Bibliography

Maria Alambritis (ed.)

doi:10.16995/ntn.874

Index

Selected publications
Individual writer bibliographies (Archives, Primary sources, Secondary literature)
- Berenson, Mary (1864–1945)
- Callcott, Maria (1785–1842)
- Cartwright, Julia (1851–1924)
- Cruttwell, Maud (1860–1939)
- Dilke, Emilia (1840–1904)
- Eastlake, Elizabeth (1809–1893)
- Foster, Eliza (dates unknown)
- Herringham, Christiana (1852–1929)
- Jameson, Anna (1794–1860)
- Lee, Vernon (1856–1935)
- Merrifield, Mary (1804–1889)
- Miller, Anna (1741–1781)
- Perkins, Lucy May (1877–1922)

Selected publications

Casafranca, África Cabanillas, ‘Las mujeres y la crítica de arte en España (1875–1936) / Women and Art Criticism in Spain (1875–1936)’, Espacio, Tiempo y Forma, Serie VII, 20–21 (2007–08), 363–89

Clarke, Meaghan, Critical Voices: Women and Art Criticism in Britain 1880–1905 (Aldershot: Ashgate, 2005)

Clarke, Meaghan, ‘Critical Mediators: Locating the Art Press’, Visual Resources, 26 (2010), 226–41

Clarke, Meaghan, ‘1894: The Year of the New Woman Art Critic’, BRANCH: Britain, Representation and Nineteenth–Century History, ed. by Dino Franco Felluga, Extension of Romanticism and Victorianism on the Net (2015) <http://www.branchcollective.org/?ps_articles=meaghan-clarke-1894-the-year-of-the-new-woman-art-critic> [accessed 30 April 2019]

Clarke, Meaghan, ‘The Art Press at the Fin De Siècle: Women, Collecting, and Connoisseurship’, Visual Resources, 31 (2015), 15–30

Clarke, Meaghan, ‘Turn-of-the-Century Women Writing about Art, 1880–1920’, in The History of British Women’s Writing, 1880–1920, ed. by Holly Laird, vol. 7 (London: Macmillan, 2016), pp. 258–72

Clarke, Meaghan, ‘Women in the Galleries: New Angles on Old Masters in the Late Nineteenth Century’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.823>

Clarke, Meaghan, and Francesco Ventrella, eds, ‘Women’s Expertise and the Culture of Connoisseurship’, special issue of Visual Resources, 33. 1–2 (2017)

Fend, Mechthild, Melissa Hyde, and Anne Lafont, eds, Plumes et Pinceaux: Discours de femmes sur l’art en Europe (1750–1850) (Paris: Les presses du reél, 2012)

Fraser, Hilary, The Victorians and Renaissance Italy (Oxford: Blackwell, 1992)

Fraser, Hilary, ‘Women and the Ends of Art History: Vision and Corporeality in the Nineteenth Century’, Victorian Studies, 42 (1998–99), 77–100

Fraser, Hilary, Women Writing Art History in the Nineteenth Century: Looking Like a Woman, Cambridge Studies in Nineteenth-Century Literature and Culture, 95 (Cambridge: Cambridge University Press, 2014)

Frawley, Maria H., ‘The Professionalization of Taste: Art Historians Abroad’, in A Wider Range: Travel Writing by Women in Victorian England (London: Associated University Presses, 1994), pp. 71–102

Guentner, Wendelin, ed., Women Art Critics in Nineteenth–Century France: Vanishing Acts (Newark: University of Delaware Press, 2013)

Jensen, Heather Belnap, ‘Portraitistes à la Plume: Women Art Critics in Revolutionary and Napoleonic France’ (unpublished doctoral dissertation, University of Kansas, 2007)

Kanwit, John Paul M., Victorian Art Criticism and the Woman Writer (Columbus: Ohio State University Press, 2013)

Lahidalga, Rosa Martínez de, ‘La mujer, crítico de arte’, Arbor, 168 (2001), 309–19

Lintel, Amy M. Von, ‘Surveying the Field: The Popular Origins of Art History in Nineteenth–Century Britain and France’ (unpublished doctoral dissertation, University of Southern California, 2010), esp. ‘The Mothers of Art History? Women and the Production of Popular Art History’, pp. 317–75

Marcus-de Groot, Yvette, Kunsthistorische vrouwen van weleer: de eerste generatie in nederland vóór 1921 (Rotterdam: Erasmus Universiteit Rotterdam, 2003)

Marin, Chiara, L’arte delle donne: Per una ‘Kunstliteratur’ al femminile nell’italia dell’Ottocento (Padua: Libreria Universitaria Edizione, 2013)

Nunn, Pamela Gerrish, ‘Critically Speaking’, in Women in the Victorian Art World, ed. by Clarissa Campbell Orr (Manchester: Manchester University Press, 1995), pp. 107–24

Palmer, Caroline, ‘Women Writers on Art and Perceptions of the Female Connoisseur, 1780–1860’ (unpublished doctoral thesis, Oxford Brookes University, 2009)

Palmer, Caroline, ‘“I will tell nothing that I did not see”: British Women’s Travel Writing, Art and the Science of Connoisseurship, 1776–1860’, Forum for Modern Language Studies, 51 (2015), 248–68

Prettejohn, Elizabeth, ‘Aesthetic Value and the Professionalization of Victorian Art Criticism, 1837–78’, Journal of Victorian Culture, 2 (1997), 71–94

Sherman, Claire Richter, and Adele M. Holcomb, eds, Women as Interpreters of the Visual Arts, 1820–1979 (Westport: Greenwood Press, 1981)

Ventrella, Francesco, ‘Constance Jocelyn Ffoulkes and the Modernization of Scientific Connoisseurship’, Visual Resources, 33 (2017), 117–39

Ventrella, Francesco, ‘Gender, The of the Writing, Art Genre’, review of Wendelin Guentner (ed.), Women Art Critics in Nineteenth-Century France (2015); and Hilary Fraser, Women Writing Art History in the Nineteenth Century (2016), Oxford Art Journal, 40 (2017), 203–09

Ventrella, Francesco, ‘Feminine Inscriptions in the Morellian Method: Constance Jocelyn Ffoulkes and the Translation of Connoisseurship’, in Migrating Histories of Art: Self-Translations of a Discipline, ed. by Maria Teresa Costa and Hans Christian Hönes (Berlin: De Gruyter, 2018), pp. 37–58

Ventrella, Francesco, Connoisseurial Intimacies: Art Writing, Psychological Aesthetics and the Modernity of the Old Masters (forthcoming)

Berenson, Mary (1864–1945)

Archives

Aix-en-Provence, Bibliothèque Méjanes, Salomon Reinach Papers

Florence, Villa I Tatti, Biblioteca Berenson Special Collections, Bernard and Mary Berenson Papers

Bloomington, Indiana, Indiana University, Lilly Library, Hannah Whitall Smith Papers

Primary sources

‘Paris Exposition des Arts de la Femme’, Woman’s Herald, 24 September 1892, p. 11

‘Pictures in Venice as Documents about Venetian Women’, Woman’s Herald, 29 October 1892, pp. 6–7

‘The March of Ancona’, Woman’s Herald, 26 November 1892, pp. 7–8

‘Giorgione (letter to Editor)’, Pall Mall Gazette, 18 January 1893, p. 3

‘A Method of Art Study’, Daily Chronicle, 21 December 1893

‘In Old Florence’, Daily Chronicle, 16 August 1894

Review of Hermann Ulmann, Sandro Botticelli, in ‘The Editor’s Room’, Studio, 3 (1894), pp. xxxi–xxxiii

The Guide to the Italian Pictures at Hampton Court, with Short Studies of the Artists, Kyrle Pamphlets, 2 (London: Innes, 1894)

‘The New and the Old Art Criticism’, Nineteenth Century, May 1894, pp. 828–37

‘On a Recent Criticism of the Works of Lorenzo Lotto’, Studio, 5 (1895), 63–67

‘Lorenzo Lotto’, Gazette des beaux-arts, 13 (1895), 361–78

‘The New Art Criticism’, Atlantic Monthly, August 1895, pp. 263–70

‘Philosophy of Enjoyment of Art’, Atlantic Monthly, June 1896, pp. 844–48

‘Découverte d’une fresque de Pollaiuolo’, La Chronique des arts, 20 November 1897, pp. 345–44

‘Hermann Obrist’s Embroidered Decorations’, Decorator and Furnisher, 29 (1897), 116–17

Review of Hans Macowsky, Jacopo del Sellaio, dans le Jahrbuch der kœniglichen preussischen Kunstsammlungen, t. XX, fasc 3 et 4, Revue archéologique, 3rd ser., 35 (1899), 478–81

Review of Maud Cruttwell, Luca Signorelli (1900), La Chronique des arts, 17 March 1900, pp. 99–100

‘Le “Sposalizio” du Musée de Caen’, Revue archéologique, 3rd ser., 36 (1900), 115–25

‘Deux tableaux de Jacopo del Sellaio au Musée du Louvre’, Revue archéologique, 3rd ser., 37 (1900), 300–03

‘Compagno di Pesellino et quelques peintures de l’école’, Gazette des beaux-arts, 26 (1901), 18–34; 333–43

Review of Maud Cruttwell, Andrea Mantegna (1901); Charles Yriarte, Mantegna: sa vie, sa maison, son tombeau, son oeuvre dans les musées et les collections (1901); and Paul Kristeller, Andrea Mantegna (1901), Gazette des beaux-arts, 28 (1902), 255–61

Review of Julia Cartwright, Isabella D’Este, Marchioness of Mantua, 1474–1539: A Study of the Renaissance, Burlington Magazine, 2 (1903), 106–07

Review of Corrado Ricci, Pintoricchio: His Life, Work, and Time (1902), Burlington Magazine, 2 (1903), 256–57

Review of Pompeo Molmenti and Gustave Ludwig, Vittore Carpaccio et la confrérie de Sainte Ursule à Venise (1903), Burlington Magazine, 3 (1903), 317–21

‘A Holy Family by Granacci in Dublin’, Révue archéologique, 4th ser., 2 (1903), 21–24

‘Lorenzo Lotto’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), 251–52

‘L’exposition de l’ancien art siennois’, Gazette des beaux-arts, 32 (1904), 200–14

S.R. [Salomon Reinach?] and Mary Logan, ‘Tableaux oubliés de collections françaises’, Révue archéologique, 4th ser., 3 (1904), 317–21

‘Due dipinti inediti di Matteo da Siena’, Rassegna d’arte, 5 (1905), 314–26

‘Italian Art and Milanese Collections’, Révue archéologique, 4th ser., 2 (1905), 314–26

‘A Picture by Butinone in the Louvre’, Revue archéologique, 4th ser., 5 (1905), 329–34

‘A Picture by Taddeo di Bartolo in the Musée Crozatier at Le Puy’, Revue archéologique, 4th ser., 7 (1906), 236–38

‘Il Sassetta e la leggenda di S. Antonio Abate’, Rassegna d’arte, 11 (1911), 202–03

‘Madonne di Neroccio dei Landi’, Rassegna d’arte, 13 (1913), 73–74

‘Dipinti italiani a Cracovia’, Rassegna d’arte, 15 (1915), 1–4; 25–29

‘A Reconstructor of Old Masterpieces’, American Magazine of Art, 21 (1930), 628–38

The following have been identified by Tiffany Johnston as collaborations between Mary and Bernard Berenson:

‘Some Comments on Correggio in Connection with his Pictures in Dresden’, Knight Errant, October 1892, pp. 73–85

‘A Word for Renaissance Churches’, Free Review, November 1892, pp. 178–89

‘Vasari in Light of Recent Publications’, Nation, 13 April 1893, pp. 271–73

Venetian Painters of the Renaissance (New York: Putnam’s Sons, 1894)

