33, 43, 44, 45, 47, 48. & 50) haVe been remoVed from this publicly aVailable copy for copyright reasons. (Sig. 1) Henry James, ‘On Their Knees’, (CL1855-72:1, 108). (Sig. 2) Thomas Cole, The Course of Empire: The Savage State (1834), New York Historical Society. (Sig. 3) Thomas Cole, The Course of Empire: The Consummation of Empire (1834), New York Historical Society. (Sig. 4) Thomas Cole, The Course of Empire: Desolation (1836), New York Historical Society. (Sig. 5) Thomas Cole, View of Florence from San Miniato (1837), CleVeland Museum of Art. (ig. 6) GioVanni Paolo Panini, Picture Gallery with Views of Modern Rome (1757), Museum of Fine Arts, Boston. (ig. 7) GioVanni Paolo Panini, Interior of St. Peter’s in Rome (1750s), Hermitage Museum, St. Petersburg. (Sig. 8) Cast from the original in the Vatican, Demosthenes (c.1858), Boston Athenaeum. (Sig. 9) Albert Bierstadt, Roman Fish Market, or The Arch of Octavius (1858), Fine Arts Museum of San Francisco. (ig. 10) Leonardo da Vinci, The Last Supper (1495-1498), ConVent of Santa Maria delle Grazie, Milan. (Sig. 11), Antonio da Correggio, The Madonna of Albinea (1517-1519), National Gallery, Parma. (Sig. 12), Antonio da Correggio, Rest on the Flight to Egypt with Saint Francis (1520), UfSizi Gallery, (Sig. 13), Antonio da Correggio, Mary Magdalene (1518-1519), National Gallery, London. (ig. 14) Jacopo Tintoretto, The Cruciixion of Christ (1568), San Cassiano, Venice. (ig. 15) Jacopo Tintoretto, The Cruciixion (1565), Scuola Grande di San Rocco, Venice. (ig. 16) Paolo Veronese, The Rape of Europa (c. 1578), Ducal Palace, Venice. (ig. 17) Jacopo Tintoretto, Bacchus and Ariadne (1578), Ducal Palace, Venice. (ig. 18) Titian, Sacred and Profane Love (1514), Borghese Gallery, Rome. (Sig. 19) Anon, William Tell (unknown), William Tell Museum, Bürglen. (ig. 20) Ernst Stückelberg, Tell’s Leap (1879), William Tell Chapel, Lake Lucerne. (Sig. 21) Hans Heinrich Wägmann, Scenes from Lucerne’s History (c. 1606), Chapel Bridge, Lucerne. (ig. 22) Joseph W. Turner, View of Lucerne (1841), Art Institute of Chicago. (ig. 23) Joseph W. Turner, Fluelen, From the Lake (1840-3), Fitzwilliam Museum, Cambridge. (ig. 24) Joseph W. Turner, Venice: Calm at Sunrise (1840), Fitzwilliam Museum, Cambridge. (Sig. 25), Rudolph Töpffer, ‘Montée du Saint-Gothard – Côté du Nord’, in Premiers Voyages en Zigzag (Paris: Garnier Frères, 1844), p. 128. (ig. 26), Rudolph Töpffer, ‘Untitled’, in Premiers Voyages en Zigzag (Paris: Garnier Frères, 1844), p. 130. P8 (ig. 27), Joseph W. Turner, ‘St. Gothard’ (c. 1804). (ig. 28), Joseph W. Turner, ‘St. Gothard’ (c. 1804). (ig. 29), John Ruskin, Drawing of Turner’s “Hospice of the Great Saint Bernard” (1857), Ashmolean Museum, Oxford. (ig. 30), Coin depicting Victor Emanuel (1867), British Museum, London. (Sig. 31), Thomas Cole, Il Penseroso (1845), Los Angeles County Museum of Art. (ig. 32), Paul Baudry, Madeline Brohan, de la Comèdie-Francaise (n.d.), location unknown. (Sig. 33), Honoré Daumier, The Battle of the Schools: Realism versus Classical Idealism (1855). (ig. 34), Elihu Vedder, Dancing Girl (1871),Reynolda House Museum of American Art, Winston- Salem, NC. (ig. 35), John La Farge, The Lost Valley (1867-68), National Gallery of Art, Washington, DC. (Sig. 36), Washington Allston, Belshazzar’s Feast (1817-43), Detroit Institute of Arts. (ig. 37), BenVenuto Cellini, Perseus (1545), Piazza della Signoria, Florence.