Lorenzo Lotto: An Essay in Constructive Art Criticism (New York: Putnam’s Sons, 1895)

‘Rudiments of Connoisseurship’ later published in The Study and Criticism of Italian Art, 2nd ser. (London: Bell, 1902), pp. 111–48

Secondary literature

[Anon.], ‘Interview’, Women’s Penny Paper, 13 December 1890, pp. 13–14

Bernardi, Erica, ‘Gaudenzio Ferrari secondo Bernard e Mary Berenson’, Arte lombarda, 167 (2013), 110–16

Brown, David Alan, Berenson and the Connoisseurship of Italian Painting: A Handbook to the Exhibition (Washington DC: National Gallery of Art, 1979)

Cohen, Rachel, Bernard Berenson: A Life in the Picture Trade (New Haven: Yale University Press, 2013)

Della Monica, Ilaria, ‘Notes on Mary Berenson’s Diary (1891–1893)’, Visual Resources, 33 (2017), 140–57

Della Monica, Ilaria, ‘Mary Berenson and The Guide to the Italian Pictures at Hampton Court’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.827>

Gilmore, Myron P., ‘The Berensons and Villa I Tatti’, Proceedings of the American Philosophical Society, 120 (1976), 7–12

van N. Hadley, Rollin, ed., The Letters of Bernard Berenson and Isabella Stewart Gardner 1887–1924 with Correspondence by Mary Berenson (Boston: Northeastern University Press, 1987)

Israëls, Machtelt Brüggen, ‘Mrs. Berenson, Mrs. Gardner and Miss Toplady: Connoisseurship, Collecting and Commerce in London (1898–1905)’, Visual Resources, 33 (2017), 158–81

Johnston, Tiffany L., ‘Mary Berenson and the Conception of Connoisseurship’ (unpublished doctoral dissertation, Indiana University, 2001)

Johnston, Tiffany L., ‘Mary Whitall Smith at the Harvard Annex’, Berenson and Harvard: Bernard and Mary as Students, ed. by Jonathan Nelson (Florence: I Tatti, 2012), online exhibition and electronic catalogue <http://berenson.itatti.harvard.edu/berenson/items/show/3030> [accessed 1 May 2019]

Johnston, Tiffany L., ‘Mary Berenson and the Cultivation of American Collectors’, in A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America, ed. by Inge Reist (University Park: Penn State University Press, 2015), pp. 72–81

Johnston, Tiffany L., ‘The Correggiosity of Correggio: On the Origin of Berensonian Connoisseurship’, I Tatti Studies in the Italian Renaissance, 19 (2016), 385–425

Johnston, Tiffany L., Biography of Mary Berenson (forthcoming)

Mariano, Nicky, The Berenson Archive: An Inventory of Correspondence Compiled by Nicky Mariano, on the Centenary of the Birth of Bernard Berenson 1865–1965 (Cambridge, MA: Harvard University Press, 1965)

Mariano, Nicky, Forty Years with Berenson (New York: Knopf, 1966)

McComb, A. K., ed., The Selected Letters of Bernard Berenson (Boston: Houghton Mifflin, 1964)

Nelson, Jonathan K., ‘An Unpublished Essay by Mary Berenson: “Botticelli and his Critics” (1894–95)’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.837>

Pezzini, Barbara, ‘Connoisseurship as “the art-element in art”: Three Unknown Articles by Mary Berenson in the Burlington Magazine (1903)’, Burlington Magazine Index Blog, 19 March 2014 <https://burlingtonindex.wordpress.com/2014/03/19/mary-berenson-burlington-magazine/> [accessed 30 April 2019]

Samuels, Ernst, Bernard Berenson: The Making of a Connoisseur (Cambridge, MA: Belknap Press, 1979)

Samuels, Ernst, Bernard Berenson: The Making of a Legend (Cambridge, MA: Belknap Press, 1987)

Secrest, Meryle, Being Bernard Berenson: A Biography (New York: Holt, Rinehart, and Winston, 1979)

Sorensen, Lee, ed., ‘Berenson, Mary’, in Dictionary of Art Historians <http://www.arthistorians.info/berensonm> [accessed 30 April 2019]

Strachey, Barbara, Remarkable Relations: The Story of the Pearsall Smith Family (London: Gollancz, 1980)

Strachey, Barbara, Remarkable Relations: The Story of the Pearsall Smith Women (New York: Universe Books, 1982)

Strachey, Barbara, and Jayne Samuels, eds, Mary Berenson: A Self-Portrait from her Letters and Diaries (London: Gollancz, 1983)

Strehlke, Carl Brandon, and Machtelt Brüggen Israëls, eds, The Bernard and Mary Berenson Collection of European Paintings at I Tatti (Milan: Officina Libraria, 2015)

Callcott, Maria Dundas Graham, Lady (1785–1842)

Archives

London, British Library

London, Royal Academy

Oxford, Bodleian Library, Papers of Maria, Lady Callcott

Primary sources

Journal of a Residence in India (London: Constable, 1812)

Memoirs of the Life of Nicholas Poussin (London: Longman, Hurst, Rees, Orme, and Brown; Edinburgh: Constable, 1820)

Three Months Passed in the Mountains East of Rome, During the Year 1819 (London: Longman, Hurst, Rees, Orme and Brown; Edinburgh: Constable, 1820)

Description of the Chapel of the Annunziata dell’Arena; or, Giotto’s Chapel, in Padua (London: Printed for the author by Thomas Brettell, 1835)

Essays Towards a History of Painting (London: Moxon, 1836)

Continuation of Essays Towards a History of Painting (London: Moxon, 1838)

Secondary literature

Akel, Regina, Maria Graham: A Literary Biography (Amherst: Cambria, 2009)

Collier, Carly, ‘Sir Augustus Wall Callcott and the First Illustrations after Giotto’s Arena Chapel’, chapter in ‘British Artists and Early Italian Art c. 1770–1845’ (unpublished doctoral thesis, University of Warwick, 2013), pp. 115–62

Akel, Regina, ‘Maria Callcott, Queen Victoria and the “Primitives”’, Visual Resources, 33 (2016), 27–47

Collier, Carly, and Caroline Palmer, Discovering Ancient and Modern Primitives: The Travel Journals of Maria Callcott, 1827–28, Volume of the Walpole Society, 78 (London: Walpole Society, 2016)

Collier, Carly, ‘Maria Callcott’s Honeymoon Journals, 1827–28: The Missing Fragment’, Volume of the Walpole Society, 80 (London: Walpole Society, 2018)

Gotch, Rosamund Brunel, Maria, Lady Callcott (London: Murray, 1937)

Lloyd, Christopher, and David Blayney Brown, eds, The Journal of Maria, Lady Callcott, 1827–8 (Oxford: Oxford Microform Publications, 1981)

Lloyd, Christopher, ‘Lady Callcott’s Honeymoon, 1827–8: Art-Historical Reflections in Germany and Italy’, in Britannia, Italia, Germania: Taste and Travel in the Nineteenth Century, ed. by Carol Richardson and Graham Smith (Edinburgh: VARIE, 2001), pp. 44–58

Mitchell, Rosemary, ‘Callcott [née Dundas; other married name Graham], Maria, Lady Callcott (1785–1842), traveller and author’, ODNB < http://doi.org/10.1093/ref:odnb/4399>

Palmer, Caroline, ‘Maria Graham and the Promotion of the Primitives’, chapter in ‘Women Writers on Art and Perceptions of the Female Connoisseur, 1780–1860’ (unpublished doctoral thesis, Oxford Brookes University, 2009), pp. 140–62

Palmer, Caroline, ‘“A revolution in art”: Maria Callcott on Poussin, Painting, and the Primitives’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.833>

Cartwright, Julia Ady (1851–1924)

Archives

London, Victoria and Albert Museum, National Art Library

Northampton, Northamptonshire City Archives, Cartwright Edgcote Collection

Primary sources

‘Biographical Sketches of Saints of the Mediaeval Church — I St. Benedict’, Monthly Packet, April 1873, p. 331; ‘II — St. Gregory the Great’, June 1873, p. 523; ‘III — The Venerable Bede’, August 1873, p. 127; ‘IV — St. Boniface’, January 1874, p. 16

‘Erminia Faa-Fusinato e i suoi ricordi’, Academy, 27 October 1877, pp. 401–02

‘Giotto’, New Quarterly Magazine, October 1877, pp. 169–02

‘A Florentine Bridal Chamber’, Portfolio, 9 (1878), 21–27

‘Varallo and Her Painter’, Portfolio, 11 (1880), 50–56

Mantegna and Francia (London: Sampson Low, 1881)

‘The Certosa of Florence’, Portfolio, 12 (1881), 28–32; 42–47

‘The Cathedral of Orvieto’, Magazine of Art, 5 (1882), 514–20

‘Sandro Botticelli’, Portfolio, 13 (1882), 58–60; 70–74; 92–95; 110–13

‘Assisi’, Portfolio, 13 (1882), 180–83; 198–202; 207–12

‘Giovanni Costa, Patriot and Painter’, Magazine of Art, 6 (1883), 24–30

‘The Nativity in Art’, Magazine of Art, 6 (1883), 74–82

‘A Famous Model’, Magazine of Art, 6 (1883), 203–07

‘A Heretic Picture’, Magazine of Art, 6 (1883), 330–32

‘The Tomb of Gaston de Foix’, Magazine of Art, 6 (1883), 381–83

‘A Painter’s Friendship’, Magazine of Art, 6 (1883), 426–28

‘The Certosa of Pavia — I’, Magazine of Art, 6 (1883), 441–44

‘Benozzo Gozzoli’, Portfolio, 14 (1883), 49–55; 76–78; 102–04

‘Roman Remains at Ravenna’, Portfolio, 14 (1883), 221–25; 235–39

‘A Visit to La Vernia’, Gentleman’s Magazine, December 1884, pp. 566–75

‘The Certosa of Pavia — II’, Magazine of Art, 7 (1884), 45–50

‘Francesa da Rimini’, Magazine of Art, 7 (1884), 137–39

‘The Lady of Schloss Ambras’, Magazine of Art, 7 (1884), 305–07

‘Raphael and the Fornarina’, Magazine of Art, 7 (1884), 323–27

‘A Cartoon by Leonardo’, Magazine of Art, 7 (1884), 448–52

‘The Artist in Venice’, Portfolio, 15 (1884), 17–22; 37–42; 45–48

‘Gothic Remains at Ravenna’, Portfolio, 15 (1884), 78–83; 119–22

‘S. Apollinaire in Classe’, Portfolio, 15 (1884), 151–57

‘San Vitale of Ravenna’, Portfolio, 15 (1884), 178–83

‘The Romance of Art: A Famous Gem’, Magazine of Art, 8 (1885), 70–72

‘The Romance of Art: The Cottage Countess’, Magazine of Art, 8 (1885), 281–83

‘A Convent Room at Parma’, Magazine of Art, 8 (1885), 410–16

‘Vandalism at Tivoli’, Pall Mall Gazette, 30 September 1885, pp. 1–2

‘Old Hospitals and Religious Houses of Canterbury’, Portfolio, 16 (1885), 11–17

‘The Tomb and Chantry of the Black Prince at Canterbury’, Portfolio, 16 (1885), 47–52

‘Christ Church Priory, Canterbury’, Portfolio, 16 (1885), 113–17

‘St Augustine’s Abbey, Canterbury’, Portfolio, 16 (1885), 200–05

‘The Romance of Art: The Lost “Cupid” of Michelangelo’, Magazine of Art, 9 (1886), 74–79

‘The Annunciation in Art’, Magazine of Art, 9 (1886), 202–07

‘The Romance of Art: A Florentine Wedding’, Magazine of Art, 9 (1886), 36–68

‘The Romance of Art: “La Bella Simonetta”’, Magazine of Art, 9 (1886), 466–68

‘Medieval Remains at Ravenna’, Portfolio, 17 (1886), 58–63

‘In the Campagna: Tivoli, Albano, Frascati’, Portfolio, 17 (1886), 138–43; 192–98; 205–11

‘Kugler’s “Italian Schools of Painting”’, Magazine of Art, 10 (1887), 277–81

‘LaFenestre’s “Titian”’, Magazine of Art, 10 (1887), 242–47

‘The Art of Costa’, Portfolio, 18 (1887), 147–51

‘The Romance of Art: The Boy of Egremond’, Magazine of Art, 11 (1888), 62–64

‘Jean-François Millet’, Nineteenth Century, September 1888, pp. 419–38

‘Correggio’, Portfolio, 19 (1888), 31–35; 56–63

‘Rome in 1889’, Nineteenth Century, October 1889, pp. 584–601

‘Lorenzo Lotto’, Portfolio, 20 (1889), 16–19; 26–30

‘Giorgione’, Portfolio, 20 (1889), 194–99; 208–14

‘Vanishing Rome’, Art Journal, February 1890, pp. 33–40

‘Famous Pictures from the Paris Exhibition’, Atalanta, February 1890, pp. 307–14

‘E. Burne-Jones’, Atalanta, October 1890, pp. 18–26

‘E. Burne-Jones’, Atalanta, November 1890, pp. 81–91

‘Children in Modern Art’, Atalanta, December 1890, pp. 169–81

‘Madame’, Macmillan’s Magazine, October 1890, p. 438

‘Winter and Spring Exhibitions, 1890’, National Review, April 1890, pp. 153–66

‘The Pastels and Drawings of Millet’, Portfolio, 21 (1890), 191–97; 208–12

Catalogue of a Collection of Water-Colours by Augustus Walford Weedon, R.I.: Illustrating the County of Kent, Fine Art Society Catalogues (London: Fine Art Society, 1891)

‘The Pilgrims’ Way’, Art Journal, February 1891, pp. 33–38; March 1891, pp. 78–82; May 1891, pp. 147–52; August 1891, pp. 225–29; September 1891, pp. 266–70; October 1891, pp. 313–18; November 1891, pp. 347–52; December 1891, pp. 365–70

‘Compton Winyates and Edgehill’, Atalanta, August 1891, pp. 706–18

‘G. F. Watts — I’, Atalanta, October 1891, pp. 13–25

‘G. F. Watts — II’, Atalanta, November 1891, pp. 77–87

‘Frederick Walker’, Macmillan’s Magazine, June 1891, pp. 126–32

‘The Pictures of the Year’, National Review, June 1891, pp. 466–76

‘A Sicilian City: Taormina — I’, Atalanta, August 1892, pp. 637–46

‘A Sicilian City: Taormina — II’, Atalanta, Septemper 1892, pp. 701–11

‘L. Alma-Tadema’, Atalanta, October 1892, pp. 20–30

‘Some Painters of the Century’, Atalanta, December 1892, pp. 197–208

‘A Corner of Essex’, National Review, January 1892, pp. 626–38

‘Gardens’, Portfolio, 23 (1892), 211–21

The Pilgrims’ Way from Winchester to Canterbury, with forty-six illustrations by A. Quinton (London: Virtue, 1893)

Sacharissa; Some Account of Dorothy Sidney, Countess of Sunderland, her Family and Friends, 1617–1684 (London: Seeley, 1893)

‘Edward Burne-Jones, A.R.A.’, Art Journal, January 1893, pp. 1–9

‘Edward Burne-Jones: A Record and a Review’, Art Journal, March 1893, pp. 82–85

Jules Bastien-Lepage (London: Seeley, 1894)

Madame: A Life of Henrietta, Daughter of Charles I. and Duchess of Orleans (London: Seeley, 1894)

Sir Edward Burne-Jones, Bart.: His Life & Work (London: Virtue, 1894)

‘Caterina Sforza: A Virago of the Renaissance’, Art Journal, April 1894, pp. 115–19

The Early Work of Raphael (London: Seeley, 1895)

Raphael in Rome (London: Seeley, 1895)

‘Madame Millet’, Art Journal, March 1895, pp. 72–75

‘Lorenzo Lotto’, Art Journal, August 1895, pp. 233–37

G. F. Watts, Royal Academician: His Life & Work (London: Virtue, 1896)

Jean François Millet: His Life and Letters (London: Sonnenschein, 1896)

Studies & Drawings by Sir Edward Burne-Jones. Bart, with a prefatory note by Julia Cartwright (London: Fine Art Society, 1896)

‘Puvis de Chavannes’, Art Journal, June 1896, pp. 190–92

‘Edward Burne-Jones — The Picture Sidonia’, Art Journal, December 1896, pp. 353–54

‘The New Art-Criticism’, Quarterly Review, October 1896, pp. 454–79

Christ and his Mother in Italian Art, ed. by Julia Cartwright, intr. by Robert Eyton, L.P. (London: Bliss, Sands, 1897)

‘Modern French Art’, Quarterly Review, April 1897, pp. 360–89

‘In Memoriam — Edward Burne-Jones’, Art Journal, August 1898, pp. 247–48

‘St. Fillians’, Art Journal, Septemper 1898, pp. 257–62

‘English Art in the Victorian Age’, Quarterly Review, January 1898, pp. 209–33

‘Edward Burne-Jones’, Quarterly Review, October 1898, pp. 338–59

Beatrice d’Este, Duchess of Milan, 1475–497: A Study of the Renaissance (London: Dent, 1899)

‘Painting’, in A Handbook of Rome and the Campagna, 16th edn (London: Murray, 1899)

Review of Roger Fry, Giovanni Bellini (1899), Literature, 18 November 1899, p. 482

‘Leonardo da Vinci’, Quarterly Review, October 1899, pp. 381–403

‘The Garden of the Hesperides’, Art Journal, March 1900, pp. 94–98

‘Burne-Jones’, Gazette des beaux-arts, 24 (1900), 25–38; 237–52

‘Lord de Tabley’, Quarterly Review, January 1900, pp. 246–64

‘John Ruskin’, Quarterly Review, April 1900, pp. 393–414

The Painters of Florence from the Thirteenth to the Sixteenth Century (London: Murray, 1901)

‘Raphael: The Madonna di Sant’Antonio’, Art Journal, Septemper 1901, pp. 284–86

‘The Castello of Milan’, Monthly Review, August 1901, pp. 117–36

Isabella d’Este, Marchioness of Mantua, 1474–1539: A Study of the Renaissance, 2 vols (London: Murray, 1903)

Sandro Botticelli (London: Duckworth, 1903)

‘Giorgione’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–1905), II (1903), 246–48

‘Women of the Italian Renaissance’, Nineteenth Century, November 1903, pp. 793–801

‘The Early Art of the Netherlands’, Quarterly Review, January 1903, pp. 208–33

The Life and Art of Sandro Botticelli (London: Duckworth, 1904)

‘Raphael’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), IV (1904), 192–98

‘The Drawings of Jean-Francois Millet in the Collection of the late Mr. James Staats Forbes — Part I’, Burlington Magazine, 5 (1904), 47–53

‘The Drawings of Jean-Francois Millet in the Collection of the late Mr. James Staats Forbes — Part II’, Burlington Magazine, 5 (1904), 118–23

‘George Frederic Watts’, Monthly Review, August 1904, pp. 23–40

‘Giovanni Costa — His Life and Art’, National Review, 43 (1904), p. 812

Raphael (London: Duckworth, 1905)

‘Edward Burne-Jones’, Monthly Review, March 1905, pp. 17–36

‘A Tomb at Ravenna’, Monthly Review, October 1905, pp. 87–95

Baldassare Castiglione the Perfect Courtier, His Life and Letters, 1478–1529, 2 vols (London: Murray, 1908)

Hampton Court (London: Wells Gardner, 1910)

‘The Closing of the New Gallery’, Englishwoman, 5 (1910), p. 206

‘Italian Humanists and their Gardens, Nineteenth Century and After, January 1910, p. 273

‘Italian Princesses and their Gardens’, Nineteenth Century and After, July 1910, p. 655

‘Venetian Scholars and their Gardens’, Nineteenth Century and After, July 1911, p. 837

Christina of Denmark, Duchess of Milan (London: Murray, 1913)

Howell, Alan George Ferrers, S. Bernardino of Siena, with a chapter on S. Bernardino in art by Julia Cartwright (London: Methuen, 1913)

Italian Gardens of the Renaissance, and Other Studies (London: Smith, Elder, 1914)

‘Cardinal Bembo and his Villa’, Cornhill Magazine, 37 (1914), 69–84

‘Roman Gardens of the Renaissance’, Nineteenth Century and After, 75 (1914), p. 873

Knightley, Louisa Mary, The Journals of Lady Knightley of Fawsley, ed. by Julia Cartwright (London: Murray, 1915)

‘William de Morgan: A Reminiscence’, Cornhill Magazine, April 1917, pp. 461–71

‘Venetian Shrines and German Bombs’, Englishwoman, June 1918, pp. 165–68

Secondary literature

Alambritis, Maria, ‘“Such a pleasant little sketch […] of this irritable artist”: Julia Cartwright and the Reception of Andrea Mantegna in Late Nineteenth-Century Britain’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.825>

Emanuel, Angela, ‘Julia Cartwright and Bernard Berenson’, Apollo, 120 (1984), 273–77

Emanuel, Angela, ‘Julia Cartwright (b.1851 d.1924), Art Critic and Historian of Renaissance Italy’ (unpublished doctoral thesis, University College London, 1985)

Emanuel, Angela, ‘Enid Layard and Julia Cartwright’, in Austen Henry Layard tra l’Oriente e Venezia: International Symposium, ed. by Frederick Mario Fales and Bernard Hickey (Roma: L’Erma, 1987), pp. 167–74

Emanuel, Angela, ed., A Bright Remembrance: The Diaries of Julia Cartwright, 1851–1924 (London: Weidenfeld & Nicolson, 1989)

Fraser, Hilary, ‘Writing a Female Renaissance: Victorian Women and the Past’, in Victorian and Edwardian Responses to the Italian Renaissance, ed. by John E. Law and Lene Østermark-Johansen (Aldershot: Ashgate 2005), pp. 165–84

Kohl, Benjamin G., ‘Cecilia M. Ady: The Edwardian Education of a Historian of Renaissance Italy’, in Victorian and Edwardian Responses to the Italian Renaissance, ed. by John E. Law and Lene Østermark-Johansen (Aldershot: Ashgate 2005), pp. 233–55

Mitchell, Rosemary, ‘Cartwright, Julia Mary (1851–1924)’, ODNB < http://doi.org/10.1093/ref:odnb/40620>

Sorensen, Lee, ed., ‘Ady Julia’, in Dictionary of Art Historians <http://www.arthistorians.info/adyj> [accessed 30 April 2019]

Cruttwell, Maud [Alice Wilson] (1860–1939)

Archives

Aix-en-Provence, Bibliothèque Méjanes, Salomon Reinach Papers

Berlin, Stiftung Preußischer Kulturbesitz, Zentralarchiv, Bode Nachlass, Correspondance, Maud Cruttwell

Florence, Villa I Tatti, Biblioteca Berenson Special Collections, Bernard and Mary Berenson Papers (1880–2002)

Princeton, Princeton University Library, Department of Rare Books and Special Collections, Allan Marquand Papers

Waterville, ME, Colby College, Vernon Lee Archive

Primary sources

‘Three Mysterious Profiles of the Fifteenth Century’, Art Journal, October 1897, pp. 312–16

‘The Discoverer of America: A Newly Found Portrait by Ghirlandaio of Amerigo Vespucci’, Art Journal, May 1898, p. 150

Luca Signorelli, Great Masters in Painting and Sculpture (London: Bell, 1899)

Andrea Mantegna, Great Masters in Painting and Sculpture (London: Bell, 1901)

Luca & Andrea della Robbia and their Successors (London: Dent, 1902)

Verrocchio, New Library of Art (London: Duckworth, 1904)

‘Andrea Mantegna’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), 277–80

‘Tre documenti del Verrocchio’, L’Arte, 7 (1904), 167–68

‘Girolamo della Robbia et ses oeuvres’, Gazette des beaux-arts, 31 (1904), 26–52; 140–48

‘Francesco Signorelli’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), V (1905), p. 79

‘Luca Signorelli’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), V (1905), 79–81

‘Quattro portate del catasto e della decima fatte da Antonio Pollaiolo, dal fratello Giovanni e da Jacopo loro padre’, L’Arte, 8 (1905), 381–85

‘Un disegno del Verrocchio per la “Fede” nella Mercatanzia di Firenze (con quattro incisioni)’, Rassegna d’arte, 6 (1906), 8–11

Antonio Pollaiuolo, New Library of Art (London: Duckworth, 1907)

A Guide to the Paintings in the Florentine Galleries; the Uffizi, the Pitti, the Accademia: A Critical Catalogue with Quotations from Vasari (London: Dent, 1907)

‘The Recent Changes in the Florentine Galleries’, Athenaeum, 13 April 1907, p. 449

A Guide to the Paintings in the Churches and Minor Museums of Florence: A Critical Catalogue with Quotations from Vasari (London: Dent, 1908)

Douglas, Hugh A., Venice and her Treasures, with notes on the pictures by Maud Cruttwell (London: Methuen, 1909)

Donatello, Classics of Art (London: Methuen, 1911)

Fire and Frost (London: John Lane, 1913)

‘Miss Maud Cruttwell’, Graphic, 17 May 1913, p. 816

The Princess des Ursins (London: Dent, 1927)

Madame de Maintenon (London: Dent, 1930)

Secondary literature

Fraser, Hilary, Women Writing Art History in the Nineteenth Century: Looking Like a Woman, Cambridge Studies in Nineteenth-Century Literature and Culture, 95 (Cambridge: Cambridge University Press, 2014), pp. 34–42

Johnston, Tiffany L., ‘Maud Cruttwell and the Berensons: “A preliminary canter to an independent career”’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.821>

Rumberg, Per, ‘Andrea del Verrocchio’s Doubting Thomas: Three Encounters’ (unpublished doctoral thesis, Courtauld Institute of Art, University of London, 2016)

Sorensen, Lee, ed., ‘Cruttwell, Maud’, in Dictionary of Art Historians <http://www.arthistorians.info/cruttwellm> [accessed 30 April 2019]

Ventrella, Francesco, ‘Writing Under Pressure: Maud Cruttwell and the Old Master Monograph’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.831>

Dilke, Emilia Francis, Lady (1840–1904)

Archives

London, British Library, Dilke Papers

London, Trade Union Congresses Library

London, Victoria and Albert Museum, National Art Library

Newcastle upon Tyne, University of Newcastle, Trevelyan Papers

Oxford, Bodleian Library, Pattison Papers

Paris, Bibliothèque de l’école des beaux-arts

Paris, Bibliothèque Nationale de France, Département des Manuscrits

Primary sources

‘Art and Morality’, Westminster Review, January 1869, pp. 148–84

‘John Ruskin, Lectures on Art and Catalogue of Examples (Oxford, 1870)’, Academy, 10 September 1870, pp. 305–06

‘Carstens’, Portfolio, 1 (1870), 76–80

‘Palissy’, Portfolio, 1 (1870), 189–91

‘The Holbein Controversy’, Academy, 1 November 1871, pp. 492–93

‘Eight Miniatures by Jean Cousin(?)’, Academy, 15 November 1871, p. 516

‘Jehan Cousin’, Portfolio, 2 (1871), 7–9

‘Jehan Goujon’, Portfolio, 2 (1871), 22–24

‘Germain Pilon’, Portfolio, 2 (1871), 72–75

‘Exhibition of the Royal Academy of Arts’, Academy, 15 May 1872, pp. 184–85

‘Summer Exhibition of the Society of French Artists’, Academy, 1 June 1872, pp. 204–05

‘Nicholas Poussin’, Fortnightly Review, April 1872, pp. 472–77

‘Jean Cousin’, Academy, 15 January 1873, p. 26

Review of W. H. Pater, Studies in the History of the Renaissance (1873), Westminster Review, April 1873, pp. 639–41

‘The Use of Looking at Pictures’, Westminster Review, October 1873, pp. 415–23

‘Five Paintings by Frederic Leighton, R.A.’, Academy, 28 March 1874, p. 351

‘Eighth Exhibition of the Society of French Artists’, Academy, 2 May 1874, p. 500

‘The Picture by Piero della Francesca’, Academy, 22 August 1874, pp. 219–20

‘The Studios’, Academy, 20 February 1875, pp. 202–03; 27 February 1875, pp. 228–29; 6 March 1875, p. 251; 13 March 1875, pp. 277–78; 20 March 1875, pp. 304–05; 27 March 1875, pp. 330–31; 3 April 1875, pp. 357–58

‘The Salon of 1876’, Academy, 13 May 1876, pp. 463–64; 20 May 1876, pp. 494–96; 27 May 1876, pp. 516–17

‘The Collection of M. Gambart at Les Palmiers, Nice’, Athenaeum, 26 August 1876, pp. 276–78

‘Exhibition of the Société des Beaux Arts, Nice’, Academy, 14 April 1877, pp. 328–29

‘The Salon of 1877’, Academy, 12 May 1877, pp. 422–23; 19 May 1877, pp. 445–46; 2 June 1877, pp. 494–95; 9 June 1877, pp. 518–19

‘A Chapter of the French Renaissance’, Contemporary Review, August 1877, pp. 466–80

‘French Châteaux of the Renaissance, 1460–1547’, Contemporary Review, Septemper 1877, pp. 579–97

‘The International Exhibition: Paris, 1878’, Academy 1 June 1878, pp. 493–94; 15 June 1878, pp. 538–40; 22 June 1878, pp. 563–65; 6 July 1878, pp. 20–21; 20 July 1878, pp. 70–72; 2 August 1878, pp. 122–24

‘Fragonard and his Decorative Paintings at Grasse’, Academy, 10 August 1878, pp. 149–50

The Renaissance of Art in France, 2 vols (London: Kegan, Paul, 1879)

‘The Salon of 1879’, Academy, 24 May 1879, pp. 463–64; 31 May 1879, pp. 484–85; 7 June 1879, pp. 505–06; 14 June 1879, pp. 528–29; 21 June 1879, pp. 547–49

‘Jean-Baptiste Greuze’; ‘Jean Antoine Houdon’; ‘Jean Auguste Dominique Ingres’; ‘Jean Francois Millet’, in Encyclopaedia Britannica, 9th edn, 24 vols (Edinburgh: Black, 1880)

‘The Salon of 1880’, Academy, 15 May 1880, pp. 370–71; 22 May 1880, pp. 389–90; 5 June 1880, pp. 427–28

‘The Salon of 1881’, Academy, 14 May 1881, pp. 360–61; 28 May 1881, pp. 399–400; 4 June 1881, pp. 418–20; 11 June 1881, pp. 439–40

Frederick Leighton, 2 vols (London: Chapman and Hall, 1882)

‘The Salon of 1882’, Academy, 6 May 1882, pp. 327–28; 13 May 1882, pp. 344–45; 20 May 1882, pp. 365–67; 3 June 1882, pp. 401–03

‘Deux documents inédits sur des artistes Français du XVIIe siècle: le testament du Poussin et le testament de Claude Lorrain’, L’Art, 29 (1882), 121–28

‘The Royal Academy’, Academy, 12 May 1883, pp. 334–35; 19 May 1883, pp. 353–54; 26 May 1883, pp. 372–74

‘The Glass Paintings of Jean Cousin at Sens’, Academy, 22 December 1883, p. 423

‘Dessins de Claude Lorrain: le livre de vérité’, L’Art, 34 (1883), 253–60; 267–74

‘Dessins de Claude Lorrain: le livre de vérité’, L’Art, 35 (1883), 44–51

‘Les Eaux-fortes de Claude Lorrain, L’Art, 35 (1883), 148–57

‘Edward J. Poynter, R.A.’, Magazine of Art, 6 (1883), 245–51

Claude Lorrain, sa vie et ses oeuvres, d’après des documents inédits (Paris: Rouam, 1884)

‘The Painter of the Dead (Jean Paul Laurens)’, Magazine of Art, 7 (1884), p. 51

‘France under Richelieu’, Fortnightly Review, December 1885, pp. 752–67

The Shrine of Death and Other Stories (London: Routledge, 1886)

‘France under Colbert’, Fortnightly Review, February 1886, pp. 209–20

‘The Royal Academy of Painting and Sculpture in France’, Fortnightly Review, November 1886, pp. 605–16

Art in the Modern State (London: Chapman and Hall, 1888)

The Shrine of Love and Other Stories (London: Chapman and Hall, 1888)

‘Art-Teaching and Technical Schools’, Fortnightly Review, February 1890, pp. 231–41

‘France’s Great Military Artist (Edouard Detaille)’, Cosmopolitan, Septemper 1891, pp. 515–24

‘Christophe’, Art Journal, February 1894, pp. 40–45

‘Le Boudoir de la Marquise de Sérilly au Musée de South Kensington’, Gazette des beaux-arts, 20 (1898), 5–16; 118–28

‘L’Art Français au Guildhall de Londres en 1898’, Gazette des beaux-arts, 20 (1898), 321–36

French Painters of the Eighteenth Century (London: Bell, 1899)

‘Jean-François de Troy’, Gazette des beaux-arts, 21 (1899), 280–90

‘Chardin et ses œuvres à Potsdam et à Stockholm’, Gazette des beaux-arts, 22 (1899), 177–90; 333–42; 390–96

French Architects and Sculptors of the Eighteenth Century (London: Bell, 1900)

‘Letters of Antoine Watteau’, Athenaeum, 29 September 1900, p. 408

French Furniture and Decoration of the Eighteenth Century (London: Bell, 1901)

‘Les Coustous: les chevaux de Marly et le tombeau du Dauphin’, Gazette des beaux-arts, 25 (1901), 5–14; 203–14

French Engravers and Draughtsmen of the Eighteenth Century (London: Bell, 1902)

La Collection Wallace (Objets d’Art) à Hertford House, text and description by Émile Molinier, intr. by Lady Dilke (Paris: Goupil; Manzi, Joyant, 1903)

‘The “Laiterie” of Marie Antoinette at Rambouillet’, Athenaeum, 7 March 1903, pp. 312–13

The Book of the Spiritual Life, including A Memoir of the Author by Sir Charles Dilke (London: Murray, 1905)

Secondary literature

[Anon.], ‘The Art-Work of Lady Dilke’, Quarterly Review, October 1906, pp. 205, 409

Askwith, Betty, Lady Dilke: A Biography (London: Chatto & Windus, 1969)

Demoor, Marysa, ‘An Honourable Gentleman Revisited: Emilia Strong Pattison’s Noted Entry into the World of Sir Charles Wentworth Dilke and the Athenaeum’, Women’s Writing, 2 (1995), 201–20

Demoor, Marysa, Their Fair Share: Women, Power, and Criticism in the ‘Athenaeum’, from Millicent Garrett Fawcett to Katherine Mansfield, 1870–1920 (London: Routledge, 2000)

Dilke, Charles, ‘Memoir’, in Emilia Dilke, The Book of the Spiritual Life (London: Murray, 1905), pp. 1–128

Eisler, Colin, ‘Lady Dilke (1840–1904): The Six Lives of an Art Historian’, in Women as Interpreters of the Visual Arts, 1820–1979, ed. by Claire Richter Sherman and Adele M. Holcomb (Westport: Greenwood Press, 1981), pp. 147–80

Fraser, Hilary, ‘Regarding the Eighteenth Century: Vernon Lee and Emilia Dilke Construct a Period’, in The Victorians and the Eighteenth Century: Reassessing the Tradition, ed. by Francis O’Gorman and Katherine Turner (Aldershot: Ashgate, 2004), pp. 223–49

Fraser, Hilary, ‘Dilke [née Strong; other married name Pattison], Emilia Francis, Lady Dilke (1840–1904), art historian and trade unionist’, ODNB < http://doi.org/10.1093/ref:odnb/32825>

Fraser, Hilary, ‘Walter Pater and Emilia Dilke’, Studies in Walter Pater and Aestheticism, 2 (2016), 21–30

Fraser, Hilary, ‘Writing Cosmopolis: The Cosmopolitan Aesthetics of Emilia Dilke and Vernon Lee’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.844>

Israel, Kali, ‘The Resources of Style: Francis Pattison in Oxford’, Radical History Review, 72 (1998), 122–62

Fraser, Hilary, Names and Stories: Emilia Dilke and Victorian Culture (New York: Oxford University Press, 1999)

Mansfield, Elizabeth, ‘Art History and Authorship: The Critical Writings of Emilia Dilke, 1840–1904’ (unpublished doctoral dissertation, Harvard University, 1996)

Mansfield, Elizabeth, ‘Victorian Identity and the Historical Imaginary: Emilia Dilke’s The Renaissance of Art in France’, Clio, 26 (1997), 167–88

Mansfield, Elizabeth, ‘Articulating Authority: Emilia Dilke’s Early Essays and Review’, Victorian Periodicals Review, 31 (1998), 75–86

Mansfield, Elizabeth, ‘The Victorian “Grand Siècle”: Ideology as Art History’, Victorian Literature and Culture, 28 (2000), 133–47

Mansfield, Elizabeth, ‘Emilia Dilke: Self-Fashioning and the Nineteenth Century’, in Marketing the Author: Authorial Personae, Narrative Selves and Self-Fashioning, 1880–1930, ed. by Marysa Demoor (Houndmills: Palgrave Macmillan, 2004), pp. 19–39

Mansfield, Elizabeth, ‘Women, Art History and the Public Sphere: Emilia Dilke’s Eighteenth Century’, in Women, Femininity and Public Space in European Visual Culture, 1789–1914, ed. by Temma Balducci and Heather Belnap Jensen (Aldershot: Ashgate, 2014), pp. 189–203

Østermark-Johansen, Lene, ‘The Book Beautiful: Emilia Dilke’s Copy of Walter Pater’s Studies in the History of the Renaissance’ <https://brasenosecollegelibrary.wordpress.com/2015/06/11/the-book-beautiful-emilia-dilkes-copy-of-walter-paters-studies-in-the-history-of-the-renaissance-by-lene-ostermark-johansen/>, [accessed 30 April 2019]

Eastlake, Elizabeth (1809–1893)

Archives

Edinburgh, National Library of Scotland, John Murray Archive

London, British Library

London, National Gallery Archive

Oxford, Ashmolean Museum

Primary sources

Passavant, Johann David, Tour of a German Artist in England with Notices of Private Galleries and Remarks on the State of Art, trans. by [Elizabeth Rigby], 2 vols (London: Saunders and Otley, 1836)

A Residence on the Shores of the Baltic, Described in a Series of Letters, 2 vols (London: Murray, 1841)

‘Lady Travellers’, Quarterly Review, June 1845, pp. 98–136

Livonian Tales (London: Murray, 1846)

‘Modern German Painting’, Quarterly Review, March 1846, pp. 323–48

‘Cathedral of Cologne’, Quarterly Review, Septemper 1846, pp. 425–63

‘Planche’s History of Costume’, Quarterly Review, March 1847, pp. 372–99

‘Views of Edinburgh’, Fraser’s Magazine, November 1848, pp. 481–94

‘Modern Frankfort’, Fraser’s Magazine, Septemper 1848, pp. 334–44

‘Music’, Quarterly Review, Septemper 1848, pp. 481–515

‘Vanity Fair and Jane Eyre’, Quarterly Review, December 1848, pp. 153–85

Kügler, F. T., Handbook of Painting in Italy, Part 1: Italian Schools, trans. by a Lady Eastlake, ed. by Sir Charles Eastlake, 2nd edn, 2 vols (London: Murray, 1851)

‘Physiognomy’, Quarterly Review, December 1851, pp. 62–91

Music and the Art of Dress: Two Essays Reprinted from the ‘Quarterly Review’ (London: Murray, 1852)

‘Art and Nature Under an Italian Sky’, Quarterly Review, June 1852, pp. 1–11

(attrib.) ‘The History of Rome’, Gentleman’s Magazine, April 1853, pp. 348–54

Waagen, Gustav Friedrich, Treasures of Art in Great Britain: Being an Account of the Chief Collections of Paintings, Drawings, Sculptures, Illuminated Mss., trans. by Elizabeth Rigby Eastlake, 3 vols (London: Murray, 1854) and supplementary fourth volume Galleries and Cabinets of Art in Great Britain (London: Murray, 1857)

‘Treasures of Art in Great Britain’, Quarterly Review, March 1854, pp. 467–508

Review of John Ruskin, Modern Painters, Quarterly Review, March 1856, pp. 384–433

‘Photography’, Quarterly Review, April 1857, pp. 442–68

‘Michel Angelo’, Quarterly Review, April 1858, pp. 436–83

‘Late Prince Consort’, Quarterly Review, January 1862, pp. 176–200

Jameson, Anna, The History of Our Lord as Exemplified in Works of Art, commenced by the late Mrs. Jameson, continued and completed by Lady Eastlake, 2 vols (London: Longman, Green, Longman, Roberts, & Green, 1864)

(with Harriet Grote), ‘Review of Christian Art’, Quarterly Review, July 1864, pp. 143–76

‘Galleries of the Louvre’, Quarterly Review, April 1865, pp. 287–323

(with Harriet Grote), ‘British Museum’, Quarterly Review, January 1868, pp. 147–79

Recueil de meubles et d’ornement intérieurs, composés et dessinés dans les differents styles depuis l’époque Louis XIII, jusqu’a nos jours par E. Eastlake, vol. 2 (Brussels: Goupil and Muquardt; London: Williams & Norgate; Paris: Rapilly, 1869)

Preface, in Charles Eastlake, Materials for the History of Oil Painting, vol. 2 (London: Longman, Green, 1869)

‘Exhibition of the Society of Female Artists’, Art Journal, March 1869, pp. 82–83

‘Memoir’, in Sir C. L. Eastlake, Contributions to the Literature of the Fine Arts: Second Series (London: Murray, 1870)

Life of John Gibson, R.A., Sculptor, ed. by Lady Eastlake (London: Longmans, 1870)

‘Otto Mündler’, The Times, 21 April 1870, p. 6

‘Crowe and Cavalcaselle on the History of Painting’, Edinburgh Review, January 1872, pp. 122–49

Kügler’s Handbook of Painting: The Italian Schools, ed. by Sir Charles L. Eastlake, 4th edn, rev. and remodelled from the latest researches, by Lady Eastlake, 2 parts (London: Murray, 1874)

Frescoes by Raphael on the Ceiling of the Stanza dell’Eliodoro in the Vatican, drawn by N. Consoni and engraved by L. Gruner with descriptions by Lady Eastlake (London: Published for Louis Grave by Virtue, 1875)

‘Leonardo da Vinci’, Edinburgh Review, January 1875, pp. 89–126

‘Life and Works of Thorvaldsen’, Edinburgh Review, July 1875, pp. 1–29

‘The Letters and Works of Michel Angelo’, Edinburgh Review, July 1876, pp. 104–47

‘Venice Defended’, Edinburgh Review, July 1877, pp. 165–98

‘Titian’, Edinburgh Review, January 1878, pp. 105–44

‘Albert Dürer’, Quarterly Review, October 1879, pp. 376–407

Mrs. Grote, A Sketch (London: Murray, 1880)

‘Germany, Past and Present’, Edinburgh Review, October 1880, pp. 503–40

‘Mrs Jameson’, Encyclopaedia Britannica, 9th edn, 24 vols (Edinburgh: Black, 1880), XIII, 562–63

‘Madame de Staël: Life and Times’, Quarterly Review, July 1881, pp. 1–49

‘John Gibson Lockhart’, Encyclopaedia Britannica, 9th edn, 24 vols (Edinburgh: Black, 1882), XIV, 762–64

‘The Life and Works of Raphael’, Edinburgh Review, January 1883, pp. 168–204

Five Great Painters: Essays Reprinted from the ‘Edinburgh’ and ‘Quarterly Review’, 2 vols (London: Longmans, Green, 1883)

‘Madonna del Ansidei’, The Times, 14 October 1884, p. 2

‘The Female School of Art’, Englishwoman’s Review, 15 March 1886, pp. 102–04

‘Thomas Webster, R.A.’, Murray’s Magazine, August 1887, pp. 222–31

‘Venice: Institutions and Private Life’, Quarterly Review, January 1889, pp. 71–102

‘Giovanni Morelli: Patriot and Critic’, Quarterly Review, July 1891, pp. 235–52

Secondary literature

‘Lady Eastlake’, Lady’s Own Paper, 9 March 1867, p. 1

Catalogue of the Collection of Pictures, Chiefly by the Old Masters, formed by Sir C.L. Eastlake and sold by order of the Executors of Lady Eastlake by auction by Messrs. Christie, Manson & Woods, June 2, 1894 (London: Clowes, 1894)

Catalogue of Drawings and Engravings, the property of Lady Eastlake, deceased, late of 7 Fitzroy Square, which will be sold by Auction by Messrs. Christie, Manson & Woods, Tuesday, June 19, 1894 (London: Clowes, 1894)

Catalogue of a small Collection of Objects of Art, the Property of Lady Eastlake, deceased, which will be sold by Auction by Messrs. Christie Manson & Woods, July 5, 1894 (London: Clowes, 1894)

Avery-Quash, Susanna and Julie Sheldon, Art for the Nation: The Eastlakes and the Victorian Art World (London: National Gallery, 2011)

Avery-Quash, Susanna, ‘“The pencil is the child of my heart”: A Re-discovered Album of Drawings by Elizabeth Rigby, Lady Eastlake’, British Art Journal, 14.2 (2013), 45–64

Conlin, Jonathan, The Nation’s Mantlepiece: A History of the National Gallery (London: Pallas Athene, 2006)

Cross, Anthony, ‘Two English “Lady Travellers” in Russia and the House of Murray’, Slavonica, 17 (2011), 1–14

Denvir, Bernard, ‘The Eastlakes’, Quarterly Review, January 1957, pp. 85–97

Ernstrom, Adele M., ‘“Equally lenders and borrowers in turn”: The Working and Married Lives of the Eastlakes’, Art History, 15 (1992), 470–85

Ernstrom, Adele M., ‘“Why should we be always looking back?”: “Christian art” in Nineteenth-Century Historiography in Britain’, Art History, 22 (1999), 421–35

Ernstrom, Adele M., ‘Elizabeth Eastlake’s History of Our Lord as Exemplified in Works of Art: Theology, Art and Aesthetic Reaction’, Art History, 35 (2012), 750–77

Fyvie, John, Some Famous Women of Wit and Beauty: A Georgian Galaxy (London: Constable, 1905)

Garver, Joseph, ‘Lady Eastlake’s “Livonian” Fiction’, Studia Neophilogica, 51 (1979), 17–29

Gould, Cecil, ‘The Eastlakes’, Apollo, 101 (1975), 350–53

Haskell, Francis, Rediscoveries in Art (Oxford: Phaidon, 1980)

Haskell, Francis, Past and Present in Art and Taste: Selected Essays (New Haven: Yale University Press, 1987)

Herrmann, Frank, ‘Dr. Waagen’s Works of Art and Artists in England’, Connoisseur, 161 (1966), 173–77

Johnson, Wendell Stacy, ‘The Bride of Literature: Ruskin, the Eastlakes and Mid-Victorian Themes of Art’, Victorian Newsletter, 26 (1964), 23–28

Kanwit, John, ‘“My name is the right one”: Lady Elizabeth (Rigby) Eastlake’s Professional Art Criticism’, Nineteenth-Century Prose, 40.1 (2013), 141–72

Lochhead, Marion, Elizabeth Rigby, Lady Eastlake (London: Murray, 1961)

MacGregor, Neil, ‘Passavant and Lady Eastlake: Art History, Friendship and Romance’, in Correspondences: Festschrift für Margret Stuffmann zum 24 Nov. 1996, ed. by Hildegard Baureisen and Martin Sonnabend (Mainz: Schmidt, 1996), pp. 166–74

Mitchell, Rosemary, ‘Eastlake [née Rigby], Elizabeth, Lady Eastlake (1809–1893), journalist and writer on art’, ODNB < http://doi.org/10.1093/ref:odnb/8415>

Nichols, Catherine Maud, ‘Personal Reminiscences of Lady Eastlake’ (1893), in Norwich Scrapbooks, collection made by Edward A. Tillett (Norwich: [n. pub.], [1906(?)]), p. 339

Onslow, Barbara, Women of the Press in Nineteenth-Century Britain (London: Palgrave, 2000)

Østermark-Johansen, Lene, ‘“This will be a popular picture”: Giovanni Battista Moroni’s Tailor and the Female Gaze’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.822>

Robertson, David, ‘The Lady who Reviewed Jane Eyre’, Gazette of the Grolier Club, 12 (1970), 2–10

Robertson, David, Sir Charles Eastlake and the Victorian Art World (Princeton: Princeton University Press, 1978)

Robinson, Ainslie, ‘The History of Our Lord as Exemplified in Works of Art: Anna Jameson’s Coup de Grâce’, Women’s Writing, 10 (2003), 187–200

Rubin, Patricia, ‘George Eliot, Lady Eastlake, and the Humbug of Old Masters’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.830>

Sheldon, Julie, ‘Elizabeth Rigby and the Calotypes of Hill and Adamson: Correspondence from the John Murray Archive, 1843–1880’, Studies in Photography (2007), 42–48

Sheldon, Julie, ‘“In her own metier”: The Quarterly Review of Jane Eyre’, Women’s History Review, 18 (2009), 839–51

Sheldon, Julie, ed., The Letters of Elizabeth Rigby, Lady Eastlake (Liverpool: Liverpool University Press, 2009)

Sheldon, Julie, ‘“His Best Successor”: Lady Eastlake and the National Gallery’, in Museums and Biographies: Stories, Objects, Identities, ed. by Kate Hill (Woodbridge: Boydell Press, 2012), pp. 61–74

Sheldon, Julie, ‘Lady Eastlake and the Characteristics of the Old Masters’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.824>

Smith, Charles Eastlake, ed., Journals and Correspondence of Lady Eastlake, 2 vols (London: Murray, 1895)

Sorensen, Lee, ed., ‘Rigby Eastlake, Elizabeth’, in Dictionary of Art Historians <http://www.arthistorians.info/rigbye> [accessed 30 April 2019]

Steegman, John, Victorian Taste: A Study of the Arts and Architecture from 1830 to 1870 (London: Nelson, 1970)

Wolk, Linda, ‘Calotype Portraits of Elizabeth Rigby by David Octavius Hill and Robert Adamson’, History of Photography, 7 (1983), 167–81

Foster, Eliza (dates unknown)

Archives

Unknown

Primary sources

van Ranke, Leopold, History of the Popes, trans. by E. Foster, 3 vols (London: Bohn, 1847–48)

Vasari, Giorgio, Lives of the Most Eminent Painters, Sculptors, and Architects, trans. by Mrs Jonathan Foster, 5 vols (London: Bohn, 1850–1852)

[An Old Traveller], ‘Suggestions of Subject to the Student in Art by an Old Traveller’, Art Journal, May 1856, pp. 150–54

[An Old Traveller], ‘Talk of Pictures and the Painters’, Art Journal, May 1857, pp. 145–47

The Great Works of Raphael Sanzio of Urbino, trans. by Mrs J. Foster (London: Bell & Daldy, 1866)

Secondary literature

‘Eliza Vere Foster’ <http://www.victorianresearch.org/atcl/show_author.php?aid=1072> [accessed 30 April 2019]

Davis, Charles, ‘Vasari in England, An Episode: Was Mrs. Foster a Plagiarist?’, FONTES, 75, 10 June 2013 < http://doi.org/10.11588/artdok.00002179>

Rubin, Patricia Lee, ‘“Not […] what I would fain offer, but […] what I am able to present”: Mrs. Jonathan Foster’s Translation of Vasari’s Lives’, in Le vite del Vasari: genesi, topoi, ricezione, ed. by Katja Burzer and others (Venice: Marsilio, 2010), pp. 317–31

Herringham, Christiana Jane Powell (1852–1929)

Archives

Royal Holloway, University of London, Herringham Collection

Primary sources

The Book of the Art of Cennino Cennini: A Contemporary Practical Treatise on Quattrocento Painting, trans. by Christiana J. Herringham (London: Allen & Unwin, 1899)

‘Jan van Eyck’s Discovery’, Architectural Review, 11 (1902), p. 165

How to Paint Tempera Pictures, Tracts for Artists, 2 (Loughton: Madderton, 1903)

Review of Charles Dalbon, Les Origines de la peinture à l’huile, Burlington Magazine, 6 (1904), 74–81

Preface, Catalogue of an Exhibition of Works by Members of the Society of Painters in Tempera (Oxford: Carfax Gallery, 1905), pp. v–vi

Letter to the Editors, ‘On the Proposed Restoration of St. Mark’s, Venice’, Burlington Magazine, 6 (1905), 411–12

Letter to the Editors, ‘The Tweedmouth Pictures’, Burlington Magazine, 7 (1905), 335–36

Papers of the Society of Painters in Tempera, 1901–1907, ed. by Christiana J. Herringham (London: Women’s Printing Society, 1907)

‘Methods of Tempera as Exemplified in a Few Pictures at the National Gallery’, in Papers of the Society of Painters in Tempera, 1901–1907 (London: Women’s Printing Society, 1907), pp. 23–27

‘The Snake Pattern in Ireland, the Mediterranean and China’, Burlington Magazine, 13 (1908), 132–37

‘Notes on Oriental Carpet Patterns’, Burlington Magazine, 14 (1908), 28–30

‘Notes on Oriental Carpet Patterns — II’, Burlington Magazine, 14 (1908), 84–94

‘Notes on Oriental Carpet Patterns — III: Ghiordes Rugs, Rose and Pomegranate Patterns’, Burlington Magazine, 14 (1908), 147–58

‘Notes on Oriental Carpet Patterns — IV: The Origin of Some Geometrical Patterns’, Burlington Magazine, 14 (1909), 218–30

‘Notes on Oriental Carpet Patterns — V: Ladik Rugs’, Burlington Magazine, 14 (1909), 292–62

‘Notes on Oriental Carpet Patterns — VI: Meander and Key Patterns’, Burlington Magazine, 15 (1909), 98–104

‘The Frescos of Ajantà’, Burlington Magazine, 17 (1910), 134, 136–39

Ajanta Frescoes: Being Reproductions in Colour and Monochrome of Frescoes in Some of the Caves at Ajanta after Copies Taken in the Years 1909–1911 by Lady Herringham and her Assistants (London: Oxford University Press, 1915)

Secondary literature

Burns, Thea, ‘Cennino Cennini’s II Libro dell’Arte: A Historiographical Review’, Studies in Conservation, 56 (2011), 1–13

Clarke, Meaghan, ‘On Tempera and Temperament: Women, Art, and Feeling at the Fin de Siécle’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 23 (2016) < http://doi.org/10.16995/ntn.767>

Clarke, Meaghan, ‘“The Greatest Living Critic”: Christiana Herringham and the Practice of Connoisseurship, Visual Resources, 33 (2017), 94–116

Jones, Michaela, ‘“If there is no struggle there is no victory”: Christiana Herringham and the British Tempera Revival’, in Tempera Painting 1800–1950: Experiment and Innovation from the Nazarenes to Abstract Art, ed. by Patrick Dietemann and others (forthcoming)

Jones, Michaela, ‘Christiana Herringham and the Art Collection of Royal Holloway and Bedford New College’ (unpublished doctoral thesis, Royal Holloway, University of London, forthcoming)

Lago, Mary, ‘Christiana Herringham and the National Art Collections Fund’, Burlington Magazine, 135 (1993), 202–11

Lago, Mary, Christiana Herringham and the Edwardian Art Scene (London: Lund Humphries, 1996)

Powers, Alan, ‘The Fresco Revival in the Early Twentieth Century’, Journal of the Decorative Arts Society 1850–the Present, 12 (1988), 38–46

Spooner, Hannah, ‘Pure Painting: Joseph Southall, Christiana Herringham and the Tempera Revival’, British Art Journal, 4.2 (2003), 49–56

Sprague, Abbie N., ‘The British Tempera Revival: A Return to Craftsmanship’, British Art Journal, 3.3 (2002), 66–74

Jameson, Anna (1794–1860)

Archives

Edinburgh, University of Edinburgh, Special Collections

Harvard, Harvard University, Houghton Library, Special Collections

London, British Library

New York, New York Public Library, Special Collections

Texas, Baylor University, Armstrong-Browning Library

Toronto, Toronto Public Library, Special Collections

Primary sources

[Anon.], A Lady’s Diary (London: Thomas, 1826); repub. as Diary of an Ennuyée (London: Colburn, 1826)

The Loves of the Poets, 2 vols (London: Colburn, 1829)

Memoirs of Celebrated Female Sovereigns, 2 vols (London: Colburn and Bentley, 1831)

Characteristics of Women: Moral, Poetical and Historical (London: Saunders and Otley, 1832)

The Beauties of the Court of Charles the Second: A Series of Portraits, Illustrating the Diaries of Pepys, Evelyn, Clarendon, and Other Contemporary Writers (London: Colburn, 1833)

Visits and Sketches at Home and Abroad (London: Saunders and Otley, 1834)

Coesvelt, William G., Mrs. Jameson, and François Etienne Joubert, Collection of Pictures of W. G. Coesvelt, esq., of London (London: Carpenter, 1836)

Winter Studies and Summer Rambles in Canada, 3 vols (London: Saunders and Otley, 1838)

Waagen, G. F., Peter Paul Rubens, his Life and Genius, ed. by Anna Jameson, trans. By R. R. Noel (London: Saunders and Otley, 1840)

A Handbook to the Public Galleries of Art in and near London with Catalogues of the Pictures, 2 vols (London: Murray, 1842)

Companion to the Most Celebrated Private Galleries of Art in London (London: Saunders and Otley, 1844)

‘Essays on the Lives of Remarkable Painters’, Penny Magazine, 12 (1843): 19 instalments; 13 (1844): 15 instalments; 14 (1845): 11 instalments. Reprinted as Memoirs of the Early Italian Painters

Memoirs and Essays Illustrative of Art, Literature and Social Morals (London: Bentley, 1846)

Memoirs of the Early Italian Painters, 2 vols (London: Murray, 1848)

The Poetry of Sacred and Legendary Art, 6 vols (1848–1864)

Sacred and Legendary Art, 2 vols (London: Longmans, 1848)

Essays upon Art and Notices of the Collections of the Works of the Old Masters, at the Lyceum Gallery, 563 Broadway (New York: Nesbitt, 1849)

‘Some Thoughts on Art, Addressed to the Uninitiated’, Art Journal, March 1849, pp. 69–71

Legends of the Monastic Orders (London: Longmans, 1850)

Legends of the Madonna (London: Longmans, 1852)

History of Our Lord, completed posthumously by Elizabeth Rigby, Lady Eastlake, 2 vols (London: Longmans, 1864)

Secondary literature

Adams, Kimberly Van Esveld, Our Lady of Victorian Feminism: The Madonna in the Work of Anna Jameson, Margaret Fuller, and George Eliot (Athens: Ohio University Press, 2001)

Avery-Quash, Susanna, ‘Illuminating the Old Masters and Enlightening the British Public: Anna Jameson and the Contribution of British Women to Empirical Art History in the 1840s’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.832>

Clarke, Norma, ‘Anna Jameson: The Idol of Thousands of Young Ladies’, in Practical Visionaries: Women, Education, and Social Progress, 1790–1930, ed. by Mary Hilton and Pam Hirsch (Harlow: Longman, 2000), pp. 69–83

Eastlake, Elizabeth, ‘Mrs Jameson’, in Encyclopaedia Britannica, 9th edn, 24 vols (Edinburgh: Black, 1880), XIII, 562–63

Ernstrom, Adele M., ‘“Why should we be always looking back?”: “Christian art” in Nineteenth-Century Historiography in Britain’, Art History, 22 (1999), 421–35

Ernstrom, Adele M., ‘Entering Art History in the Mid-Nineteenth Century: Félicie d’Ayzac, Anna Jameson and the Legacy of Mme de Staël’, RACAR: Revue d’art canadienne / Canadian Art Review, 28 (2001), 29–49

Erskine, Mrs. Stuart Beatrice ed., Letters and Friendships (London: Unwin, 1915)

Gilley, Sheridan, ‘Victorian Feminism and Catholic Art: The Case of Mrs. Jameson’, in The Church and the Arts, ed. by Diana Wood, Studies in Church History, 28 (Oxford: Blackwell, 1992), 381–89

Hall, Samuel Carter, A Book of Memories of Great Men and Women (London: Virtue, 1877), pp. 374–75

Holcomb, [Ernstrom], Adele M., ‘A.-F. Rio, Anna Jameson and Some Sources for the Second Volume of Modern Painters by Ruskin (1846)’, Gazette des beaux-arts, 91 (1978), 35–38

Holcomb, [Ernstrom], Adele M., ‘Anna Jameson: Sacred Art and Social Vision’, in Women as Interpreters of the Visual Arts, 1820–1979, ed. by Claire Richter Sherman and Adele M. Holcomb (Westport: Greenwood Press, 1981), pp. 93–121

Holcomb, [Ernstrom], Adele M., ‘Anna Jameson: The First Professional English Art Historian’, Art History, 6 (1983), 171–87

Holcomb, [Ernstrom], Adele M., ‘Anna Jameson on Women Artists’, Woman’s Art Journal, 8 (1987), 15–24

Johnston, Judith, ‘Invading the House of Titian: The Colonisation of Italian Art: Anna Jameson, John Ruskin and the “Penny Magazine”’, Victorian Periodicals Review, 27 (1994), 127–43

Johnston, Judith, Anna Jameson: Victorian, Feminist, Woman of Letters (London: Scolar Press, 1997)

Johnston, Judith, ‘Fracturing Perspectives of Italy in Anna Jameson’s Diary of an Ennuyée’, Women’s Writing, 11 (2004), 11–25

Johnston, Judith, ‘Jameson [née Murphy], Anna Brownell (1794–1860), writer and art historian’, ODNB < http://doi.org/10.1093/ref:odnb/14631>

Krisuk, J. J., ‘Reclaiming Spaces of Learning in Anna Jameson’s Diary of an Ennuyée’, Women’s Writing, 22 (2015), 411–27

La Monica, J. P., ‘Poetical Beauty: The Theological Aesthetics of Anna Jameson’ (unpublished doctoral dissertation, Graduate Theological Union, 2014)

Lew, Laurie Kane, ‘Cultural Anxiety in Anna Jameson’s Art Criticism’, Studies in English Literature, 1500–1900, 36 (1996), 829–56

Ludley, David A., ‘Anna Jameson and D. G. Rossetti: His Use of her Histories’, Woman’s Art Journal, 12 (1992), 29–33

Macpherson, Gerardine Bate, Memoirs of the Life of Anna Jameson (Boston: Roberts Brothers, 1878)

Monticelli, R., ‘In Praise of Art and Literature: Intertextuality, Translations and Migrations of Knowledge in Anna Jameson’s Travel Writings’, Prose Studies, 27 (2005), 299–312

Needler, George Henry, ed., Letters of Anna Jameson to Ottilie von Goethe (Oxford: Oxford University Press, 1939)

Oldcastle, Alice [Meynell], ‘Mrs Jameson: A Biographical Sketch’, Magazine of Art, 2 (1879), 123–25

Robinson, Ainslie, ‘Stalking Through the Literary World: Anna Jameson and the Periodical Press, 1826–1860’, Victorian Periodicals Review, 33 (2000), 165–77

Robinson, Ainslie, ‘The History of Our Lord as Exemplified in Works of Art: Anna Jameson’s Coup de Grâce’, Women’s Writing, 10 (2003), 187–200

Sorensen, Lee, ed., ‘Jameson, Anna’, Dictionary of Art Historians <http://www.arthistorians.info/jamesona> [accessed 30 April 2019]

Thomas, Clara, Love and Work Enough: The Life of Anna Jameson (Toronto: University of Toronto Press, 1967)

Thomas, Clara, ‘Anna Jameson: Art Historian and Critic’, Woman’s Art Journal, 1 (1980), 20–22

Warr, Cordelia, ‘Anna Jameson (1794–1860): “Primitive” Art and Iconography’, in Women Medievalists and the Academy, ed. by Jane Chance (Madison: University of Wisconsin Press, 2005), pp. 25–36

Lee, Vernon (1856–1935)

Archives

Waterville, ME, Colby College, Vernon Lee Archive

Primary sources

‘The Artistic Dualism of the Renaissance’, Contemporary Review, Septemper 1879, pp. 44–65

Studies of the Eighteenth Century in Italy (London: Satchel, 1880)

Belcaro: Being Essays on Sundry Aesthetical Questions (London: Satchell, 1881)

‘Botticelli at the Villa Lemmi’, Cornhill Magazine, August 1882, pp. 159–73

‘The Youth of Raphael’, Art Journal, November 1883, pp. 373–76

‘The Portrait Art of the Renaissance’, Cornhill Magazine, May 1883, pp. 564–81

‘San Gimignano of the Many Towers’, Portfolio, 14 (1883), 200–04

Euphorion: Being Studies of the Antique and the Medieval in the Renaissance (London: Fisher Unwin, 1884)

‘Lombard Colour Studies’, Art Journal, March 1884, pp. 85–86

‘North Tuscan Notes’, Magazine of Art, 7 (1884), 1–8

Baldwin: Being Dialogues on Views and Aspirations (London: Fisher Unwin, 1886)

Juvenilia: Being a Second Series of Essays on Sundry Æsthetical Questions (London: Fisher Unwin, 1887)

Althea: A Second Book of Dialogues on Aspirations and Duties (London: Osgood, McIlvaine, 1894)

Renaissance Fancies and Studies (London: Smith, Elder, 1895)

‘Old Lombard and Venetian Villas’, American Architect and Building News, 4 July 1896, pp. 6–7; 5 September 1896, pp. 78–86

Limbo and Other Essays (London: Richards, 1897)

Genius Loci: Notes on Places (London: Richards, 1899)

Hortus Vitae: Essays on the Gardening of Life (London: Bodley Head, 1904)

Hawtrey, Valentina trans., The Life of St Mary Magdalen, intr. by Vernon Lee (London: John Lane, 1904)

Lee, Vernon and C. Anstruther-Thomson, ‘Michelangelo’s Medicean Tombs’, Architectural Review, 16 (1904), 101–10

The Enchanted Woods and Other Essays (London: John Lane, 1905)

‘Essais d’esthetique empirique: l’individu devant l’oeuvre d’art’, Philosophical Review, 14 (1905), p. 638

The Spirit of Rome: Leaves from a Diary (London: John Lane, 1906)

The Sentimental Traveller (London: John Lane, 1908)

Laurus Nobilis: Chapters on Art and Life (London: John Lane, 1909)

Lee, Vernon and Clementina Anstruther-Thomson, Beauty and Ugliness (London: John Lane, 1912)

The Beautiful; An Introduction to Psychological Aesthetics (Cambridge: Cambridge University Press, 1913)

The Tower of the Mirrors and Other Essays on the Spirit of Places (London: John Lane, 1914)

Secondary literature

Brain, Robert Michael, ‘The Pulse of Modernism: Experimental Physiology and Aesthetic Avant-Gardes circa 1900’, Studies in the History and Philosophy of Science, 39 (2008), 393–417

Brown, Alison, ‘Vernon Lee and the Renaissance: From Burckhardt to Berenson’, in Victorian and Edwardian Responses to the Italian Renaissance, ed. by John E. Law and Lene Østermark-Johansen (Aldershot: Ashgate, 2005), pp. 185–209

Burdett, Carolyn, ‘“The subjective inside us can turn into the objective outside”: Vernon Lee’s Psychological Aesthetics’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 12 (2011) < http://doi.org/10.16995/ntn.610>

Burdett, Carolyn, ‘Walter Pater and Vernon Lee’, Studies in Walter Pater and Aestheticism, 2 (2016), 31–42

Cohen, Paula Marantz, ‘The Elusive Aesthetics of Vernon Lee’, Yale Review, 95.1 (2007), 21–30

Colby, Vineta, Vernon Lee: A Literary Biography (Charlottesville: University of Virginia Press, 2003)

Cooper Willis, Irene, ed., Vernon Lee’s Letters (London: privately printed, 1937)

Fraser, Hilary, ‘Women and the Ends of Art History: Vision and Corporeality in Nineteenth-Century Critical Discourse’, Victorian Studies, 42 (1998), 77–100

Cooper Willis, Irene, ‘Interstitial Identities: Vernon Lee and the Spaces In-Between’, in Marketing the Author: Authorial Personae, Narrative Selves and Self-Fashioning, 1880–1930, ed. by Marysa Demoor (Basingstoke: Palgrave Macmillan, 2004), pp. 114–33

Cooper Willis, Irene, ‘Writing a Female Renaissance: Victorian Women Writers and the Past’, in Victorian and Edwardian Responses to the Italian Renaissance, ed. by John E. Law and Lene Østermark-Johansen (Aldershot: Ashgate, 2005), pp. 165–84

Gagel, Amanda and Sophie Geoffroy, eds, The Selected Letters of Vernon Lee, 1856–1935, 3 vols (London: Pickering & Chatto, 2015–2017)

Gunn, Peter, Vernon Lee: Violet Paget, 1856–1935 (London: Oxford University Press, 1964)

Kandola, Sondeep, ‘Vernon Lee: New Womañ’, Women’s Writing, 12 (2005), 471–84

Gunn, Peter, Vernon Lee (Tavistock: Northcote House, 2010)

Kane, Mary Patricia, Spurious Ghosts: The Fantastic Tales of Vernon Lee (Rome: Carocci, 2004)

Lanzoni, Susan, ‘Practicing Psychology in the Art Gallery: Vernon Lee’s Aesthetics of Empathy’, Journal of the History of the Behavioral Sciences, 45 (2009), 330–54

Leighton, Angela, ‘Ghosts, Aestheticism and Vernon Lee’, Victorian Literature and Culture, 28 (2000), 1–14

Leighton, Angela, ‘Resurrections of the Body: Women Writers and the Idea of the Renaissance’, in Unfolding the South: Nineteenth-Century British Women Writers and Artists in Italy, ed. by Alison Chapman and Jane Stabler (Manchester: Manchester University Press, 2003), pp. 222–38

Maltz, Diana, ‘Engaging “Delicate Brains”: From Working-Class Enculturation to Upper-Class Lesbian Liberation in Vernon Lee and Kit Anstruther-Thomson’s Psychological Aesthetics’, in Women and British Aestheticism, ed. by Talia Schaffer and Kathy Psomiades (Charlottesville: University Press of Virginia, 1999), pp. 211–29

Mannocchi, Phyllis F., ‘Paget, Violet [pseud. Vernon Lee] (1856–1935), art historian and writer’, ODNB < http://doi.org/10.1093/ref:odnb/35361>

Maxwell, Catherine, ‘From Dionysus to “Dionea”: Vernon Lee’s Portraits’, Word & Image, 13 (1997), 253–69

Maxwell, Catherine, ‘Vernon Lee and the Ghosts of Italy’, in Unfolding the South: Nineteenth-Century British Women Writers and Artists in Italy, ed. by Alison Chapman and Jane Stabler (Manchester: Manchester University Press, 2003), pp. 201–21

Maxwell, Catherine, and Patricia Pulham, eds, Hauntings and Other Fantastic Tales (Peterborough: Broadview, 2006)

Maxwell, Catherine, eds, Vernon Lee: Decadence, Ethics, Aesthetics (Houndmills: Palgrave Macmillan, 2006)

Pulham, Patricia, Art and the Transitional Object in Vernon Lee’s Supernatural Tales (Aldershot: Ashgate, 2008)

Ribeyrol, Charlotte, ‘From Via Magenta to Via Solferino: A Chromatic Itinerary through John Singer Sargent’s and Vernon Lee’s Early Aesthetic Works’, Studies in Walter Pater and Aestheticism, 3 (2019), 59–75

Sieberg, Herward, and Christa Zorn, eds, The Anglo-German Correspondence of Vernon Lee and Irene Forbes-Mosse during World War I: Women Writers’ Friendship Transcending Enemy Lines (Lewiston: Edwin Mellen Press, 2014)

Sorensen, Lee, ed., ‘Paget, Violet’, Dictionary of Art Historians <http://www.arthistorians.info/pagetv> [accessed 30 April 2019]

Zorn, Christa, Vernon Lee: Aesthetics, History and the Victorian Female Intellectual (Athens: Ohio University Press, 2003)

Merrifield, Mary Philadelphia (1804–1889)

Archives

Brighton, East Sussex Record Office, The Keep

Primary sources

Cennini, Cennino, A Treatise on Painting, trans. by M. Merrifield (London: Lumley, 1844)

The Art of Fresco Painting, as Practised by the Old Italian and Spanish Masters (London: Gilpin, 1846)

Original Treatises, Dating from the XIIth to XVIIIth Centuries on the Arts of Painting, in Oil, Miniature, Mosaic, and on Glass, 2 vols (London: Murray, 1849)

Practical Directions for Portrait Painting in Water-Colours (London: Winsor & Newton, 1851)

Dress as a Fine Art (London: Hall, Virtue, 1854)

Secondary literature

Avery-Quash, Susanna, ‘“I consider I am now to collect facts not form theories”: Mary Merrifield and Empirical Research into Technical Art History during the 1840s’, review of La donna che amava i colori: Mary P. Merrifield: lettere dall’Italia, 1845–1846, ed. by Giovanni Mazzaferro (2018), Journal of Art Historiography, 19 (2018) <https://arthistoriography.files.wordpress.com/2018/08/avery-quash-rev.pdf> [accessed 30 April 2019]

Bentley, D. M. R., ‘Mary Philadelphia Merrifield’s Edition of Cennino Cennini’s Il Libro dell’Arte and Dante Gabriel Rossetti’s “Hand and Soul”’, English Language Notes, 40 (2003), 49–58

Bomford, Zahira Véliz, ‘Mary Merrifield’s Quest: A New Methodology for Technical Art History’, Burlington Magazine, 159 (2017), 465–75

Bomford, Zahira Véliz, ‘Navigating Networks in the Victorian Age: Mary Philadelphia Merrifield’s Writing on the Arts’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.826>

Burns, Thea, ‘Cennino Cennini’s II Libro dell’Arte: A Historiographical Review’, Studies in Conservation, 56 (2011), 1–13

Loske, Alexandra, ‘Mary Philadelphia Merrifield: Color History as Expertise’, Visual Resources, 33 (2017), 11–26

Mazzaferro, Giovanni ed., La donna che amava i colori: Mary P. Merrifield: lettere dall’Italia, 1845–1846 (Milan: Officina Libraria, 2018)

Mazzaferro, Giovanni, ed., Letteratura artistica: Cross-Cultural Studies in Art History Sources <http://letteraturaartistica.blogspot.com/> [accessed 30 April 2019]

Mitchell, Rosemary, ‘Merrifield [née Watkins], Mary Philadelphia (1804–1889), writer on art and algologist’, ODNB < http://doi.org/10.1093/ref:odnb/59016>

Palmer, Caroline, ‘Colour, Chemistry and Corsets: Mary Philadelphia Merrifield’s Dress as a Fine Art’, Costume, 47 (2013), 3–27

Palmer, Caroline, ‘Mary Philadelphia Merrifield and the Alliance with Science’ <http://letteraturaartistica.blogspot.com/2014/05/caroline-palmer-mary-philadelphia.html> [accessed 30 April 2019]

Sorensen, Lee, ed., ‘Merrifield, Mary Philadelphia’, Dictionary of Art Historians <http://www.arthistorians.info/merrifieldm> [accessed 30 April 2019]

Sprague, Abbie N., ‘The British Tempera Revival: A Return to Craftsmanship’, British Art Journal, 3.3 (2002), 66–74

Miller, Anna (1741–1781)

Archives

Bath Abbey Archives

Primary sources

Letters from Italy, Describing the Manners, Customs, Antiquities, Paintings, &c. of that Country, in the Years MDCCLXX and MDCCLXXI, 3 vols (Dublin: Watson and others, 1776)

‘The Tribuna’, Gentleman’s Magazine and Historical Chronicle, June 1776, pp. 322–24

‘The Tribuna’, Gentleman’s Magazine and Historical Chronicle, Septemper 1776, pp. 417–20

‘The Tribuna’, Gentleman’s Magazine and Historical Chronicle, October 1776, pp. 471–73

[Anne, Lady Miller] On Novelty: And on Trifles, and Triflers: Poetical Amusements at a Villa near Bath (Bath: Cruttwell, 1778)

Secondary literature

[Anon.], Epistle to Mrs M*ll*r, [i.e. Lady Miller] institutress of a poetical society near Bath; in which is included a comparison between the antient and modern times; etc. [In verse.] (Bath: [n. pub.], 1776)

[Anon.], Sappho: A Poetic Rhapsody Inscribed to the Fair Patroness of B—h E—n [Bath Easton] [i.e. a satire upon Lady Miller] (London: [n. pub.], 1777)

Baudino, Isabelle, ‘“Nothing seems to have escaped her”: British Women Travellers as Art Critics and Connoisseurs (1775–1825)’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.820>

Bending, Stephen, and Stephen Bygrave, eds, Women’s Travel Writings in Italy, 9 vols (London: Pickering & Chatto, 2009–10), I, II: Lady Anna Riggs Miller, Letters from Italy

Hesselgrave, Ruth Avaline, Lady Miller and the Batheaston Literary Circle (New Haven: Yale University Press, 1927)

Olcelli, Laura, ‘Lady Anna Riggs Miller: The “modest” Self-Exposure of the Female Grand Tourist’, Studies in Travel Writing, 19 (2015), 312–23

Seward, Anna, Poem to the Memory of Lady Miller (London: Robinson, 1782)

Perkins, Lucy May (1877–1922)

Archives

Assisi, Francis Mason Perkins Archive [inaccessible at time of publication in 2019]

Florence, Villa I Tatti, Biblioteca Berenson, Bernard and Mary Berenson Papers

New York, The Metropolitan Museum of Art Archives

Primary sources

Heywood, William and Lucy Olcott, Guide to Siena, History and Art (Siena: Torrini, 1903)

‘Ambrogio Lorenzetti’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), 247–48

‘Pietro Lorenzetti’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), p. 248

‘Lorenzo di Pietro’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), p. 249

‘Simone Martini’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), p. 294

‘Matteo di Giovanni’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), p. 305

‘Mencio or Sano di Pietro’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), III (1904), p. 321

‘Un pipinto inedito del Brescianino’, Rassegna d’arte, 4 (1904), 36–37

‘Di alcune opera poco note di Matteo di Giovanni’, Rassegna d’arte, 4 (1904), 65–68

‘Un quadro attribuito a Salvanello’, Rassegna d’arte, 4 (1904), 141–42

‘Alvise Vivarini’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), V (1905), 311–13

‘Antonio Vivarini’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), V (1905), 313–15

‘Bartolommeo Vivarini’, in Bryan’s Dictionary of Painters and Engravers, 4th edn, rev. by George C. Williamson, 5 vols (London: Bell, 1903–05), V (1905), 315–16

‘La Nativita di Cristo — Giovanni di Pietro (?)’, Rassegna d’arte, 5 (1905), 29–30

‘Una “Annunciazione” di Benvenuto di Giovanni’, Rassegna d’arte, 6 (1906), 73–74

‘The Library Collection of Photographs’, Bulletin of the Metropolitan Museum of Art, 2 (1907), p. 126

‘Some of the Italian Paintings in the Metropolitan Museum’, Scrip, 2 (1907), 239–44

‘On the Use of a Collection of Photographs’, Bulletin of the Metropolitan Museum of Art, 3 (1908), 163–64

Secondary literature

Israëls, Machtelt Brüggen, ‘The Berensons “Connosh” and Collect Sienese Painting’, in The Bernard and Mary Berenson Collection of European Paintings at I Tatti, ed. by Carl Brandon Strehlke and Machtelt Brüggen Israëls (Milan: Officina Libraria, 2015), pp. 47–69

Kozloff, Arielle P., ‘History of the Egyptian Collection of the Cleveland Museum of Art’, in Lawrence M. Berman with Kenneth J. Bohač, The Cleveland Museum of Art Catalogue of Egyptian Art (New York: Hudson Hills Press, 1999), pp. 1–29

Sox, David, ‘The Strange Case of Lucy Olcott Perkins’, Apollo, 394 (1994), 43–44

Tedbury, Imogen, ‘Collaboration and Correction: Re-examining the Writings of Lucy Olcott Perkins, “a lady resident in Siena”’, 19: Interdisciplinary Studies in the Long Nineteenth Century, 28 (2019) < http://doi.org/10.16995/ntn.838>